1,720,963 research outputs found
Queering the Trans* Family Album. Elspeth H. Brown and Sara Davidmann, in conversation
No full textThis journal article is co-authored by Sara Davidmann and Assoc. Prof Elspeth Brown, University of Toronto, Canada.
The article discusses photographs taken by Sara Davidmann and oral history work by Assoc. Prof Elspeth Brown. The article explores the ‘Ken. To be destroyed’ family album photographs and a photograph album created by Prof. Stephen Whittle OBE, photographed by Davidmann. Issues of control and collaboration, queering the archive and identity politics in Brown’s and Davidmann’s research projects are outlined. The article concludes with an examination of the concerns of erasure, forgetting and remembering that are brought to the surface in Davidmann’s photographs
I am the gigantic baobab
No full textChange is coming slowly, if at all, for LGBTQ+ people in many parts of the world. In Botswana, welcome changes to legislation concerning same sex relationships were passed in 2019. But to be lesbian, gay or transgender in Botswana still requires considerable strength and bravery, and with social attitudes in flux, the conversation is as essential as ever.
While working in Botswana in 2015, Sara Davidmann and I wanted to go beyond a structured interview approach to capture people’s experiences and stories in ways they felt most comfortable with. We subsequently explored different formal approaches to framing, editing and processing of both sound and image for each participant in order to reflect the diversity of their experiences, which varied from activism and artistic expression to ‘correctional rape’ and domestic violence.
Originally intended as a multi-channel installation, the linear single-screen version has been selected for the Strangelove Festival 2020 and the Leeds Queer Film Festival 2020
The Ken. To be destroyed Project Archive
No full textThis journal article is based on the Ken. To be destroyed Project Archive.
In 2011, Sara Davidmann inherited a family archive of letters,photographs and papers from her mother, Audrey Davidmann. This archive tells the story of Ken and Hazel, Sara’s uncle and aunt, and how it emerged early on in their marriage, in 1958, that Ken was transgender.
Sara Davidmann and writer and curator Val Williams have created an archive which preserves and describes the process of creating the 'Ken. To be destroyed' book (published in 2016 by Schilt, Amsterdam) and the 'Ken. To be destroyed' exhibition, which was shown at the Schwules Museum in Berlin in 2016. While the exhibition and publication were based on the Davidmann family archive, this new repository illustrates the ways in which Davidmann and Williams, as artist/author and curator/editor respectively, navigated the contents of the archive, wrote narrative and biographical texts and managed relationships with external organizations and individuals.
The archive has been proactively collected and assembled from the beginning of the project. It is envisaged that it will be relevant to researchers/students in curatorship, photography, family archives
Extreme
No full textTwo-person exhibition with Catherine Faulds.
Photographs by Sara Davidmann.
Poems on glass and sound work by Catherine Faulds.
Video by Sara Davidmann and Catherine Faulds
Reimag(in)ing somasex
No full textIn this exhibition Sara Davidmann showed photographs from her AHRC Fellowship in the Creative and Performing Arts, held at LCC, 2007 - 2010
The Ken. To be destroyed Project Archive (exhibition)
No full textIn 2011, Sara Davidmann inherited a family archive of letters, photographs and papers from her mother, Audrey Davidmann. This archive tells the story of Ken and Hazel, Sara's uncle and aunt, and how it emerged early on in their marriage, in 1958, that Ken was transgender.
During the making of the ‘Ken to be Destroyed’ book Sara Davidmann and editor and curator Val Williams created an archive which preserves and describes the process of creating the book (published in 2016 by Schilt, Amsterdam) and the exhibition, which was shown in 2016 at the Schwules Museum in Berlin in 2016.
While the exhibition and publication were based on the Davidmann family archive, this new repository illustrates the ways in which Davidmann and Williams, as author and editor respectively, navigated the contents of the archive, wrote narrative and biographical texts and managed relationships with external organizations and individuals. The archive has been proactively collected and assembled from the beginning of the project. It is envisaged that it will be relevant to researchers/students in curatorship, photography, family archives, photobook production and gender and sexuality studies.
The exhibition included new works by Alex Cooper which were made in response to the archive
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Curating Ken.To be destroyed
Full text linkA conference paper co authored by Val Williams and Sara Davidmann and presented at the conference: Researching, Writing and Exhibiting Photography Symposium organized by the Institute for Modern and Contemporary Culture at the University of Westminster.
In 2013, curator Val Williams read a press story about the archive which artists Sara Davidmann had inherited (with her two siblings) from her mother, Audrey. The archive contained papers, letters and photographs which related to a period of years in the 1950s and 60s, when Audrey’s younger sister Hazel discovered that her husband Ken, was transgender.
Frim this archive Sara had begun to make work and the early makings of the series ‘The Dress’ and ‘For Ken’ had begun to evolve.
Sara was also doing very detailed research into the archive itself, transcribing letters, tracing references, attempting to decipher the relationship between family members, from shreds of evidence, mainly letters.
The relationship between Val Williams as editor and curator, Sara Davidmann as family archivist and artist began revolves around three curatorial outcomes:1. a small exhibition Ken. To be destroyed at the UAL Photography and the Archive Research Centre in 2013, 2. An exhibition at the Schwules Museum in Berlin which was an enlarged version of the 2013 show, with new work by Sara and the latest iteration Ken. To be Destroyed in the Upper Gallery at the London College of Communication, staged as the central show of the Moose on the Loose Biennale,2017.
This paper will look at the ways in which three very different outcomes, in different locations and with different audiences in two different countries have come from the ‘Ken’ project and archive resources and the way in which the curatorial/artist collaboration has worked over the three projects.
Particular research questions of interest could be:
1. How does curatorship and collaboration ensure that a project such as Ken. To be destroyed will appeal to the broadest possible audience?
2. How is the balance between the archive’s narrative and art practice emerging from the archive, created and maintained?
3. To what extent does audience matter when making a new exhibition- e.g. Schwules, which has a loyal core audience interested in ‘queer’ issues (as well as a wider public) and LCC where the audience is predominantly students and staff.
4. How do the characteristics of exhibition space determine what is produced and selected and how it is shown?
NB: The paper was read by Sara Davidmann as Val Williams was speaking at another conference
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
- …
