Jo Spence
Photo therapy: Libido Uprising (part 2), 1989
Vintage C-type print
15 x 10 cms
5 14/16 x 3 14/16 ins
Series: 5. Photo Therapy Collaborations (1984-90)
12343
Provenance
The Jo Spence Memorial ArchiveRichard Saltoun Gallery, London
Exhibitions
'Actually, the Dead Are Not Dead: Techniques of Becoming' at Württembergischer Kunstverein Stuttgart, 16 October 2021 - 2 January 2022Jo Spence: A Woman’s Place? at Belfast Exposed in Collaboration with the Centre for British Photography. 7th October 2024 – 21st December 2024
Literature
Jo Spence. Cultural Sniping (illustrated p.171)
Jo Spence in collaboration with David Roberts (inset image Jo Spence in collaboration wth Rosy Martin). Spence often reused her images in different contexts. The present image is included in...
Jo Spence in collaboration with David Roberts (inset image Jo Spence in collaboration wth Rosy Martin).
Spence often reused her images in different contexts. The present image is included in the Tate's version of Libido Uprising, but in Cultural Sniping is titled "Photo therapy: Mother and Daughter Work. Saying Goodbye to my introjected Mother"
In Cultural Sniping Spence writes of this image: "in a photography session I try to come to terms with my own potential death. I enact a ritual for the camera to mark my willingness to say goodbye to my introjected Working-Class Mother, a person of whom I was taught to be ashamed. I deconstruct and reassemble, in order to reintegrate her into my history. A personal ellision of the psychic, the social, the economic and the aesthetic in a death ritual."(p.170)
Spence often reused her images in different contexts. The present image is included in the Tate's version of Libido Uprising, but in Cultural Sniping is titled "Photo therapy: Mother and Daughter Work. Saying Goodbye to my introjected Mother"
In Cultural Sniping Spence writes of this image: "in a photography session I try to come to terms with my own potential death. I enact a ritual for the camera to mark my willingness to say goodbye to my introjected Working-Class Mother, a person of whom I was taught to be ashamed. I deconstruct and reassemble, in order to reintegrate her into my history. A personal ellision of the psychic, the social, the economic and the aesthetic in a death ritual."(p.170)