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I am Andrew Dewdney, a research professor and Phd supervisor in the School of Arts and Creative Industries at London South Bank University. My research focuses upon visual culture and how digital technologies and computing are changing cultural value in the public realm. This has led to two specific, but related aspect of research. Firstly how photography and the photographic image are being transformed by computing and what impact this is having upon ways of seeing. Secondly, how the digitisation of collections and their online circulation has impacted the museum and heritage Culture.
I have been active in externally funded research since 2006 to the present. In 2006 I was the Principal Investigator for a major AHRC award for a collaborative, three year project with Tate Britain, entitled Tae Encounters; Britishness and Visual Cultures. I led a team of seven researchers in investigating how Tate conceptualised its audiences in respect of cultural barriers to access. This resulted in a major report to the Tate Trustees, an archive of research material on the Tate Website and the book, Critical Museology:Theory and Practice in the Art Museum (2013) published by Routledge. As a result of the research I have been invited to speak Internationally and contribute chapters on the subject to several books.
Tate Encounters led to two AHRC collaborative doctoral awards, one investigating Tate's understanding of audience in marketing terms, the other investigating Tate's understanding of online media, through its BMW sponsored 'Live' programme.
In 2012 I was the CI on a further AHRC funded project with Tate entitled, 'Modelling Cultural Value within New Media Cultures and Network Participation', which ran a public programme of specialist invited panels and produced an AHRC funded report in 2014.
As co-director of The Centre for the Study of the Networked Image I supervise collaborative PhDs, with the following organisations; Serpentine Galleries, The Photographers' Gallery, Fotomuseum Winterthur, Rhizome and Gasworks.
I have published two recent books. 'Forget Photography', with Goldsmiths/MIT Press in 2021. This book investigates post photography arguing that if we wish to understand the politics of representation in the post-photographic era, or more accurately, the image under the conditions of capitalist, computational reproduction, there is a necessary prerequisite, and that is the need to ‘forget photography’. The book is intended for a research and educational readership. The second title, 'The Networked Image in Post Digital Culture, is a co-authored an edited volume, with Routledge Press, published in 2022. The book brings together new research perspectives upon the networked image, looking at digitisation, machine vision, in-game photography, online curating, interfaces to digital born archives as focal points for understanding automation and its new world of operations. The book is concerned to understand how established habits of seeing, together with their assumptions about knowing, are challenged by computational culture. I am currently working with Professor Victoria Walsh at the Royal College of Art on a review of Tate Modern in the context of British Cultural Policy since 2000.
Postgraduate Research Supervision
|Ms Carolyn Beth Defrin
|Intra-vulnerabilities: An Artistic Strategy for Co-creating Culture and Policy with Communities, Funders and Artists.
|Mr Marco De Mutiis
|Doctoral Research Project
|Ms Viktoria Ivanova
|Doctoral Research Project
|Mr James Wreford
|Doctoral Research Project
|Miss Lynn Adhiambo Obath
|What If We Were Trees: Developing Orality as Decolonial Practice & Method
Awarded in the last 5 years
|Mr Nicolas Maleve
|Algorithms of Vision. Human and machine learning in computational visual culture
|Miss Nicola Jane Baird
|The artist as assemblage: using assemblage and Actor-Network-Theory to expand and assemble David Bomberg from the fragments of a ‘smashed-up pattern’
|Miss Lozana Rossenova Mehandzhiyska
|Model–Database–Interface: A study of the redesign of the ArtBase, and the role of user agency in born-digital archives
|Miss Gaia Tedone
|CURATING THE NETWORKED IMAGE: CIRCULATION, COMMODIFICATION, COMPUTATION
|Mrs Victoria Caroline Young
|Art Museum attendance and the public realm: The agency of visitor information in Tate's organisational practices of making the art museum's audiences
|Ms Kristina Nilles
|Evaluating beyond the metrics: understanding the value of participatory arts through plurality of voice
|Ms Jeannette Ginslov
|Deep Flow: a tentacular worlding of dance, biosensor technology, lived experience and embodied materials of the human and non-humankind
Royal College of Art
Hornsey College of Art (Now Middlesex University)
Developing and carrying out innovative art and media projects for London Schools
Devising and carrying out anti-racist photography projects in schools
Curating Exhibition Programme
Managing a photography course programme
Managing community outreach projects
Strategic development of curriculum
Course validation and portfolio
Managing academic and technical staff
Portfolio validation and extension
Line management of academic and technical staff
Faculty management group
Research Centre Management
Research Staff Mentoring
|The Royal College of Art
|The Gasworks Gallery
|The Serpentine Gallery
|Arts and Humanities Research Council (AHRC)
|Performativity and Preservation in the Archive of Online Born-Digital Art
Peer Reviewed Journal published by Routledge
Peer Reviewed Journal published by Intellect
Ways of Machine Seeing as a Problem of Invisual Literacy
Cox, G. (2022). Ways of Machine Seeing as a Problem of Invisual Literacy. in: Dewdney, A. and Sluis, K. (ed.) The Networked Image in Post Digital Culture London Routledge (Taylor & Francis Group). pp. 102-113
Forget Photography: The Arts Council and the Disappearance of Independent Photography in Neoliberal Britain.
Dewdney, A. (2021). Forget Photography: The Arts Council and the Disappearance of Independent Photography in Neoliberal Britain. Concerning Photography: The Photographers’ Gallery and Photographic Networks in Britain, c. 1971 to the present. Online 25 Nov - 02 Dec 2021
Forget Photography Chapter 1
Dewdney, A. (2021). Forget Photography Chapter 1. Goldsmith Press London Goldsmiths, University of London.
Affordances of the Networked Image
Cox, G., Dewdney, A., Dekker, A. and Sluis, K. (2021). Affordances of the Networked Image. The Nordic Journal of Aesthetics. 30 (61-62), pp. 40-45.
The distributed museum: the flight of cultural authority and the multiple times and spaces of the art museum.
Dewdney, A (2019). The distributed museum: the flight of cultural authority and the multiple times and spaces of the art museum. in: Lewi, H, Smith, W, Cooke, S and von Lehn, D (ed.) International Handbook in New Digital Practices in Galleries, Libraries Archives, Museums and Heritage Sites New York Routledge.
Dewdney, A (2018). Photography Remoulded. New Formations: A Journal of Culture, Theory, Politics. 94, pp. 166-170.
What Is the current fascination with VR on the part of museums and art galleries?
Dewdney, A (2018). What Is the current fascination with VR on the part of museums and art galleries? Contemporary Art Society Annual Conference: The Virtual in Museums: Hot Medium?. National Gallery, London 10 May 2018
Art museum knowledge and the crisis of representation
Dewdney, A (2017). Art museum knowledge and the crisis of representation. in: Morsch, C and Schade, S (ed.) Representing Art Education: On the Representation of Pedagogical Work in the Art Field Vienna Zaglossus, Verlag.
Temporal Conflicts and the Purification of Hybrids in the 21st Century Art Museum: Tate, a Case in Point.
Dewdney, A and Walsh, V (2017). Temporal Conflicts and the Purification of Hybrids in the 21st Century Art Museum: Tate, a Case in Point. Stedlijk Studies. 5.
Co-creating in the Networks: A Reply to “What is 21st Century Photography?” [Internet Publication]
Dewdney, A (2017). Co-creating in the Networks: A Reply to “What is 21st Century Photography?” [Internet Publication]. The Photographers' Gallery.
Museums, Scholarly Enterprise and Global Assemblages: A Response to ‘Artifacts and Allegiances: How Museums Put the Nation and the World on Display’
Dewdney, A (2016). Museums, Scholarly Enterprise and Global Assemblages: A Response to ‘Artifacts and Allegiances: How Museums Put the Nation and the World on Display’. Identities: Global Studies in Culture and Power. 24 (1), pp. 6-12. https://doi.org/10.1080/1070289X.2016.1260021
The University of YouTube: the medium, the user, photography and the search for really useful knowledge. [Internet Publication]
Dewdney, A (2016). The University of YouTube: the medium, the user, photography and the search for really useful knowledge. [Internet Publication]. The Photographers' Gallery.
Modelling Cultural Value within New Media Cultures and Networked Participation
Walsh, V, Dewdney, A, Pringle, E, Tate, AHRC and LSBU (2014). Modelling Cultural Value within New Media Cultures and Networked Participation. Tate Royal College of Art/AHRC/Tate.
Curating the Photographic Image in Networked Culture
Dewdney, A (2014). Curating the Photographic Image in Networked Culture. Kraesj! Brytninger i fotoarkivet. Oslo, Norway 05 - 06 May 2014 Olso, Norway Kulturradet (Arts Council Norway).