The free online Speaker Series is a key element of the Ingrid Pollard in Devon project. It's devised to present in depth engagement and discussion beyond academic symposia.
To honour the complexity and nuance of Pollard's work, we asked a range of thinkers to draw out the depth of skill in her practice, contributing to the existing body of discussion on her practice.
This series of free online presentations will form the basis of a publication, edited by Ella S. Mills.
BOOK YOUR FREE PLACE HERE
20 Sep: ‘Three drops of blood’: examining Ingrid Pollard’s world of nature, lore and race’
Divya P. Tolia-Kelly
Professor of Geography and Heritage Studies, University of Sussex
Based on conversations with Ingrid Pollard this session travels through intersections of natural science, race and folk lore exhibited at the exhibition in Honiton in summer 2022
27 Sep: 'Ingrid Pollard: Land art and Landscape'
Professor of Art History and Theory, Slade School of Fine Art, UCL
This session will explore Ingrid's relationship to land and land art within her work.
4 Oct: Paul Gilroy and Ingrid Pollard 'In conversation'
A recorded audio walk and talk with Pollard and Gilroy through the grounds at Dartington, Devon.
11 Oct: 'Darkroom Frottage and the Sensual Matter of the Photograph'
Artist and Activist, Royal College of Art
Through sensorial entry points this presentation takes seriously, photographic production (rather than reproduction) and foregrounds the material-sensual qualities and tactile aspects of both making, process, materiality, the role of the senses, and sensation within a darkroom/studio praxis which is consistently overlooked, and the place of corporeality is ignored.
18 Oct: 'Showing Up', 1984-1991
Mason Leaver-Yap and Laura Guy
Guy is a writer and curator, School of Fine Art at Glasgow School of Art. Leaver-Yap is a writer and curator based between Glasgow/Berlin
In this dialogue, writers Laura Guy and Mason Leaver-Yap discuss photographs from this period, exploring how Pollard's images track collective movements between the stage and the street. More than simply evidencing the existence of such activities, Pollard's photographs create spaces within which differences of perception can be named and shared. From here, a proposal about the role of documentary in the making of histories of collectivised practices of art and politics begins to unfurl.