Dr Judy Rabinowitz Price

Kingston School of Art
Department of Film and Photography
School of Arts

PGR Coordinator Department of Film and Photography & Co-Director SIME

Email:: j.price@kingston.ac.uk

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About

Judy (MA/PhD) is a London-based artist working across photography, moving images and sound, composed as single-screen works and multiscreen installations. Her research-led practice engages with contested sites and collective struggles.

She is a senior lecturer and PGR coordinator in the Department of Film and Photography and co-director of SIME (Sound, Image, Media Encounters) at Kingston School of Art. From 2008- 2014 she was a visiting lecturer at the International Academy of Arts, Palestine initiating an exchange program between UK Universities and the International Academy of Arts, Palestine. Other appointments include visiting Lecturer, Umeå Academy of Fine Arts, Sweden (2021) guest professor, Akademie der Bildenden Künste Nürnberg (2013), associate Professor Bergen National Academy of the Arts, Bergen, Norway (2007-2008).

Her research-led practice, informed by the dialogue between art and ethnography, necessarily involves extensive field research often drawing on images and sounds from archival sources as well as the sustained study of a place or space through networks, collaborations and activism. Palestine was an enduring focus of her work from 2004-2017 with two bodies of work Within This Narrow Strip of Land (2008) and Quarries of Wandering Form (2017). Her film White Oil has been shown extensively internationally and explores the quarries in the Occupied Palestinian Territories to unfold narratives around colonialism, expropriation of land and mobility through the day-to-day lives of the quarry owners, workers and security guards.

Her current research The End of a Sentence explores how women are affected by the criminal justice system in the UK through the prism of HMS Holloway, which was decommissioned in 2016. Her research draws on individual and collective stories of prison to make visible issues around gender, class, race and economy to reflect on Holloway's legacy spatially and ideologically as a site of remembrance and absence. Judy is a longstanding member of Reclaim Holloway, which has been campaigning for a Women's Building on the site of London's Holloway women's prison since its closure. The End of the Sentence (Stanley Picker Gallery, 2020) presented her initial research into the history of the prison and drew on relationships developed through Reclaim Holloway to explore the impact of the criminal justice system on women.

worldofmatter.net/judy-price

photomonitor.co.uk/white-oil

stanleypickergallery.org/programme/judy-price

Qualifications

BA Critical Fine Art Practice, University of the Arts
MA Photography Royal College of Art
Associate Post-Grad Researcher Media Arts Philosophy and Practice Greenwich University
Doctorate University of Creative Arts

Domains

Research-led, the concerns running through my practice are around contested spaces, the marginalised and dispossessed and the major and the minor. These are all features of the precariousness of all life forms and unequal global distribution of liveability. My work necessarily asks questions of the effectiveness and relevance of art to collective struggles, specifically, through the creation of new perceptions of human and non-human life forms. My interest is in how subjectivity is transformed through dialogical encounters with the world. Encounters that engage in the 'particular' with the social, historical material specificity of the other without reducing the other into a 'theme, concept or thing', but engaging with differentiation as something that happens on the level of the encounter.

Solo exhibition and screenings include:

The End of The Sentence, Stanley Picker Gallery London (2020), Still, Mosaic Room, London, Quarries of Wandering Form, Stiftelsen 3,14, Bergen, Norway (2017) Palestine Film Festival, Barbican, London and Filmhaus, Nuremberg (2013); Campus in Camps, Diheisheh Refugee, Bethlehem; Dar Annadwa Cultural Centre, Bethlehem; Birzeit University Museum, Palestine; Khalil Sakakini Cultural Centre, Ramallah; Riwaq, Centre for Architectural Conservation, Ramallah; Educational Bookshop/Al Ma'mal Foundation, East Jerusalem; Visible Evidence, New Dehli, India (2014); Visuality Materiality and Mining symposium, University of Brighton (2015), Grand Parade Gallery, University of Brighton (2010), USF Centre Bergen, Norway (2000), Imperial War Museum, London, Danielle Arnaud Contemporary Art Gallery, London and Unscene, London Jewish Cultural Centre (2008), Whitechapel Gallery, London; City Hall, London; Purcell Rooms at Queen Elizabeth Hall, London; Cuzon Soho Cinema, London; Amnesty International's Human Rights Action Centre, London (2005); Port Harcourt, Nigeria (2005).

Selected group exhibitions include:

Open House, Delfina Foundation (2017) World Of Matter, Galerie Leonard & Bina Ellen art Gallery, Montreal (2015); Spacemakers, Edinburgh College of Art (Tent Gallery), (2010); Cambridge Film festival, (2010), Cinema Palestine, (2009); Lumen Screening, Leeds (2009); These Are The Times: The Image On The Threshold, London Birkbeck Cinema, Vertigo Magazine launch event, (2009); Tatton Biennale Screenings, Manchester (2008); Jerusalem Show, Al-Ma'mal Foundation for Contemporary Art, Jerusalem, (2008) Chisenhale Biennale (2007), The Projection Gallery, (2006), Liverpool Biennale Coin & Platform, The Common Place, Leeds UK, Performing Rights, (2006), Queen Mary, University of London, Private Visions, (2006), Betsy's Salon, London, Diaphane (2005) Braziers, Oxfordshire and Tbilisi, Georgia; Art Caucasus; Shifting Time (2004), a commission for the Ice factory, Hastings; The Well (2004) Danielle Arnaud Contemporary Arts, London; Lost Hours (2002) Pump House Gallery, London; Fairplay (2002) Angel Row, Nottingham; Tweener (2001) Norwich Gallery, Norwich; Stream T.V (2000) ICA, London; Inventories (1998) Shoreditch Photo Biennale, London.

Gallery of work

Still from White Oil (2017)

This work explores the quarries in the Occupied Palestinian Territories to unfold narratives around colonialism, expropriation of land and mobility through the day-to-day lives of the quarry owners, workers and security guards.
Still from White Oil (2017)

This work explores the quarries in the Occupied Palestinian Territories to unfold narratives around colonialism, expropriation of land and mobility through the day-to-day lives of the quarry owners, workers and security guards.
Still from White Oil (2017)

This work explores the quarries in the Occupied Palestinian Territories to unfold narratives around colonialism, expropriation of land and mobility through the day-to-day lives of the quarry owners, workers and security guards.
Publication for The End of the Sentence (2020)
Hair (2020) pigment on rice paper