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Notes and links to different approaches to documentary and reportage illustration by:

Veronica Lawlor
Edward Ardizzone
George Butler
Oliview Kugler
Evan Turk
Emmanuel Guibert
Lucinda Rogers

Research for 'Illustration Sketchbooks' OCA taken as personal development module 2021-2023.

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Discovering: Georges Perec - Life A User's Manual

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Georges Perec - Life: A User's Manual BOOK REVIEW

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Rencontres avec Georges Perec | Archive INA

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Non-fiction, in its broadest sense, includes all writing that is not entirely of the imagination.

Creative non-fiction has been defined in Wikipedia as:

a genre of writing that uses literary styles and techniques to create factually accurate narratives.

OCA Course Guide for Life Writing Module 2013 p12 defines life writing as:

stories you tell, but have not made up. It is factual writing with literary form, flowing out of a desire to create writing that can speak to the heart, as well as the head... Life writing uses the techniques of fiction writing to draw the reader into a true story based on events in the real world - historical, scientific or artistic. While remaining factually accurate, the writer engages the reader by using narrative techniques like well developed characterisation, a voice which is stylistically interesting, suspense, vivid description, dialogue and a structure that creates a narrative trajectory...In fact, life writing is any writing containing a truth that runs through it like an artery and which rises above the merely informative to become a type of literature where an original voice emerges.

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David Campbell - Narrative, Power and Responsibility by MattJohnston

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David Campbell - Narrative, Power and Responsibility by MattJohnston

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David Campbell talks as part of the #phonar guest speaker programme at Coventry University
For more information see http://www.phonar.org

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“This project has come to be seen as revolutionary, a completely new way of addressing the city, as a personal project you reinvent yourself, at the same time as the city is re-invented around you, and this apparently, is psychogeography.”
Jolyon Jenkins December BBC (2011)

https://www.bbc.co.uk/sounds/play/b017ss48

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Reportage Illustration: Visual Journalism by Gary Embury and Mario Minichiello 

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Reportage Illustration: Visual Journalism by Gary Embury and Mario Minichiello 

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"The power of reportage drawing is in the immediacy of the images that are created and the feeling of the illustrator's presence on location. Comparable in some ways to photojournalism, reportage illustrators are acting as visual journalists, proactively creating narrative work about issues and subjects, translating what they witness into handmade imagery. There is evidence that illustrations connect to people in powerful ways whether they are drawings created while embedded with troops in Afghanistan, documenting during a courtroom trial or recreating the energy of the crowd at a rock concert. "

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The power of reportage drawing is in the immediacy of the images that are created and the feeling of the illustrator's presence on location. Comparable in some ways to photojournalism, reportage illustrators are acting as visual journalists, proactively creating narrative work about issues and subjects, translating what they witness into handmade imagery. There is evidence that illustrations connect to people in powerful ways whether they are drawings created while embedded with troops in Afghanistan, documenting during a courtroom trial or recreating the energy of the crowd at a rock concert. This area of applied illustration also provides career opportunities for students and takes them out of the classroom and into different environments and situations. With practical information about tools, techniques and coping in various situations as well as inspirational interviews and advice from reportage artists working in the field, this book will fill a gap in this growing market.

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The power of reportage drawing is in the immediacy of the images that are created and the feeling of the illustrator's presence on location. Comparable in some ways to photojournalism, reportage illustrators are acting as visual journalists, proactively creating narrative work about issues and subjects, translating what they witness into handmade imagery.

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The documentary photograph is mute. It doesn't tell us anything; rather it shows something. But it shows it in a way that offers the viewer the possibility of connecting with it and starting to ascribe meaning to the photograph.

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Visual Documentary vs Visual Storytelling? some key issues

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Visual Documentary vs Visual Storytelling? some key issues

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Documentary can never be an 'objective account of facts about reality'. It is inevitably a complex process of an artist making decisions about what to 'document', why, to whom and how, and also deciding who has power to decide.

'Reality' itself is complex and multi-faceted, and capable of multiple interpretations.

Subjectivity of the 'documenter' will inevitably influence how this selection is done - better to acknowledge and question this as a process of self-reflection rather than ignore it.

Viewer interpretations of the same 'document' will be very different within and between cultures and audiences, depending on their personal attitudes, backgrounds and prevailing cultural connotations of different visual styles.

Change over time even over a few seconds as reality itself changes, the artist's understanding changes and audiences change.

The way in which the artist may respond to these issues differs also to some degree between different media.

My body of visual documentary work will:

aim to 'make the world a better place' in terms of promoting environmental sustainability, equality, human rights and democracy.

In addition to:

documentary on location in the form of sketchbook drawing, photography and video to inform and question my own subjective response.

I will include different ways of engaging with audiences to improve my work in terms of:

refining the 'messages' by getting a range of local views and information on social and environmental issues through conversations and interviews and local social networking sites.

engagement with campaigning organisations to get their input and advice on how to make my work most relevant and contribute to changes.

feedback on the effectiveness of the 'communication aesthetics' from local, national and also international overseas audiences to improve my technical and visual communication skills through ZemniImages Facebook page crosspasted to other social networks.

finding different marketing, promotion and advocacy outlets for the different dimensions of the body of work. Including campaigning organisations like National Trust, Woodland Trust, local Wildlife Trusts, RSPB and Rural England.

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"Documentary photography is a style of photography that provides a straightforward and accurate representation of people, places, objects and events, and is often used in reportage."

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Until the mid-twentieth century, documentary photography was a vital way of bearing witness to world events: from shoot-from-the-hip photographs of the Spanish Civil War by Robert Capa to the considered portraits of poor farmers by Dorothea Lange.

social documentary photography

During this period the tradition of documentary photography was reinvented. Artists began to see the camera as a tool for social change, using it to shed light on injustice, inequality and the sidelined aspects of society. However, social documentary photography is often a subjective art and not all photographers in this category intend their images to aid the bettering of society.

Lisette Model's close-up views of people on the streets of Paris, New York and the French Riviera were often taken without the subjects' awareness or permission. From 1949 onwards, Robert Frank started to take pictures which reflected his search for artistic freedom, shooting stories which revolutionised the expressive potential of the medium.

Contemporary artists

With the rise of television and digital technology there was less demand for published photography and it began to go into decline but has since found a new audience in art galleries and museums. Putting these works in a gallery setting places the work at the centre of a debate surrounding the power of photography and the photographer's motivations. Their work raises questions of the documentary role of the photograph today and offers alternative ways of seeing, recording and understanding the events and situations that shape the world in which we live.

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Documentary photography - Art Term | Tate

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Until the mid-twentieth century, documentary photography was a vital way of bearing witness to world events: from shoot-from-the-hip photographs of the Spanish Civil War by Robert Capa to the considered portraits of poor farmers by Dorothea Lange. During this period the tradition of documentary photography was reinvented.

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Psychogeography is both a way of moving through an environment; and a framework for creative practice. 

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Psychogeography is both a way of moving through an environment; and a framework for creative practice. 

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OCA Introduction to the course.

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http://particulations.blogspot.com/2016/12/tina-richardson-publications.html

Contains articles on contemporary Psychogeography, looking at feminist approaches and different perspectives eg memories of people with Altzheimers.

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Books and Book Chapters
'Creating a Situation in the City: Embodied Spaces, Intertextual Sites and the Act of Crossing Boundaries',The Routledge Companion to Urban Media and Communication, eds. Zlatan Krajina and Deborah Stevenson, Routledge (2019)
' Psy(co)motion: Anti-Production and Détournement in Affective Musical Cartographies', Non-Representational Theory and the Creative Arts, eds. Candice Boyd and Christian Edwardes, Palgrave MacMillan (2019)
Walking Inside Out: Contemporary British Psychogeography, eds. Tina Richardson (London: Rowman and Littlefield International) 2015.

Academic Journal Articles
' Space, Gaze and Power: A Foucauldian Methodology for Fashion Advertising Analysis', Fashion Theory, 23, 1 (2019) and 25, 2 (2021).
' Hiding the Bodies: Socio-Geographic Repression in Higher Educational Space', Space and Culture (5 Jan 2018)
' Assembling the Assemblage: Developing Schizocartography in Support of an Urban Semiology', Humanities, 6, 3 (2017), 47.
' A Schizocartography of the University of Leeds: Cognitively Mapping the Campus', disClosure: A Journal of Social Theory, 23, 1 (2014), 140-162.
'A Schizocartography of a Redbrick', Spaces and Flows: An International Journal of Urban and Extraurban Studies, 1, 1 (2011), 119-128.
'Using Schizocartography as a Method of Critiquing the 'University of Excellence'', Reimagining the University, 1, 1 (2011), 12-21.
'Book Review: Urban Space as a Medium for Democracy', Parallax, 17, 3 (2011), 113-115. 'Introducing Schizocartography: Challenging Anti-Production - Schizocartography as Method and Practice', Society of Cartographers Bulleti n, 44 (2010), 31-38.

Academic Editorships
Editor: Walking Inside Out: Contemporary British Psychogeography. London: Rowman and Littlefield International (2015).
Co-editor: Parallax: Contours of Learning: On Spivak (Taylor and Francis), Volume 17, Issue 3 (2011)
Co-editor: Parallax: Enthusiasm (Taylor and Francis), Volume 17, Issue 2 (2011).
Associate editor: Spaces and Flows: An International Journal of Urban and Extraurban Studies, Volume 1, Issue 2 (2011).
Associate editor: Spaces and Flows: An International Journal of Urban and Extraurban Studies, Volume 1, Issue 3 (2011).

PhD Thesis
' The Unseen University: A Schizocartography of the Redbrick University Campus' (2014 University of Leeds)

Arts and Culture Publications
'Arriving and Dériving in Birmingham', Journal of Urban Photography, 2018
'Interview: A Psychogeography Bucket List', Foxhole Magazine, Spring/Summer 2015, 54-57. Concrete, Crows and Calluses 2013 (Leeds: Particulations Press)

Arts and Culture Editorships
Co-editor: Stepz II: Between the Rollerama and the Junk Yard, Exhibition Edition (Summer 2016). Editor: TwentySix Psychogeography Stations. Darrant Hinisco. Leeds: Urban Gerbil Publications (2015).
Editor: Stepz I: A Psychogeography and Urban Aesthetics Zine, (Summer 2015).

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Books and Book Chapters 'Creating a Situation in the City: Embodied Spaces, Intertextual Sites and the Act of Crossing Boundaries',The Routledge Companion to Urban Media and Communication , eds. Zlatan Krajina and Deborah Stevenson, Routledge (2019) ' Psy(co)motion: Anti-Production and Détournement in Affective Musical Cartographies', Non-Representational Theory and the Creative Arts, eds.

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'Mapping it Out'  Hans Ulrich Obrist 2014. 

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'Mapping it Out'  Hans Ulrich Obrist 2014. 

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Compendium of artists approaches to mapping.

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For all the spiritual benefits of getting lost, we humans are habitually driven to orient ourselves to the world and find our place in it. It is no surprise, then, that maps captivate our imagination so powerfully. We've found in cartography a tool of propaganda and a springboard for philosophy, a canvas for art and a vehicle for idealism. We've applied it to everything from understanding time to ordering the cosmos.

Just when it might seem like the world doesn't need another book about maps, Mapping It Out: An Alternative Atlas of Contemporary Cartographies (public library | IndieBound) - a magnificent compendium envisioned and culled by legendary curator Hans Ulrich Obrist - proves otherwise. With more than 130 maps by a wide-ranging roster of luminaries spanning art, science, technology, literature, architecture, film, and more - including John Baldessari, Tim Berners-Lee, Louise Bourgeois, Yoko Ono, Kevin Kelly, Damien Hirst, Ed Ruscha, John Maeda, Sean Carroll, Douglas Rushkoff, and Marcus du Sautoy - the book offers a living reminder that rather than objective representations of reality, maps are invariably projections in both the literal and the metaphorical sense, projecting onto the world the mapmaker's subjective, abstract, psychoemotionally charged ideas about what is real and meaningful.

The volume's greatest gift and highest point of differentiation is, in fact, precisely the sensibility for which Obrist is known and celebrated - the bold cross-pollination of disciplines, which invites the various fields to enrich one another, a beacon whose aggregate beam illuminates the landscape of the unknown. Obrist remarks on this approach in a companion essay titled "You Are Here":

Dialogue, conversation and exchange between different fields is the only way we can chart a course through the increasingly complex terrain of contemporary life... Maps produce new realities much as they seek to document current ones. Maps are always a going-beyond the space-time of the present.

(See more of Kelly's Internet Mapping Project here.)

Obrist points to the particularly appropriate situationist concept of dérive - a term from psychogeography connoting an unplanned, wanderlust-driven journey through an urban landscape - citing his conversation with the Belgian writer and philosopher Raoul Vaneigem:

The dérive is not merely a spatio-temporal drift through urban landscapes, but a drift through the spaces of the imagination in order to arrive at an invention of reality. This is why Joyce's Ulysses takes the simultaneous form of a dérive through the environs of Dublin and a drift through the mind of Stephen Dedalus. Wandering and drifting can be a geographical and a psychological movement, a migration across borders. Maps are errors to arrive at truth. To paraphrase the words that Joyce gives to Dedalus, these "errors are volitional and are the portals of discovery."

Obrist touches on this element of psychological wanderlust in the opening chapter:

Maps are often an abstraction of the physical or conceptual world - a symbolic depiction of a space or idea that allows one to understand and navigate an unfamiliar topography or complex topology. But while most conventional charts, plans and diagrams claim to offer an accurate, even objective picture of the world, each one is bound by the specific agendas of its creators and users... Cartographies can be altered endlessly to reflect different priorities, hierarchies, experiences, points of view, and destinations.

The prominent Oxford mathematician Marcus du Sautoy points to the unsolvable 18th-century puzzle "The Seven Bridges of Königsberg," a groundbreaking "map in mathematics" asking whether it's possible to cross all seven bridges only once, as a kind of metaphor for how maps reflect multiple dimensions of cultural change:

Rather than the physical geometry of the city, it was the way the city was connected together that was important. Topology was born. Topological maps are essential in navigating the plethora of networks that map the modern world: from the London Underground to the Internet, from neural networks to social networks. Although the eighteenth-century version proved an impossible puzzle to solve, it turns out that in modern-day Königsberg, or Kaliningrad as it is called today, you can cross the seven bridges that currently span the Pregel River once and only once.

Artist Yoko Ono contributes a textual piece, originally published in her 1970 gem Grapefruit: A Book of Instructions and Drawings by Yoko Ono:

MAP PIECE

Draw an imaginary map.
Put a goal mark on the map where you
want to go.
Go walking on an actual street according
to your map.
If there is no street where it should be
according to the map, make one by putting
the obstacles aside.
When you reach the goal, ask the name of
the city and give flowers to the first
person you meet.
The map must be followed exactly, or the
event has to be dropped altogether.

Ask your friends to write maps.
Give your friends maps.

1962 summer

Mapping It Out: An Alternative Atlas of Contemporary Cartographies is a stimulating delight in its entirety. Complement it with Umberto Echo's chronicle of the greatest maps of imaginary places and E.F. Schumacher's superb vintage guide to philosophical maps, then revisit Obrist's compendium of famous artists' instructions for art anyone can make.

Images courtesy of Thames & Hudson

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Reconfiguring Reality: An Atlas of Alternative Maps by Ed Ruscha, Yoko Ono, Damien Hirst, John Maeda, Kevin Kelly, John Baldessari, and Other Icons

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For all the spiritual benefits of getting lost, we humans are habitually driven to orient ourselves to the world and find our place in it. It is no surprise, then, that maps captivate our imagination so powerfully. We've found in cartography a tool of propaganda and a springboard for philosophy, a canvas for art and a vehicle for idealism.

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Laura Grace Ford. Savage Messiah 2011 pxvii

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Laura Grace Ford. Savage Messiah 2011 pxvii

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I think a lot of what is called psychogeography now is just middle-class men acting like colonial explorers, showing us their discoveries and guarding their plot. I have spent the last twenty years walking around London and living here in a precarious fashion. I’ve had fifty addresses. I think my understanding and negotiation of the city is very different to theirs.

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Aldgate- spectral zone colonised by international finance. Towering enclaves, marble clad lobbies, burnished monuments to global capitalism. In 2012 these glacial geometries conjured the sound of Classical Curves, a record steeped in hostile seduction, the archisemiotics of power. Now, in 2015 with a creeping imminence, Dream a Garden is a reminder of the saplings of elder, tangles of wild roses, tendrils of bindweed waiting to push through minute cracks in the walls. The impervious citadel is poised to revert to a dreaming arcadia.

These songs delineate the fracturing of melancholy chambers, the suffocating sadness of the atomised. They evoke the dissociative climb through walkways and landings but like a subterranean river the possibility of escape is always there.

The mesmerising atmosphere lets you melt into walls, push through fences; it ushers the flight from Barratt developments, Redrow bastions and guides you through a whorl of narrow lanes- satellite dishes, corrugated iron, mosques nestled in dilapidated terraces.
Sounds spill from car windows- Commercial Road, Cable street- languid grime pitch shifting in the traffic, traces of '80s New Wave, glimmers of Prince-

to Swedenborg Gardens and Fortress Wapping, miltancy echoing in the ruins,coming up from the rubble -
1981/ 1984/ 1985/ 1994/ 1999/ 2000/ 2011/ 2015
time compresses- becomes prismatic,
voice, almost buried, filtered through lost temporalities-
Print Strike, Poll Tax, J18-

the dry scents of a heat wave, 2011 uprisings, losing signal-shifting in and out of consciousness-
Meshes, knots, labyrinthine paths. Abandoned pubs, abandoned yards- a spectral archeaology directing us through different rooms,into the foundations of buildings.
Mist burning off in the heat, iridescent vapours; archaic scents of cinnamon, tobacco and coffee unlocked in the bricks of abandoned warehouses.

Crackles- muffled sounds- overlaid skeins, overlaid maps- routes plotted, routes navigated. Mossy brick walls, ferns erupting in the cracks.
Bombsites, derelict wharves, climbing through fences into forgotten gardens.

We are propelled, the beat of the walk, a blazing conduit- through arcadian groves of broken paving stones, arches of jasmine and lilac.

The mercurial span of the Thames, Wapping to Limehouse. Possibilities emerging, sublime sequences.
In these tidal territories space is reordered, we move beyond the tropes of consumerism. We escape the hoardings, shop fronts, the endless online hectoring. We remember how we connected in the realm of the sublime, the celestial. Songs opening apertures to a brooding magic, articulating diffuse moments of bonding, elevating the city by reclaiming it.
Amidst the merchants houses, the cobbled lanes, Foxtons and Savils on Wapping High Street, arrogant totems glowing fluorescent yellow, electric pink. In these sacred sites their presence is a malign vexation. And so it is with capitalism, when it sneaks into your subconscious, when it contaminates precious bonds.

Capitalism has taken our desires and distorted them, reassembled them in a machinic parade of parts, a Hans Bellmer kaleidoscope. The encroachment into subjective spaces, like the city's enchanted lacunae, are violations, they threaten us at the deepest level . Without cherished connections, without the budleia and the briar, we dissoicate, feel oursleves splintering.
A brass carillon, we recognise it, a call, an exhortation to act- voice sweeping in layers- radiant cascades of guitar, moments of anticipation emerging under machinic attack, a critical intoxication, the regaining of signal- cherry blossom and magnolia suddenly here- This is us winning- moving through the city- Foxtons wrecked, Aylesbury occupied, Aldgate erupting- the triumph of the swarm, the collective on its way somewhere better-a dark psycedelia, an ominous presence.

Dream a Garden gauges the mood of the UK in 2015 - SSRIs, austerity, housing crisis- and reminds us that moments of transcendence can be reached by tuning into the current situation , by sharpening our critical capacity. It takes us through submerged vistas, the ephemeral beaches of the Thames, to a shoreline of exquisite assembly.

]X[

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Aldgate- spectral zone colonised by international finance. Towering enclaves, marble clad lobbies, burnished monuments to global capitalism. In 2012 these glacial geometries conjured the sound of Classical Curves, a record steeped in hostile seduction, the archisemiotics of power.

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This book could perhaps have had more investigative rigour. The edgelands now need something beyond a merely subjective celebration of their identity. Far more than our towns and countryside, they are being subjected to ceaseless change. Wild space is being prettified at the expense of its character and creatures. Industrial ruins are being cleared away.

We could be in the process of losing this landscape just as we are discovering its charms. Should we be trying to conserve it, as we conserve the best of rural environments? Or would any attempt to regulate this space destroy the wildness that makes it special?

It is time for us to consider what relationship we want to see in the long term between our activity in the edgelands, their epic infrastructure, their unique wildlife and industrial archaeology and their peculiar place in our imagination.

Marion Shoard Guardian Review

Robert Macfarlane Guardian review

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The wilderness is much closer than you think. Passed through, negotiated, unnamed, unacknowledged: the edgelands - those familiar yet ignored spaces which are neither city nor countryside - have become the great wild places on our doorsteps.

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Reportage Illustration is inevitably more subjective, but nor necessarily less 'real'. The illustrator cannot draw as the speed of real time, and needs to select exactly what to draw and what to leave out as events are happening or locations are changing. They often compress multiple perspectives and activities in one image. Depending on the illustrator's aims, and also understanding of the context of the location or event, the resulting image can say much more than a single snapshot.

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Documentary photography and video generally originate in actual pixels generated in real time by 'shooting' actual events - but these events can be stage-managed by the artist or those being documented and framing, focus and post-editing can communicate many different 'realities'.

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Linda Mayoux.

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Linda Mayoux

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http://www.marcusbleasdale.com