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and hand-tinted photographs. She often placed text statements and quotations alongside her images to suggest a political framework for her photographic work. Developing such forms allowed
Pollard to challenge perceptions of the countryside as being primarily inhabited and visited by
327:"... it's as if the Black experience is only lived within an urban environment: I thought I liked the Lake District where I wandered lonely as a Black face in a sea of white. A visit to the countryside is always accompanied by a feeling of unease, dread..."
209:"I do not remember the first time I took a photograph, but I did grow up in a house of family photo-albums and the stories that went with them. My father took lots of pictures for our albums and later I used some of these images in my own work."
225:
As a young artist, Pollard became increasingly interested in liberation movements around race, gender and sexuality. In the early 1980s, she worked at the
Lenthall Road Workshop, a feminist photography and screen-printing collective in the
205:, in 1953. When she was three or four years old, her family emigrated to the United Kingdom, where her father already lived, and she grew up in London. She has described her youthful awareness of family photographs.
611:
308:(1995). In these series, she worked with material that evoked notions of heritage or played upon nostalgic sentiments associated with the national landscape: the souvenir postcard, the poetry of
127:. Her work uses portraiture photography and traditional landscape imagery to explore social constructs such as Britishness or racial difference. Pollard is associated with Autograph, the
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In the 1980s, Pollard began to attract attention for her photographic series, particularly those exploring the presence of black people in the
English landscape, including
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in 1988 and, between 1986 and 1993, worked on the technical crew for a small number of film projects. Her photography was recognised in a survey edition of
Birmingham's
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Pollard began to make her own pictures using her father's box camera. As a teenager in the late 1960s, she photographed woods and sewage works in the
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479:, edited by Caroline Bressey and Claire Dyer. Ashgate, 2009. Pollard contributes a chapter, "Belonging in Britain-Fathers Hands".
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176:. Pollard is a member of the Mapping Spectral Traces research group. In 2016 she was awarded an Honorary Fellowship of the
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From 2005 to 2008, Pollard was engaged in a research project into the "Black Boy", a name which was once used for some
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From 2005 to 2007, she curated
Tradewinds2007, an international residency exhibition project with an exhibition at the
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442:. Chateau de Sacy, France: Ateliers d'artistes de Sac, 2015. With an essay by Ella Mills. Exhibition catalogue.
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These racially specific stereotypes of rural
England are set out in the caption attached to the first image of
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795:"The politics of representation and the subversion of landscape in Ingrid Pollard's Pastoral Interlude (1987)"
317:, and the related assumption that Black British people only exist in popular consciousness in urban settings.
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Pollard has participated several exhibitions that brought together work by Black
British artists, including
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Black Arts in contemporary
Britain (Conference at Università degli Studi di Padova, 15–16 January 2010)
430:. Occasional Papers series. London South Bank University, 2008. With an introduction by Andrew Dewdney.
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In the 1980s, Pollard produced a series of photographs of black people in rural landscapes, entitled
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172:(2011). She has also held numerous teaching positions and is currently a lecturer in Photography at
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496:, Molly Shinhat, Mumtaz Karimjee, Jenny McKenzie, Amina Patel, Samena Rana, Similola Coker,
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Visual Arts in Rural
Communities, 2013. With an essay by Carole McKay. Exhibition catalogue.
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500:, Lesley Mitchell. Issue No. 1, 1987. "Ingrid Pollard talks to Molly Shinhat", page 41.
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Authority, London (1994), Cumbria
National Park (1998), Wysing Arts, Cambridge (2000),
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Pollard has worked as an artist in residence at a number of organisations, including
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142:. The works challenge the way that English culture places black people in cities.
862:. Centre for Urban and Community Research, Goldsmiths University of London: 32–35
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465:, edited by Tessa Boffin and Jean Fraser. Pandora Press/Harper Collins, 1991.
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Rural Geography: Processes, Responses and Experiences in Rural Restructuring
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963:"Turner Prize 2022: Trafalgar Square whipped cream artist among nominees"
1063:"Personal Cartographies – Year 2 Agnes Poitevin-Navarre and Jeremy Wood"
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area of Hackney, East London. She was one of twenty founding members of
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In 2018, Pollard was the inaugural Stuart Hall Associate Fellow at the
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magazine She then went on to complete an MA in Photographic Studies at
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180:. In 2018, she was the inaugural Stuart Hall Associate Fellow at the
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1075:"Sunil Gupta: Pictures from Here and Ingrid Pollard: Postcards Home"
853:"From the Black Boy Series: Michael Keith interviews Ingrid Pollard"
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Polareyes: A Journal by and about Black Women working in photography
824:"Swamping the Country: Ingrid Pollard's cartography of Englishness"
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in England. This led to the publication of Pollard's 1994 book,
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410:. 2001. With an essay by Susan Trangmar. Exhibition catalogue.
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Pollard's work is held in the following public collections:
343:(Kingsway Corridor, Goldsmiths University of London, 2009).
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In 2022 Pollard was one of four artists nominated for the
749:"Critical Decade: Black British Photography in the 80s",
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459:. Urban Fox, 1990. With a chapter of images by Pollard.
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Pollard completed a BA degree in Film and Video at the
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and an interview with Liz Wells. Exhibition catalogue.
149:. She has participated in group exhibitions at the
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351:Pollard was awarded an Honorary Fellowship of the
234:(the Association of Black Photographers) in 1988.
280:in 1995. She was awarded a PhD by publication by
8:
997:(Supplement). 31 December 2022. p. N23.
1009:"Pollard, Ingrid - Arts Council Collection"
16:British artist and photographer (born 1953)
1180:Members of the Order of the British Empire
447:Publications with contributions by Pollard
20:
484:Publications with interviews with Pollard
374:Member of the Order of the British Empire
1125:Alumni of the London College of Printing
1135:Alumni of the University of Westminster
563:Kay Anderson, Mona Domosh, Steve Pile,
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473:. With a chapter of images by Pollard.
383:Awarded the Hasselblad Award in 2024.
7:
674:. London: Autograph ABP. p. 7.
1115:21st-century British photographers
1110:21st-century British women artists
1105:20th-century British women artists
1100:20th-century British photographers
477:New Geographies of Race and Racism
398:Hidden Histories: Heritage Stories
129:Association of Black Photographers
14:
1130:Alumni of the University of Derby
1120:Academics of Kingston University
1013:www.artscouncilcollection.org.uk
911:Goldsmiths, University of London
440:Consider the Light and the Dark
347:Honours, awards and recognition
257:Three Black Women Photographers
1185:People from Georgetown, Guyana
907:"The Spectre of the Black Boy"
851:Keith, Michael (Autumn 2009).
616:exhibition, V & A website"
565:Handbook of Cultural Geography
1:
721:"Ingrid Pollard: Filmography"
1155:English contemporary artists
933:"Honorary Fellowships - RPS"
155:Victoria & Albert Museum
822:Cattani, Francesco (2010).
793:Bertrand, Mathilde (2004).
34:1953 (age 70–71)
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1150:British LGBT photographers
700:Victoria and Albert Museum
650:Ingrid Pollard Photography
519:Victoria and Albert Museum
353:Royal Photographic Society
268:London College of Printing
221:Early career and education
178:Royal Photographic Society
168:, Oxfordshire (2008), and
147:Museum of London Docklands
61:London College of Printing
1190:Photographers from London
1175:Black British LGBT people
400:. 1994. With an essay by
282:University of Westminster
131:. She lives and works in
119:(born 1953) is a British
69:University of Westminster
1068:10 December 2004 at the
881:Pollard, Ingrid (2008).
670:Pollard, Ingrid (2003).
341:Spectre of the Black Boy
1145:British lesbian artists
586:"southbankcentre.co.uk"
514:Arts Council Collection
392:Publications by Pollard
339:and a solo exhibition,
337:Hidden in Public Place.
78:Artist and photographer
1165:Guyanese photographers
883:Hidden in Public Place
773:Stuart Hall Foundation
755:, vol. 2, no. 3, 1992.
567:, SAGE, 2003, p. 260.
546:, SAGE, 2005, p. 282.
428:Hidden in Public Place
372:Pollard was appointed
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261:Commonwealth Institute
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1170:Lesbian photographers
1140:Black British artists
1026:Ingrid Pollard search
885:. London: IMP Press.
380:for services to art.
378:2023 New Year Honours
325:
302:Wordsworth's Heritage
245:Battersea Arts Centre
207:
1160:Guyanese LGBT people
434:Regarding the Frame.
360:University of Sussex
255:, London, 1985) and
240:Black Women Time Now
197:Pollard was born in
182:University of Sussex
614:Black British Style
322:Pastoral Interlude:
249:The Thin Black Line
174:Kingston University
140:Pastoral Interludes
65:University of Derby
994:The London Gazette
913:. 12 November 2009
310:William Wordsworth
294:Pastoral Interlude
892:978-0-9559672-0-7
641:Pollard, Ingrid.
622:on 4 October 2011
592:on 11 August 2009
263:, London, 1986).
247:, London, 1984),
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408:Near and Far
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387:Bibliography
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367:Turner Prize
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1095:1953 births
1028:at V&A.
989:"No. 63918"
947:11 December
505:Collections
457:Maud Sulter
304:(1992) and
49:Nationality
1084:Categories
681:0954281322
530:References
418:Chris Boot
402:Lola Young
228:Haggerston
215:Lea Valley
199:Georgetown
38:Georgetown
355:in 2016.
284:in 2016.
193:Childhood
57:Education
1066:Archived
1040:at Tate.
973:12 April
967:BBC News
300:(1989),
153:and the
937:rps.org
917:14 July
866:5 March
836:5 March
807:5 March
778:1 March
735:5 March
705:5 March
655:5 March
453:Passion
424:, 2004.
94:Website
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596:6 July
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203:Guyana
133:London
121:artist
42:Guyana
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273:Ten.8
975:2022
949:2018
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887:ISBN
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780:2020
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676:ISBN
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643:"CV"
628:2008
598:2008
569:ISBN
548:ISBN
524:Tate
467:ISBN
420:and
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288:Work
188:Life
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103:.com
31:Born
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