Jessie Martin

Catholic University Eichstaett-Ingolstadt, Practicing Place Research Training Group, Graduate Student

Followers

Following

Co-authors

Public Views

Jessie Martin is a social scientist and photographer of urban spaces. She studies the interplay between places, people, politics and ecology and utilises interdisciplinary visual approaches to reimagine the potential of the spaces we live in while investigating their formation and conceptualisation. An ongoing theme in her work is the right to the city and land ownership; her MA thesis explored and questioned the rise of privately owned and managed public squares in London. Her PhD project investigates how industrial capitalism works through nature to re-articulate spatial imaginaries of power, specifically focusing on how place is practiced through extractive industries and their after effects.

She has a BA in photographic arts from the University of Westminster, and an MA in photography and urban cultures from Goldsmiths, University of London. She lectured on the BA photography course at the University of West London from 2018 to 2024, leading modules in Narrative Photography and Photography and Society, while teaching photography at Richmond upon Thames College from 2019 to 2024. She has coordinated conferences held at the Tate Britain and Goldsmiths, University of London, and has a photographic arts practice, curating and participating in exhibitions.

Jessie has presented papers at conferences held by the University of Sussex and the Zagreb Institute of Art History, and published in peer reviewed journals. In 2023 her text ‘Deconstructing understandings of emptiness: an examination of representations of transitory space and ‘non-place’ in photography’, was published in the book ‘Watching, Waiting: The Photographic Representation of Empty Places’, published by Leuven University Press. She has diverse research interests and after undergoing research into the topic of autobiographical memory and historical family archives, wrote a chapter published in 2023 by IGI Global in a book titled ‘The Handbook of Research on the Relationship between Autobiographical Memory and Photography’.

less

Dominik Lengyel

Catherine Toulouse

Ana Šverko

Institute of Art History, Zagreb

dalibor prancevic

University of Split, Croatia

Vedran Stojanovic

Institute of History of Hungarian Academy of Sciences

Barbara Vujanović

Boris Dundović

Institute of Art History, Zagreb

Sanja Vrbica

Colin Thom

Antonia Tomić

University of Zadar

InterestsView All (7)

Uploads

Other by Jessie Martin

Discovering Dalmatia VI (Watching, Waiting, and the Photographic Representation of Empty Spaces): Book of Abstracts

by Ana Šverko, Anna Schober de Graaf, cristina moraru, Marija Barović, and Jessie Martin

Across the globe, the year 2020 was unexpectedly marked by the CO- VID-19 pandemic. During the fi... more Across the globe, the year 2020 was unexpectedly marked by the CO- VID-19 pandemic. During the first wave of the virus, the media was floo- ded with photographs of empty public spaces – spaces that had once been the locations of historic events, celebrations, protests, social gatherings, crowds of tourists – stirring up bittersweet emotions. On the one hand, these pictures are intensely beautiful. They recall artist’s books and historical photographer’s monographs whose authors took pains to produce scenes devoid of people (indeed, this booklet features photographs from a 1968 monograph dedicated to Diocletian’s Palace by Nenad Gattin). On the other hand, they remind us how important human interaction is for any given place. Confronted with the experience of uncertainty, we asked ourselves – can visualisations of empty spaces focus our attention on the act of waiting, can we learn more about, and from, this phenomenon? We therefore decided to organize an international conference entitled Watching, Waiting – Empty Spaces and the Representation of Isolation. This conference was inspired by the Institute of Art History’s project Exposition [Ekspozicija]. Themes and Aspects of Croatian Photography from the 19th Century until Today, which is financed by the Croatian Science Foundation. It also represents the sixth annual Discovering Dalmatia conference, a programme offering a week of events in scholarship and research. The experience of working on a project that brings together the work of experts in the fields of art history, ethnology, medicine, architecture, and others highlights the importance of a range of diverse approaches to the theme of this conference. The enthusiastic response to this conference promises an interdisciplinary dialogue that will entirely fulfil the expectations that we had for it. Presentations dedicated to the history and theory of representing empty space through the media of photography, film, and other artistic practi- ces, as well as the topics of empty spaces, isolation, and loneliness from the perspective of different scholarly disciplines, have been organised into a three-day programme. Due to the current situation caused by the COVID-19 pandemic, we have shifted our focus to the online conference. Participants in the Split City Museum’s and Cornaro Hotel’s conference rooms will be united with those seated in front of their computer screens by the Zoom platform. In addition to the conference, and as part of this year’s Discovering Dal- matia, an exhibition curated by Joško Belamarić will be launched at the Split City Museum, entitled Split and Diocletian’s Palace in the Work of Danish Painter Johan Peter Kornbeck. It will examine Kornbeck’s paintings, which enrich the iconography of Split in the middle of the late 19th century, and will highlight the interest Danish painters displayed for Split and Dalmatia in this period, which has been entirely overlooked until now. This year’s programme will conclude with an online book launch of Discovering Dalmatia: Dalmatia in Travelogues, Images, and Photographs (edited by Katrina O’Loughlin, Ana Šverko and Elke Katharina Wittich), which brings together articles that emerged from earlier Discovering Dalmatia conferences. This year’s conference will not itself suffer because of the distance, but to a certain extent that other, wonderful side of the conference – the one that only direct scholarly conversations provide – certainly will. We will try to make up for this by working on the post-conference publication, with the aim of continuing to publish conference proceedings from our annual interdisciplinary dialogues in Split. It is our hope that these proceedings will have an impact on the global art history, however small, enriching it with conferences and books that are the direct result of wonderful, warm and productive cultural connections. (from the Introduction)

Download