Abstract

NEPN (North East Photography Network), an initiative of the Northern Centre of
Photography at the University of Sunderland, has an established reputation in the
social practice of photography. This diverse field of practice includes interrogation and repurposing of existing vernacular photography archives; co-creation of new photographic outputs in participatory contexts, and production of new photographic stories that impact or influence public perceptions. Since 2009, NEPN has commissioned and produced new photographic projects in multiple public and social contexts and has supported the development of the region’s photographic practitioners at all levels.
This paper explores a recent multi-partner project led by NEPN with artist
Julian Germain, Sunderland ‘73: The People’s Visual History (PVH). PVH celebrates under-represented aspects of heritage relating to Sunderland’s 1973 FA (Football Association) Cup run and win and was supported by a grant from National Lottery Heritage Fund. This event reached beyond the usual football boundaries and affected the whole community. PVH has amassed a photographic archive of at-risk vernacular material. Outputs to date include a photography book, new photographic portraiture of participants, multi-media artworks, mobile exhibition, reminiscence packs for use in schools and care-homes, as well as new photographic prints.
Additionally, short films and captured oral histories preserve participant memories of ‘73. Together, these materials record the first-hand experiences and emotions of the people who were there, so that those experiences may be shared for the benefit of future generations.
This paper unpacks the processes by which PVH reactivated an existing but hidden vernacular archive of photographic and intangible heritage, including discussing the concepts of progressive nostalgia, co-production and collaboration, the myriad roles of commissioner and artist, and outline some of the benefits for project partners, participants, and wider publics. It concludes with some reflection on the diversity of the photographic materials collected and created, the complex relationship between heritage, archive and artwork, and the challenges of ensuring ongoing and relevant access to the project’s outputs.