About the British photographer, Lisa BARNARD

The photographic practice of Lisa BARNARD is placed in the genre of documentary. Her work discusses real events, embracing complex and innovative visual strategies that utilize both traditional documentary techniques with more contemporary and conceptually rigorous forms of representation. She connects her interest in aesthetics, current photographic debates around materiality and the existing political climate. Of particular interest to her is Global Capitalism, the relationship between the military industrial complex, screen based new technologies and the psychological implication of conflict.

Photobooks by Lisa BARNARD

'Chateau Despair' (2012); 'Hyenas Of The Battlefield Machines In The Garden' (2015); 'Affordable Maggie'; 'The Canary and The Hammer' (2019); 'Twenty-Eight Can Lead to Great: Inspirational Book' (2021)

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This photo volume, 'The Canary and The Hammer' by Lisa BARNARD, offers a fascinating insight into the troubled history of gold and its complex connections with the global economy. The series was created over four years and across four continents.
44,00 € * Weight 0.6 kg

Critics about the photographic work of Lisa BARNARD

“Barnard describes herself as a photographic artist, but her work seems unapologetically political. She pays homage to, and undercuts, the tropes of documentary realism". (© Sean O Hagan Guardian Review of 'Chateau Despair', 2013)

Additional informations on photobooks by Lisa BARNARD

She has three monographs two with GOST, 'Chateau Despair' and 'Hyenas of the Battlefield, Machines in the Garden'. The Hyenas publication was funded by the Albert Renger Patzsch Book Award, and nominated for the Prix Du Livre at Rencontres D’Arles in 2015. 'The Canary and the Hammer' was funded by the Prestige Grant from Getty Images in 2015.

Lisa BARNARD as lecturer

Lisa BARNARD is an Associate Professor in photography and is program leader of the MA in documentary Photography and also teaches on the BA in Documentary Photography at The University of South Wales. 

Group Exhibitions
  • 2015 Sensor FOTOFEST, Houston, Texas, USA Curated by Jennifer Ward with David Birkin, James Bridle, Mahwish Chishty, Pitch Interactive, Trevor PAGLEN
    2015. Evidence FORMAT festival, Derbyshire. Curated by Louise Clements
    2013. Engines of War. Gasser and Grunert New York. Co-curated by Charles Dee Mitchell and Cynthia Mulcahy. Lisa BARNARD, David Cotterrell, Jamel SHABAZZ, Benjamin Lowy, Ghaith Abdul-Ahad, Eugene RICHARDS, Anthony Suau, Christopher Morris, Teun Voeten and Heather Ainsworth.
    2011. XXI: Conflicts in a New Century. Oak Cliff Cultural Center, Dallas. Co-curated by Charles Dee Mitchell and Cynthia Mulcahy with images by Stephanie Sinclair, James NACHTWEY, Chris ANDERSON, Jamel SHABAZZ, Eugene RICHARDS, Christopher Morris, Lori Grinker, Rania Matar and Oak Cliff-based independent photographers Kael Alford and Thorne Anderson; British photographers Lisa BARNARD, Tim HETHERINGTON and Gary Knight; Middle East photojournalist Natan DVIR and African photographers Akintunde Akinleye (Nigeria), Guy TILLIM (South Africa) and Fatagoma Silue (Ivory Coast).
    2011. Collateral Damage. International Festival of Journalism, Sala Cerp of the Rocca Paolina, Perugia.
    2011. Collateral Damage. LOOK2011 photography festival in Liverpool. Curated by Paul Lowe and Harry Hardie with images by Simon NORFOLK, Tim HETHERINGTON, Zijah Gafic, Paul LOWE, Edmund CLARK, Ashley Gilbertson, Brett Van Ort, Mishka Henner, Adam BROOMBERG and Olivier CHANARIN.
    2011. Maggie. Photo50 London Art Fair. Curated by Celia Davis for Photoworks with David Spero. 2010. Bringing the War Home. Impressions Gallery. Curated by Pippa Oldfield with Peter van Agtmael, Sama Alshaibi, Frahad Ahrania, Adam BROOMBERG and Oliver CHANARIN, Edmund CLARK, Kay May, Asef Ali Mohammad and Christopher Sims.
    2008. Once Upon a Moment in Time. Grand Parade University Brighton. Photography and video education project with Annis Jocelyn, commissioned by Creative Partnerships and Brighton Photo Biennale.
    2007. Theatres of War. Schindler Factory, Krakow, Poland. Curated by Mark POWER with Luc DELAHAYE, Geert van KESTEREN, Chris Stewart and Donovan WYLIE.
    2007. Looking for JJ Unicorn Theatre. Funded by Aldgate and Allhallows Barking Foundation.

Solo Exhibitions
  • 2015 ‘Lianzhou Foto Festival, Lianzhou, Southern China. Curated by François Cheval.
    2015. ‘Discovery Award‘. Rencontres D’Arles, France. Nominated by Louise Clements
    2014. ‘Maggie’ Artist of the Day, Flowers Gallery Cork Street, London.
    2011. Maggie Coop Building. Curated by Brighton Photo Biennale Fringe alongside Simon Roberts.
    2009. Polska by the Sea. Eastbourne train Station. Funded by Lewes Live Literature.
    2008. Virtual Iraq. Phoenix Place, Lewes. Brighton Photo Biennale Fringe.
    2007. Looking at Theatre. Unicorn Theatre, London.
    2006. PTSD. Tavistock Clinic, London.

On permanent display at the Unicorn Theatre for Children in London are Holograms of the Children’s Laureates:  Quentin Blake, Anne Fine, Michael Morpurgo and Jacqueline Wilson.

  • Getty Images Prestige Grant (2015)
    Genesis and Fujifilm Production Award for ‘Whiplash Tranistion’ (2015)
    Albert Renger-Patzsch Award (2012)
    Arts Council South East Individual Award. Whiplash Transition(2011)
    Danny Wilson Memorial Award Brighton Photo Biennial (2008)
    Arts Council South East Individual Award. Virtual Iraq (2008)
    Pool of London Partnership Individual Award. Unicorn Theatre (2007)
    Arts Council London/South East Individual Award. Unicorn Theatre (2006/2007)
    Nagoya University Brighton Award (2005)
    Runner up Guardian Student Media Awards (2005)
    Tom Buckeridge (2005)
    Daily Telegraph Visions of Science People/Portrait (2003)