David Campany

David Campany (born 8 October 1967) is a British writer, curator, artist and teacher, working mainly with photography.

Campany has written and edited books; contributed essays and reviews to other books, journals, magazines and websites; curated photography exhibitions; given public lectures, talks and conference papers; had exhibitions of his own work; been a jury member for photography awards; and teaches photographic theory and practice at the University of Westminster, London.

Campany's books have won the Kraszna-Krausz Foundation Book Award, Infinity Award from the International Center of Photography, Silver Award from Deutscher Fotobuchpreis and the J Dudley Johnston Award from the Royal Photographic Society.

Campany is co-founder and co-editor of PA magazine which has been published since 2008.

Campany grew up in Essex. He gained a degree in film, video and photographic arts from the Polytechnic of Central London and an MA in photographic studies from the same school, by then renamed University of Westminster.

In the 1990s he taught histories of art and graphic design at Winchester School of Art. From 2000 to 2004 he taught photographic theory and practice at Surrey Institute of Art and Design. He became a reader in photography at the University of Westminster in 2004.

He lives in north London with his wife, Polly Braden, and two daughters.

Campany's book Gasoline (2013) received attention upon its publication and was positively reviewed by critics. It consists of photographs of prints of petrol stations from 1945 to 1995 rescued from archives of several American newspapers that have been discarding their analogue print collections in favour of digital storage, and edited into a visual meta-narrative. Most of the photographs have been marked by the grease pencil of a newspaper's art director, outlining the crop required to illustrate a particular story, or stories, in the newspaper. They are often heavily retouched by hand, painting selectively over the image with white-out and pen. The second half of the book consists of pictures of the reverse of the prints, showing caption information, the name of the photographer and copyright holder, dates of publication, the newspaper, and sometimes clippings from the image's use in the paper, an archive of its own use which is lost in a digital archive. As well as being "elevated to icon in the visual language of 'America'", gas stations "are quite banal but when they make news it's because there's been a crime, an accident, a price rise or a geopolitical crisis" which "makes the gas station a revealing measure of a society over the second half of the 20th century". The book describes "America's relationship with the car, with travel, with consumption, with the rest of the world" and can also be read as "an allegory about news photography. Or a minor history of car design, or vernacular architecture, or street graphics, or outfits worn by pump attendants. All of the above."

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