Uprooted is a photo exhibition that challenges you to think about the stories of people displaced in Nigeria, Kenya and Iraq. Discover more about the global crisis of displacement and how we can respond. An excellent example of conceptual photography used as a campaign tool.
Saturday 24 February—Tuesday 27th February
10am to 4pm
(12.30 to 4pm on Sunday 25 February)
St. Nicholas Church,
St. Nicholas Church Street,
A must see exhibtion at the Tate Modern which explores the dynamic relationship of photography to art. Married to Stiglitz, friend to Paul Strand and Ansel Adams the art of Georgia O’Keeffe shows clear relationships between her paintings and the framing of early modern photography.
In her own words:
“I am at present prejudiced in favour of photography…I feel that some of the photography being done in America today is more living, more vital, than the painting and I know that there are painters who agree with me.”
Georgia O’Keeffe, MSS. no.4, December 1922
An inspiring talk last night by Clive Booth at the Ashbourne Festival. More images can be seen on his website.
His images are full of atmosphere and show a real connection to the people (Ileachs (e-lacs)) of Islay who he has known for over 20 years. The highlight for me was the way he juxtaposed images of RLNI volunteers in their “day job” and when responding to a “shout”.
Worth taking a look at his other portfolios, especially the contrast with his fashion work.
Just received the new book, “Making Photographs: Planning, Developing and Creating Original Photography” by Mike Simmons. Pleased to see that pages 19 and 20 feature my work on “Good Water” with the photograph below reproduced on page 20.
The work of my fellow photographers Charlotte Fox (p27), Shiam Wilcox (p132-135), and Mo Greig (p160-163) also feature in the book
Memories of childhood came flooding back as I strolled round this excellent exhibition at the Science Museum Media Space. The above photograph was taken in Leeds, where I grew up in a similar street. It must have been taken on a Monday because the washing is hanging out to dry. Such were the rituals of people in the 1950’s and 1960’s.
Exhibited for the first time after the 40 year restriction to protect the identity of the subjects, the passing of time serves to distance us from the underlying subject of poverty. Have we really made significant advances in our housing? Are neighbourhoods any more safe, secure, or cohesive?
The power of these images is to raise such questions in the mind of the viewer.
Happy New Year 1135 explores the joy of celebration in a unique Kathmandu style that blends old and new in irresistable forms.
Saw this and thought it appropriate to share today!
Towards the end of my MA I re-discovered the writings of Herbert Marcuse. He wrote: “A work of art is authentic or true not by virtue of its content nor by its ‘pure’ form, but by the content having become form.” (Marcuse, H. (1978:8)
The Aesthetic Dimension)
In my work Disconnected 2.0 I felt that content had become form.