It’s remarkable how different these prints made by Sander's son in the 1970s feel at this large scale, compared to the intimacy of Sander’s own prints which from memory are about 5x7”. I’m undecided whether I think the larger ones are better, they’re just very different. It’s a good reminder at how much of an impact scale can make to the perception of photography, particularly photography of the past.
It’s a good reminder at how much of an impact scale can make to the perception of photography, particularly photography of the past.
One surprising feature of these prints was the poor retouching, (as can be seen in the first and last image). Shocking to see this in a Sanders print.
I have to admit to making a double take when passing a poster for the exhibition titled “Killed Negatives” currently on at the Whitechapel Gallery, London (until Aug 26). The image featured in the poster, printed from a negative of the past, contains a circular black void over a face –– an uncannily similar intervention to those in my Children of Mars series.Read More
New prints from the series WE, will be part of an experimental photography exhibition at the Micēlijs Gallery in Riga, 17-25 March, as part of the Process Experimental Film Festival. A panel discussion will be held at the gallery on Sunday, March 18 at 16:00, looking at the position of experimental photography within the context of the contemporary art world.
A piece from my Galactic Coordinates series, a part of the group exhibition “Constellations”, in theLumen exhibition space situated in the historic crypt of St. John on Bethnal Green. The exhibition is a part of the Art Licks weekend festival in East London.
At this point in time, I would have expected a comprehensive examination of the work of this pre-eminent architect, now that she is gone. This exhibition is not it. ⠀
It is strictly of drawings and illustrations from her early period, the 1980’s to about 1993. The show for me fell short. While it was great to see these works, there was little to help contextualize what it was we were looking at. No information about the projects she was designing for, no 3d models, no photographs showing completed projects, little indication of ideas for interiors; Just paintings and drawings, accompanied by minimal labeling. I also found the cut off date for the work exhibited, strange. Surely there is interesting work beyond 1993? But I saw no indication of follow-up exhibition. Something was just not right about this show. Likely the result of her sudden death last year. Regardless, the exhibition felt unfinished and ultimately a missed opportunity. 7/10
I have been an admirer of Anselm Kiefer for quite some time. He was likely the first contemporary painter I began following, way back while I was in high school – decades ago. I noticed a few weeks ago that the Bermondsey location of the Whitecube Gallery, (here in London), has a Kiefer currently on, titled "Walhalla". While a great admirer, I wasn't enthusiastic about the prospect of seeing the show. This would be the 3rd substantial Kiefer exhibition in London over just a couple of years. The last was a massive retrospective at the Royal Academy in 2015, and not long before was a substantial solo exhibition at the Whitecube Bermondsey, not a small space. As both exhibitions were excellent, I wouldn't think it possible to better. I decided that I should take a look, and prepared myself for more of the same; disappointment.
Was I ever wrong...Read More