I first came across Cindy Sherman’s photographic series, Untitled Film Stills (1977), when looking for photos of film noir titles. The series is designed around fakery, seeking to recreate the feeling of stills from 1950s and 1960s American films but also, in producing the illusion with general key-notes as to the roles of women in these films, comment upon the basic norms prescribed in Hollywood … Continue reading Responses: Cindy Sherman’s Untitled Film Stills (1977)
Debris degrades and degradation can be measured but can art be this measurement? Orford Ness in Suffolk, a former atomic weapons mechanism research and testing facility, doesn’t ask these questions but the place has attracted such a huge number of artists to its shores that the question of creativity and its role as a reaction to such politically doused spaces cannot help but be evoked. … Continue reading Responses: Blind Landings (2013) – Jane And Louise Wilson.
Mishka Henner appears to be a photographer that seeks out new meanings within culture and already defined norms; seeking out these new perspectives by literally looking at them from a geographically different view point. His work is of an extremely modern nature, very obviously influenced by the age of globalisation and force-fed by internet and digital culture. The images are literally bursting with allegory, desperate … Continue reading Mishka Henner + Edith Tudor-Hart – Open Eye Gallery.
It seems an obvious choice for a photography exhibition to focus on the elements of light and shadow. These are two of the main factors that affect the perceived quality of a photograph yet, as a creative theme, it works as a brilliant starting point for A Lecture Upon The Shadow. Taking six artists from both the North West and Shanghai, the exhibition hints at … Continue reading A Lecture Upon The Shadow + E. Chambre Hardman: Landscapes (Open Eye Gallery)