29 ARTS IN PROGRESS was founded in 2013 by Luca Casulli and Eugenio Calini, with…
Tag: Photo London
“If you are on the lowest rung of society, if when you get on a…
Famously described by Susan Sontag in her 1964 essay Notes on ‘Camp’ as “a sensibility (as distinct from an idea)”, the appreciation of camp was born out of artifice and opulence, a vulgar fascination with theatrical exaggeration. And while it has long been tied up with LGBTQI culture, it has become a compelling way to convey messages without limits. “To me, camp is a very powerful thing,” says Phillip Prokopiou. “It’s a form of satire – a way to exaggerate and ridicule things that are very serious.” Prokopiou, a South Africa-born, London-based photographer behind an eponymous studio, which he co-founded with his partner-in-life-and-art Panagiotis Poimenidis, has long been fascinated with the power of kitsch to communicate our deepest hopes, fears and fantasies – whether they manifest in the form of a moustachioed Virgin Mary (stage name: Virgin Xtravaganzah) sitting chastely in the glow of ‘Gawd’’s glory, or an otherworldly extraterrestrial gazing into the distance.
Nadine Ijewere has been interested in fashion imagery since she was a girl but it wasn’t until she studied photography at the London College of Fashion that she began to pick up on some of its more unsettling undertones – particularly the stereotypes used in the portrayal of non-Western cultures. The Misrepresentation of Representation, an early project that she completed at university reflected on Orientalism and how it came to rigidly define certain cultures for a Western audience.
Born in 1876 in the German mining town of Herdorf, August Sander discovered photography while working at a local slagheap. Serendipitously meeting a landscape photographer working there for a mining company, he went on to assist the image-maker, and by 1909 had opened his own studio in Cologne. Around this time he also started taking portraits of his fellow-Germans, deliberately eschewing the then-prevalent pictorialist approach in favour of recording as much detail as possible. “Nothing seemed to me more appropriate than to project an image of our time with absolute fidelity to nature by means of photography,” he stated. “Let me speak the truth in all honesty about our age and the people of our age.”
In the UK nobody lives more than 72 miles from the sea, and the seaside is entrenched in our culture because of it. “The coastline is significant to Brits whether we live there, or not,” says Simon Roberts, who lives in the seaside town of Brighton, and who has returned to the coast again and again in his work. Now his images are appearing in an exhibition called The Great British Seaside at the National Maritime Museum this spring, alongside work by David Hurn, Martin Parr and the late Tony Ray-Jones.
In 2016, Chloe Dewe Mathews was invited to do an artist’s residency at the Verbier…
James Hyman Gallery opened in 1999, aspiring to deal in museum quality fine art of…
Work by 120 young photographers from around the world is on show in London’s House of Vans from 10 May – 03 June. Selected from an open call for the Palm Photo Prize, the show features one image per photographer and, say the organisers, “places an emphasis on raw, engaging work”. The winners will be announced online on 04 June, having been picked out by a judging panel comprising: Karen McQuaid, senior curator at The Photographers Gallery; Joshua Coon, director, content marketing & production at Kodak; Jack Harries, editor at The Heavy Collective; and Andrea Aurland, editor in chief at Huck Magazine.
A new photography gallery has opened in East London with its inaugural show, Reduction, Reduction,…