For those unfamiliar with the work of the Oculi photographers, this is nevertheless a good introduction to their work; full of several breathtaking photographs…
With Nationalgalerie Demand appears intent on directing the reception of his images in a new light and context. The title, the subject matter and the timing of the exhibition and book immediately suggest that Demand is implicating himself and his art in a discussion about the national art institution and, by extension, about German nationalism and identity surrounding art and politics.
There is no denying the urgent politics that drive Maynard’s photographs, and his decision to work within the tradition of documentary photography. Maynard, it is clear, is out to change the world, one photograph at a time.
The ghost of Lye, like an eternal grinning Cheshire cat, is still tempting and daring us to do him justice.
It is these interior echoes, the ones that resound within the frame of the photographic image, that most successfully capture the uncanny quality present in the whole of Burton’s body of work.
In its third biennial presentation, the parameters of the Anne Landa Award have shifted radically.
Rozalind Drummond’s photographs step outside this teleological mania. They stop the march towards some irrefutable glorious future to look, rather, at what is. And sometimes it’s a grubby corner.
Playing with the tension of the depth/surface of the self/image, Laing has cast her subjects into a series showing twelve shades of grief reminiscent of the twelve shades of blonde any one of us can become with the aid of a bottle.
These are highly political works, confronting issues of sustainability and the impact on a culture that occupied the place for thousands of years.
Ellis and Gursky are akin to two different types of popularist art fantasies: the former as charming, nostalgic; the latter as challenging, spectacular.