The project will premier Matthew Murray’s new work which focuses on contemporary photography and the landscape. Murray has created a photographic odyssey, an epic series of landscape works made over a period of four-and-a-half years. The exhibition will be accompanied by a new publication, symposium and newly commissioned writing.
Murray involves the viewer in a series of challenges; aesthetic, emotional, and perhaps even moral. If we look at the pictures without knowledge of the location – and the tragic historical events that took place there – our initial response to the brooding, picturesque terrain may be purely aesthetic. This location seems untouched by human intervention. Murray captures its changing moods under glowering skies, creating impressions, partly real and partly generated through the photographic process. We seem to be in a dream world as much as a real place. In this work Murray occupies a position within a lineage of landscape artists stretching back hundreds of years.
Murray is a Birmingham based photographer who has worked in a gallery context as well as commercially shooting campaigns for various advertising agencies, features for editorials and exhibiting personal photography projects.
In the context of the exhibition Saddleworth, Responding to A Landscape, the symposium will invite acclaimed and outstanding photographers, artists, writers and photography historians to talk about their work and relationship with the landscape. Those speaking alongside Matthew Murray include; Richard Billingham, Jem Southam, Chrystel Lebas, Camilla Brown, Simon Constantine, John Hillman and Mark Wright.
The practitioners will talk about how they have approached landscape and their unique relationship with it.
Image: Saddleworth Moor, Peak District © Matthew Murray
Mac Birmingham, Cannon Hill Park Queen's Ride, Birmingham, B12
18th November 2017 – 21st January 2018
Photographers from the UK and around the world have been selected to exhibit their work in BORDERS, an exhibition of photography, curated in response to the MARCHLAND season of performances and talks, in collaboration with Théâtre Volière and the Bridewell Theatre.
MARCHLAND brings together artists, musicians and dancers to share remarkable stories and complex histories. More information can be found here.
Nicola Jayne Maskrey, Kat Dlugosz, Michael Whelan, Mal Woolford, Jo Stapleton, Silvia Szucs, Amanda Jobson, Joseph Thomas, Wendy Aldiss, Barry Cawston, Lynne Connolly, Ben Altman, Phil Lavery, Christiane Zschommler, Paola Leonardi, Tamsin Green, Henrik Hentschel, Patryk Majewski, Tina Reid, Sarah Tulloch, Ruth Stoltenberg and Michelle Margaux will exhibit work responding to the theme of BORDERS at the Bridewell Theatre Bar Gallery in London from 15th January to 16th April 2018.
We received such a high volume of excellent entries that we’ve also decided to create an online exhibition of supporting materials, demonstrating the breadth of interest and thought on this topic.
Image: Flower Flower Water Light, © Nicola Maskrey
Bridewell Theatre Bar Gallery, St Bride Foundation, Bride Lane, Fleet Street, London, EC4Y 8EQ
15th January 2018 – 16th April 2018, Private View 12th January, 6-9pm.
Fascinated by the eccentricities of English social customs, Tony Ray-Jones spent the latter half of the 1960s travelling across England, photographing what he saw as a disappearing way of life.
Humorous yet melancholy, these works had a profound influence on photographer Martin Parr. Parr has now made a new selection, including over 30 previously unseen works from the National Science and Media Museum’s Ray-Jones archive. Shown alongside The Non-Conformists (Parr’s rarely seen work from the 1970s), this selection demonstrates the close relationships between the work of these two important photographers.
Image: Blackpool c1967 © Tony Ray-Jones (National Science and Media Museum)
Time and Tide Museum of Great Yarmouth Life, Blackfriars Road, Great Yarmouth, NR30 3BX
21th October 2017 – 15th April 2018
British photographer (and Shutter Hub member) Paul Hart has spent the past thirteen years exploring our relationship with the landscape, in both a humanistic and socio-historical sense.
Poetry of Place will be Paul Hart’s first solo exhibition, bringing together his three series to date: Truncated (2005-2008), Farmed (2009-2015) and Drained (2016-2017), all of which feature specific geographical regions photographed intensively over a number of years.
In highlighting often-overlooked elements in familiar vistas, Hart's working method is in the vein of documentary. His narratives are further enhanced by his use of the black and white analogue process and traditional darkroom printing techniques, conveying something of the soulful in particular landscapes rarely considered of aesthetic interest.
Signed silver gelatin prints available from £750 + vat. Please contact email@example.com for more information
Image: Portal, 2007, from Truncated © Paul Hart
The Photographers Gallery, 16 – 18 Ramillies Street, London, W1F 7LW
18th January 2018 – 18th February 2018
This year’s edition of Photo50, titled Resolution is not the point., is curated by Hemera Collective, the first collective to curate London Art Fair’s annual exhibition of photography. The exhibition reflects the concerns with which Hemera operates, as a collaborative and evolving entity with different areas of expertise, who come together through a shared inquiry of photography and lens-based media. The exhibition title also alludes to an approach to exhibition making as one that is not defined by a singular frame or iteration, but networked – shifting focus and endeavouring to change ways of seeing and thinking. Resolution is not the point. considers photographic practices and images as a catalyst for interdisciplinary exchange and collective action. Photography, since the 19th century, has existed in and between traditionally defined boundaries of practice, from its use as a scientific apparatus to art – and back again, and it is this shifting landscape of contexts and definitions that the exhibition brings to the fore. The works are linked by this desire to draw upon the metamorphic nature of the photographic image. As practitioners continue to push the conceptual and technical boundaries of the many forms of photography and image-making; they are drawn to other specialisms and ways of working in order to communicate personal, social, and political ideas. From collaboratively produced research projects to artists that draw on the circulation of images, knowledge, and capital; Photo50 2018 examines vital directions in contemporary photographic practice.
Business Design Centre, 52 Upper Street, London N1 0QH
17th January 2018 -21st January 2018
Museum Villa Mondriaan focuses on the young talent of Piet Mondriaan. The latest exhibition Young & Promising pays attention to young artistic talent from both the past and the present. The museum selected eight young and talented photographers from a shortlist that was compiled in cooperation with FOAM (Museum of Photography Amsterdam). They were asked to react artistically to an early Mondriaan. The photographs of, among others, Louise te Poele, Vytautas Kumža and Lonneke van der Palen hang side by side with Mondriaan’s work. Other participants are Larissa Ambachtsheer, Tessa van Rijn, Eva Roovers, Liesbeth Oosterom and Lonneke van der Palen. Mondriaan’s young talent is a source of inspiration for today’s young talents.
Image: © Piet Mondriaan and Louise te Poele
Villa Mondriaan, Zonnebrink 4, 7101 NC Winterswijk, Netherlands
September 29th 2017 – February 25th 2018
Hayward Gallery reopens in January 2018 with the first major UK retrospective of the work of acclaimed German photographer Andreas Gursky.
Gursky, known for his large-scale, often spectacular pictures that portray emblematic sites and scenes of the global economy and contemporary life, is widely regarded as one of the most significant photographers of our time.
Driven by an interest and insight into ‘the way that the world is constituted’, as well as what he describes as ‘the pure joy of seeing’, Gursky makes photographs that are not just depictions of places or situations, but reflections on the nature of image-making and the limits of human perception. Often taken from a high vantage point, these images make use of a ‘democratic’ perspective that gives equal importance to all elements of his highly detailed scenes.
This exhibition features around 60 of the artist’s ground-breaking photographs from the early 1980s through to his most recent work, and includes some of his most iconic pictures such as Paris, Montparnasse (1993) and Rhine II (1999, remastered 2015).
Andreas Gursky marks the beginning of the Hayward Gallery’s 50th anniversary year and is the first exhibition to take place in the gallery following its two-year refurbishment. For the first time since the Hayward’s original opening, the gallery’s pyramid roof lights will allow natural light into the spaces below.
Image: © Andreas Gursky
Hayward Gallery, Southbank Centre, Belvedere Road, London SE1 8XX
25th January 2018 – 22nd April 2018
The Mersey Ferries operate between Liverpool and the Wirral peninsula. Photographer Tom Wood lived in New Brighton for 25 years, and for most days throughout the 70s and 80s he crossed the river. Whilst waiting for the ferry to arrive or crossing the river, he took photographs.
These images, selected from 1000s of rolls of film, form The Pier Head – Tom Wood. They will be shown just two minutes away from the Pier Head terminal itself. Most of the images are being shown in the UK for the first time.
A new book, Termini, will launch with the exhibition, featuring a range of images from the show, together with specially written text by poet and writer Paul Farley. Two of Wood’s previous books – Photie Man and Looking for Love, are included in Source Photographic Review’s list of The Greatest 150 Photo Books of All Time.
The work in The Pier Head – Tom Wood was made at a time when being casually photographed was far less common than now. The 90 plus images on display show commuters, families, friends, the old and the young making the everyday journey across the river, over a kilometre from shore to shore.
Like many cities worldwide, Liverpool has been undergoing a long transition from industrial powerhouse to service city, with many of its functional maritime spaces becoming repurposed. For generations the Mersey Ferry has been and remains a key transport link across the River Mersey, with ferries running continuously between the Pier Head, Liverpool City Centre, and Seacombe and Woodside on the Wirral peninsula. Although many still use the ferry to commute, trains and buses have become the primary means of transport over the river for commuters, with the Mersey Ferry becoming an increasingly popular tourist attraction.
The Pier Head – Tom Wood is accompanied by a project called Ferry Folk, from artist and producer Liz Wewiora. Working with Merseytravel as their artist-in-residence, she has been carrying out a socially engaged photography project on board the Mersey ferry and around the ferry terminals.
Image: Seacombe Ferry, From ‘The Pier Head’ Series, 1985. © Tom Wood
Open Eye Gallery, 19 Mann Island, Liverpool Waterfront, Liverpool, L3 1BP
11th January 2018 – 25th March 2018