The Last Supper presents the photographic work of Grant Simon Rogers, a British born visual artist who runs his creative practice in Berlin.
This exhibition of a beautiful and unique style of photography references a mid-twentieth century cinema technique known as “Day For Night.” The personal challenge for Rogers is to make a photograph in the camera and to keep any post processing to the minimum. He has been developing this singular photographic style over the last decade, after he photographed a tree, using the pop out flash by accident. This method of working he describes as his “Photopsychotherapy” delighting in the mediative state he relishes while making his pictures. Many of the flora subjects photographed in this exhibition have been visited repeatedly over many years, creating a timeless record of the changing seasons in his city home. Regulars to one London park described him as “The man who flashes at trees”
When confronted with Rogers work, a rich awareness of his love of European painting, storytelling and in particular, the feature films of Powell & Pressburger and cinema, becomes apparent. For him it is a delight to share how he sees his world. The joy of his making them is self-evident when encountering his photography either for the first time or as a dedicated patron.
Trained at Portsmouth College of Art, Rogers is passionate about art education and visual literacy, for all ages. He is a visiting lecturer at many of Londons museums and galleries, Christies Education and Central Saint Martins – University of the Arts London.
The Last Supper, 42 Webbs Road, London, SW11 6SF
10th October 2018 – 03rd November 2018
The Shutter Hub OPEN 2018 will open on 4th October at The Old Truman Brewery in London.
Part of Photomonth East London International Photography Festival, the OPEN brings together international photographers in a selected exhibition, celebrating the future of photography through diverse and creative imagery.
We’re delighted to be able to announce that the selected photographers exhibiting at the 2018 Shutter Hub OPEN are:
Christopher Bird, Chris Gravett, Marcela Ferri, Chloe Rosser, Juliet Ferguson, Tom Gifford, Tina Reid-Peršin, Derek Man, Amber Schormans, Filipe Santos, Maria Spadafora, Pippa Healy, Ruth Stoltenberg, Nicola Parry, Becky Probert, Venetia Menzies, Marianne van Loo, Ioana Marinca, Francesca Fiorella, Gavin Smart, Kit Martin, Jocelyn Allen, Tiina Burton, Phil Harvey, Tony Wooderson , Peter Hook, Victoria J Dean, Hyonchang Lee, Andrew Crawford, Anne Campbell, Camila Cavalcante, Anita Staff, Laura Ward, Andreas Tschersich, Judith Weik, Bob MacCallum, Marisol Mendez, Gali Timen, Lynn Fotheringham, Coralie Datta, Fiona Bailey, Martin Kelly, Gweniver Exton, Terence Lane, Amanda Jobson, Tracey Sharpe, Wendy Aldiss, Amanda Eatwell, Shanelle Callaghan, Sarah Tulloch, Michel Petillo, Orande Mensink, Fleur Olby, Justin Carey, Christiane Zschommler, Lauren Irving, Rachel Wright, Gemma Taylor, Josie Purcell, Jamie Rogers, Gökhan Tanrıöver, Sheila McKinney, Myka Baum, Jo Stapleton, Miriam Winsor, Thomas Bagnoli, Ilisa Stack, Edith Templeton, Nicola Jayne Maskrey, Paolo Drusi, Phillipa Bloom, Jane Ross, Joe Jacob, Natalia Poniatowska, Niall Hunter, Lucy Jarvis, Sara Hannant, Ali Dover, Ky Lewis, Dayana, Sharon Marconi, Melanie King, Becky Warnock, Stephen Williams, Trevor Attwood, Patryk Majewski, Tee Chandler, William Major, Mal Woolford, Simon Isaac, Emma Harris, Silvia Maggi, Inese Golde, Julie Cassels, Grant Simon Rogers, Maria Soroniati, Clare Park, Sheryl Tait, Emma Pearce, Jessica Hardy, Tess Carpenter, Marta Soul, Lara Cappelli, Ioanna Sakellaraki, Ben Altman, Jonny Hughes, Tamsin Green , Paola Leonardi, Frankie McAllister, Charlotte Colenutt, James Sykes, Yolanda Crisp, Nikki Goldup, Lisa Mitchell, Jayne Lloyd, Silje Lovise Gjertsen, Matt Dever, Samantha Edgley, Tom Alfuth, Carys Kaiser, Dineke Versluis, Josephine Leroux, Chris Middleton, Phil Lavery, Susana de Dios, Chan-yang Kim, Andy Denial, Lesley Farrell, Dan Gaba, Richard Benedict, Pippa Scott, Debby Besford, David Sampson, Robert Timothy, Sanja Knezevic, Heloise Bergman, Kathleen Bishop, Laura Dicken, Nico Froehlich, Chris Byrnes, Fiona Alexander, Abbie Hart, Kat Dlugosz and Anneleen Lindsay.
11 Dray Walk, Old Truman Brewery, London E1 6QR
4th October – 9th October 2018
“Another Way of Telling” showcases almost 100 works from the rich, dynamic careers of Anna Fox and Karen Knorr, two leading documentary photographers in the UK. In their work, acerbic wit is brought to sharp social commentary on subjects that are seen through two highly individual perspectives that wrap in a warm dose of humor the photographers’ penetrating insight into the issues of our times. The exhibition includes selections from representative themes in each of their bodies of work. Additionally, it features entire series that represent photo essays on the subject of class, working environments, and self-awareness, presented from distinct, alternative perspectives. Fine examples are Anna Fox’s two series Work Stations, and Basingstoke, displayed in contrast to Karen Knorr’s series titled Belgravia, all of which highlight the gulf in class attitudes. Karen Knorr’s Punks, produced together with Swiss photographer Olivier Richon, documented the first generation of the punk music movement in the UK in the mid-1970s.
In her more recent work, Karen Knorr constructs scenes for her photographs from the real and virtual worlds to produce the series Fables and India Song. In her recent work, Anna Fox continues to explore stereotypes that have become entrenched in lifestyle magazines, that underscore contemporary aspirations, both British in specific, and by example in today’s ubiquitous consumer-driven world. As described by British photo critic Sean O’Hagan, her ‘subject matter is the ordinary and the everyday,’ but what makes the resulting images striking is how she ‘approaches it with an artist’s eye for the absurd and the revealing.’ Through these works we see the photographers’ thinking about culture, gender, environment, and nature.
Since the late 1970s, there has been a volume of activity in the field of documentary photography in the UK, which both builds upon and stands as a reaction to the documentary tradition. Photography played an incisive part in constructing a British documentary movement from the mid 20th-century, that began in 19th-century realist literature (for example, Charles Dickens, George Eliot), soon extended to film (figures like John Grierson) and, in time, to television. The spirit of questioning and re-invention that characterized the particular period of New, or Expanded Documentary that emerged from the 1980s, was new in that it began to draw on strategies from contemporary art, primarily in its questioning and play with notions of authenticity and truth. That play, in terms of the mix of carefully observed reality and consciously constructed illusions, is embodied in the work of Anna Fox and Karen Knorr, described here as ‘another way of telling’.
Shanghai Center of Photography (SCôP), 2555-1 Long Teng Avenue, Xuhui District, Shanghai, China
September 16th 2018 – November 18th 2018
The first UK exhibition of unique 20 x 24 Polaroids by celebrated American artist William Wegman will open at Huxley-Parlour Gallery. Best-known for his ongoing artistic collaborations with his Weimaraners, his lifelong muses, Wegman’s photographs, videos and paintings have been exhibited in museums and galleries across the world.
In 1979, William Wegman was invited by the Polaroid Corporation to work with the recently developed 20 x 24 Polaroid camera. Inspired by this new medium, Wegman made some of his first colour photographs, continuing his collaboration with his dog, Man Ray, who had been central to Wegman’s 1970s black and white photographs and video work. Wegman continued to work extensively with the 20 x 24 Polaroid camera until 2007 when Polaroid stopped producing film. In his over thirty years of working with this camera, Wegman explored a rich and wide range of themes from abstraction and anthropomorphism to surrealism, cubism and colour theory. Each new dog suggests new ideas and new ways of working. Fay Ray followed Man Ray in 1987 and her children and their children provided a large and ongoing cast of characters.
Huxley-Parlour Gallery will be exhibiting a select group of unique 20 x 24 Polaroid prints from this important body of work. Dating from the 1980s through to 2001, all works are being exhibited in the United Kingdom for the first time.
Huxley-Parlour Gallery, 3-5 Swallow Street, London, W1B 4DE
26th September 2018 – 20th October 2018
Collaborative Portraiture brings together work by Magnum photographers Carolyn Drake, Bieke Depoorter and Susan Meiselas to present different creative strategies to portray female subjects. In each series on display, the sitters have been invited to present themselves on their own terms, to perform, play and control their representation in front of the lens.
Portraiture has always played an important role within Magnum’s documentary photography and its members have continually investigated and rethought the process of photographic storytelling. One component within this being to democratise the act of photographing, shifting the emphasis from “taking” photographs of their subject, to a collaborative exchange that incorporates multiple points of view. At a time when female representation has become increasingly politicised, this exhibition takes three bodies of work, one historical and two contemporary, where portraiture becomes a process, through long-term commitment to a subject and reassessment of the image through time.
Carolyn Drake’s project, ‘Internat’ takes its name from the still-operating, Soviet-era orphanage in which her subjects live. Taking control over the lives of young females marked with disabilities for a variety of reasons, the Internat institution, guided by a male Director, carries the girls into adulthood in isolation. Drake first met and photographed her subjects when living in the region and when returning in 2014, she found many of them still resident and now adult. This body of work was conceived to give her subjects their own voice, presenting playful and gently surrealist images, that imagine an alternative feminine world, and in so doing subverting the real constraints of their daily routines as Drake explains “We played at picture-making, using their bodies and objects found around the building as content, and using this environment as a stage for imagining something beyond it.” Here, Drake has devised a curation that seeks to bring out the intimacy of these encounters.
Bieke Depoorter met Agata, in the context of an experimental residency project, the Magnum Live Lab, in Paris in November 2017. Photographer and muse quickly struck up a photographic partnership and this ongoing project has taken shape over a series of journeys, to Greece and Lebanon. As the project has unfolded, the filmic nature of the work has become more clear and is referenced here in the linear narratives of working prints sitting alongside four framed works. Through her travels with Agata, Depoorter seeks to get to the heart of who her charismatic subject – a woman used to performing for men, for the photographer and her camera – actually is.
Between 1972 and 1975, Susan Meiselas spent her summers photographing and interviewing women who performed striptease for small town carnivals in New England, Pennsylvania and South Carolina. ‘Carnival Strippers’ (1972-1975) is one of Meiselas’s earliest and most well-known bodies of work, and was conceived from the outset as a multi-media project including the voices of her subjects alongside the bally calls and language at the fairs. The documentary records three worlds, out front of and inside the tent and behind the scenes. This exhibition focuses on a smaller group of square format portraits in which her subjects to present themselves as they would like to be photographed. These are presented alongside correspondence included with the work in her touring retrospective exhibition Mediations, currently exhibiting at SFMoma.
Magnum Print Room, 63 Gee Street, London
10th September 2018 – 25th October 2018
In Your Face is a series of spontaneous close-ups made unobserved on the streets of London between 1977 and 1992. The work contrasts the Brick Lane street market with London’s money market, the City, a mile away.
“The idea was to say something about the two places without having to show what people did. The story would be in people’s faces. Requiring a close-range approach, the project involved me in a new way of making photographs.” – Paul Trevor
The bulk of the series was shot in the 1980’s. The work includes some images from an initial experiment in 1977, and from the final period in the early 90’s.
Martin Parr Foundation, 316 Paintworks, Arnos Vale, Bristol, BS4 3AR
26th September 2018 – 22nd December 2018
Belfast Exposed is delighted to present Imperial Courts 1993-2015 by Dana Lixenberg, winner of the 20th Deutsche Börse Photography Foundation Prize (2017). This solo exhibition is the first showing of the award-winning photographer’s work on the island of Ireland.
In 1992, Dana Lixenberg was commissioned to document the areas of Los Angeles affected by the ‘Rodney King riots’, which erupted following the acquittal of four LAPD officers for the use of excessive force in the arrest of Rodney King. This visit inspired Lixenberg to return to LA and start her own project in 1993, which led her to the Imperial Courts housing project located in Watts, Los Angeles.
In contrast to an often one-dimensional, sensationalised journalistic approach, Lixenberg employed a controlled and collaborative photographic approach, using the communal areas of Imperial Courts as her studio. She began to create large-format, black and white portraits of the residents, using natural light. These photographs, taken at a pivotal time in the history of the community, form the basis of her largest body of work to date.
In following years, the photographer stayed in contact with the community, returning in 2008 to revisit the series, capturing individual and collective personal stories. Over the years, lives had been lost, people had disappeared or gone to jail, and children of early photographs had grown up and had families of their own. Lixenberg’s photographs became valued mementos for those she photographed and for the community as a whole. During these visits, she began to make audio recordings of people’s reactions to the images, which can be heard in the gallery alongside the final publication of the photobook entitled Imperial Courts (ROMA Publications, 2015). As a further response, she also created a web documentary, which can be accessed at www.imperialcourtsproject.com
Spanning 22 years (1993-2015), Imperial Courts subtly addresses issues of inequality and injustice while avoiding stereotypical representation. Using multiple platforms, from silver gelatin prints, a carefully edited publication, video installation, and an online web documentary, the project serves as an evocative record of the passage of time in an underserved community. The power of Lixenberg’s work can be found in the intimacy, compassion and quiet confidence of her images, and of the individuals we meet through the series.
Belfast Exposed Photography, 23 Donegall Street, Belfast, BT1 2FF
7th September 2018 – 20th October 2018
Coinciding with the Reel Art Press publication Off the Strip, this exhibition presents Barnes’s latest work, which documents the people who shaped Las Vegas in its heyday. Wanting to re-evaluate American locations that are often misrepresented, Barnes spent 2017 immersed in the vivid lives of the characters that shaped the desert metropolis. From cocktail waitresses and lounge singers to bodyguards and boxing judges, Barnes creates an evocative portrait of the city.
David Hill Gallery, 345 Ladbroke Grove, London W10 6HA
13th September 2018 – 26th October 2018