This exhibition is the first solo show of Arbus’ work in the UK for 12 years. Organised by The Metropolitan Museum of Art, New York, it features more than 100 photographs, the majority of which are drawn from the Diane Arbus Archive, and have never before been exhibited in Europe.
Hayward Gallery, Southbank Centre, Belvedere Road, London SE1 8XX
13th February 2019 – 6th May 2019
Richard Saltoun Gallery, 41 Dover Street, London, W1S 4NSA
There is a Light That Never Goes Out:
A photographic celebration of Manchester’s rock-music history
Rockarchive.com proudly presents a unique exhibition by the UK’s leading music photographers to honour Manchester’s music heritage. From the rise of punk, Factory Records, The Hacienda, the Madchester years and beyond, this exhibition is a retrospective of Manchester’s huge influence and continuing importance on the rock music scene.
In collaboration with writer, Jon Savage and help from the Manchester Digital Music Archive, RockArchive.com have pulled together a unique collection of over 90 photographs to display at the library.
Many of these images are of the bands and musicians that formed in the wake of punk, at a time when Manchester’s music scene was expanding in a unique and inimitable way.
Exhibition Hall, Manchester Central Library, St Peter’s Square, Manchester M2 5PD
The exhibition will feature around 70 works including Turner Prize winners and nominees and Venice Biennale exhibitors such as Helen Sear, Sam Taylor-Johnson, Hannah Collins, Gillian Wearing and Jane & Louise Wilson. The works featured will date from the mid-19th century through to 2009 and will chart progressions in style, techniques and popular subject matter. Early notable photographers include Julia Margaret Cameron, Lady Hawarden and Queen Alexandra. Works have been generously lent by many leading museums and galleries including by Her Majesty The Queen from the Royal Collection, Tate, Victoria & Albert Museum, Arts Council Collection, British Council Collection, National Portrait Gallery, Scottish National Portrait Gallery and Lee Miller Archive. The works will be presented chronologically and visitors will be transported on a whistle-stop journey of the history of female photography.
There will be five key themes running throughout this story: Photographic Processes as demonstrated by Anna Atkins, Susan Derges and Joy Gregory. Staging the Scene where artists create a narrative with their compositions which will be represented by artists such as Emma Barton, Eveleen Myers and Mitra Tabrizian. Photo Journalism is a theme which starts from the early 1900s with Olive Edis through to Edith Tudor-Hart, Lee Miller, Grace Robertson and Val Wilmer. Interiors and Spaces will reflect on women’s role and position within society and will also include some personal, often psychological responses from the artist. This will be demonstrated by photographers such as Karen Knorr, Sirkka-Liisa Konttinnen, Hannah Starkey, Jane & Louise Wilson and Sam Taylor-Johnson. Race and Representation will explore issues of diversity and inclusion as represented by Gabriella Sancisi, Sonia Boyce, Joy Gregory, Suki Dhanda, Maud Sulter, Shirley Baker, Val Wilmer and Jane England.
The Lightbox, Chobham Road, Woking, Surrey, GU21 4AA
30th January 2019 – 2nd June 2019
Blumenfeld (1897-1969) was born in Germany. He mastered photography in the Netherlands, where he shot portraits. After he went to Paris he built a career in fashion photography for a few years and he only worked in black and white. He liked to experiment with various techniques such as double exposure, distortion and solarisation. But from the moment that colour photography was introduced to the world, he transformed his original compositions in black and white into colour.
His special repertoire of shapes and colours that he developed after he left for the United States in 1941 made him one of the most original fashion photographers in New York. The female body and death were his main sources of inspiration. Despite the fashionable frivolity, he distinguished himself by the surreal nature of his subjects; the goal of his search was not realism, but the mystery of reality. He worked freelance for magazines such as Harper’s Bazaar, Life and Vogue. The exhibition of his work in Foam focuses on colour photography that he developed in his period in New York (1941-1960) and gave him worldwide recognition.
Foam Fotografiemuseum Amsterdam, Keizersgracht 609, 1017 DS Amsterdam
15th February 2019 – 14th April 2019
Colin McPherson, Jeremy Sutton-Hibbert, Sophie Gerrard, Stephen McLaren
A Contested Land examines the complex relationship between Scotland’s people, history and landscape through the work of four photographers. The contrasting series of works by the collective known as Document Scotland, will be exhibited at the Martin Parr Foundation for the first time before it is shown at venues in Perth, Dunoon and Inverness during 2019.
Document Scotland was founded in 2012 by four photographers: Colin McPherson, Jeremy Sutton-Hibbert, Sophie Gerrard and Stephen McLaren. Tired of the tropes and cliches which are often used to represent Scotland, their aim is to provide an accurate view of their nation today and disseminate their work beyond the borders. Although their work is contemporary, it acknowledges the past and its resonance with the present.
They work in a Scotland where vast tracts of wilderness have been scarred by centuries of mismanagement, marine resources are controlled by five all-powerful fishing families, the wealth of the richest is 250 times that of the poorest, and the population of its major cities continues to expand, whilst population growth in many other areas is flat lining, or even falling at an unsustainable level. With impending Brexit, climate change and unforeseeable global events, it is not possible to predict where Scotland will be in a generation’s time. It is against this backdrop that Document Scotland have created A Contested Land.
Jeremy Sutton-Hibbert’s work captures the raw and powerful political theatre of Glasgow’s parades and marches. Played out in public spaces depicting Pro-Scottish Independence marches to demonstrations against Trident missiles – the photographs collectively show vibrant and lively displays of stand-bearing, placards, slogans and passion. Strip away the banners and confiscate the flags, the adversaries cannot be told apart – they are all Scots. Sutton-Hibbert’s photographs offer a beguiling view of the possibility of an undivided future aside from political discourse and disagreements.
The gentle and undulating landscapes of Scotland’s peat bogs are the subject of Sophie Gerrard’s work. Eschewing sentimentality, the photographs look at how this precious environmental resource has been desecrated and denuded over generations and how these almost magical places are being revived and reinvigorated through careful and considered conservation. Once seen as ‘fair game’ for industrial-scale exploitation, this series questions the viewer’s relationship with local and national areas of outstanding beauty, and how such places fit into Scotland’s topography and consciousness, linking people to the land and the land to the people.
Stephen McLaren’s series examines the hidden link between Edinburgh’s wealth and the slave trade with Jamaica. Scotland has distanced itself from its inheritance as architects and perpetrators of the widespread exploitation of many thousands of slaves – yet behind the front doors of Edinburgh’s New Town, lies the legacy of British colonial profiteering. Depicting everyday sites across the city once connected to the slave trade, McLaren’s work ignites a conversation about acknowledging an historical wrong, and re-evaluating the relationships with people and communities within and beyond its own borders.
History is also the starting point for Colin McPherson’s visual exploration of life on Easdale, the smallest permanently-inhabited Inner Hebridean Island. Once the epicentre of Scotland’s slate quarrying industry, the island has become a by-word for repopulation and reinvention as its current community continues to battle traditional adversaries: economics and environment. At its height in the 19th century, Easdale housed four hundred people – the slates they produced roofed the world. When an epic storm decimated the island in the 1880s it went into decline, only for a new band of pioneers to resettle and revive Easdale nearly a century later. McPherson’s personal connections with the island date back thirty years, and through this series he offers a contemporary commentary on the parallels with the past and how many of the 65 current residents live.
Martin Parr Foundation, 316 Paintworks, Arnos Vale, Bristol BS4 3AR
16th January 2019 – 16th March 2019
Inner Skies presents two recent bodies of work from photographer, Arno Schidlowski (b. 1975, Germany). Taking inspiration from literary and artistic romantic traditions that harness nature to convey an internal state of mind, Schidlowski’s long-term photographic explorations use landscapes as a way of expressing mood and emotion. His distinctive, crystalline images, capturing mountainous and woodland settings across Europe, transform universal scenery into places of private reflection.
The medium of photography is essential to his work, offering the means of repetition, changing focus and point of view as a way to convey a particular artistic and psychological enquiry. Single images are bound into rhythmic lyrical sequences that amplify his relationship to the environment. The dream-like continuity in his sequence of images provokes the impression of a non-physical and immaterial relation between author and surrounding – distant places unite atmospherically and independently of order of discovery.
His insistence on hand-printing is another integral part of realising a work, completing a personal and individual interpretation of reality, and ensuring his presence is threaded through every stage.
Arno Schidlowski studied photography at the University of Applied Sciences, Dortmund and trained for his Master’s degree with Ute Mahler at the University of Applied Sciences, Hamburg. His work has been recognised at various photo festivals and competitions, including Recontres d `Arles, Otto-Steinert-Award and LeadAwards.
Photographers’ Gallery, 16 – 18 Ramillies Street, London, W1F 7LW
10th January 2019 – 3rd March 2019
Will You Still Love Me Tomorrow? is the first exhibition of David LaChapelle’s work at Staley-Wise Gallery in more than ten years. Many of the works included have never been previously exhibited. Since his early commissions from Andy Warhol as a portrait photographer for Interview magazine, many of LaChapelle’s photographs of well-known figures in contemporary culture have become iconic in their own right.
Throughout this exhibition, LaChapelle’s images reveal an unusual level of collaboration and trust from his subjects. Featured in the collection is the last sitting of Mr. Warhol, a black and white portrait the artist made of his mentor in 1987. The show continues with a diverse anthology of profound and often prophetic scenes, featuring polarizing idols including Elton John, David Bowie, Faye Dunaway, Tupac Shakur, Dolly Parton, Amy Winehouse, Michael Jackson, and Hillary Clinton. The selected photographs not only showcase the famous in defining moments of their careers, but also serve as a mirror to our own obsessions and curiosities with fame itself.
Staley-Wise Gallery | 100 Crosby Street, New York, NY 10012
13th December 2018 – 2nd March 2019