Archives for photography

Dougie Cunningham Publishes Photographic Guidebook of Scotland

THIS MONTH, award-winning Scotland based photographer Dougie Cunningham will release Photographing Scotland, a guidebook for visitors and photographers.

Cunningham’s clients include Aberdeen Asset Management, Red Bull and the Keswick Mountain Festival and he regularly contributes to publications such as The Great Outdoors Magazine.

View of the Old Man of Storr on the Trotternish peninsula of Skye. Photograph courtesy: Dougie Cunningham

The four-year-long project is the first comprehensive guidebook of the entire country compiled specifically for photographers. It contains descriptions and illustrations of 280 landscapes, coastlines, mountains, glens, cnocs and lochans, including both popularly documented and little-known locations.

Dun, St Kilda. Photograph courtesy: Dougie Cunningham

The collection incorporates photographic tours of Glasgow and Edinburgh, as well as a range of architecturally significant sites including medieval castles, fortified houses, ancient stone circles, crofts and peel towers.

Neist Lighthouse, Skye. Photograph courtesy: Dougie Cunningham

Lochan na h-Achlaise. Photograph courtesy: Dougie Cunningham

Cunningham provides maps and practical advice for readers such as parking directions, the accessibility of locations and recommended times to visit.

by Rosie Byers

Photographing Scotland is one of the fotoVUE collection of photography guides.

Photographing Scotland is available to pre-order from fotoVUE for the reduced price of £22, including free UK delivery, with an estimated arrival of early December. Once released, the book will revert to its original price of £27.95.

Prints and 2018 calendars can also be ordered from Dougie Cunningham’s website.

Monochrome: Painting in Black and White at National Gallery, London

THIS AUTUMN the National Gallery will exhibit Monochrome: Painting in Black and White. The collection of more than 50 painted objects explores the use of shadow and light, over the past 700 years, analysing what happens without colour and the compelling use of black and white.

The exhibition, showing paintings and drawing, unites works of the old masters such as Jan van Eyck and Rembrandt with contemporary artists including Gerhard Richter and Chuck Close. The major, worldwide loans allow Monochrome to give an insight into the use and choice of colour, or lack of it. Each of the five rooms shows the viewer a different aspect of grisaille – black, white and grey painting.

Curators of Monochrome, Leila Packer and Jennifer Sliwka remark, “Painters reduce their colour palette for many reasons, but mainly as a way of focusing the viewer’s attention on a particular subject, concept or technique.” Devoid of colour, artists can focus greatly on form and texture within the work.

im1Jacob de Wit, Jupiter and Ganymede, 1739, Oil on canvas, 36.9 × 55.5 cm © Ferens Art Gallery, Hull Museums

Some of the earliest Western artworks in grisaille date back to the Middle Ages, for the purpose of focusing the mind and for spiritual connection. For some religious orders avoiding colour was a form of self-discipline, in the 12th century French Cistercian monks created grey stained-glass windows, with images painted in black and yellow.

From the 15th century, artists used black and white to simplify challenges when drawing their desired subject. The lack of colour allowed the artist to focus solely on light and shade, these studies could even act as a reusable template.

The question for many artists was how to replicate stone sculptures on canvas. Highly decorative and illustrative art, including wall paintings and sculpted stucco, popular in the 15th and 16th century, Northern Europe brought attention to works such as Jupiter and Ganymede by Jacob de Wit, 1739. With the development of printmaking, to fascinate audiences’ artists paintings would often replicate a printed work. The later development of film and photography, beginning in 1839, prompted artists to recreate the effects of this media to respond or challenge specific elements created in the photograph.

In time, grisaille developed from a tool used to assist the painting, into a complete and independent work. As the pieces were inspired, so well considered and demonstrative of the artists skill they became highly demanded.

Hendrik Goltzius, Without Ceres and Bacchus, Venus Would Freeze, 1599. Chalk, ink and oil on paper, 43.5 × 32.1 cm. The British Museum, London © The Trustees of The British Museum

Colour used by an artist as well as light and space can manipulate viewer reactions and emotions. In abstractions and installations, an absence of colour can often be more thought-provoking.

Gabriele Finaldi, Director of the National Gallery explains, “Artists choose to use black and white for aesthetic, emotional and sometimes even for moral reasons. The historical continuity and diversity of monochrome from the Middle Ages to today demonstrate how crucial a theme it is in western art.”

by Pierra George-Robertson

Front Page Image: Olafur Eliasson, Room for one colour, 1997. Installation view at Moderna Museet, Stockholm 2015. Courtesy of the artist; Tanya Bonakdar Gallery, New York; neugerriemschneider, Berlin© Olafur Eliasson. Photo: Anders Sune Berg

Book tickets for Monochrome: Painting in Black and White

Admission is charged. Members and under 12s free

The exhibition will be open from October 30, 2017 until February 18, 2018

The collection will be displayed in the Sainsbury Wing of The National Gallery, London WC2N 5DN

The exhibition is organised by the National Gallery in collaboration with Museum Kunstpalast, Düsseldorf and is supported by Howard and Roberta Ahmanson and other donors

Cig Harvey Releases Holding the Blue at Beetles + Huxley

HOLDING THE BLUE, the first UK solo exhibition by Cig Harvey will open this September at Beetles + Huxley, Mayfair, London. The work shown features 30 photographs taken throughout 2003 until 2017 and will be a foreword to her new book You an Orchestra, You a Bomb. The book will be released this November by Schlit Publishing.

ch1Birds of New England, Rockport, Maine, 2006 by Cig Harvey

Having pursued photography since she was 13, to begin studying an MFA in photography at Rockport College, Harvey moved from Devon, UK to Maine, New England, USA. Harvey’s early work focused on her own life experiences with a fantasy twist, often using herself as a model. The well thought out and self-reflecting work is heavily symbolic and metaphorical. Over time Harvey’s work became less meticulous and more spontaneous, featuring a larger selection of models including her neighbours, daughter and husband.

ch2Red Curtains, Maine, 2017 by Cig Harvey

In her most recent work, Harvey has returned to her hometown Maine, documenting everyday events and locations. Similarly, to the fantasy version of her life portrayed in previous works, the current work takes strange combinations of colour and lighting which give the images an eerie quality. The works are a visual short story with a strong narrative, in each borderless image of randomly selected people and places, time seems to move and the subject is almost always partially concealed, whether cropped out or obscured by light or an object.

Harvey’s work has previously been part of collections at major museums including the Museum of Fine Arts, Houston, Texas and the International Museum of Photography and Film at the George Eastman House, Rochester, New York. Her work has been published in three monographs, You Look At Me Like An Emergency, 2012 and Gardening at Night, 2015, along with her upcoming book also published by Schlit Publishing.

ch3Kendall at Beauchamp by Cig Harvey

The photographer was a finalist for the BMW Prize at Paris Photo and for the Prix Virginia, an international women’s photography prize and a nominee for the John Gutmann fellowship and the Santa Fe Prize.

by Pierra George-Robertson

Front Page Image: Scout in the Blizzard, Rockport, Maine, 2017 by Cig Harvey

The exhibition will be open from September 5 – 16, 10am – 5:30pm

Free Admission

Find more information at Beetles + Huxley.

Martine Rose: Don Pedro Produce a Collaborative Zine

INSPIRED by fashion designer Martine Rose’s AW17 collection, the hyper-colour zine Don Pedro, reflects the style and diverse nature of the Colombian Market in Seven Sisters, north London where the fashion designers runway show took place. The combination of sportswear and tailoring this collection emanates, comes from the masculine form of the office and bank worker.

mr2Martine Rose: Don Pedro, colour lithograph print, A5, 2017

The zine, produced by Harry Fisher, senior buyer for Soho-based designer boutique Machine-A, combined with Britt Lloyd’s photographs and styled by Kate Iorga is completed by the Martine Rose label. Don Pedro, a limited edition of 200 copies takes Ditto’s art direction, presenting collages, typography and symbolism, found within the market setting and conversational fragments from Rose.

mr3Martine Rose: Don Pedro, colour lithograph print, A5, 2017

Features of the A5 zine include fluorescent ink, metallic golds and a variety of textures. The edition is an eight-colour, offset lithograph print and is released this week.

by Pierra George-Robertson

Don Pedro is available to purchase from Ditto London, retailing at £15.00.


Artists Roger Ballen and Hans Lemmen Unleash Our Primal Instincts

A MACABRE repertoire of half-human beasties is unleashed at Le Musée de la chasse et de la nature in Paris this spring.  Collaborating miles apart, South African photographer Roger Ballen and Netherlands-based illustrator  Hans Lemmen create Unleashed, an unsettling combination of re-appropriated imagery which unearths Modern Man’s animalistic tendencies.

Ballen’s photographic scraps merge with Lemmen’s drawings to create a contemporary cave painting alongside animistic sculptures of the artists with their pets. Individual works by each artist are also on display including a video which documents their project. The show endeavours to convey the creative process of each artist and how their art thrives from the fusion of their differing practices. The collaboration has been an exciting challenge, as Lemmen explains, “This is the hardest thing I‘ve ever faced in my career. Until the last moment, I did not know if it would be possible to combine photographs and drawings.”

Roger Ballen, Hans Lemmen, Photography, Drawing, Roger Ballen/Hans Lemmen, Entanglement 2016. Courtesy of Roger Ballen and Hans Lemmen Private Collection

Ballen, a master of psychodramas creates highly original sets in unknown locations near Johannesburg in which marginalised individuals improvise their strange narratives and where animals mingle. His scenarios allude to human survival but man’s inability to escape from nature. Ballen explains, “I think that my works seek the animal at the heart of the human mind, the point where a man turns into an animal … ”

Ballen’s nebulous forms free repressed characters from wires and cables, as if releasing them from the constraints of modernity.

Roger Ballen, Hans Lemmen, Photography, Drawing, Le Musée de la chasse et de la natureHans Lemmen/Roger Ballen, Unicorn 2016. Courtesy of Roger Ballen and Hans Lemmen Private Collection

Lemmen’s graphics and sculptures are fictional works which explore the domains between animals and people. He is fascinated by pre-historic times when our ancestors lived in empathy with, not against, nature. Lemmen alludes to our primeval instincts,

“We are simply animals. We are animals with, of course, a more developed brain.”

Occasionally his work displays a curious role reversal in which Man appears to become a sacrificial offering, and animals are invited to take charge.

Roger Ballen, Hans Lemmen, Photography, Drawing, Le Musée de la chasse et de la natureHans Lemmen, Untitled 2014. Courtesy of Hans Lemmen Private Collection

The show parades a grave and male-dominated world but also a few surprises, like this grisly cytoplasm ingesting human remains.

Roger Ballen, Hans Lemmen, Photography, Drawing, Le Musée de la chasse et de la natureRoger Ballen/Hans Lemmen, Oh No! 2016. Courtesy of Roger Ballen and Hans Lemmen Private Collection

by Miranda Charalambous

Unleashed: Roger Ballen and Hans Lemmen, which is co-produced by the Bonnefantenmuseum in Maastricht, until June 4 2017 at Le Musee de la Chasse et de la Nature, 62, rue des Archives 75003, Paris

Tel: 01 53 01 92 40

Front page image: Roger Ballen/Hans Lemmen, Oh No! 2016, Photograph, Courtesy of Roger Ballen and Hans Lemmen Private Collection

DROMe Presents SS17 Campaign and Pre-Collection Lookbook

ITALIAN fashion brand Drome has released its latest advertising campaign and pre-collection lookbook, which features its designer Marianna Rosati’s thoroughly original designs as represented by American-born photographer Brianna Copozzi.

Drome SS17 © Drome

The campaign was shot around Union Square, New York City, and begins to feature across international media later this month.

Drome SS17 © Drome

The focus of Tuscan-born Rosati’s SS17 line is the experimental manipulation of leather – shaped, distorted, coloured and styled in new and highly innovative ways as a means to showcase its beauty, functionality and sheer versatility. Rosati nods to both biker gear and sportswear – which have always employed leather extensively in their designs – but explores its potential beyond traditional uses, envisioning new forms and creating new purposes for the material, manifest in pastel-hued frilled blouses, metallic frayed skirts and bell-sleeve dresses to name but a few.

Drome SS17 © Drome

Her collection is interpreted by Capozzi, whose dynamic work has appeared in publications such as Pop Magazine, Dazed & Confused, Purple Fashion Magazine and i-D, throughout which feminist themes and their place within contemporary pop culture prevail.

Drome SS17 © Drome

by Hannah Bergin

The collection is available at Drone online

Atlas Gallery Reveal New Surrealist Photography Show

THE Atlas Gallery in London unleashes the creative power of the unconscious in a new show which explores how avant-garde photographers responded to Surrealism. The exhibition, which opens this week, traces the history of the iconic movement through five decades beginning with its launch in Paris in the 1920s by poet, André Breton.

The Psychic Lens: Surrealism and the camera displays almost 50 works by well-known photographers which include Man Ray, Florence Henri and Bill Brandt and work by lesser known artists such as Franz Roh and Vaclav Zykmund. Their work also reveals a diverse range of skills comprising photo-montage, double exposures, solarisation and combination printing.

Atlas Gallery, Surrealism, photography, exhibitionVisit in Night, 1951 © Toshiko Okanoue

The Surrealists sought to uncover the unconscious mind and merge it with reality. They created dream-like imagery by lifting objects from their familiar contexts and re-positioning them in unlikely groupings. The Japanese photographer, Toshiko Okanoue, started making photo collages as a fashion student at Bunk Gakim College during the 1950s. After the Second World War, Japanese goods were in short supply and many were imported from abroad.

Cutting scraps from fashion magazines such as Vogue and Harper’s Bazaar, Okanoue began to create imaginative compositions arranged from body parts, animals and architectural elements. Although having no knowledge of Surrealism at the time, she realised later that, “Without being aware of it, I have planned such delicate nuances of a woman’s heart and sown seeds of such sentiments into my works.”

Atlas Gallery, Surrealism, photography, exhibitionPortrait Composition (E), 1937 by Florence Henri © Galleria Martini & Ronchetti, Genova

Influenced by Constructivism and Cubism, the American artist Florence Henri experimented with mirrors to add greater perspective to her imagery. She overlaid reflections in shop windows and made photo-montages from photographic clippings of classical architecture. She explained

“Volumes, lines, shadows and light have to obey my will and say what I want them to say. This happens under the strict control of composition, since I do not pretend to explain the world nor to explain my thoughts.”

Apart from distorting perspective and the size of objects, Surrealist photographers sometimes used words in their imagery. The German magazine cover designed by Dutch photographer, César Domela-Niewenhuis depicts a giant signpost of painted text looming above the sprawling Port of Hamburg to reveal a cluttered scene of cranes, building and steamships parts.

Atlas Gallery, Surrealism, photography, exhibitionHamburg, 1929 by César Domela-Niewenhuis © 2014 César Domela/
Artists RightsSociety (ARS), New York/ADAGP, Paris

by Miranda Charalambous

The exhibition, The Psychic Lens: Surrealism and the camera runs from November 24 to January 28, 2017 at Atlas Gallery, 49 Dorset Street, Marylebone, London W1U 7NF
Telephone: +44 207 224 4192

Front page image: Ruths-Speicher, photomontage, 1928 by César Domela-Niewenhuis © 2014 César

Domela/Artists Rights Society (ARS), New York/ADAGP, Paris

Vogue Italia Hosts Inaugural Photo Vogue Festival in Milan

FASHION and photography are inextricable – each one having profoundly influenced (and indeed continuing to influence) the other. Vogue Italia celebrates this unique and creatively reciprocal relationship via the Photo Vogue Festival – the first of its kind – which will be held in Milan at the end of this month. Chaired by Editor-in-Chief, Franca Sozzani, and directed by the publication’s Senior Photo Editor, Alessia Glaviano, the festival comprises a number of lectures, conferences and exhibitions which will be held at various locations throughout the city.

Highlights include the Vanessa Beecroft Portraits 1993 – 2016 exhibition, as well as two collaborative shows, The Female Gaze and Photovogue/inFashion – their common interest lying in the exploration of female identity.


Vanessa Beecroft Portraits 1993 – 2016 exhibition © Vanessa Beecroft

Vanessa Beecroft is a LA-based multi-disciplinary artist, whose fascinating, original and rather unconventional portfolio includes performance, drawing, photography and video art to name but a few. Her work is highly didactic, and through the examination of issues such as sexuality, desire and marginalisation, Beecroft critiques widely-held perceptions of women in society.

Photograph: Yelena Yemchuk

The Female Gaze meanwhile, brings together several artists whose works condemn the traditional role of women as muses, too often reducing them to mere passive, objectified beings.

Photograph: Uldus Bakhtiozina

The Photovogue/inFashion exhibition showcases the industry’s most promising photographers, as selected by Vogue Italia’s Photo Vogue, an initiative launched in April 2011 which endeavours to seek out emerging talent, promote their work and foster their careers. In partnership with New York agency Art+Commerce, Photo Vogue is directed by Alessia Glaviano, and supported by Chiara Bardelli Nonino and Francesca Marani.

An expert panel of judges selected Chinese-born Kiki Xue to shoot a feature for the publication, the result of which will feature in the exhibition, alongside images produced by a further 30 recently scouted photographers.

Photograph: Kiki Xue

by Hannah Bergin

Vanessa Beecroft Portraits 1993 – 2016 will be held from November 24-29 at Palazzo Reale: Piazza Duomo
The Female Gaze will be held from November 22 – 26 at Base Milano: Via Bergognone
Photovogue/inFashion will be held from November 22 – 26 at Base Milano: Via Bergognone

Magnum Photos Releases New Square Print Project

A NEW Square Print Project launched by Magnum Photos celebrates the legacy of Polish documentary photographer and Magnum co-founder, David “Chim” Seymour. The project, entitled Conditions of the Heart: on empathy and connection in photography is inspired by Seymour’s exceptional ability to convey human emotion in his work. This project explores the relationship between photographer and subject and the significance of Seymour’s work on the practice of documentary photography. Featuring over seventy artists, the project is part of a series which examines the influence of the Magnum co-founders which also include Henri Cartier-Bresson, Robert Capa and George Rodger.

Seymour, who began his career as a photojournalist in the 1930s is well known for his images of the Spanish Civil War. During the Second World War, he joined the United States Army as a photographic interpreter and afterwards, worked for UNICEF photographing the plight of orphaned children. Affected by wartime experiences, Seymour’s work became more socially conscious and acquired a greater sensitivity. Magnum photographer, Henri Cartier-Bresson said, “Chim picked up his camera the way a doctor takes his stethoscope out of his bag, applying his diagnosis to the condition of the heart.

When Magnum photographer, Eve Arnold was seconded to Cuba to take magazine photographs, she encountered destitution on an unimaginable scale which affected her greatly. In desperation, a Cuban family, depicted here, implored her to adopt their daughter to save her from a life of prostitution and poverty.

CUBA. Bahia Honda. Fisherman and family. Island girl. 1954.Fisherman and family. Bahía Honda, Cuba. 1954. Courtesy of Eve Arnold/Magnum Photos

Magnum photographer, Paul Fusco took this photograph while travelling from New York to Washington, D.C. from a train carrying the dead body of Robert F. Kennedy. Fusco explained, “The people in this photograph had a meaningful connection with Kennedy and an appreciable reason to build a sign, stand in the heat and say goodbye to the man who had once offered them hope.”

USA. 1968. Robert KENNEDY funeral train.USA.USA. 1968. Robert Kennedy funeral train. Courtesy of Paul Frusco/Magnum Photos

Magnum photographer, Ian Berry was pleasantly surprised when he worked with the actor and singer Jane Birkin OBE and her partner, Serge Gainsbourg. Regarding most celebrities somewhat challenging, he found the pair ”warm, friendly and generally terrific” and, easy to photograph.

France. Paris. Jane Birkin OBE is an English actress and singer based in France. She is known for her relationship with Serge Gainsbourg and for having a Hermes bag named after her. In recent years she has written her own album, directed a film and become an outspoken proponent of democracy in Burma. Here she sits with Serge Gainsbourg in their Paris flat. 1970 Jane Birkin with Serge Gainsbourg, her husband at the time, in their Paris flat. 1970.
Courtesy of Ian Berry/Magnum Photos

The Magnum photographs on sale are museum quality prints and measure 6 x 6 inches. Each photograph is sighed and estate stamped and cost $100.

by Miranda Charalambous

The Magnum Square Print Sale, Conditions of the Heart: on empathy and connection in photography runs until November 4, 2016 at the Magnum Print Online Shop.

Front page image: Marilyn Monroe on the set of The Misfits. Reno, Nevada, 1960, Courtesy of Inge Morath/Magnum Photos


The Unseen Festival, Amsterdam Announces Programme Of Events

THE Unseen Photo Fair  opens later this month during the Unseen Festival in the historic district of Spaarndammerbuurt, Amsterdam. Now in its fifth year, this unique and much anticipated event, will display cutting-edge work from more than 150 emerging and established artists from across the world and offers the chance for both professionals and enthusiasts alike to discover the latest advancements in contemporary photography. The fair is housed at the distinctive Gashoulder in the Westergasfabriek venue in the city.

The Unseen Photo Fair and Festival will also exhibit new work by international photographers, Thomas AlbdorfLaurianne Bixhain, Felicity Hammond, Miren Pastor and Tereza Zelenkova – finalists of the ING Unseen Talent Award. In addition, an extensive programme of lectures and debates will be available and access to an array of up-to-the-minute publications from the event’s exclusive book market.

600x400-dogDog Cemetry, 2015, Tereza Zelenkova, silver gelatin print on fibre based paper, 2015 © Lowres

Highlights of the fair include Making Memeries, an augmented reality project created by Bruno Crechel whereby visitors can design their own physical reality. By downloading a free app, visitors can digitally interact with imagery designed by artist Lucas Blalock on eight moveable panels. The project opens up boundless possibilities for image sharing but causes us to reflect on the challenges facing today’s contemporary photographers.

At Unseen’s new temporary studio, inside the Westergasfabriek, visitors will be invited to have their portraits taken by emerging talent from the African continent. This project forms part of a radical new project by African artists to explore their heritage of portraiture in an unusual and alternative way.

In fact, nothing is conventional at Unseen, including the process of buying. For those with a penchant for fairground attractions, try your hand at Clare Strand’s hoopla stall, you might win some original artwork.

600x400-green Untitled (00-16), 2016 © Fumi Ishino

by Miranda Charalambous

The Unseen Photo Fair opens from September 23–25 in the Westergasfabriek and takes place during the Unseen Festival in the district of Spaarndammerbuurt September 16–25 2016 in Amsterdam, PO Box 15650, 1001 ND Amsterdam

Tel: +31 (0)6 46 10 98 68
Front page image: Big Couple Green & Blue, 2015 © Pierre Christophe Gam