Those enigmatic and alluring black female figures with their backs turned or their faces out of frame came to stand for a generation's mode of looking and
questioning photographic representation.
Not exact matches
By relating the notion of the staycation to the screensaver, Tuppen
questions the capacity for the screensaver, often a
photographic representation of a dreamt - of elsewhere, photoshopped to a high level of artifice, to satisfy the necessity for escape from daily routine.
Fictive Kin presents works by three contemporary artists who all construct
photographic tableaux, and are united by their cultivation of modes of seeing that
question conventions behind the
photographic representation of three - dimensional objects.
From Andy Warhol to Richard Prince, these artists open up the
question of what it means to utilize the
photographic medium for
representation, as well as in the creation of form.
His works
question any assumed differences between abstraction and
representation, between modes of presentation... Welling's photographs are objects in themselves, beautiful compositions that also gloss and comprise a history of
photographic practices.
Instead Shirreff mines the vexed
questions of how images mean and matter to us, and how we negotiate the distance between an object and its
photographic representation, or between a
photographic representation and our memory of what it shows.
Rather than attempting a definitive history, the publication posits an alternative approach to the myriad
questions and debates associated with
representation, presenting its technological history as inextricable from the social history of media, and staging this through the complex and multivalent relationship between the
photographic image and the body, whether it be the body of the viewer, or that of the depicted.
His film stages a confrontation between the
photographic image and the forms of
representation that it supplanted and raises
questions as to what comes next.
Past artists who have created work for Rivington Place's window include Philomena Francis who used piped black treacle in her artwork mo» lasses III to raise
questions about identity and viewing the black female body, and most recently Nilbar Güres» Beekeeper, a
photographic composition examining
representations of femininity and cultural identity.
Instead they mine the vexed
questions of how images mean and matter to us, and how we negotiate the distance between an object and its
photographic representation, or between a
photographic representation and our memory of the things it represents.
The exhibition — which contextualizes drawing as part of her broader consideration of
photographic and film
representation — shows how drawing can revisit,
question and change images used for personal, cultural and national identity.