Events and Exhibitions
Past Events and Exhibitions
Despite his fame as a painter, filmmaker and colourist, Andy Warhol’s use of photographic imagery permeates his practice. However, it was only later in his life, when acquainted with the compact cameras of the 1970s, that he focused on photography in its own right.
Using 35mm black and white film, Warhol (1928 – 1987) carried a camera with him most of the time – taking up to 36 frames a day. Capturing everyday details, people, street scenes, celebrity parties, interiors, cityscapes and signage his subjects all reflect the artist’s characteristic indifference to hierarchy.
"I love industry. Pipes. I love fluid and smoke. I love man-made things. I like to see people hard at work, and I like to see sludge and man-made waste." David Lynch
Anyone familiar with David Lynch’s enigmatic visual language will identify similarities between this series of photographs and his iconic films.
Featuring black and white interiors and exteriors of industrial structures, the exhibition exudes the unique cinematic style of Lynch (b. 1946, USA) through dark and brooding images.
Mark Neville's experimental documentary project Deeds Not Words is a vivid portrait of a community dealing with environmental pollution, birth defects and a high profile court case.
It's an optimistic story of industrial growth and decline, regeneration and solidarity, raising photography's role in influencing policy issues.
Transforming the humdrum through the prism of an optimistic new kind of democratic realism, the project directives to observers were broad in scope, observing pub conversations, village life, gift giving and mantelpiece arrangements.
It's a way of seeing that is both intimate and privileged, revealing the unexpected in the familiar.
Claire Aho (b. 1925, Finland) was a pioneering editorial photographer and innovator of colour techniques.
In the early 1950s, at a highpoint in Finnish design culture, Aho established a Helsinki-based photography studio under her own name. Her prolific output spanned advertising, editorial, reportage and fashion for a range of commercial applications. She dealt with all aspects of the creative process, from casting models, set-making, styling and lighting to developing and printing her own images.
This exhibition draws on the form and function of the fairground photographic shooting gallery.
If the punter’s bullet hit the centre of the target, it triggered a camera. Instead of winning a balloon or toy, the participant would win a snapshot of themselves in the act of shooting.
This exhibition traces the history of this fascinating side-show – from its popular use at fairgrounds to how it fascinated many artists and intellectuals in its heyday, including Simone de Beauvoir, Jean-Paul Sartre, Man Ray and Lee Miller.
Irish born photographer Tom Wood (b. 1951) has, for the last four decades, continuously recorded the daily lives of the people of Liverpool and the Merseyside area.
Never seen without his camera, and constantly moving between different formats and photographic styles, colour and black and white, Wood readily mixes images of strangers with portraits of family and friends. His work, although documentary in its approach, is much more fluid than that – an exploration of the medium of photography as much as a celebration of the city of Liverpool and its inhabitants.
This is an exhibition of four artists shortlisted for the annual photography prize.
This selection showcases diverse approaches to photography, from portraits taken in the toxic waste dumps of Ghana, to exquisite images of everyday moments and the conceptual use of found imagery.
Canadian photographer Edward Burtynsky has travelled the world to chronicle the effect of oil on all our lives, and to reveal the rarely seen mechanics of its production and distribution.
This exhibition shows three sections from Burtynsky’s series OIL: Extraction and Refinement, Transportation and Motor Culture and The End of Oil. The works depict landscapes scarred by the extraction of oil, and the cities and suburban sprawl defined by its use. He also eloquently addresses the coming end of oil, as we face its rising cost and dwindling availability.
Raqs Media Collective are three Delhi-based artists – Jeebesh Bagchi, Monica Narula and Shuddhabrata Sengupta – whose practice includes photography, new media, film, media theory and curation.
This exhibition features two works. An Afternoon Unregistered on the Richter Scale (2011) is a silent looped video projection that transforms an archival photograph taken in Calcutta in 1911 through a series of subtle alterations.