Events and Exhibitions
Almost Nothing But Blue Ground interrogates the Victorian fern craze, land ownership, capitalism, and the colonial project, through the lens of pioneering Victorian photographer and botanist Anna Atkins at FormaHQ by Tom Pope and Matthew Benington.
The Daiwa Anglo-Japanese Foundation is pleased to present Miyuki Okuyama’s first UK solo exhibition, Japan, outside Japan. The show features Okuyama’s two recent works, Dear Japanese: Children of War (2012-17) and Michinoku Homeward: Walking towards the Northeast (2021).
Discover works from Siân Davey’s The Garden in a free outdoor exhibition in the Soho Photography Quarter just outside the Gallery.
Venues
Past Events and Exhibitions
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.
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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.
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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.
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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.
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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.
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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.
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In conversation with Clare Grafik, Head of Exhibitions, The Photographers' Gallery.
Raqs Media Collective are three Delhi-based artists – Jeebesh Bagchi, Monica Narula and Shuddhabrata Sengupta. Their installations, performances and encounters sit at the intersection between contemporary art, historical enquiry, philosophical speculation, research and theory.
Raqs Media Collective is on show at The Photographers' Gallery until 1 July 2012.
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Is photography the perfect medium to illustrate big ideas?
Can political and personal change really take place by looking at photographs, or can it only be symbolic when we are presented with pleasing aesthetics? This panel discusses how we consume photographs and what change they can affect.
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