30/08/2010
17/08/2010
Cammel Laird Shipyard 2002-2003
A personal project by David Hughes documenting the Cammel Laird Shipyard after its closure in 2001 following a financially unrecoverable loss of building contracts and arbritation on payment
16/08/2010
Striptease
Striptease (2008) from Tony Linkson on Vimeo.
A classic high-class striptease performance takes it's time. Anticipation is at the heart of the experience and transforms what could be an instant gratification into a sensual process of revelation.
The film is involved with self-revelation and the tender process of transformation and the connections these things have with sexuality. Striptease is a diagram of time elapsing; a pattern of duration.
The piece uses technology very simply, which holds a great deal of appeal for me generally. Each picture has it's own audio track, so a different number of images, or a different delay between each image creates both a different film and automatically a different soundtrack.
Striptease was originally made in response to a commission from Tank in 1999 and has since featured in various printed publications and screened as part of group Tank screenings including one at the ICA, London. This new version was made and screened in a private group show in London, March 08.
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Audio by Aaron Trinder and Tony Linkson.
13/04/2009
Chris Steele-Perkins
There’s an interview with Magnum photographer Chris Steele-Perkins in the current issue of the RPS Journal (March 2009) where Steele-Perkins discusses a retrospective of his work shot in England, which he is currently editing.
Apparently the project will collect material shot during the course of Steele-Perkins’ career, from his student work, to what he is shooting now. “I’ve not been interested in doing retrospective books”, he says, “but I realised I’ve been photographing England for about 40 years. If I’ve got three picture from every year, that’s 120 pictures.”
Looking through this huge body of work, he says, themes emerge of which he was only vaguely aware hitherto. “I’ll probably run it chronologically”, he tells David Land, “because it’s interesting to see a theme re-appearing over time in slightly different ways.”
“This is the first time I’ve looked back. I’m trawling through my old contact sheets, and finding images that haven’t been printed up, that were lost, or put into the Magnum system and forgotten about. It’s interesting, because you forget about the stories you’ve done, but it’s also tedious: you do shoot a lot of muck, and are reminded of all those mediocre pictures you’ve shot.”
The book will published by Northumbria University Press. Hopefully it will include some of these (not mediocre) photographs taken from his previous publications, The Teds (1979, re-published by Dewi Lewis, 2003) and The Pleasure Principle (Cornerhouse, 1995).
12/04/2009
THE HELNWEIN RETROSPECTIVE
The work has to be seen to be believed...
THE HELNWEIN RETROSPECTIVE AT THE STATE RUSSIAN MUSEUM ST. PETERSBURG
THE HELNWEIN RETROSPECTIVE AT THE STATE RUSSIAN MUSEUM ST. PETERSBURG
11/04/2009
Lisa Sarfati, Rough, Cold and Close: A Russian Poem
Lise Sarfati’s photos of Moscow boys and early 20th century country houses look, at first glance, like the set and actors from a movie about the “Russian experience.” But there is no defining narrative or script, there is simply the thoughtful, meditative eye of a photographer seduced by the faces of urban men and the facades of rural homes.
Sarfati’s work has been featured in solo exhibitions at FOAM Amsterdam; the Domus Artium, Salamanca, Spain; Maison Européenne de la Photographie, Paris, France; and the Nicolaj Center of Contemporary Art, Copenhagen, Denmark. In 1996, the artist was awarded the Prix Niépce in Paris and the Infinity Award from the International Center of Photography in New York. Twin Palms published a book of the artist’s second body of work titled The New Life (La Vie Nouvelle) in the fall of 2005. Ms. Sarfati obtained a master’s degree in Russian Studies from the Sorbonne. She currently lives and works in the United States and Paris, France.
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