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Since the mid nineties, the Northern Irish photographer Hannah Starkey has dedicated her work to a labyrinth of ideas surrounding the female experience and the medium of photography. Recognised for her artfully constructed mise-en-scenes in which women of different generations take centre stage, Starkey's colour photographs often arise from close collaborations with actresses, friends or acquaintances she meets on site. Her images combine the subtlest of gazes and gestures with sophisticated forms of lighting, framing, colour and composition, to build multiple narratives that explore the psychological complexity of women. Challenging the aggressive ways in which the media often fetishize and...
Twenty-nine striking pictures by celebrated photographic artist Hannah Starkey have been brought together for her biggest solo show in a decade. The Mead Gallery at Warwick Arts Centre is hosting the exhibition which runs until mid March 2011. The Belfast-born artist's work is notable for its day-to-day subject matter and cinematic studio staging. Her pictures depict women in carefully composed scenarios: slumped over a Coca Cola in a seedy pub, anguished in a waiting room, drunkenly passed out on the sofa. The cinematic mode of contemporary photography comprises a diverse range of practices and Starkey's near narrative photography is one particular type that needs to be differentiated from Cindy Sherman's mimicry of film production stills or Gregory Crewdson's elaborate staging of cinematic scenarios, Margaret Iversen, co-director of a research project called Aesthetics After Photography, said. What all of these artists' work has in common, however, is the evocation of the quintessentially cinematic emotions of desire, doubt or anxiety.
Since 1997, Hannah Starkey had produced a series of photographic meditations on contemporary life. This book covers ten years' work.
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A revealing and timely book, Making It Up is an illustrated history of staged photography. Presenting work from the earliest to the most contemporary photographers, Making It Up challenges the idea that the camera never lies. With approximately one hundred photographs supported by extended commentaries, the book illustrates that, though we often recognize the staged, constructed, or the tableau as a feature of contemporary photography, this way of working is almost as old as the practice itself. Remarkable in themselves, these photographic fictions, whether created by early practitioners such as Lewis Carroll or Roger Fenton, internationally renowned artists such as Cindy Sherman and Jeff Wall, or contemporary figures such as Hannah Starkey and Bridget Smith, find new, intriguing relevance in our Photoshopped and so-called post-truth age.
Delves into nature folklore from around the world in six topical categories, featuring for each category one traditional tale and extensive ancient lore about that topic.
Meet Ruby. She is a lovable, cheeky mutt, yet she is homeless. Who will take care of her? Join Ruby on her journey to find her forever home.
'The British' features the work of six artists and six writers, each offering a distinct view of post-war Britain.
Made over the course of some thirty years, the photographs in this book depict the many faces of April Dawn Alison, the female persona of an Oakland, California based photographer who lived in the world as a man. This previously unseen body of self-portraits, which was given to the San Francisco Museum of Modern Art in 2017, begins tentatively in 1970s black-and-white, and evolves in the 80s into an exuberant, wildly colorful, and obsessive practice inspired by representations of women in classic film, BDSM pornography and advertising. A singular, long-term exploration of a non-public self, the archive contains photographs that are beautiful, hilarious, enigmatic, and heartbreakingly sad, sometimes all at once.0With essays by Hilton Als (American writer and theater critic for The New Yorker), Zackary Drucker (American transgender multimedia artist, LGBT activist, actress and producer of smash Netflix series Transparent) and Erin O?Toole (associate curator of photography at the San Francisco Museum of Modern Art).00.