posted by Bridget on 01 August 2013
In a bold attempt to sum up a country's identity and history through its art, Colin Graham and Karen Downey's book Northern Ireland: 30 Years of Photography brings together work by photographers that seek to look beyond the parochial to more global concerns.
The history of Northern Ireland has informed the work by many of the contributing artists and perhaps none more so than Victor Sloan. Collage, painting onto prints, double exposures are all employed by Sloan to offer a complex and layered visual representation of what he sees as the repetitive mythology surrounding the Irish Troubles.. "The truth of the matter has always been unimportant: the mythology is what has counted."
Click on the image to discover more of Sloan's work and an invaluable archive of writing about Northern Irish history and Sloan's response to it.
posted by Bridget on 31 July 2013
posted by Bridget on 31 July 2013
For two weeks in August, 8th - 25th, billboards, bus stops, tube escalators and airports will be festooned with art in the form of billboards and posters. The brain child of Richard Reed, co-founder of Innocent Drinks, Art Everywhere will turn the UK into a massive art gallery
If you haven't heard about it, check out the Art Everywhere website and find out how you can vote for what goes on show. I picked Cornelia Parker's Cold Dark Matter: An Exploded View. Hope it is posted up on my cycle route.
There is also a form of crowdfunding for this project, which encourages us all to donate something from £3 to £450.
posted by Bridget on 30 July 2013
And my answer is, work out who your audience is and determine the size of the print runs and prices to match your market.
The idea of restricting the number of prints is scary, mainly because there is the possibility inherent within the limitating process of running out. But whatever is decided at the moment of publishing the edition number, our advice is that this must remain the same for the life of that print.
Research into the market will reveal variations of how artists and galleries play this particular limited editon game. There are lots of examples from the unique print approach to the mass produced dots from the Damien Hirst print factory.
A more recent piece of research has uncovered an interesting exception to the small edition runs. The Hackelbury Gallery are selling Saul Leiter's early colour prints as both unlimited and limited prints.
Their catalogue says the following:
11x14 inch Non-editioned prints. All of the early colour photographs in the exhibition are available as 11x14 inch c-prints.These are signed original prints, printed later and not limited. All prints in this size are £3,700 including frame and VAT
16x20 inch Editioned prints. A selection of the early colour photographs are available as a 16x20 inch print, limited to an edition of ten. Depending on where each image is in the edition, prices range from £7,000 - £12,500 including frame and VAT.
posted by Bridget on 29 July 2013
In moving from the micro observations of everyday life to the macro views of the Japan's mountainous region of Aso, Kawauchi surprises us with the beauty of the 1,300 year old tradition of burning farmland.
Kawauchi has not given up her insta-snapping, somewhat compulsive need to take photographs of the everyday and you can see her photographic doodles on her diary here.
posted by Bridget on 26 July 2013
For Garry Winogrand there was nothing more to a photograph than the scene and its surface. He rejected ideas of meaning and depth claiming that photographs can't tell stories, they can only show you what the camera saw. As he famously said "I photograph to find out what something will look like when photographed".
But this nonchalant attitude belies the talent and skill of the photographer himself and mistrusts our ability to judge why some photographs and photographers are better than others.
Millions of people take photographs everyday. We can see them on blogs, flickr, facebook. They exist in these digital archives, unedited and random. The volume is staggering and Erik Kessels installation of 24 hours of flickr is a visual testament to society's need to record events photographically. But they are an undigestable stream of images, difficult to access in any really meaningful way.
Winogrand took thousands of photographs. When he died in 1984, he left over 35,000 prints, 22,000 contact sheets and over 6,500 unprocessed rolls of film. His output was impressive in numbers.
But to access so many photographs in any really meaningful way they must be edited, given a context and presented with some structure. It is through this selection process that the photograph begins to have a meaning that is more than simply what the camera saw. They take on a resonance which collectively tells us about the streetlife of America in the 1960s and 70s. And they tell us what Winogrand was looking at and so reveal something about the photographer himself.
Click on the image to see more photographs, click here to read Kate Hooper's blog post about Winogrand and watch a youtube interview.