Continuing our series on visually rich art books, Tim Clark takes a peek inside Paul Salveson’s Between the Shell, winner of the First Book Award 2013, and discovers an unexpected and absurdist upheaval of everyday environments.
Ben Harman, Curator of Contemporary Art at Glasgow’s Gallery of Modern Art, has been appointed director of Stills Gallery, Edinburgh.
Tim Clark, who writes a-n’s fortnightly PICTURED column, provides a rundown of the ten visually rich art books that have piqued his curiosity during 2013.
For the latest instalment in our series on art books, Tim Clark is in awe of AMC Journal Issue 7, The Great Refusal, a document of post-World War II protest that simultaneously reveals the birth of new forms of hedonism.
Continuing our series on art books, Tim Clark is blinded by Lorenzo Vitturi’s A Dalston Anatomy, a vibrant and kaleidoscopic look at London’s Ridley Road Market that blends photography, sculpture and collage.
The Social: Encountering Photography, a new festival for photography in Sunderland and north-east England, opens to the public today. We speak to the organisers, Carol McKay and Amanda Ritson about what’s in store, and offer a selection of some of the newly commissioned work.
Marking the tenth instalment in our series on art books, Tim Clark turns his attention to David Campany’s Gasoline, an evocative publication comprising 37 press images of gas stations that are imbued with their own history and reveal more than they purport to show.
The role of the artist studio within processes of redevelopment in cities has been brilliantly captured in a fascinating publication, The Nomadic Studio: Art, Life and the Colonisation of Meanwhile Space. Tim Clark speaks to Michael Heilgemeir, the photographer behind it.
Our series on art books continues with New Irish Works, a rich resource showcasing a wealth of projects from 25 artists born or based in Ireland.
For the latest instalment in our series on art books, Tim Clark pulls Simon Menner’s new publication, Top Secret, off the shelf and reflects on photographs from the Stasi archive that document the surveillance work of the former East Germany.
Continuing our series on art books, Tim Clark savours the beautiful simplicity of Aleix Plademunt’s Almost There, a galaxy-spanning journey into the photographer’s physical existence.
Continuing our series focusing on visually-rich art books, Tim Clark picks up Marion Gronier’s Glorious, a collection of colour portraits of travelling circus performers, and finds an intense and intriguing study of human presence.
For the fifth part in our series that highlights visually-rich art books, Tim Clark sits down with Guillaume Simoneau’s recently published Love and War, and ponders the complex and overlapping narratives of a female soldier fighting in the Iraq war and a love story gone awry.
For the fourth edition in our new series exploring visually-rich art books, Tim Clark reflects on the performative life and real-time experience of photographs in Tom Lovelace’s publication, Work Starts Here.
The 44th edition of the pioneering photography festival – Les Rencontres d’Arles – held annually in the south of France is now underway, and despite its strange curatorial proposition still continues to enthral audiences. Tim Clark reports back from the opening week.
For the third instalment of our series looking at visually rich art books, we consider the delicate and meditative works of Japanese photographer Rinko Kawauchi, on the occasion of her latest book – Ametsuchi – published by Aperture.
Continuing our new series on visually-rich books, Tim Clark turns his attention to historic images of popes and bishops looking through telescopes in the Vatican Observatory, featured in the publication Curiosity: Art and the Pleasures of Knowing, which accompanies the exhibition of the same name.
A new membership scheme from The Photographers’ Gallery aiming to nurture the next generation of art collectors and philanthropists, launches tonight. We talk to Director Brett Rogers about the project, and about future prospects and challenges as the organisation celebrates the first anniversary of its reopening.
In the first of a new series focusing on visually-rich art books and publications, Tim Clark looks at the disturbingly sublime images of the photographer Richard Mosse, whose images from wartorn Congo are currently showing in Venice and are to be featured in a 240-page book from Aperture.
London-based artist duo Broomberg and Chanarin scoop the £30,000 Deutsche Börse Photography Prize 2013 for their imaginative reworking of Bertolt Brecht’s 1955 War Primer.
On Self-Portraiture, a collaboration between Brook Hobbins, a sculptor and myself.
As the second edition of Liverpool’s international photography biennial LOOK/13 launches, Director Patrick Henry talks about the world-class programme that’s in store.
The UK’s newest photography festival, Diffusion, has just opened to the public in Cardiff. We speak to its director, David Drake, about opportunities, challenges and what sets it apart from the rest.
The Deutsche Börse Photography Prize 2013 has opened at The Photographers’ Gallery in London and offers the most expanded view of what photography is, or can be, since its inception.
The power and immediacy of vernacular photography prevails in the two stand-out shows at this year’s FORMAT international photography festival. We report back from the opening weekend.
