Sebastiao Salgado

Matthew Sleeth

Red China

 

Feet, 2003

Robert Rooney

Ed Ruscha

Christien Meindertsma

Checked Baggage 2003

Anna Gaskell

Erasers

Replayground

Rineke Dijkstra

I Can See a Woman Crying

 

 

Picasso's Weeping Woman

David Maisel

"Library of Dust depicts individual copper canisters, each containing the cremated remains of patient from a state-run psychiatric hospital. The patients died at the hospital between 1883 (the year the facility opened, when it was called the Oregon State Insane Asylum) and the 1970’s; their bodies have remained unclaimed by their families."

Arlo Mountford

 Return to Point, 2006

mixed media installation, animation

"A black circle ransacks art history. Appropriating works and ideas, taking aesthetic cues to shift from one idea to the next, Return to Point uses the simple shape to disregard the chronological art canon and instead determine its own."

Rod McNicol

Discovered Rod McNicol's photography after completing Project 1, but the similarities are too obvious to let lie! These two people were suffering terminal illness at the time of the photograph, and died 2 weeks later. They hold a photograph of themselves as children, as my models did for my sequence on generation and age. The composition of the childhood photo has been mimicked in the more recent one.

Simon Terril

The Balfron Project

Filip Dujardin

All in a Day

A study of colour temperature and light throughout the day, I've taken photographs on the same camera (white balance) settings, every hour for 12 hours in a day. You can see a gradual change in colour temperature: growing colder toward the evening. Obviously exposure, shadows and the angle of light alter as well.

morning

midday

afternoon

evening

Salvadore Dali and Luis Buñuel

Un Chien Andolou

1929

Andreas Gursky

Thomas Demand

Makes all these photographed installations out of coloured card and paper. Most are life sized and exact replicas of photographed spaces which actually existed at some point in time. Almost like sets to an audience, these paper sculptures appear to be real to the camera. This draws attention to photography's inadequacies in dealing with texture, space and reality. It also reveals the assumptions we make about the authority of the photograph, or in fact any for of representation.

I love the theatricality of these artworks, but also their simplicity - which is often lost in such detailed and intricate installations. Demand saves his extravagence for behind-the-scenes, and the final photograph is actually quite humble and believable.

Georges Rousse