Sean O'Hagan's top 10 photography exhibitions of 2016Sean O'Hagan, The Guardian December 7, 2016
5. Eamonn Doyle: END.
The most-talked about show at the Arles photography festival was this radically staged installation, which presented Doyle’s vivid Dublin street portraits in a maze-like room... READ MORE
8. The Image As Question
An exhibition that explored the photograph as proof at a time when the uses of photography in art and on social media directly challenge or subvert that suddenly old-fashioned notion. Michael Hoppen, a passionate believer in photography as an art form... READ MORE
The Image as Question: An Exhibition of Evidential PhotographyWill Britten, Film's Not Dead November 9, 2016
The Image as Question: An Exhibition of Evidential photography is a visual theatre of post-documentary and artistic passion...
Seeing is believing: documentary photography from Francis Bacon to 9/11Sean O' Hagen, The Guardian September 28, 2016
There is a quiet power to Simon Norfolk’s black-and-white study of what looks like an ordinary staircase in a nondescript house. What strikes you first in this photograph – which features in a new exhibition called ? The Image as Question – is how the light plays on each polished surface: the gleaming handrail and pristine skirting board, the gloss-painted wall. It is then you notice that the surface of each stair is not straight but gently curving, worn by the footsteps of those who have walked down them over the years.
Proof Reading: Tracing the history of evidential photographyCharlotte Harding, British Journal of Photography September 26, 2016
The Image as Question, the new exhibition opening at the Michael Hoppen Gallery this week, brings together some of the greatest image-makers of modern times.
What do photographs of 9/11, burnt filing cabinets and a police line-up all have in common?
They are all compelling records that uncover revealing evidence.
Since it’s invention, photography’s claims of truth and scientific objectivity have long furnished the photograph as the primary tool of evidence.
From crime scenes, zoological specimens, lunar and space exploration, to family holidays and atrocities taking place on the global stage, the photograph has been used as ‘proof’. Any contemporary artist using photography has to accept the evidential language embedded in the medium.
Simon Norfolk: Under LondonRoff Smith, National Geographic January 12, 2016
London’s Big Dig Reveals Amazing Layers of History
Spurred by a building boom, archaeologists are plumbing the deep past of one of Europe’s oldest capitals.
You can read more about these fascinating discoveries on the National Geographic site (see link below) or visit the free exhibition at the Museum of London. Book tickets to the talk Simon will be giving at the museum, follow the link below.
Simon Norfolk. Time TakenWall Street Journal August 3, 2015
Michael Hoppen Gallery is delighted to announce Simon Norfolk’s third exhibition of photographs with the gallery, Time Taken, a poetic tracing of time on the war-torn landscape of Afghanistan.
Between 2013 and 2014 Simon Norfolk visited the Bamiyan Valley in Afghanistan, an area of the country once famous for its 170 foot tall Buddhas and more so now for their demise at the hands of the Taliban in 2001. Setting up his camera at over a dozen locations over a twelve-month period, Norfolk looked to depict the slow, silent release of the seasons in ‘a year long un-blinking honesty.’
Simon Norfolk's changing seasonsTelegraph Luxury August 3, 2015
The photographer captured the same spots in Afghanistan over the space of a year to chart the shifting landscape
Simon Norfolk: Time TakenSarah Emily Gilbert, Urban Agenda, NYC July 28, 2015
The London-based Michael Hoppen Gallery announces esteemed photographer, Simon Norfolk’s third exhibition of photography from August 3rd – September 8th.
TIME: Discover an Enduring Afghanistan Through Its LandscapeLucia De Stefani, TIME magazine, online July 28, 2015
Afghanistan is a country Simon Norfolk knows well. Since his first visit in 2001, he has returned to the rugged slopes of its snowcapped mountains and gritty valleys at least a dozen times, first in 2002 to depict the ruins of its war-torn towns (Afghanistan: chronotopia) and then again in 2010, to create a series mirroring the earlier work of Victorian photographer John Burke with a modern perspective (Burke + Norfolk).
Simon Norfolk: Time Taken at Michael Hoppen Gallery, LondonAesthetica Magazine July 22, 2015
Multi award-winning photographer Simon Norfolk holds his third exhibition with Michael Hoppen Gallery, London, late this summer, showing images taken between 2013 and 2014 in the war-torn Bamiyan Valley, Afghanistan. Once known for the immense 170 foot standing Buddhas carved into its cliff faces, the region has been destroyed in conflict with the Taliban.
A Land for all seasons, Simon Norfolk captures the scarred beauty of AfghanistanSunday Times Magazine, Spectrum July 19, 2015
The Internet Has Changed the Way We Remember WarOscar Rickett, Vice online November 25, 2014
I know you've done this around the World War I anniversary but British troops are also pulling out of Afghanistan. Is that something you had in mind?
Simon Baker: Some of the first pictures in the show are Roger Fenton's pictures of the Crimea in the 1850s and then suddenly the Crimea is back in the news. There's a series of work at the end of the show by Stephen Shore about Ukraine and now there's fighting in Ukraine. These things are going round in circles. And in fact, Simon Norfolk's work about Afghanistan was made during the early part of the war in 2001 and what he actually found were traces of previous conflicts. Even in one body of work, you've got that circularity.
The scars of war: how good is photography at capturing conflict?Sean O'Hagan, The Guardian Online November 25, 2014
‘People aren’t supposed to look back,”
wrote Kurt Vonnegut in Slaughterhouse 5, his absurdist anti-war novel written in 1969. “I’m certainly not going to do it any more. I’ve finished my war book now. This one is a failure, and had to be, since it was written by a pillar of salt.”
It is Vonnegut’s novel, rather than an image, that is the starting point for Conflict, Time, Photography. A notice next to the exhibition entrance describes how the book came to be written (Vonnegut was an American POW who witnessed the firebombing of Dresden on 13 February 1945) and how the structure of the show echoes Vonnegut’s use of narrative time shifts to move freely through the history of photography and conflict. It is left to the viewer to decide whether photography can look back any more successfully than fiction at events that often, as Vonnegut concluded, defy description or rational understanding.
160 years of war photography: an audiovisual guide to the world's most powerful conflict imagesThe Guardian November 24, 2014
In 1854, Roger Fenton showed a cannon-blasted field in the Crimean war. In 2001, Simon Norfolk shot sheep among the ruins in Afghanistan. As a new exhibition opens, Tate Modern’s photography curator Simon Baker talks through some of the most iconic images of war
How To Spend It: The art of photojournalismPERNILLA HOLMES, How To Spend It April 5, 2014
The sun beats in through the window to where elderly men are sitting on the floor, their faces lined with deep looks of mistrust and uncertainty as a slightly younger man reads from a note in his hand. The lighting recalls a touch of Dutch Old Master paintings – the textures richly hued – and the general narratives are layered. The image could have come from any time in history, but for the giveaway photo of Afghanistan’s current president, Hamid Karzai, leaning against the wall. Apparently, there hasn’t been time to hang it yet.
Simon Norfolk Silk ScarfWallpaper Photography App October 30, 2013
Printed on silk scarves in a limited run of 100 pieces, Simon Norfolk's Hadron Collider No.4, 2006, is now available as part of a collaboration with Munich's Filed Unfer and London's Michael Hoppen Gallery. Using the photography of Norfolk and Chloe Sells (another line features anonymous images), the scarves are part of Filed Under's exploration of the links between art and design (and fashion and design) today. The scarves are available exclusively through the Michael Hoppen Gallery and Filed Under. Simon Norfolk silk scarves, £250.
Prix Pictet: Simon Norfolk in AfghanistanFT magazine June 28, 2013
After winning the Prix Pictet Commission, photographer Simon Norfolk follows the cycle of the seasons in Bamyan province in the country’s Central Highlands
In February, after winning the prestigious Prix Pictet Commission, the British photographer Simon Norfolk went to Bamyan Province in Afghanistan’s Central Highlands, where small farming communities battle against the harsh climate to eke out a living. His plan was to follow the cycle of the seasons for a year, from a frozen early spring through to the snows of winter, documenting the stages of flooding, irrigation, planting and harvest. These are his first cycles, taken from the same vantage points roughly six weeks apart. Below Norfolk writes about his relationship with the country, where he has worked for more than a decade, and with its people
Haven't we been here before?Ian Jack, The Guardian April 23, 2011
Simon Norfolk pairs photographs of an occupied Afghanistan – from 130 years ago and today. What can the past teach us about the future, wonders Ian Jack.
Simon Norfolk: SatellitePatrick Burgoyne, Creative Review September 23, 2010
In a series of stunning images, photographer Simon Norfolk documents the life of a satellite, from manufacture and testing all the way to the launchpad
I've loved Simon Norfolk's for a long time so I was specially pleased to see that he had entered our Photography Annual this year with Satellite, a series of images commissioned by This is Real Art which document the life of an Astra satellite.
Two of these images made it into the Photography Annual helping it, I think, to become the strongest we have done. It's wonderful to be able to show all these beautiful images in print, but there is a downside. Compared to online, there is a chilling permanence to print: get something wrong and that's it. So it was with a sinking stomach that I noticed that we had managed to print Simon's images at a lower resolution than they should have been. Everyone at CR apologises to him for this but there is an upside. We are going to run an extended selection of images from the Satellite series as our Monograph for the November issue.