News

  • 'POSTWAR SHADOWS' by ISHIUCHI MIYAKO

    GETTY MUSEUM, Los Angeles 06.10.2015 - 21.02.2016

    A huge congratulations to Ishiuchi Miyako for her fantastic new exhibition opening at the Getty Museum in Los Angeles this week. The first major survey of Ishiuchi's work in the US.

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  • Alfred Seiland

    New Shows Jan 30, 2015

    Alfred Seiland has received numerous awards for this work, including the Gold Medal of the Art Directors Club of New York, the Pro Prize, Epica d'Or and the Lead Award. He is represented with his works in numerous collections, including the Museum of Modern Art in New York and in the Bibliothèque Nationale in Paris. He is professor of photography at the Stuttgart Academy of Fine Arts.

     

    A new show opens at Grisebach Gallery in Dusseldorf, Germany on Jan 30 2015 until 13 March 2015.


    Also Gallerie Clairefontaine, Luxembourg, 7 March - 18 April



  • ANDRÉ VILLERS

    1930-2016

    The Michael Hoppen Gallery is sad to announce the passing of photographer Andre Villers.

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  • AUGUST SANDER

    PHOTO LONDON, BOOTH B8 - Featured artist 19-22 May

     PHOTO LONDON BOOTH B8

    19-22 May, Somerset House

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  • BEYOND THE DOCUMENTARY IN LATIN AMERICAN PHOTOGRAPHY

    By Nathalie Goffard, Professor & Art Historian Oct 20, 2015

    Art comes with its own clichés and fictions and Latin American art has often been reduced to its politics. One could agree with the commonly held assertion that ‘all art is political’, not just for the messages it transmits, or for the themes it discusses, but because it is a direct reflection on society and its time. The wide range of practices in Latin American photography has mainly been reduced to a particular type of photojournalism that was predominant during times of political instability and social inequality. Latin American photographers, seeking to give visibility to their peripheral status and write their own story within the historical context in which they lived, relied on a political aesthetic in order to become part of an international discourse. This perpetuated the myth that the realities these authors recorded should be defined as ‘documentary’.

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