by Hannah Rose
Finding the right home for his pictures was a feature of Larry Sultan’s early career. Museums and galleries dismissed his satirical images—which played out an ironic commentary on modern American life—and found themselves on billboards scattered across America instead. Striking and immediate, perhaps they made more of an impact outside gallery walls.
Now Sultan’s photographs can be viewed in galleries including the Solomon Guggenheim Museum and SFMOMA, where his collection Here and Home is on view until July 23rd.Continue Reading
by Jess Howard
After finding myself caught in a particularly upsetting example of British weather on Monday afternoon, I decided my time hiding from the rain would be best spent nosing round the Impressionist collection currently held in the Courtauld gallery. After fanning away the tears that inexplicably began to spring from my eyes as I stood in front of Édouard Manet’s A Bar at the Folie-Bergère, I stood for a while to look at Vincent Van Gogh’s Self-Portrait with Bandaged Ear, painted shortly after the artist removed his own right ear.
Once I had gotten over my annoyance at the people taking photos of the works around them on their smart phones, instead of just looking at them – which I’m sure could make up another article entirely – I continued to look at the painting, the first real piece of Impressionist art I think I have ever seen in person.Continue Reading
by Jess Howard
The world of fashion and artistic photography are always portrayed as incredibly glamourous. Pre-organised shoots or models dressed in couture to advertise the latest perfume. Photojournalism falls into a slightly different category. Sitting on the boundaries between art and reporting, a photojournalist’s job is to depict the events and suffering that words are unable to convey.
But how does a photojournalist disconnect from the suffering they are capturing, without wanting to help those in the picture?