Photography News and Reviews

Constructions of Landscape
Work in Progress 2
Massimiliano Gatti, David James Grinly, Daniele Sambo
9th November-19th January
Daniele Sambo
Rather than the constant preoccupation of rural landscape, these artists are exploring the constructed landscapes that surround us everyday. Through models of the ideal in the Royal Botanical Gardens in Edinburgh, the evolution of the form of a Scots town, (in this case Alva in Clackmannanshire) and nocturnal images of gardens hidden between the tenements of Glasgow, these works unravel the ideas of professional landscape designers, town planners and the environmental-anarchist within each of us.

The Work in Progress series is an annual season presenting the photography of artists working for sustained periods with Stills’ production facilities and residency programmes in order to raise awareness of the caliber of the artists’ works and to encourage their collection.

————————————————————————————————————————————————Vivian Sassen

the photographer's collective

David Peat: An Eye on the World
27th September-27th October
David Peat Must Not Be Stored Electronically For One Use Only In Relation To Article In The Scotsman May 2011
he roots of David Peat’s photography lie firmly in the classic street photography genre. Continually inspired by the masters of street photography and their skill at seeing and hunting a meaningful image within a moment in time, Peat has quietly built his own personal portfolio of images during a working life around the world.


Ângela Ferreira: Political Cameras
2nd August-27th October
Ângela Ferreira, Political Cameras, 2011
For her first solo exhibition in a public gallery in the UK, Ângela Ferreira presents her renowned project Political Cameras (For Mozambique series) from 2011 alongside a new commission which will reference the legacy of David Livingstone’s life and work, and the relationship between Africa and Europe from colonial days to the present. Since the early 1990’s Ferreira’s practice has sought to articulate political meaning and commentary, repeatedly questioning the nature of the relationship between Africa and the Western world, and recalling politics through cultural icons like Dylan, Hendrix, Jean Rouch, Jean Prouvé or Ingrid Jonker.

Although Ferreira studied sculpture, which is at the heart of her practice, photography and film have become an inseparable part of her sculptural proposition. The appearance of photography as an integral part of the artist’s work dates back to an early seminal work entitled Sites and Services, 1991. Up to that point, photography functioned as a way of presenting the reference-image which Ferreira used as a starting point for each work, fulfilling a quasi-documentary role. By including this material in her installations Ferreira explores ways of expanding the meaning of the sculptural renditions – from the real to the conceptual and back again.

Experiencing reference images together with the rendered sculptural form enables the viewer to travel forwards and backwards between the two realms, devising his or her own personal content from this action. In this way, the meaning of each project or installation can be found in the space between the reading of the photographic documentation image and the reading of the sculptural image: the two become an integral part of one artwork.


World Press Photo 2013
Scottish Parliament
30th July-25th August
Over 103,000 photographs were submitted by a total of 5,666 photographers representing 124 different nationalities.
Swedish photographer Paul Hansen has been awarded the World Press Photo of the year. The winning image, Gaza Burial, shows a group of men carrying the bodies of two dead children through a street in Gaza City. They are being taken to a mosque for the burial ceremony while their father’s body is carried behind on a stretcher. Two-year-old Suhaib Hijazi and her three-year-old brother Muhammad were killed when their house was destroyed by an Israeli missile strike.  The picture was taken on 20 November 2012 in Gaza City, Palestinian Territories.



Street Level Photoworks:
Marion ArchibaldKatarzyna Branicka, Enda BurkeSophie-China CabournCatherine CameronRoss Finnie, Monika GrabowskaMat HayCsilla KozmaGemma MathiesonAnia MokrzyckaFiona Skinner

Peacock Visual Arts, Aberdeen:
Julia BauerKirsty CochraneJames DixonLloyd ElliotAlex HarveyIndia Victoria HeronStella Heath KeirDonna Maria KellyHannah KillohKatarzyna LitarskaJonny LyonsGavin MottramRadek Nowacki,  Catherine Scott


FUTUREPROOF is a series of exhibitions organised by Peacock Visual Arts, Aberdeen and Street Level Photoworks, Glasgow, profiling up-and-coming artists from Scotland’s Photography and Electronic Media courses.

It aims to capture something of the broad range of ways that younger and emerging artists engage with these media. The title ‘Futureproof’ is a pun on the definition of futureproofing – of finding ways of not becoming obsolete in the future, and also of the subtle ways of anticipating future developments in the field, of seizing opportunities, as well as the actual and intangible influences in ideas that feed the arts of photography, moving image and installation.


Man Ray Portraits, presented in collaboration with the National Portrait Gallery in London, is the first major museum retrospective of the highly influential artist’s photographic portraits and features over 100 works from his career in America and Paris, dating from 1916 to 1968.

Drawn from collections such as those of New York’s The Museum of Modern Art and Metropolitan Museum of Art, the exhibition will demonstrate Man Ray’s central position among the leading artists of the Dada and Surrealist movements. It will feature portraits of lovers, friends and contemporaries, ranging from two of his most significant muses, Lee Miller and Kiki de Montparnasse, to fellow artists, Pablo Picasso and Salvador Dali.


Coming into Fashion: A Century of Photography at Condé Nast
City Art Centre
15th June-8th September
coming into fashion
The great American photographer Edward Steichen took what were probably the first fashion photographs in 1911. Since then it has become a unique platform for experimentation, balanced between commerce and creativity, recording the Zeitgeist and capturing individual dreams and desires.

The legendary publisher Condé Nast recognised this very early on and created a distinctive style for his magazines, elevating haute couture and turning fashion photography into an art form. With his keen sense for discovering new talents, he found the best photographers and promoted their careers, a tradition continued by subsequent editors and art directors at Condé Nast.

The exhibition shows early work by such luminaries as Cecil Beaton, Erwin Blumenfeld, Helmut Newton, David Bailey, Guy Bourdin, Corinne Day, Mario Testino and Sølve Sundsbø as it appeared in the pages of Vogue, Glamour and other Condé Nast publications. 

With unprecedented access to the Condé Nast archives in New York, Paris, London and Milan, the curator Nathalie Herschdorfer has gathered original prints, as well as pages from the actual magazines. The exhibition provides a unique opportunity to see the work of over eighty photographers right at the outset of their careers. 

This exhibition has been organised by the Foundation for the Exhibition of Photography, Minneapolis/Paris/Lausanne, in collaboration with City Art Centre, Edinburgh.


Garry Fabian Miller: The Middle Place
The Ingleby Gallery
1st May-13th July
middle place 2

In 1976, aged just 19, the artist Garry Fabian Miller embarked on a body of work now known as Sections of England: The Sea Horizon, a series of photographs taken from the roof of Fabian Miller’s home at Clevedon, near Bristol, looking west across the waters of the Severn Estuary. Taken from this fixed point the lens, film and exposure remained constant, so that all that changes from picture to picture is time and the seasonal cycle. Each image is a simple square, divided precisely in half along the horizon.

In 1977 eight of these photographs were exhibited at the Serpentine Gallery in London and two years later they formed a principle element of Miller’s first one-man show at the Arnolfini in Bristol. For nearly 20 years, they then lay unseen until an enquiry from curators at the Metropolitan Museum of Art, New York, who realizing the increasing significance of this body of work, brought Miller’s early career back into focus.

By that time Miller was established as one of the most progressive artists working with photography in Europe, making camera-less, essentially abstract, images without camera or film: exploring the possibilities of image making with light itself. Encouraged to look back, into his past, Miller published the first forty Sea Horizon images in 1997, randomly selecting these from the eighty transparences that had made up his original project. This spring, sixteen years later, the last of this influential group of photographs are being released. They will be exhibited for the first time as a complete sequence of forty works  from 1st May.

In the 37 years since these images were made the horizon has continued to be one of Miller’s central pre- occupations. Alongside the forty Sea Horizon images Ingleby Gallery will also exhibit a group of new, large format, camera-less works titled The Middle Place which explore the territory which Miller describes as “…the meeting of earth and sky. The horizon offering the possibility of understanding our place within the world and its purpose.”


Second Sight
27th April-21st July
stills second sight

The first in a series of projects entitled Image / Identity which will take place at Stills over three years to explore how the movement of people from one place to another, has become a normal part of contemporary society. The project consists of screenings, events and creative projects in which you can participate – please join our exhibitions, projects and events to find out more about the themes of migration, diaspora, transnationalism and multi-culturalism.

The concept of emigration is well-known in Scotland through the history of the Highland clearances and the achievements of pioneering Scots entrepreneurs abroad, but less is known of the experiences and identities of people who choose Scotland as a new home. Whether we consider the stories of families migrated from China, Ireland, Italy, Pakistan or Poland, the aim of Second Sight is to reflect upon what the experience of migration involves. In today’s society, notions of identity and belonging are no longer restricted to a sense of belonging to a specific place of residence and are increasingly influenced by the connectedness of on-line networks and frequent travel abroad.


Willy Römer
Life in the City of Berlin. Photographs 1919-1933

Street Level Photoworks
5th April-26th May
Willy Römer

Römer was a Berlin-based photojournalist whose work documented not only the tumultuous political events of his era – the November Revolution, the abdication of the Emperor, the Spartacist Uprising, mass demonstrations and workers’ strikes, the rise of Nazi militias – but also everyday life in the streets and backyards of Berlin. His photo agency Phototek Römer & Bernstein was one of the leading photo agencies of the Weimar Republic and was closed down by the Nazis in 1935.


Billboard for Edinburgh: John Stezaker
Ingleby Gallery
6th February-30th April

John Stezaker is the 19th artist to create a work for Ingleby Gallery’s Billboard for Edinburgh public art project.


GSA Second Year Fine Art Photography
Grace & Clarke Fyffe Galleryand Second Year Photography Studio GSA
4th-8th February

distilldestill 2

The work of 28 artists presenting work that explores variations of different themes and a variety of different media.


Human Condition
SoftBox Photography Collective
Alice BurdenAnastasios GaitanosBillie Kate DrydenElizabeth RancaneHannah KillohHeidi VossLoren StuartMonika GrabowskaSelina KearneyStella Heath KeirTiu Makkonen
The Old Ambulance Depot
1st – 8th of February 2013

Human Condition

SoftBox is an Edinburgh based photography collective, online resource and forum that enables artists to engage with other lens based practitioners.


26th-29th January

To many, Don McCullin is the greatest living war photographer, often cited as an inspiration for today’s photojournalists. From 1969 to 1984 he was the star photographer at the Sunday Times, where he covered stories from the civil war in Cyprus to the war in Vietnam, from the man-made famine in Biafra to the plight of the homeless in the London of the swinging sixties. For the first time, McCullin speaks candidly about his three-decade career covering wars and humanitarian disasters on virtually every continent, and the photographs that often defined historic moments. Exploring not only McCullin’s life and work, but how the ethos of journalism has changed throughout his career, the film is a commentary on the history of photojournalism told through the lens of one of its most acclaimed photographers.


19th January-21st April, Stills
26th January-23rd March, CCA
Part of Stills’ Social Documents programme, ECONOMY is an exhibition project that aims to generate constructive public discussion on how the economy impacts upon life.  It addresses issues that range from migration, labour, sexuality and the crisis of democracy to the quest for alternative futures.


Selling Dreams-100 Years of Fashion Photography
28th September-6th January, The McManus: Dundee’s Art Gallery and Museum
2nd February-20th April, Aberdeen Art Gallery

selling dreamsIn 1984, Irving Penn commented that he saw his role at Vogue as ‘selling dreams, not clothes’. Selling Dreams is the first touring exhibition from the V&A’s Collection to explore the work of international fashion photographers and to draw together such a broad range of important historic and contemporary fashion images. The exhibition features work by giants of twentieth century photography including Edward Steichen, Irving Penn, Richard Avedon, Helmut Newton and David Bailey, alongside contemporary images by Corinne Day, Rankin, Tim Walker and Steven Meisel.

The photographs reflect key themes in fashion photography throughout the past hundred years featuring more than twenty major fashion photographers, as well as original magazine spreads from publications such as Vogue and Harper’s Bazaar.

Exhibition organised by the Victoria and Albert Museum, London

image: Ronald Traeger, Twiggy wears Twiggy Dresses Battersea Park, London. Unpublished Fashion Study for British Vogue

The ‘Lost’ Photographs
Andy Warhol and Joseph Beuys
15th December-26th January
The 'Lost' Photographs

Twenty-nine colour photographs of the two most important practitioners of pop art and conceptual/performance art while they were in a late nightclub celebrating Joseph Beuys’ birthday. One photograph (by John Studulski) of the event was known (and published elsewhere as an editioned print and poster) but the rest of the night was never believed to have been recorded on camera although some film clips exist. This first ever showing of these candid photographs in exhibition anywhere in the world


Robert Mapplethorpe
Artists Rooms on Tour
Perth Museum & Art Gallery
10th November-27th April
Smutty Robert Mapplethorpe
Robert Mapplethorpe is one of the most provocative photographers of the 20th century. Renowned for his magnificent, large scale black and white photographs, he has inspired artistic debate and intrigued.
A selection of photographs including studies of flowers, iconic self-portraits and portraits of many of the most influential artists, writers and musicians of the period, such as Andy Warhol, Truman Capote and Patti Smith, are on display.


The 7th Street Level Open
Alex Boyd, Alan Campbell, Ashley Good, Stephen Healy, Alex Hetherington, Chris Leslie, Iain Mclean, Rebecca Milling, Theresa Moerman Ib, Flannery O’Kafka, Carol Ann Peacock, Holly Prentice, Findlay Rankin, Melanie Sims, Kristian Smith, Inna Smullen, Nicola Stead, Joanna Waclawski, Jen Wilcox 

Street Level Photoworks, Glasgow
15th December-3rd February
Alex Boyd

This exhibition includes 19 image-makers selected from 67 applicants responding to a call for artists to showcase work in a ‘lively exhibition embracing the range of formats and methods of photographic image-making.’ The results are examples of that declaration and further propose that photography is very much widely practiced and applied in the creative sector, whether over or under the radar of what is known of visual arts activity in Scotland.


McArthur’s Store 
Alistair Cook

Dunbar Town House
30th November-10th January

Alistair Cook

McArthur’s Store is an exhibition of wet plate collodion portraits made by Cook during his summer as North Light artist in residence at McArthur’s Store in Dunbar, one of the oldest and most continuously used harbour buildings in Scotland.


Theatre of War
Cecil Beaton
Imperial War Museum , London
6th September-1st January

Cecil Beaton is one of Britain’s most celebrated photographers and designers. His glamorous photographs of royalty and celebrities projected him to fame but his extraordinary work as a wartime photographer is less well-known.
Commissioned by the Ministry of Information in July 1940, Beaton was the longest serving high-profile photographer to cover the Second World War. He travelled throughout Britain, the Middle East, India, China and Burma and captured a world on the brink of lasting change.
In later years, Beaton attributed his war photographs as his single most important body of photographic work. Through his photographs, drawings and books as well as his work in theatre and film, this exhibition tells the story of how the war became a personal turning point in Beaton’s career.


Work in Progress
Lena DobrowolskaCaroline DouglasMorwenna Kearsley
17th November-20th December

Work in Progress features the work of three photographers who have used Stills as a place to research and produce new works.
Morwenna KearsleyMorwenna Kearsley text
Morwenna Kearsley’s True Stories series was created during her artist’s residency in Moderna, Italy. Her work is comprised of photographs taken of projections of public archive photographs of the 1966 flood in Moderna and vertically hung scrolls fearing text of written recollections of the earthquake that struck Moderna during her residency. The work questions how objective can an image really be, if photographs can constitute as more truthful records of the past than written statements. Morwenna’s photographs are clearly photographs of photographs, the images are slightly pixelated and edges of the projections are visible . The images have also clearly been cropped so as to determine a narrative for the viewer, with focus on certain features of the image whilst the exclusion of others. We are not being told the whole story. Just as with the written pieces, it is only seen from the perspective of the person documenting the events.

Caroline Douglasstills work in progress

Everything That Comes Before Us Circa 1940-2011 by Caroline Douglas consists of photographs taken by Douglas of a Moscow rally  last year exhibited beside vintage found photographs bought by the artist in a Moscow market. Douglas is interested in the way in which generations have lived through and changed with the transition to the ‘Post Soviet’ era. There is a natural inclination for viewers to create narratives between the old and new photographs, to connect the figures from the private snapshots to those seen in the recent documentary images.

Lena DobrowolskaLena Dobrowolska image

Lena Dobrowolska’s photographs, taken in Lithuania, show images of fleeting beauty which appear vaguely familiar but which simultaneously seem slightly distant. The title of the work, Zeitgeber, translates as a reset of the internal body clock triggered by environmental changes such as differences in light or temperature, and Dobrowolska’s work reflects her need to intuitively adapt to her environment. The freezing climate she encountered in Lithuania meant that the temperature was too low for the chemistry required for processing her film. The resulting photographs have been affected by crystallization on the surface of the negatives in their tone, colour and saturation levels. For Dobrowlska ‘very often the process is about perfecting the imperfections.’

Although featuring three bodies of photographic work which differs in regard to the visual subject matter, Work in Progress is thematically connected by the exploration of the nature of the medium of photography, of how we read and interpret images.


Jill Todd Photographic Award
Tamara and Yoshi Kametani, Nick Paton, Caroline Alexander

Whitespace Gallery
3rd-11th November

jill todd

Jill Todd was a talented photography graduate of Edinburgh Napier whose blossoming career was cruelly ended by a short but aggressive cancer related illness which took her life in October 2010. In her last two years at university, Jill’s work centred on gender and media issues through the vehicle of fashion photography, often employing an ironical approach via a ‘comic strip’ aesthetic. Her related final year dissertation involved a feminist critique on the contemporary woman’s collusion with Stripper Culture. An enquiring and talented young artist, she had a particular interest in the potential of fashion photography
Jill’s family has set up a trust to commemorate her name.

The Jill Todd Photographic Award has been established to support and celebrate the work of talented photographers who have recently graduated from major Photography and Arts Degree programmes in Scotland. The theme of the inaugural award was kin and the exhibition features three displays of work by photographers who have taken a different approach to the subject of family.


Jitka Hanzlová
Scottish National Portrait Gallery
17th October -3rd February
In 1982 Jitka Hanzlová defected from the Communist regime in Czechoslovakia and settled in Essen in West Germany. Since then she has sought to explore her experiences through photography, producing a body of work at once poetic and truthful. Hanzlová’s photography is in constant pursuit of the relationship between the individual and the context in which he or she lives. It scrutinizes the ways in which home and surroundings indelibly shape identity. Drawing on her own life story, Hanzlová’s photographs also speak to a more universal longing for a sense of place.

The photographer develops her work in series, beginning with Rokytník made between 1990 and 1994, the village in Eastern Bohemia which she left a decade earlier. Of central significance to Hanzlová,Rokytník is the creative bedrock for everything that follows. Taken together, her photography constitutes an imaginative investigation of ‘belonging’, whether a commentary on the alienation of city life or the photographer’s deep identification with the mysterious northern forests. This is essentially a form of extended portraiture and Hanzlová has most recently turned to portrait photography itself, in particular exploring the potential of Renaissance archetypes.

This is the first major retrospective of Hanzlová’s photography over the last two decades. Emerging from her experience of two different cultures and political systems, her work is a profound meditation on European identity in a post-Cold War world.


Bob Dylan in the Judas Years
Photographs by Barry Feinstein
6th October-24th November
Dylan the Judas Years
In 1965 Bob Dylan was a celebrated folk musician much loved by those who treasured the tradition of a music which was primarily acoustic in form. On May 17, 1966 in Manchester’s Free Trade Hall that tradition was challenged head-on by Dylan by the simple act of electrifying his instruments for the second half of his set. Famously one fan stood up and shouted “Judas” at the musician performing on the stage. Dylan shouted back: “You’re a liar!” and led his band into a rocking rendition of “Like A Rolling Stone” and the world of folk music was splintered into two very vocal differences of opinion.

Barry Feinstein was an established celebrity photographer in the 1960s having worked in Hollywood and with other rockstars – often documenting their lives on the road. Feinstien decided to follow Dylan around Britain (and parts of Europe) for his contentious 1966 tour and captured the folk artist cum (suddenly) rocker as the poet-singer sat in cars between gigs, met audience members, signed autographs and relaxed before the concerts which caused such turmoil amongst his fans.

Summerhall will be showing twelve of Feinstein’s vintage images of Dylan in our Basement Gallery – including one image of Dylan in Edinburgh’s Princes Street striding along the pavement surrounded by adoring fans and autograph hunters.


A Hero Of The True West
Photographs of Johnny Cash by Jim Marshall
6th October-24th November


Home and Other Fictions 
James Casebere
3rd August-28th November

caseberejames casebere

Working at the forefront of constructed photography since the late seventies, Casebere is associated with The Pictures Generation, a group of artists who combined a Pop obsession with media culture with the critical framework of Conceptual Art to redefine photography as a Postmodern medium in the 1970s and 1980s. Based upon his understanding of architectural, anthropological, art historical and cinematic sources, Casebere’s detailed photographs address contemporary and historical social concerns.
Home and Other Fictions is the first solo exhibition of works by James Casebere in Scotland, this exhibition spans over thirty years of the artist’s practice and includes works fromLife Stories, a series started in 1976, alongside works from 2003; Dorm Room,Garage and Turning Hallway, shown for the first time in the UK with the more recent and critically acclaimed Landscape with Houses series.


Through the Looking Glass Dimly
The Old Ambulance Depot
5th-18th August

Through the Looking Glass Dimly looks at work by two visually impaired photographers, Andrew Follows from Melbourne and Rosita McKenzie from Edinburgh, and the parallels between their approaches and subject matter.

The landscapes of Andrew Follows’s reclaimed Series (2009-2012) depict the aftermath of the Victoria bushfires of 2009 showing both the devastating destruction and the gradual regrowth of vegitation.

Rosita McKenzie’s landscapes show the resulting burnt plant life and scorched rock of the Highlands in Kintale after a fire in 2001.

Andrew Follows is blind in one eye and partially sighted in the other. He finds it easier to work in the darkness as there is no glare from the sunlight. His star trail images are created by taking several photographs over a period of an hour. These are then manipulated together by a stacking programme to create a single image showing the progression of the stars.

Rosita McKenzie lost her sight as a child. She does not like to manipulate images with Photoshop, preferring the images to be as natural as possible. She works with sighted assistants but takes all her photographs herself.


Figure Studies
David Michalek
2nd August-27th September

David Michaelek

David Michalek has recreated many of Eadweard Muybridge’s original photographic experiments using the latest technical facilities, creating both a homage to and extension of Muybridge’s original artistic intent.


World Press Photo 2012
The Scottish Parliament Main Hall
5th July- 28th July 

World Press Photo is run as an independent, non-profit organization with its office in Amsterdam, where World Press Photo was founded in 1955. It is committed to supporting and advancing high standards in photojournalism and documentary photography worldwide. They strive to generate wide public interest in and appreciation for the work of photographers and for the free exchange of information.
Photographer Samuel Aranda of Spain won this year’s prestigious World Press Photo Award for his moving image of a woman holding her wounded son in her arms, following clashes in Yemen by demonstrators protesting against the rule of President Ali Abdullah Saleh.


La Nostra Terra
Italian Photography from 1970 to Today
Luca Andreoni
Barbieri Basilico, Paola De PietriFranco Fontana, Luigi Ghirri, Guido Guidi, Francesco JodiceWalter Niedermayr
7th April-22nd July


An exhibition  twenty-seven  images of Italian photography with works which redefine Italy’s natural and built environment in response to the profoundly transformative ‘economic miracle’.

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