- Date: 26 October 2012
- Region: London
Christian Marclay, Stills from Crossfire, 2007. Part of 'Shoot! Existential Photography' at The Photographers' Gallery. Credit: Audio-visual installation on four screens, 8 min 27 s, loop.Courtesy of the artist, White Cube and The Photographers’ Gallery, London
Each month we see as much as possible of the work produced by the hundreds of artists, organisations and projects that we fund across the capital - as well as taking part ourselves too. This month our staff have picked their visual arts highlights - click on any of the list below to find out more.
Everything Was Moving is a beautiful and powerful exhibition of over 400 works by 12 world renowned photographers who captured moments, including the American Civil rights movement and the Cold War, from two decades of political and social transformation around the world. This exhibition cleverly illustrates how in the 60s and 70s the medium of photography became an important modern art form with the ability to both inspire and disturb with a single shutter click, and reminds us that it remains so today.
Julia Royse, Relationship Manager, Visual Arts
The Photographers' Gallery's current exhibition delves into a curious fairground attraction which emerged in the period following World War One. It explores an alternative approach to photography and self-portraiture, where images are produced as a result of a punter shooting a target which activates the camera shutter.
It raises questions about what it is to take an image of oneself, drawing parallels between shooting and photography. The display includes portraits of -Paul Sartre, Man Ray and Lee Miller, a powerful installation by Christian Marclay as well as the opportunity to have a go at creating your own portrait with the aid of an air rifle!
Hannah Cross, Assistant, Visual Arts
Curator, Charles Danby, rounds off his exploration of the Siobhan Davies Dance studio with this third and final instalment of Animated Environments featuring work by veteran photo-tinker Steven Pippin.
In a series of 'autoportraits' a camera is perversely made to record its own demise as a bullet is fired through its bellows. The destruction, captured as a shallow blur degrading with each subsequent shot, reveals a technological vision rife with fantasies of obsolescence at the hands of another machine.
The idea of machines evolving and communicating with one another may be comfortable in an age overwhelmed by the serenity of digital networks, but as this exhibition demonstrates, there is still something distinctly brutal about analogue evolution.
Scott Burrell, Assistant, Visual Arts London