One of Nick Waplington's Living room series.
A bit more about photographer Nick Waplington here.
Showing posts with label Photography. Show all posts
Showing posts with label Photography. Show all posts
Monday, 7 December 2015
Tuesday, 1 December 2015
Advent Calendar: Day 1
The Millinery Mabel Frances Layng Darlington Borough Art Collection
This fashionably dressed lady's shopping experience looks 1000 miles away from the Black Friday crowds.
This post war photo from the Metropolitan museums collection on the other hand shows that maybe things haven't changed that much.
State Street at Madison Looking South Xmas shoppers Gordon H Coster 1945
Tuesday, 24 March 2015
Seeing how Reality becomes Fantasy: Nick Waplington/ Alexander McQueen: Working Process
Alexander McQueen is the name on every London based fashonista and gallery goers lips at the moment. The V&A are holding the Savage Beauty exhibition which proved a sell out success when it was at the Metropolitan in New York. Now almost four years later it has come to London bringing the clothes back to McQueen's home turf.
Endless column inches have been written about this show there was even a program on the BBC where Tinie Temper takes us around the star studded private view.
Less attention has been given to the Tate Britain's Nick Waplington/Alexander McQueen: Working Process exhibition and it is on this one that I shall focus.
Before I start one major disclaimer **There are no dresses in this exhibition** If you want to ogle over his astounding designs then this is not the show for you but believe me it brings plenty of other fascinating things to the party.
The exhibition shows the photographs of British photographer Nick Waplington. Waplington is better known for his early gritty photographs of his family and friends shot in Aspley Estate in Nottingham. In these we are presented with screaming children, men under cars, adults clutching fags, tinsel laden Christmas trees all set against a backdrop of garish 70's wallpaper and shag carpet. They capture an image of hectic, chaotic but also very loving family life. More recently his work has focused on Jewish settlers in the West bank. (incidentally his Instagram feed is great)
Certainly not the archetypal fashion photographer. Yet he was the man that McQueen looked to when he wanted to create a photographic document of his iconic 2009 show the Horn of Plenty. The match is in fact a perfect one and the collaborative photobook that the pair produced reflects both of their interests and personalities.
The images take us through the development of the Horn of Plenty catwalk show, as well as focusing on photographs taken in McQueen's studio the pair incorporated Waplington's stunning photographs of that oh so glamorous fashion venue... landfill sites.
At first glance this may seem like a strange combination however the notion of recycling and reusing old fabrics designs and other materials was central to this particular show and the starkly contrasting images do in fact compliment each other. The fashion photographs allow us to look at the beautiful colours in the landfill images the elaborate textures they create, while the landfill images remind us of the transience of the very nature of fashion, disposable culture and McQueen's interest in recycling his ideas.
The images take you through the process of creating the show we see the elaborate moodboards, Sarah Burton (who of course now heads the Alexander McQueen brand) helping pin the designs onto models, models being squeezed into corsets, magnificent hats being created by Philip Treacy and every little detail being closely examined to create the most dramatic effect possible. One of the striking things about the exhibition is the extent to which Lee is involved in the process there are endless shots of him in his slightly creased shirt micromanaging the design process.
The final room is undeniably the most dramatic the images shown here are the last phase in the process, showing the moment just before the models go on stage.
The room is dark with black walls and bright spotlights angled straight on to the works so they seem to jump off the wall. I can't help but think of it as the moment just before reality becomes fantasy because that is what McQueen's shows are really works of pure carefully crafted fantasy.
Endless column inches have been written about this show there was even a program on the BBC where Tinie Temper takes us around the star studded private view.
Less attention has been given to the Tate Britain's Nick Waplington/Alexander McQueen: Working Process exhibition and it is on this one that I shall focus.
Before I start one major disclaimer **There are no dresses in this exhibition** If you want to ogle over his astounding designs then this is not the show for you but believe me it brings plenty of other fascinating things to the party.
The exhibition shows the photographs of British photographer Nick Waplington. Waplington is better known for his early gritty photographs of his family and friends shot in Aspley Estate in Nottingham. In these we are presented with screaming children, men under cars, adults clutching fags, tinsel laden Christmas trees all set against a backdrop of garish 70's wallpaper and shag carpet. They capture an image of hectic, chaotic but also very loving family life. More recently his work has focused on Jewish settlers in the West bank. (incidentally his Instagram feed is great)
Certainly not the archetypal fashion photographer. Yet he was the man that McQueen looked to when he wanted to create a photographic document of his iconic 2009 show the Horn of Plenty. The match is in fact a perfect one and the collaborative photobook that the pair produced reflects both of their interests and personalities.
The images take us through the development of the Horn of Plenty catwalk show, as well as focusing on photographs taken in McQueen's studio the pair incorporated Waplington's stunning photographs of that oh so glamorous fashion venue... landfill sites.
At first glance this may seem like a strange combination however the notion of recycling and reusing old fabrics designs and other materials was central to this particular show and the starkly contrasting images do in fact compliment each other. The fashion photographs allow us to look at the beautiful colours in the landfill images the elaborate textures they create, while the landfill images remind us of the transience of the very nature of fashion, disposable culture and McQueen's interest in recycling his ideas.
The images take you through the process of creating the show we see the elaborate moodboards, Sarah Burton (who of course now heads the Alexander McQueen brand) helping pin the designs onto models, models being squeezed into corsets, magnificent hats being created by Philip Treacy and every little detail being closely examined to create the most dramatic effect possible. One of the striking things about the exhibition is the extent to which Lee is involved in the process there are endless shots of him in his slightly creased shirt micromanaging the design process.
The final room is undeniably the most dramatic the images shown here are the last phase in the process, showing the moment just before the models go on stage.
The room is dark with black walls and bright spotlights angled straight on to the works so they seem to jump off the wall. I can't help but think of it as the moment just before reality becomes fantasy because that is what McQueen's shows are really works of pure carefully crafted fantasy.
Friday, 20 March 2015
Today's Partial Eclipse
Unfortunately today's partial eclipse in London will have resulted in little more than grey photos of a cloudy sky. So here are three images of eclipses past to make up for that.
The Metropolitan museum have this extraordinary set of Daguerreotypes by brothers William Langenheim and Frederick Langenheim who had opened a studio in Philadelphia. These seven images were taken during the first full solar eclipse since the invention of photography. I was interested to read that these images had to be so small (the smallest measuring 3.2 x 2.5 cms) at this early stage in the history of photography smaller cameras could function with less light and because the very nature of an eclipse means that there is limited light available William and Frederick had to use the smallest camera available.
This dramatic rendering of the eclipse from the British Museums collection is a mezzotint print ideal for creating the deep blacks and the stark contrast with the bright light. The inscription in pencil underneath suggests that this print was based upon watercolour sketches that the artist Drewitt made while at sea on the SS Ortona. I can only imagine how eerie an eclipse would look on board a boat.
We go back to photographs with this image from the V&A's collection which has already gathered 805 likes on instagram so far today. It is a print made in 1956 from a glass negative created in 1923-24 by the photographer Eugene Atget. This image has an almost theatrical quality with everyone gathered together engaging simultaneously in the same action.
The Metropolitan museum have this extraordinary set of Daguerreotypes by brothers William Langenheim and Frederick Langenheim who had opened a studio in Philadelphia. These seven images were taken during the first full solar eclipse since the invention of photography. I was interested to read that these images had to be so small (the smallest measuring 3.2 x 2.5 cms) at this early stage in the history of photography smaller cameras could function with less light and because the very nature of an eclipse means that there is limited light available William and Frederick had to use the smallest camera available.
This dramatic rendering of the eclipse from the British Museums collection is a mezzotint print ideal for creating the deep blacks and the stark contrast with the bright light. The inscription in pencil underneath suggests that this print was based upon watercolour sketches that the artist Drewitt made while at sea on the SS Ortona. I can only imagine how eerie an eclipse would look on board a boat.
Wednesday, 4 March 2015
Poetic Pairing: March 2015
Thebes Ramesseum statues of Osiris c. 1870-75 New York Public Library Digital Catalogue
Ozymandias
I met a traveler from an antique land,
Who said, "Two vast and trunkless legs of stone
Stand in the desert. Near them, on the sand,
Half sunk, a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read,
Which yet survive, stamped on these lifeless things,
The hand that mocked them and the heart that fed:
And on the pedestal these words appear:
"My name is Ozymandias, Kind of Kinds."
Look on my works ye Mighty, and despair!
No thing beside remains. Round the decay
Of that Colossal Wreck, boundless and bare,
The lone and level sands stretch far away.
Percy Shelley
Monday, 6 August 2012
The year Britain remembers what makes it Great
In the throws of the Olympics in which our sportsmen and women are excelling it has become what an incredible year 2012 has been for Great Britain so far.
Between the Jubliee and the Olympics patriotism is at an all time high. I have even managed to paint my finger nails with union jacks!
Naturally this patriotism is expressed in our cultural institutions. No where more so at the moment then at the National Portrait Gallery and if you feel like celebrating the incredible year then it is definatly the place to head down to.
On the one hand there is the traveling exhibition The Queen: Art and Image being showed in the gallery, it's final location, until October. The exhibition charts the evolution of our monarch's public image a public image a process which continues to this day with her infamous first film appearance in the Olympic opening ceremony.
The exhibition also allows us to see some of the most iconic images of the age by some of it's most incredible artists of the past century, Warhol, Freud, the photographer Cecil Beaton, Pietro Annegoni.
More pertinently for the current climate there is the Road to 2012: Aiming High exhibition. An exhibition of some truly inspirational photography focusing upon the myriad of people involved in the Olympic games, athletes, organisers, designers, political figures, physios to name but a few. Essentially all of the people responsible for the unbelievable spectacle we are all glued to.
The exhibition includes commissions that have been planned and executed since London first won the games.
Be sure to take in all of the spaces not only the one on the ground floor. Particularly the small room in the lower level where you can see the photos charting some of the projects currently taking place in the Olympic boroughs. While this room may not include some of the most famous faces that are currently dominating our screens, it does show some possible up and coming Olympians and celebrate their dedication and their love of sport.
Some of my favourite images have to be the incredibly atmospheric painting of the paralympic athlete Tom Aggar photographed at Eton Dorney by the duo of Anderson and Low whose seamless partnership furnishes the exhibiton with some of it's gems. Including their depiction of the women's gymnastic team, including Beth Tweddle who finally won her well deserved Bronze medal today.
And the black and white photograph of the discus thrower Lawrence Okoye who qualified for the final today.
The Road to 2012 exhibition is completely free and I think it is frankly unmissable.
Between the Jubliee and the Olympics patriotism is at an all time high. I have even managed to paint my finger nails with union jacks!
Naturally this patriotism is expressed in our cultural institutions. No where more so at the moment then at the National Portrait Gallery and if you feel like celebrating the incredible year then it is definatly the place to head down to.
On the one hand there is the traveling exhibition The Queen: Art and Image being showed in the gallery, it's final location, until October. The exhibition charts the evolution of our monarch's public image a public image a process which continues to this day with her infamous first film appearance in the Olympic opening ceremony.
The exhibition also allows us to see some of the most iconic images of the age by some of it's most incredible artists of the past century, Warhol, Freud, the photographer Cecil Beaton, Pietro Annegoni.
More pertinently for the current climate there is the Road to 2012: Aiming High exhibition. An exhibition of some truly inspirational photography focusing upon the myriad of people involved in the Olympic games, athletes, organisers, designers, political figures, physios to name but a few. Essentially all of the people responsible for the unbelievable spectacle we are all glued to.
The exhibition includes commissions that have been planned and executed since London first won the games.
Be sure to take in all of the spaces not only the one on the ground floor. Particularly the small room in the lower level where you can see the photos charting some of the projects currently taking place in the Olympic boroughs. While this room may not include some of the most famous faces that are currently dominating our screens, it does show some possible up and coming Olympians and celebrate their dedication and their love of sport.
Some of my favourite images have to be the incredibly atmospheric painting of the paralympic athlete Tom Aggar photographed at Eton Dorney by the duo of Anderson and Low whose seamless partnership furnishes the exhibiton with some of it's gems. Including their depiction of the women's gymnastic team, including Beth Tweddle who finally won her well deserved Bronze medal today.
And the black and white photograph of the discus thrower Lawrence Okoye who qualified for the final today.
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