Turner Prize nominee Marvin Gaye Chetwynd and American photographer Anne Collier mark the 20th anniversary of Studio Voltaire with their first solo shows to take place in a London public gallery.
In her digital portraits, Inés Molina Navea superimposes details from photographs of up to five different faces in order to create images of people who have never existed. Molina Navea uses these images to reveal modern ideas of social control.
In the 60th Edition of Aesthetica we celebrate the emerging photographers that are shaping the future of the image-based practice in The Next Generation. We have partnered with the London College of Communication to survey some of photography’s rising stars.
Drawing from Hetherington’s series, Infidel and Diary (2007 – 2008) which documents the experience of war from the perspective of the individual, Infidel consists of large-scale photographs of the Korengal Valley in Afghanistan.
Lacey Contemporary Gallery is set to open this autumn in Notting Hill London. Placing its artists at the heart of the business, director Andrew Lacey intends to provide a positive environment for his practitioners to work in, allowing them to flourish and evolve over the years.
There is one week left to enter the Aesthetica Art Prize, an annual award which celebrates excellence in contemporary art. Entries are welcome from artists at all stages in their career and working in any medium. We present a selection of longlisted artists from the latest edition of the award.
Unprinted at Paul Stolper gallery, London, is an extensive overview of the art of YBA Angus Fairhurst. Running until 30 August, the exhibition brings together his printed works from 1992 to 2006, including silkscreens and etchings.
In the 60th Edition of Aesthetica we celebrate the emerging photographers that are shaping the future of the image-based practice in The Next Generation. We have partnered with the London College of Communication to survey some of photography’s rising stars.
Manifesta originated in the post-communist period in the 1990s with the aim of balancing the gap between East and West, North and South. Manifesta considers art’s poetic and political nature.
Taking our appetite for sugar as a starting point to create images of a corrupted globalisation, James Ostrer takes over the glass façade and ground floor of the Gazelli Art House.
The Natural History Museum of London is a space of gargantuan proportions. The main entrance leads to a cavernous hall that comfortably houses the skeletal frame of a Diplodocus.
In the 60th Edition of Aesthetica we celebrate the emerging photographers that are shaping the future of the image-based practice in The Next Generation. We have partnered with LCC to survey some of photography’s rising stars.
Part of the internationally-focused Harbourfront Centre, The Power Plant showcases the latest work from artists around the world. This summer it opens three exciting new exhibitions by Pedro Reyes, Vasco Araújo and Akram Zaatari.
As much as it might seem provincial that non-western art is categorised by geography and ethnicity, Here and Elsewhere at the New Museum, New York, does justice to this grouping.
Time is a key part of competitive sport, much of which is rated according to speed; it’s an essential element for designating winners and losers and establishing records.
The World Photography Organisation and Montgomery announce the inaugural edition of Photo Shanghai – the first international art fair dedicated to photography in China.
The new 525m² Media Space of London’s Science Museum plays host to Spanish photographer, Joan Fontcuberta in a surreal show which challenges the authority of museum exhibitions.
Remote, beautiful – and increasingly endangered – the Arctic has long been a subject of fascination for many and a source of inspiration for artists. SALT is an ambitious concept to create arts and cultural experiences on our planet.
Questioning the world around us is a continuous necessity and the desire to challenge everyday systems reinvigorates daily life. This special 60th edition of Aesthetica celebrates innovation.
In Family Secrets: Acts of Memory and Imagination, Annette Kuhn commented that a photograph should not be considered a ‘mirror of the real’ but ‘material for interpretation, evidence in that sense: to be solved, like a riddle; read and decoded, like clues left behind at the scene of a crime.