The Jewish artist’s “monumental works reshaped our perceptions of space and form,” according to the Guggenheim Museum.
Richard Serra, whose vast steel sculptures enveloped viewers, dies at 85
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University student has work featured in exhibition alongside world famous photographers
Aleesha Coker, 18, has her ‘pay phone’ photo featured alongside photography greats in the David Hill Gallery’s ‘Street Life’ exhibition.
The exhibition features 30 photos from 18 photographers and showcases street and documentary photography.
Opened to the public on March 1, the exhibition is in collaboration with Framelines, a quarterly magazine, with a large YouTube presence.
Aleesha said: “I was excited when I found out that I was going to be in the David Hill gallery, and I am proud of myself.
“It has been a journey and there have been times where I have given up, but ultimately decided to get back up.
“There have been times where I asked myself why am I doing photography, but I told myself I just need to keep going.”
Some of photography’s greats feature in this exhibition such as Larry Fink, Baldwin Lee and Aleesha’s inspiration Nico Froehlich.
During A-levels Aleesha embarked on a series of work where she was taking pictures of people though glass, so this was part of a body of work she was doing.
Aleesha currently studies photography at the University of Westminster.
Aleesha said: “I Just wanted to continue my photography journey and have others look at my work, it’s my passion and the main thing I enjoy.
“You are surrounded by other people who are genuinely passionate about photography, you can learn from other people and lecturers.”
Aleesha was out with her two sisters and on the way to the shop, when she decided to take picture.
The ‘Pay Phone’ image was shot through glass, from exterior to the interior, to illustrate how the surface of glass can interact with the atmosphere’s elements in different ways.
Aleesha recounts how when she first took the photo, she instantly knew that it was a good one.
A common theme in Aleesha’s work is the veiled component to her work.
”Aleesha’s has kindness and warmth to the way she shoots”, Hill added.
Aleesha said: “I like to portray an interaction between people and the world.
“There’s always a narrative but the audience can determine what they see and feel”.
Aleesha visited the gallery in 2022 as part of an A Level school trip and recounts how her teacher, Joseph Cartwright, has played a key role in her photography journey thus far.
Cartwright believed in Aleesha even when she didn’t believe in herself and ultimately brought the attention of Aleesha’s photography to Hill.
Her family have also played major supportive role and are very proud of Aleesha’s achievement.
Although only becoming interesting in photography during sixth form, Aleesha has identified as a creative, studying graphics at GCSE and drawing from a younger age.
Hill recounted his background in photography as he studied photography for three years.
Hill has had the gallery for nine years, after previously working in music industry for 25 years, owning a record label and producing music too.
Hill wanted a range of pieces to be represented in the exhibition and explained how everyone who visited the exhibition has a different favourite, which indicates the balanced selection of photos.
Aleesha has lofty ambitions in photography as in the future she has dreams of seeing her work featuring in exhibitions in America.
All images courtesy of the David Hill
Working-class photographers start their UK tour in Coventry
A new travelling exhibition explores what it means to be a working-class photographer documenting the working-class experience in post-Thatcher Britain
In summer 1989, political scientist Francis Fukuyama wrote: “What we are witnessing is not just the end of the Cold War, or a passing of a particular period of postwar history, but the end of history as such: that is, the end point of mankind’s ideological evolution and the universalisation of western liberal democracy as the final form of human government.” The quote is from Fukuyama’s essay The End of History?, published amid a swathe of anti-communist protests across the former Soviet Union, just months before the Berlin Wall fell. As communism came to an end in Europe, his words ushered in a new era of neoliberalism.
In the years preceding Fukuyama’s text, unemployment had soared and strikes had dragged on in Margaret Thatcher’s Britain. A generation of politically engaged working-class creatives documented the changes, with photographers such as Chris Killip and Tish Murtha capturing working-class experiences at the sharp end in classic, still-celebrated black-and-white documentary images. But as the 1990s arrived – bringing much of what Fukuyama predicted, and an extended version of his essay minus the qualifying question mark – the figure of the working-class hero began to vanish from books and magazines.
“Neoliberalism’s privatisation of public services, reductions in government spending, and cultural shift towards individualism helped shift the way British working-class communities were perceived”
Neoliberalism’s privatisation of public services, reductions in government spending, and cultural shift towards individualism helped shift the way British working-class communities were perceived – and photographed. The classic documentary style faded, and in its place another generation of working-class practitioners emerged. A new exhibition, curated by photographer and author Johny Pitts in collaboration with the Hayward Gallery, gives these artists centre stage. After the End of History: British Working Class Photography 1989–2024 explores what it means to be working class in a post-Thatcher world, presenting images that capture a wide range of experiences and styles.
Elaine Constantine’s Northern Soul confirms that the dance subculture – raucous, joyful and nonconforming – continues to flourish in working-class communities. Serena Brown celebrates the innovation and authenticity of working-class style, meanwhile, railing against its appropriation by high-end brands. Kavi Pujara’s This Golden Mile celebrates the multicultural community found around Leicester’s Melton and Belgrave Roads, the final stop on a long journey for generations of immigrants.
Photographed between 2018 and 2022, as an increasingly polarised UK exited the European Union, Pujara’s work explores the impact of changing political climates on working-class neighbourhoods. The same can be said of JA Mortram’s series Small Town Inertia, which has documented the often- marginalised lives of people in a market town in Norfolk since 2006. Mortram’s images are stylistically akin to the black-and-white masters of the 1970s and 80s, but they show the effect of a whole new dip in the economic cycle, exacerbated by the 2008 financial crisis.
Over three decades on from Fukuyama’s essay, as world powers once again toy with vast political and economic changes, it is poignant to reflect on the impact of neoliberalism on the British working class. After the End of History does so through these images, but also through the working-class artists who made them. In the intervening years it has become harder for working-class people to become artists, their numbers in creative jobs halving since the 1970s, according to the Office for National Statistics (2022). Working-class history has not ended, and this exhibition prompts questions about both the future of this community, and the artists who may or may not be able to emerge from it.
Creatives of Lehigh capture students’ passion for photography
A blend of creativity and entrepreneurial spirit brews within the Creatives of Lehigh club, a community fostering the growth of photography skills among students.
The club has embarked on the initiative to make freelance photography accessible to its members through the provision of freelance camera kits.
They have identified a key challenge: the high demand for event photography on campus despite limited access to professional camera equipment.
Recognizing this, the executive board is looking to secure funding and resources for freelance camera kits.
These kits would not only include cameras but also essential accessories. High-quality lenses, flashes, tripods and lighting equipment can elevate the cost of entry into professional photography to unattainable levels.
Daniel Simboli, ‘24, president of Creatives of Lehigh, said a primary limitation for those who have an interest in photography is knowing where to get started.
“There is a supply of people who are interested in photography and want to take photos for money, and there’s also the flip side where there’s clubs and organizations that want those photos, but they don’t know about each other and there’s not a way to connect them,” Simboli said. “That is the purpose of this freelance program that we’re working on, to try and connect that supply and demand.”
Creatives of Lehigh is not only about fostering a love for photography, but also about equipping members with tangible skills and opportunities for career development.
Simboli said the vision extends beyond merely capturing images; it’s about creating a sustainable model where students can learn, earn and contribute to the vibrant tapestry of campus life through their work.
Along with the freelance initiative, the club has proposed a certification program that aims to standardize the quality of photography services provided by its members, ensuring that organizations and clubs on campus receive high-quality documentation of their events.
Marcus Smith, ‘25, an executive board member of Creatives of Lehigh, joined the club a year ago with no prior photography experience. However, he is now a key player in the initiative and highlighted the transformative impact of having access to the right tools and training.
“You know, I don’t know how to sing,” Smith said. “I’d love to, but I know how to take a photo, so that’s kind of where I found my little niche. I ask, ‘How can I provide the most value here?’ Creatives of Lehigh was that club for me.”
His story underscores the initiative’s potential to not only ignite a passion for photography among students, but also to open doors to freelancing opportunities that were previously out of reach.
“It’s what we live and breathe, and there’s a huge supply of photographers who want to do this and then eventually expand and have it truly be a creative of Lehigh,” Smith said.
Christa Neu, the advisor for Creatives of Lehigh, believes the evolution of the club and strategic thinking behind the initiative reveals a deeper mission: to enhance campus life through storytelling and to create a sense of belonging among students by showcasing campus events and activities.
“The drive to equip students with both the gear and the know-how to capture and tell these stories is a testament to the club’s commitment to inclusivity and empowerment,” Neu said.
By lowering the barriers to professional photography, the club enriches the student experience while paving the way for the next generation of photographers to emerge, learn and thrive within the Lehigh community.
Getty Images and United Football League Sign Multi-Year Renewal of Photography Partnership
NEW YORK, March 27, 2024 (GLOBE NEWSWIRE) — Getty Images (NYSE: GETY), a preeminent global visual content creator and marketplace, has been named the Official Photographic Agency of the United Football League (UFL). The UFL season kicks off on Saturday, March 30, 2024, when the Birmingham Stallions visit the Arlington Renegades at 1 PM ET.
‘Eyesore’ Prince Philip statue in Cambridge must go, says council
A council orders the removal of a sculpture 10 years after it was refused planning permission.
Astronaut Tried to Photograph Mt. Fuji, Snapped Picture of Space Junk Instead
“It’s actually quite challenging if you’re trying to capture a specific target.”
Laugh It Off
Spending time in space can provide both good and bad experiences for the astronauts who live aboard the International Space Station — and it apparently provides some laughs, too.
As Space.com reports, the international crew that hitched a ride back to Earth on a SpaceX Crew Dragon said during their first post-flight press conference that Japanese Aerospace Exploration Agency astronaut Satoshi Furakawa was embarrassed by a photography gaffe at one point during their stay.
“We were in Node 1, I think, having lunch or dinner, and Satoshi had been out in the Cupola taking pictures,” the mission’s commander, European Space Agency astronaut Andreas Mogensen, recounted. “He comes in and he’s like, ‘Well, you know, I’m very, very, very sorry. But you know, I took this picture.’ And we were all thinking, ‘What’s going on?'”
“He had managed to take a picture of the tool bag as it was transiting Mount Fuji,” Mogensen continued. “He had been trying to take a picture of Mount Fuji and ended up with a picture of the tool bag.”
This isn’t the first time we’ve heard of the errant toolbag that Furakawa photographed, either.
The toolbag was apparently dropped during a spacewalk conducted by NASA’s Jasmin Moghbeli and Loral O’Hara, and as EarthSky reported at the time, the now-space junk fell into Earth’s orbit and became bright enough to see from the ground.
Keeping Track
Even more hilariously, the toolbag was given an orbital number, 58229 / 1998-067WC, and is still being tracked as it floats above us.
As Mogensen said in the more recent news conference, the accident of photographing the toolbag was a mistake that anyone aboard the ISS could have made.
“I found one of the big challenges was trying to take a photo of a spot [on Earth] that you want to photograph, and you try to time it out, you try to plan your day, and then you make your way to the Cupola or one of the other windows and you get set, you get ready and then it’s just a little bit cloudy,” said the commander, who was the first ESA astronaut ever to hold that position on the ISS. “Even if it’s not cloudy, maybe it’s a little bit misty or the air isn’t quite as clear, and then you don’t get a good photo.”
“So it’s actually quite challenging if you’re trying to capture a specific target,” he continued.
While getting an off-Earth photo of Mount Fuji would no doubt have been cool for the Japanese astronaut, capturing a pic of the orbital toolbag is, to our minds, a lot more iconic.
More on the ISS: Woman Wins Contest, Blasts Off and Docks at Space Station
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Woodcut printmaker David Morgan presents exhibit, reception as Local Color guest artist
BELFAST — Local Color Gallery welcomes woodcut printmaker David Morgan as a guest artist for a show beginning Wednesday, March 27. There will be an opening reception on Friday, March 29, from 5 to 7 p.m., including a short artist talk at 5 p.m…
Printmaking exhibits to open at Rehoboth Art League April 5
In April, the Rehoboth Art League will showcase two printmaking exhibits along with Temre Stanchfield’s solo exhibition, Homage: 12 Portraits of Earth, in its galleries at 12 Dodds Lane, Henlopen Acres. An opening reception for the exhibits will be…
OPINION: Amy Friend and Keri Cronin discuss solar eclipse photography
Amy Friend, Associate Professor of Visual Arts at Brock University, and Keri Cronin, Professor of Visual Arts at Brock University, wrote a piece recently published in The Conversation about solar eclipse photography.This article written by Amy Friend, Associate Professor of Visual Arts at Brock University, and Keri Cronin, Professor of Visual Arts at Brock University, originally appeared in The Conversation.
If you are one of the millions planning to view the total solar eclipse on April 8, there is a good chance that you will take pictures of your experience.
And, like many before you, afterwards you may find that those pictures don’t measure up to your expectations, experiences and memories of viewing the eclipse.
We offer some technical tips for eclipse photography, but we also consider why so many of us are drawn to photograph these kinds of collective moments of awe and wonder — as we think about the larger context of visual culture around solar eclipses throughout history.
Technical, safety challenges
Photographing a solar eclipse presents some technical and safety challenges. There are some preparations you can undertake, including ensuring your camera (even smartphone cameras!) has a solar filter. It is also important to be familiar with your camera, to practice using it in different light conditions before the eclipse.
The changes in light qualities will be quick and drastic, so familiarity with aperture and shutter speed will be important on the big day. A tripod will help reduce blurring when a longer exposure is required. If there are clouds, it’s still important to be cautious and wear protective glasses and the ability to capture an image will depend on the extent of cloud cover. The viewing experience will be different, but sky will still darken, creating changes in the colour and the way light passes through the clouds.
There are also some more creative ways to think about capturing the experience, including making a pinhole projector.
This simple device can be made from a cardboard box and allows for both safe viewing and some interesting images.
First photographs of eclipses
But if your photographs don’t conform to your expectations, you are in good company. In 1842 Italian physicist Gian Alessandro Majocchi attempted to photograph the total solar eclipse that took place that July. Surviving records indicate he only had partial success: His resulting daguerreotype images — an early photography technique invented by Louis-Jacques-Mandé Daguerre in 1839, involving treating a silver-coated copper plate with light sensitive chemicals — are lost.
Majocchi was able to capture a few photographs before and after the moments of totality.
Reminder of wonder, togetherness
Apart from technical aspects, a successful photograph of the eclipse serves as a lasting reminder of the sense of wonder and the feeling of being part of something larger than ourselves.
This is the kind of event that brings people together, and the shared experience continues long after the eclipse ends through photographs that serve as memory markers and tangible proof that you were there to witness the eclipse. And even though many of us might end up with similar photographs, there is something significant about so many people taking pictures of the same event.
For example, taking photographs of events can increase a person’s enjoyment of the experience, as the research of marketing professor Kristin Diehl and colleagues has examined.
Photography allows us to preserve memories, share them with others and relive those moments in the future. What makes an image stand out among the millions shared daily on social media often comes down to a combination of factors: its visual impact, the story it tells and the emotional resonance it can hold for others viewing it. In other words, much of what we share is about the broader experience.
Proof of experience, connection across time
Photographs also have long fulfilled a deep-seated need for proof of experience. We were there. Whether a blurry cell phone image of the Mona Lisa or a snapshot of the eclipse, these images serve as tangible reminders of our experiences. They validate our memories, anchor the stories we tell and allow us to share these moments with others.
Looking at images of people taking in an eclipse during other eras can also offer a shared sense of connection across time. This is a phenomenon that is bigger than us and these images connect us to the experiences of previous generations.
Scientific photographs of an eclipse, like the ones Thomas Smillie made for the Smithsonian in 1900, may have been heralded as technological breakthroughs. Yet there is something especially compelling about photographs of people gathered together, stopping for a moment and looking skyward.
Photographs yield partial insights
A daguerreotype of a solar eclipse taken on July 28, 1851 is the first known successful photograph of the solar corona. This image was made at the Royal Prussian Observatory in Königsberg (contemporary Kaliningrad, Russia) by Johann Julius Friedrich Berkowski with the aid of a telescope. The 84-second exposure allowed Berkowski to capture the moment in incredible detail.
In 1890, the American Journal of Photography proclaimed “probably in no department of science, certainly in no branch of astronomical science, has photography been of such use as in the study of solar eclipses.” As the editors note, photography certainly can shape our understanding of the world, help to create new knowledge and provide valuable insights into the nature of the universe.
But there is also a limit to what photography can do. The experience of a solar eclipse goes beyond the visible: temperatures drop, the behaviour of nonhuman animals can suddenly shift and many report unanticipated emotional or spiritual responses.
Many visual, artistic responses
Further, there is a long history of eclipses being recorded in a range of different visual media. For example, the Shang Dynasty in China provides a visual record of solar eclipses via ancient script carved into oracle bones.
A 1610 painting by Peter Paul Rubens, called The Elevation of the Cross, illustrates the long and complex history of connections between phenomenon like eclipses and religious beliefs. In the early 20th century, American painter Howard Russell Butler produced a series of paintings in which he focused on aspects of the eclipse that were difficult to capture with black and white photography — the changing quality of light and colours of the sky.
The video accompanying David Bowie’s Black Star (2016) opens with a total solar eclipse.
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This is evocative visual imagery that complements the song’s themes of mortality — and offers a nod to long-held understandings of an eclipse as a symbol of impending doom. This symbolism was especially poignant as this was the title track of Bowie’s last studio album.
These types of artistic responses to celestial events foreground personal interpretation and emotional responses. They also foreground and reflect social, cultural, and spiritual meanings associated with a solar eclipse.
Could the act of sharing our eclipse photographs provide a point of fusion between providing evidence and these less tangible — but equally valid — moments of engagement?
