Calum Colvin
Willie Doherty
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The centrepiece of Calum Colvin's digitally-created Pseudologica Fantastica is a 17-metre continuous ribbon-like panoramic tableau, presented as a series of four triptychs, in which snapshots of tourist beaches mutate through a variety of surreal subterranean environments. David Alan Mellor's essay discusses the ways in which the work is inspired by the writings of the 17th century Jesuit polymath, Athanasius Kircher, to construct an imaginary future intertwined with elements of collective memory.
Susan Trangmar, Exposures projection installation
In Susan Trangmar's projected installation, Exposures, subterranean landscapes of a more industrial nature are created. Taken within tunnels and at the cliff face of a Nottingham mine, in proximity to the miners and their machinery, Trangmar's photographs are hand-held and shot on long exposures. On the occasion of the publication of Willie Doherty's new book, No Smoke Without Fire, we reproduce three works with an essay by David Green. John Goto's The Framer's Collection is a striking series of six large electronically created photoworks within a virtual space. Here we publish three, accompanied by a narrative by the artist in which he reflects upon his fictional collection of artworks, and their role within the history of this century. In Ray's A Laugh, Richard Billingham presents his photographs of the domestic chaos of his parents' home - the disorder, the empty isolation, the alcoholism, the violence and the rare moments of tenderness. Mark Durden's essay explores the work and the conflicting relationship it creates with the viewer. Sunil Gupta considers how the meaning of Robert Mapplethorpe's homo-erotic work can be seen to have changed over time, particularly in relation to the rise of gay political ideologies in North America and Europe. We feature the work of Jim Mooney and Annette Heyer, two artists for whom photography emanates from other media. Stella Santacatterina discusses the ways in which Mooney deals with the internal mechanism of painting in the construction of the pictorial image.
John Goto, detail from The Framer's Collection, 1996
Calum
Colvin Pseudologica Fantastica Gabriel
Orozco New Work John Goto
The Framer's Collection Susan
Trangmar Exposures Willie
Doherty No Smoke Without Fire
Jim Mooney
Where Absence Glows Visible Robert
Mapplethorpe Photographs Annette Heyer Photographs
Annette Hyer, Corner, 1996
Sherrie Levine South
London Gallery The Visible and the
Invisible: re-presenting the body in contemporary art and society,
locations throughout London Edwin Blumenfeld: A
Fetish for Beauty Mark Lewis: A Sense
of the End, Two Impossible Films
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Gabriel Orozco
Richard Billingham
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