The first day of the battle of the Somme (1 July 1916) was the costliest in British military history. To commemorate the centenary of this tragic battle, writer and photographer, Jolyon Fenwick has created a series of photographic panoramas taken at the exact position (and time of year and day) from which 14 battalions attacked in the first wave at 7.30am BST (ZERO HOUR) that fateful morning.
Annotated by hand in the manner of the battle eld panoramas of the time with the points of tactical significance as they existed immediately before the battle, they powerfully juxtapose the hellish reality of the nation’s bloodiest battle with the pastoral peace of these ‘forever English’ fields today.’
ArtAttack had the pleasure to speak with Jolyon about his upcoming exhibition.
Not only does Cody focus on dance portraiture and theatre photography, he is currently the Creative Director of ‘Cody’s Moving Group’ where he takes the lead in movement exploration and choreography for all their productions.
ArtAttack is pleased to share with you an inspiring interview with the artist expanding our view into the collaborative worlds of dance and art.
ArtAttack is proud to present our latest ‘Artist of the Week’, Ashley Bonser. Artists of the week are selected by the ArtAttack team from the diverse and eclectic group of artist users on our app.
Ashley Bonser is a visual artist who currently lives and works in Western Australia. She is a multidisciplinary artist, creating works with illustration, collage and print media. Her practise focuses on creating collage works that showcase the human body, demonstrating the connectivity human beings have with one another. Her work aims to present her subjects as intertwined, to show our ability to empathise and connect with each other. Using found imagery from magazines, she interprets images of people into a singular form.
I had the chance to talk to Ashley about her career so far, and find out more about her artistic practise.
To launch Focal Point Gallery‘s upcoming series of events and exhibitions, Radical Essex, a project that will re-examine the history of Essex in relation to radicalism in thought, lifestyle, politics and architecture, the gallery presents ‘The Peculiar People.’
The show, which traces the history of ideological and social-political communal living experiments throughout the 20th Century to the present day, opens today, 19th April and features an extensive archival display speculating on alternative living experiments from the late 1800s to the 1980s, alongside visual art, architecture, design and literature that relate to these counter-cultural histories.
To get an inside look into the exhibition, as well as the greater Radical Essex project, ArtAttack spoke with Focal Point Gallery director, Joe Hill.
ArtAttack have had the privilege of recently meeting Nottingham Trent arts graduate, Jazz Rakkar. This young photographer specialises in fashion, beauty and commercial imagery. Jazz’s approach to photography commonly has themes surrounding form, the pose and classic photography styles. During his time at university, he also explored and researched themes regarding race and identity in fashion. Having studied with Jazz myself, I have had first hand experience watching his passion and talent develop.
I have had the chance to ask Jazz some personal questions about his photography for everyone to gain an insight into his process.
Nine months after Los Angeles’ newest contemporary art museum opened to overwhelming crowds, The Broad’s first special exhibition will debut in June with a comprehensive survey of the work of artist Cindy Sherman.
Cindy Sherman: Imitation of Life is the first major museum show of Sherman’s work in Los Angeles in nearly 20 years, and the exhibition will fill The Broad’s first-floor galleries with close to 120 works drawn primarily from the Broad collection.
‘Photographs may indeed be evidence, but evidence of what exactly? That is a question that cannot be answered by the photograph alone”
Jennifer L. Mnookin, Professor Of Law
At ArtAttack‘s most recent exhibition visit, the subject of photographic evidence was put to the challenge. Exhibiting at The Photographer’s Gallery in London is a collection of eleven cases displaying photographic evidence spanning the period from the invention of metric photography of crime scenes through to the reconstruction of a drone attack in Pakistan in 2012.
The reason this topic fascinates me is due to a previous personal project on the Evidence of Human Presence, as I have always felt a photograph is the only permanent remains of a person. Half of this exhibition is focusing on the forensic evidence of land destruction with before and after photographs of buildings and aerial views. The other part focuses on the development of criminal evidence showing us what a photograph reveals or implies, whether these images are close ups of fine details by chemist and photographer Rodolphe A. Reiss, or scenic photographs which give an image-by-image account of the state of the victims and the circumstances of their deaths by cameraman John Ford. Both are thought-provoking and demonstrate how far the medium of photography has come over a century.
With her latest exhibition, ‘All Eyez Inn,’ opening tonight at l’étrangére, Polish-born artist, Katharina Marszewski, seeks to highlight what she considers to be an absolutely integral condition of our humanity: the act of looking in.
Through work that incorporates sculpture, screen printing and photography, Katharina has created an installation showcasing our contemporary reality, which melds together the past, present and future.