AboutSeeing is Believing explores unusual and alternative ways of creating a photographic image, and challenges the notion of the photograph as a record of the truth.
Erwin Blumenfeld was one of the earliest proponents of Surrealist photography. Following his internment in a concentration camp during the German occupation of France for producing collages mocking Hitler, Blumenfeld moved to New York, and during the 1940s and 50s began producing images that celebrated the female form. His works are given a surrealist twist many years before Photoshop or camera trickery made this commonplace, using veils, mirrors and frosted glass to create images that are distinctly contemporary.
Charlotte Bracegirdle's new series features iconic photographs by photographers such as Henri Cartier-Bresson. Working in acrylic on bought prints, Bracegirdle has removed the central element from these images, leaving shadows and ghostly traces 'where once were people'. She creates a sense of deja vu for the viewer, in that these works are just not quite familiar.
Rob Carter's award-winning Travelling Still series evokes the feeling of movement in a still image, as if taken from the side window of a moving vehicle. This is obtained by using a revolving lens camera and long exposures, and it has taken the artist over six years to collect the works from destinations including the bright lights of Las Vegas, New York and Tokyo to the tulip fields of Holland and seascapes around the world.
Susan Derges' River Taw series consists of photograms, or camera-less photographs, created by placing unexposed photographic paper on the bed of a river near her home, and using torches, flash guns and moonlight to expose the paper, revealing trailing ivy, leaves and cracked ice.
Harold 'Doc' Edgerton is credited with the invention of the strobe flash, which enabled the electrical engineer to take photographs, such as the perfect coronet from a single drop of milk falling into liquid or a bullet bursting through an apple, with exposure times of less than 1/10,000 of a second.
David Levinthal uses macro lenses and works with small toys, props and dramatic lighting to create mini environments of subject matters varying from war scenes to voyeurism, to racial and political references to American culture.
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