The Photographers' Gallery
5 & 8 Great Newport Street, London, WC2H 7HY
29th June – 2nd September 2007
The series 'Pictures from a Rubbish Tip' (1988-89) is a body of work devoted to images of decomposing food, some in their plastic wrappers, some naked; all of which have a delicate, almost transcendental, beauty. Arnatt uses the medium of photography with the sensibility of a painter. Colour is important to him, and this comes out in one image depicting a strip of bacon and a piece of eggshell against a backdrop of plastic partially obscuring a pink floral pattern behind. But it is not the inventory of items depicted which makes this picture arresting, it is, rather, a certain undefined quality, perhaps the way the light falls on the objects, or the way the plastic conceals and mutes the things behind, in this instance, making a composition of rubbish appear as if painted in the manner of a Flemish painting. Perhaps it is because the effect of making what could be described as dirty plastic appear as fine gauze or muslin, or the care with which these items of rubbish are composed: each is attributed with a value by its relation to the others. What ever it is, Arnatt has transformed the unwanted into something, at least pictorially, highly desirable. But when Arnatt plays directly with the ambiguity of objects, as he does in his series 'Canned Sunsets' (1990-91) the transformation from literal into figurative seems contrived by comparison.
In 'Howler's Hill' (1987-88) Arnatt depicts everyday objects: a blue embroidered cushion rests on a litter-strewn ground, its blueness so vibrant it appears to have seeped into the earth itself. And in 'Tears of Things' (Objects from a Rubbish Tip) 1990-91, he depicts single items on a makeshift plinth: the head of a doll, a brush with some of its bristles caked in gunk, a cracked red lightbulb covered with a film of brown dust, a doll's torso with a foot thrust forward covered in black gloss paint.
The theme of rubbish also runs through his earlier works: 'Areas of Outstanding Natural Beauty' (1982-84) is a set of black and white images very different in character from his later works. For one thing the subtleties of mid-tone, and the degrees of detail, say, of an old stone wall, are similar to that of platinum printing. Unlike the rich colour and form found in 'Pictures from a Rubbish Tip' (1988-89), these images are tentative, and require the viewer to observe with care. These images speak not so much of decay as of the passing of time: a wall thickly encrusted with cement bulging forward at its girth by the pressure from a tree behind is recorded in one image, whilst in another, a lone figure gazes across a still lake at the shell of a cottage; its roof having caved in long ago. There are images too of discarded items. For example, in 'Miss Grace's Lane' (1986-87), scenes of the countryside are speckled with items: an orange plastic bag caught in some bulrushes, or a child's plastic kite fastened high in some tree branches.
What ever else Arnatt does, he makes the observer aware of how we value things, and how things could be otherwise valued, given the right conditions. What is the use of post-it notes except to convey instruction at a particular time? When he records his wife's post-it notes, he is giving value to something essentially transitory.
Douglas Gordon: Superhumanatural
The film and video artist Douglas Gordon had his first one-man exhibition in Britain at the Lisson Gallery in 1994, sponsored by its perceptive director Nicholas Logsdail, to which he returned again in 2001. The following year, he was to exhibit 'Entre'Act 3' at the Stedelijk Van Abbe Museum in Eindhoven. 'Fuzzy Logic' followed at the Pompidou Centre in Paris, and from about this time his work really took off internationally.
To Die For, images of Castle Howard on a certain day
'To Die For' at Castle Howard in Yorkshire presents 13 large photographs by Nick Howard taken in 99 minutes between 7:26 and 9:05 on 19 October 2007. The 200 images taken were not conceived as a sequence as such. Indeed, Howard went specifically - paying attention to the details of the weather forecast - to photograph one image, which would complete a series on which he had worked for some years. A clear autumn morning was required to capture the rare beauty of a tree in the lake at Castle Howard. The swamp cypress grows in the water and for a brief time in the autumn it glows scarlet.
How We Are
Right on time to contribute to the national discussion on what it means to be British, comes Tate Britain's first photography exhibition - and what a very welcome and ambitious venture it is. 'How We Are' is an attempt to collect a family album for the country from the birth of photography to the present day. The curators have employed original prints, illustrated magazines, books, postcards, slideshows and digital screens to emphasise the adaptability of the still image and its continuing grip over us, despite the ubiquity of the moving image.