EDITORIAL:
Issue 66 — Spring 2011
Issue 66 — Spring 2011
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Many people want to be art photographers, judging by the numbers of students on photography courses, the amount of work exhibited and the number of submissions to this magazine. However, the number of photographers who survive by selling prints is not large. Rebecca Hopkinson has been speaking to photographers who sell their work through galleries, to find out how the system works and what their experience of the market has been.
Clare Gallagher's work Domestic Drift challenges the idea of the home as sanctuary. Instead of seeing a refuge from the stresses of the world, she reflects on its potential to become a difficult place of emotional affects, perceived insignificance and repetitive actions. For Gallagher it provides an experience that is simultaneously mundane and precious.
Daniel Stier employs the aesthetics of product photography and uses the ubiquitous items of everyday life to create his still life images. These are the things that don't get glorious campaigns. It is the things that are just there, that are our lives, and Steir places them centre stage.
Diane Bielik's images were made in the Hungarian Cultural and Social Centre in Bradford which closed in August 2010 due to declining membership. Her father settled in Bradford in 1957 after fleeing Hungary when the revolution was overthrown. Bielik's Makeshift Monuments stems from her urge to hold on to disappearing or changing parts of life, hindered by a realisation that to actually attempt this for real is both impossible and absurd.
— The Editors