Each year as part of Graduate Photography Online we ask a number of professionals from the world of photography to review all the MA/MFA work submitted and choose their favourites. We hope this makes an interesting introduction to the project as a whole.
In this first year of running a specific MA/MFA section for Graduate Photography online, we have secured the services of two of the UK's leading photography curators to make an introductory selection of work. The work presented employs a range of approaches and provides a useful overview of the diversity of current practice on postgraduate courses. Although not listed below, Clare Gallagher deserves a mention, having had her work published in Issue 66 of Source.
Selector's Comment: In a series of time based works the artist reveals her fascination with mapping the passage of time. In one series we experience the duration of a day as revealed through the passage of light and shadows created by an unseen window in the room. In another she traces the light from the window on the ground in chalk as it shifts in position during the day. Working in a meditative manner Alexander employs the simplest of elements to great effect.
Selector's Comment: It is difficult to view these portraits and not be reminded of the intolerance that has marked Northern Ireland's past and present. Particularly the 'Save Ulster from Sodomy' political campaign of the late 70's and the regular, albeit diminishing, protest against the annual 'Pride' march. Devine also positions the work in terms of his own and the sitters experience of 'coming out'. For me, as much as all the loading of the work, I find them an engaging set of portraits, invested with a technical poise and an openness between sitter and photographer.
Selector's Comment: I was initially drawn by the inventive and playful quality of these images. The first reference point which springs to mind is the work of Duane Michals, however it is partly the difficultly I experience in reading through the work that makes it engaging. This effect is then backed up by a consistency of approach, despite the seemingly disparate nature of the individual images.
Selector's Comment: I like the simplicity of the idea behind this project, which uses group portraiture to look at additions to the family unit through marriage. The relationships between the existing family members and the newcomer are subtly played out in the body language and facial expressions of the sitters. The work points to a situation most people have experienced, with all its potential tensions it makes for an intriguing if slightly uncomfortable view of family ties.
Selection by Stefanie Braun ▸
Senior Curator, The Photographers' Gallery London.
Selection by Andrew Hunt ▸
Director, Focal Point Gallery.
View Submission Guidelines ▸