2002

Sakiko Nomura's "Kuroneko (Black Cat)" is a photographic work that explores themes of intimacy, relationships, and the fragility of human experience.

Nomura utilises a combination of places and times, often within bare spaces, to create evocative images that blur the line between private and professional realms. The use of Polaroids adds a unique temporal and spatial element, allowing viewers to engage with the photographs on a personal level and reinterpret their narratives.

Nomura encourages viewers to create their own interpretations of the images, suggesting that the narratives can be fluid and adaptable.

2002

The Innocents (2000–2003) is a powerful body of work.

Artist Taryn Simon documents individuals who were wrongfully convicted of violent crimes by photographing them in the place of their misidentification, the scene of their arrest, their alibi site or the crime scene.

The scene of the crime is the most deeply significant, yet for the convicted, it was a place they never visited.

Mistaken identity—often based on visual memory—was a key factor in these cases. Victims and witnesses misidentified suspects through mugshots, Polaroids, and lineups, contributing to wrongful convictions.

2002

Joyce Tenneson presents 80 portraits of women aged 65 to 100, who comment on their experiences of ageing.

Printed in Tritone, the images have a sepai tone quality.

The portraits are of women from all walks of life, from celebrities to the powerful, from the teacher to the breat cancer survivor; they all tell a story.

2004

At the end of a session, photographer Eve Arnold always took a parting shot- she photographed the subjects hands - and sometimes the feet. In this beautifully produced book is a selection of two hundred of these photographs in colour and black and white. Spanning Eve's entire career, they also add up to a profound and deeply moving picture of humanity.

2004

This book is a compilation of daily snaps taken over seven years, spelling out the relationship between the photographer and her former husband, as he transitions from lover, to husband and then father.

2005

An-My Lê has used photography to examine her personal history and the legacies of US military power.

Small Wars brings together three interconnected series.

In Viêt Nam, Le who was born in Vietnam and taken to the US as a political refugee, returned to Vietnam creating large-format, B&W photographs. These images represent Le's attempt to reconcile memories of her childhood home with the contemporary landscape that now confronted her.

Back in the US, Le began working on Small Wars, with Vietnam War Finally, in 29 Palms, she documents the preparations of marines in the California desert as they undergo training for conflict in Iraq and Afghanistan.

This trilogy explores the issues surrounding memory, and the representation of violence and war.

2014

2014

2016

2016

This project began with an archive and a discovery. Sara Davidmann and her siblings inherited letters and photographs belonging to her uncle and aunt, Ken and Hazel Houston, from her mother, Audrey Davidmann. The letters chronicled the relationship between Ken and Hazel.

It emerged soon after they were married that Ken was transgender. In the context of a British marriage in the 1950s, this inevitably profoundly affected both their relationship and their relationships with the people around them. They remained together from 1954 to the end of Ken’s life.

Hazel and Audrey wrote to each other frequently in the late 1950s and early 60s after Hazel discovered that Ken was transgender; these letters tell Ken and Hazel’s story.

In response to the letters and family photographs Sara Davidmann has produced a new set of photographs using analogue, alternative and digital processes as well as working on the surfaces of the photographs she produced using ink, chalks, hand tinting, magic markers and correction fluid.

2017

Artist Talk - Video

2017

2017

2018

2018

2018

2018

2019

2020