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Still life photography is a genre of photography used for the depiction of inanimate subject matter, typically a small group of objects. Similar to still life painting, it is the application of photography to the still life artistic style. [1] Tabletop photography, product photography, food photography, found object photography etc. are ...
Carl Warner was born in Liverpool, England in 1963. At the age of seven he moved to Kent with his parents and as an only child spent hours in his bedroom listening to music, drawing and creating worlds from his imagination, inspired by the posters on his walls by artists such as Salvador Dali and Patrick Woodroofe and the record sleeve designs of Roger Dean and the work of Hipgnosis.
Parker is interested in the parallels between art and science. Before focusing her practice on still-life photography she was trained as an art historian and also produced paintings in the tradition of 17th-century Dutch and Spanish still life works. [3] Parker's photographs of found objects have been described as "poetic and dreamy".
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Noel Myles (born 1947 in London) is an English artist who works with the still photographic image, extending it beyond the single moment and static viewpoint. [1]He was born in London in 1947 and lives and practices in Sudbury, Suffolk.
A monograph entitled Paulette Tavormina: Seizing Beauty was published in 2016 by The Monacelli Press. [14] This 160-page volume incorporates plates of Tavormina's major works from the period 2008 to 2015 as well as essays by the art and photography scholars Silvia Malaguzzi, Mark Alice Durant and Anke Van Wagenberg-Ter Hoeven.
Fruit and Flowers (1860) by Roger Fenton. Fruit and Flowers is a black and white photograph by English photographer Roger Fenton, taken in 1860.It was part of the still lives series that Fenton did at the Summer of that year, and would be some of his final photographic work, shortly before be leave this activity, in 1862.
In 1987, critic Andy Grundberg noted in The New York Times, "In 1978 an exhibition of her dramatic still-life photographs of objects in her kitchen sink caused a sensation. When one appeared on the cover of Artforum magazine, it was a signal that photography had arrived in the art world - complete with a marketplace to support it." [4]
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