Clare Strand

click through HERE for all Autumn activity.

Clare Strand Hoopla stall travells to LhGWR gallery for opening on the 30th Sept with  Wim Van Sinderen, Senior Curator at The Hauge Museum of Photography , throwing the first hoop!

Hoopla by Clare Strand with LhGWR Gallery at Unseen Art Fair. 21st - 25th Sept. Come try your luck!  September 2016

Aperture Magazine 223.

clarestrand:

Slippages, ten questions from Clement Cheroux to Clare Strand  Many of your works are inspired by the forms and codes of vernacular photography, as used in the fields of police, science, magic or esotericism. What fascinates you about vernacular photography? I guess I like photographs that exist(ed) because of a functional need. There is also an orphaned quality to the vernacular. Once its original duty has been discharged they are separated from any one definite meaning; they are vulnerable; they both connect and disconnect at the same time. I enjoy the challenges that working with the vernacular brings and I enjoy the thought processes that vernacular images encourage in me. I also like their lack of pretention. The collection of images, through your practice of scrapbooking, plays an important part in your work. Do you collect to produce a work, or do you produce a work to legitimate your collector practice? Well in some way this is what I’m trying to work out with this show. Further Reading is an experiment into what can be considered ‘input’ and what is considered ‘output’. I am trying to fathom the crossovers  between these two elements of my working practice. Of course the collecting has always been a private (unexhibited) practice, but in recent years it has become more central to my public exhibiting. Keep reading

Photography jury. Hyeres 21st-15th April 2016.‪With Chris Littlewood,Lesley Martin,Clare Strand,Jean Paul Goude ,Gareth Pugh,Pierre Louis Denis,Chantal Webber,Jean-Michel Bertin,Susan Bright andHeval Okcuoglu

As of March 2016, the 10 works entitled Skirts are housed in the MoMA NewYork collection .

To book click through here  Clare Strand is a photographic artist who has exhibited worldwide. Her work shifts between the mysterious and the absurd whilst inviting the serendipitous and the illogical. Strand joins us for the March edition of Photoforum for an in-conversation talk with independent curator, educator and writer Camilla Brown.

The Chance Operations Workshop devised by Clare Strand in collaboration with PhotoEspana Masterclass Students 9th- 12th Feb 2016. Foto: Jonás Forchini. Alumos Máster PHE 2015-2016: Emilio Correia, Gema Polanco, Cecilia Lutufyan, Daniel Martín Maestro, Oliva María Rubio (Directora del Máster), Bilal Touzani, Silvia Griglio, Juan Cano. Xia Zhengfei y Jonás Forchini.

Material, The Entropy Pendulum and Control In Motion.

From series Signs of A Struggle A black and white photograph of a parked car at night. One of the front doors is open, the front seat is covered with foil and there are large dark stains on the ground in front of the car. The print is mounted onto a slightly yellowed cardboard.

Seminar, Sotheby’s, London. 16th June 2016. In conversation with LCC MA Students,London  2nd June 2016. Juror for 31st International Festival of Fashion and Photography in HyèresApril 21 - 25, 2016 (Hyeres). In conversation with Camilla Brown, Format, Photoforum, Derby. 8th March 2016 In conversation with Manchester Scool of Art University Students. 3rd March, 2016. Reviewier for the Dusseldorf Portfolio Review 14-15th Feb 2016 Workshop Master Class,  Master PHotoEspaña of the PIC.A School , Madrid. Feb 9th - 11th 2016. In Conversation with Portsmouth University Students. 2nd Dec, 2015.  In Conversation with Duncan Wooldridge, Camberwell College of Arts, London. 23rd November. (pictured)  ALS Charity Auction, Museum Folkwang, Essen. 30th November 2015. In Conversation with Helen Sear ,  Chapel Lecture Theatre. Penryn Campus. Falmouth. Tuesday 10th November (pictured) In Conversation with Fergus Heron, Wednesday 14th October University of Brighton.

previews at Centre Pomipdou as part of A History of Art, Architecture, Design from the 1980’s until Today. Curated by Christiane Macel. Pictured here with Clement Cheroux senior curator of photography, Centre Pompidou.

“A black and white photograph of a humble dining room, the window curtains are closed, one of the chairs at the dining table lies on the floor. The print is mounted onto a slightly yellowed cardboard.”

“There is always something odd – in a good way – about Strand’s work. That oddity rests in the tension between her often personal, always playful take on conceptualism and her wilfully old-fashioned methods – the archive images, black-and-white tones and kinetic machines here are a case in point.”

In memory of the lovely and courageous Cathy Edwards. “I’ve always learnt from fashion imagery,” says artist Clare Strand. “I like its freedom to embrace the absurd, and its refusal to provide any answers.” This story invokes Strand’s current fascinations: the Surrealist Movement and the infamous Black Dahlia murder case. The gentle folk-inspired fashion chosen by AnOther’s fashion director Cathy Edwards offsets the macabre faceless figures and hybrid beings floating in space Photography and artwork Clare Strand Styling Cathy Edwards

Let’s look at the facts. A man in a dark suit in a dark alleyway holds a divining rod. A woman stands on a gridded mat, her fingers wired for some kind of monitoring. A girl’s head and arms poke out of one cardboard box while her legs extend from another, like a magician’s trick. A figure shrouded in a black sheet festooned with stars stands on an office desk for what might be a performance or a perverse kind of punishment. 

Clare Strand is an eclectic artist drawing on a broad range of photographic lineages. From forensics to the spiritual, Strand gracefully intertwines the practical and the absurd, constantly questioning photography’s declining evidential capacity. 

Rags (1986-2014) by Clare Strand featured in White Review

The intention of Further Reading is not to position practice in retrospect or to celebrate individual works, but to make an exhibition of overview in totality, concerning the crossovers, conflicts and serendipity generated between process and practice.

Clare Strand: Vanity Fair By the mid-1990s, if you were a young photographer in Britain looking for a direction and an identity for your work, the question of what to photograph – simply that – would have seemed a more pressing problem that ever. ‘All the photographs have already been taken’ was a commonly heard phrase of the time, a reference to a sense of exhaustion in the medium: not only, it seemed, had every angle, every style, every possible idea and approach already been used up, but also the act of photographing was increasingly regarded as unavoidably formulaic, seeing was effectively compromised by overbearing visual traditions and inventions, old and new.

Interview with Ananda Pellerin for Another

Signs of a Struggle T-Shirt made for Photomonth and worn by director Karol Hordziej and… The Betterment Room - Devices for Measuring Achievement made by Senko Studios, Denmark.

When I was young, I was enthralled by the idea of young women being able to sense the paranormal – like in the movies Poltergeist and Carrie. I used to watch Paul Daniels on TV and when I asked my parents how he did his magic, they’d say it was all done by trick photography.

Clare Strand’s project The Seven Basic Propositions uses taglines from a selection of 1950’s Kodak magazine adverts. These ‘propositions’ point to the early excitement about the possibilities for photography as a mass participatory medium.