Page 1
Page 2
Page 3
Page 4
Page 5
Page 6
Page 7
Page 8
Page 9
Page 10
Page 11
Page 12
Page 13
Page 14
Page 15
Page 16
Page 17
Page 18
Page 19
Page 20
Page 21
Page 22
Page 23
Page 24
Page 25
Page 26
Page 27
Page 28
Page 29
Page 30
Page 31
Page 32
Page 33
Page 34
Page 35
Page 36
Page 37
Page 38
Page 39
Page 40
Page 41
Page 42
Page 43
Page 44
imon Baker Curator of Photography at Tate Modern has put together a highly engaging exhibition that shows the work of over 50 photographers and explores the relationship between photography and performance. It is packed with humour irony and vulnerability. In the light of this exhibition the fascination we have today with the Selfie is not perhaps as shallow as it might first seem they can reveal more about us our world and our actions than we think. A photo of the London Eye is enhanced for us when we are captured in it perhaps even more so when we take it ourselves. At this point we no longer just have a picture of a something memorable or evidence we were there too but that we performed there and enjoyed it - extended our arm or selfie-stick smiled and snapped In the 1960s artists Yves Klein and Yayoi Kusama initially began taking photographs of their art performances documenting their work before realising that in fact the photography was becoming an integral facet of it. Through the work of Lee Friedlander we can see how the photographer appears to gradually notice himself as a shadow on the pavement or a reflection in a window in his images. Over the years that follow this self-inclusion becomes as important if not more important than the world he initially set out to capture. Performing for the Camera Runs until 12 June 2016 TATE MODERN Bankside SE1 9TG t 020 7887 8888 w culture SELFIE An exploration of how photography or taking pictures of performance and art overlapped revealing new dimensions in the images created by Rachel Lewis 24 THE RIVER SPRING 2016 CULTURE Masahisa Fukase From Window 1974Boris Mikhailov Crimean Snobbism 1982