Living Room

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Exposition Exposition : « Dust, une histoire de poussière - d'après Man Ray et Marcel Duchamp » L’exposition Dust – Histoires de poussière d’après Man Ray et Marcel Duchamp retrace la vie et les tribulations d’une étrange photographie réalisée en 1920 par Man Ray ou était-ce Marcel Duchamp ? ou peut-être Man Ray et Marcel Duchamp ? La photographie est sans prétention mais énigmatique. C’est un document. C’est une œuvre d’art. C’est un document sur une œuvre d’art. elle est réaliste et abstraite. C’est une nature morte et un paysage. Peut-être même une performance. Je vous dirais volontiers son titre si je le connaissais.

In December 2007, the project space at the Whitechapel Art Gallery in London showed his slide show of found internet photos, entitled "Synethesia". Also to be published are a series of ten books of found imagery called "You Are Only What You See,", with a separate catalog of original photos by Waplington called 'Double Dactyl' (Trolley Books, 2008). Waplington's graphic novel "Terry Painter" was made in collaboration with Miguel Calderon in 2003. This and other projects with Calderon including "The Garden of Suburban Delights" have been exhibited in Europe and the US. Providing a rare behind-the-scenes look into one of fashion’s most innovative and celebrated names, Waplington’s photographs capture the creative journey of McQueen’s final Autumn/Winter collection, Horn of Plenty in 2009. The critically acclaimed collection was an iconoclastic retrospective of McQueen’s career in fashion, reusing silhouettes and fabrics from his earlier collections, and creating a catwalk set out of discarded elements from the sets of his past shows. Other bodies of work include the much-copied Safety in Numbers (Booth Clibborn Editions 1997), a bleak study of E culture in the mid-1990s, and The Indecisive Memento, a global road trip where the journey itself was the artwork (Booth Clibborn Editions 1999). Today, Ino longer engage with the work as Idid when Imade the pictures. The first images were made in 1983 which is over thirty –five years ago now and alot has changed both with the world and with me – there was no internet then for starters. Inever imagined the work flying around as it does now on the web. For along time, Icouldn’t look at it or deal with it as it had been such abig part of my life for so long. Things change, for instance, Ireally do not like the cover image of the book any more – it’s stupid and superficial, in my opinion. There are much better pictures from the work which have never been seen and could do with being published, but as abody of work it stands up. In fact, it is timeless if Ican say that about my own work without sounding boastful. Ithink it has reached apoint where it is so far removed from where Iam now it doesn’t really matter anymore. If people what to see the work, Iam happy to show it. The book has been out of print for three decades so perhaps its time to get it out there again.These days you document your own family, it’s as though you’ve come full circle. What’s the most important thing you’ve learned along the way? Waplington’s ‘Living Room’ series, completed between 1987 and 1991, invites viewers into untidy, crowded, noisy lives. We enter the bathroom, the kitchen, the lawn, and, of course, the living room, although ultimately every room becomes a “living room.” A review of the ‘Living Room’ series in the Village Voice said, “Such intimate social realism makes you think it must take exceptional people, on both sides of the camera, to achieve such a degree of osmosis.” This young, award-winning photographer’s first book, Living Room, makes viewers thoroughly at home in its warm, welcoming, and outrageous world.’ Learn how to die the easy way" (Trolley Books, 2002) Waplington's contribution to a group exhibition in part of the Venice Biennale 2001, expresses a yearning for the artistic and commercial freedom that the web might yet expose and a celebration of the dislocated reason behind conventional thoughts and media. "If, as I suspect," says Waplington, "the Internet has broken the stranglehold of governments and large media corporations on mass communication, then we could be in for a very exciting period of development on a number of different levels. Would a breakdown of current modes of social, moral and political cohesion be too much for a man to ask for?"

Or so he thought. In 2018, Soloman’s son made the discovery that the series had not actually been destroyed. The images were in his possession. As Waplington explains, ​ “Much to my delight and surprise, the prints were amongst the work he had kept after Imade the decision to destroy it. It seems he couldn’t bring himself to do the dirty deed and burn the prints after all.” Exposition Exhibition : « Conflict, Time, Photography » at the Museum Folkwang "Conflict, Time, Photography" presents the many facets of the artistic portrayal of armed conflicts using the medium of photography. Artists such as Don McCullin, Pierre-Antony-Thouret, Simon Norfolk, Stephen Shore, Michael Schmidt and Taryn Simon have depicted acts of war and their legacy, in photographs taken in the mo-ment of the action, as well as days, months, years, and even decades after the event. This major group exhibition has no intention of serving as a ‘history of war photography’, however. It instead explores the various possibilities and strategies that artists and photographers have adopted to try to come to terms with violent conflict, in the hope of overcoming it. On show are some 200 works ranging from a period of just over 150 years in the history of photography, from 1855 to 201... Other Edens (Aperture 1994) focused on environmental concerns and, although it was conceived and worked on at the same time as 'Living Room', was seen as a major departure in style and content. This work is global in nature and its ideas are ambiguous and multi-layered.

Nick Waplington/Alexander McQueen: Working Process

Waplington’s photographs reveal a raw and unpolished side of the fashion world. Candid images of McQueen’s working process are juxtapose... More recently, Waplington’s passion for colour and scale has carried him into a series of panoramas he calls the ‘Circles of Civilization’. Measuring approximately five feet wide by eighteen inches high, these photographs have a timeless, almost mystical nature. Unlike the explosive, chaotic earlier scenes, the panoramas breathe a subtle, controlled energy. Whereas in ‘Living Room’ the artist is infinite yet unseen, in the current ongoing series he becomes part of the subject, cleverly posing, juxtaposing, and superimposing himself beside, against and on landscapes which range from the deserted beaches of Naples to the icons of Easter Island. His other photographic books include You Love Life, (Trolley Books, 2005) in which the photographer uses pictures taken over a 20 year period to construct an autobiographical narrative.