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  • Girlfriends 1965-6 - Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 10.jpg
  • Girlfriends 1965-6 - Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 08.jpg
  • Girlfriends 1965-6 - Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 05.jpg
  • Girlfriends 1965-6 - Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 12.jpg
  • Girlfriends 1965-6 - Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 11.jpg
  • Girlfriends 1965-6 - Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 09.jpg
  • Girlfriends 1965-6 - Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 06.jpg
  • Girlfriends 1965-6 - Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 07.jpg
  • The Young Acrobat - Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 39.jpg
  • Fear,  Black Man - Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 31.jpg
  • Uranium (Pink) - Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 45.jpg
  • Uranium (Pink) - Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 44.jpg
  • Uranium (Pink) - Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 42.jpg
  • Uranium (Pink) - Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 43.jpg
  • Uranium (Pink) - Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 41.jpg
  • The Young Acrobat - Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 40.jpg
  • The Young Acrobat - Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 38.jpg
  • The Young Acrobat - Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 37.jpg
  • Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 36.jpg
  • Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 34.jpg
  • Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 33.jpg
  • Hunting Tower and Watchtower - Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 32.jpg
  • Hunting Tower and Watchtower - Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014. Guy Bell, 07771 786236, guy@gbphotos.com.
    Sigmar Polke Tate GBPhotos 30.jpg
  • The Spirits that Lend Strength are invisible, Meteor material - Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 29.jpg
  • Alice in Wonderland - Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 26.jpg
  • Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 27.jpg
  • Alice in Wonderland - Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 25.jpg
  • Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 24.jpg
  • Mao 1972 - Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 23.jpg
  • Potato House- Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 22.jpg
  • Potato House- Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 21.jpg
  • Potato House- Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 20.jpg
  • Potato House- Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 18.jpg
  • Potato House- Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 17.jpg
  • Potato House- Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 16.jpg
  • Potato House- Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 15.jpg
  • Potato House- Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 14.jpg
  • Season's Hottest Trend and Daphne (book) - Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 04.jpg
  • Season's Hottest Trend and Daphne (book) - Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014. Guy Bell, 07771 786236, guy@gbphotos.com.
    Sigmar Polke Tate GBPhotos 03.jpg
  • Season's Hottest Trend and Daphne (book) - Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014. Guy Bell, 07771 786236, guy@gbphotos.com.
    Sigmar Polke Tate GBPhotos 01.jpg
  • Season's Hottest Trend and Daphne (book) - Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014. Guy Bell, 07771 786236, guy@gbphotos.com.
    Sigmar Polke Tate GBPhotos 02.jpg
  • Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 35.jpg
  • Untitled, Soot on Glass - Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 28.jpg
  • Potato House- Alibis a Sigmar Polke retrospective at the Tate Modern – he was viewed as one of the most experimental artists of recent times and the exhibition covers his full career, bringing together works from around the world in a huge variety of materials. Highlights include: Girlfriends – An iconic early Pop painting from 1965 of a bikini-clad girl; Potato House – Standing over 6 feet tall, this sculpture of a house is made from wooden lattices covered in real potatoes; Mao – A huge felt banner covered in scraps of cloth and painted with an image of Chairman Mao; Watchtowers – A series of neon-coloured paintings incorporating silver, resin, fabric and bubble-wrap; and other paintings made from such diverse materials as meteorite dust, soot, lead, coal, elastic bands and medical tape. The exhibition runs from 9 October 2014 – 8 February 2015.  Tate Modern, Bankside, London, UK 07 Oct 2014.
    Sigmar Polke Tate GBPhotos 19.jpg
  • The works of Constant Dullaart - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 32.jpg
  • Aristarkh  Chernyshev LOADING 2007 - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 36.jpg
  • Aristarkh  Chernyshev LOADING 2007 - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 35.jpg
  • The works of Constant Dullaart - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 34.jpg
  • The works of Constant Dullaart - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 33.jpg
  • Evan Roth Internet Cache Self Portrait: November 24, 2015 2015 - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 31.jpg
  • Evan Roth Internet Cache Self Portrait: November 24, 2015 2015 - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 30.jpg
  • Aristarkh  Chernyshev LOADING 2007 - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 29.jpg
  • Douglas Coupland Deep Face 2015 - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 27.jpg
  • Eduardo Kac Reabracadabra 1985 - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 26.jpg
  • Douglas Coupland Deep Face 2015 - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 25.jpg
  • Aleksandra Domanovic Sueño de una Tarde 2013 - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 24.jpg
  • Tony Longson<br />
Square Tonal Drawing 198 - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 23.jpg
  • Rafael Lozano-Hemmer Surface Tension 199 - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 21.jpg
  • Nam June  Paik Internet Dream 1994 - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 20.jpg
  • Nam June  Paik Internet Dream 1994 - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 19.jpg
  • Some of the many audio/video installations - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 17.jpg
  • Peter  Sedgley Light Pulse No 3 1968 - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 15.jpg
  • Peter  Sedgley Light Pulse No 3 1968 - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 14.jpg
  • Some of the many audio/video installations - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 13.jpg
  • Some of the many audio/video installations - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 12.jpg
  • Some of the many audio/video installations - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 11.jpg
  • Trevor Paglen & Jacob Appelbaum Paglen Autonomy Cube 2014 - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 09.jpg
  • Trevor Paglen & Jacob Appelbaum Paglen Autonomy Cube 2014 and in the background, Amalia Ulman Excellences & Perfections (Instagram Update, 20th June 2014) 2014 - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 10.jpg
  • Trevor Paglen & Jacob Appelbaum Paglen Autonomy Cube 2014 - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 08.jpg
  • Trevor Paglen & Jacob Appelbaum Paglen Autonomy Cube 2014 - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 07.jpg
  • Jacolby Satterwhite En Plein Air: Music of Objective Romance 2016 - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 05.jpg
  • Jacolby Satterwhite En Plein Air: Music of Objective Romance 2016 - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 04.jpg
  • EOlaf Breuning Text Butt 2015 - lectronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 01.jpg
  • Trevor Paglen & Jacob Appelbaum Paglen Autonomy Cube 2014 - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 03.jpg
  • Trevor Paglen & Jacob Appelbaum Paglen Autonomy Cube 2014 - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 02.jpg
  • Ollie Proudlock (Made in Chelsea and gang) and his girlfriend Emma Connolly take a selfie - UK charity, Sport for Freedom (SFF), marks Anti-Slavery Day 2015 by hosting a charity Gala Dinner, supported by Aston Martin, on Thursday 15th October at Stamford Bridge, home of Chelsea Football Club. This inaugural event brought together people from the world of sport, entertainment, media, and business to unite behind a promise to tackle the issue of modern day human trafficking and slavery.  <br />
Hosted by Sky presenters Sarah-Jane Mee and Jim White, the Sport for Freedom Gala Dinner includes guests such as jockey AP McCoy OBE; Denise Lewis, former British Olympic Gold Medal winner; BBC Strictly star, Brendan Cole; Al Bangura, former Watford FC player and Sport for Freedom Ambassador who was trafficked from Africa to the UK at the age of just 14yrs old; Made in Chelsea star, Ollie Proudlock; ITV weather presenter, Lucy Verasamy; Sky Sports F1 presenter and SFF Ambassador, Natalie Pinkham; Premier League footballers Ryan Bertrand of Southampton FC and Troy Deeney of Watford FC and champion boxer, Anthony Joshua; and The UK’s first independent Anti Slavery Commissioner, Kevin Hyland OBE, who highlighted the issues of modern day slavery that face the UK and world today. <br />
The evening concluded with chart topping music from ‘Naughty Boy’. <br />
Sport for Freedom are also joining forces with the Premier League Academies for an international  ‘Football for Freedom’ tournament with their U16’s players that will also involve educating those taking part about the issues surrounding modern day slavery. The final will take place at Liverpool FC’s Academy on Anti-Slavery Day, 18th October.
    Sport for Freedom Gala GBPhotos 28.jpg
  • Ollie Proudlock (Made in Chelsea and gang) and his girlfriend Emma Connolly - UK charity, Sport for Freedom (SFF), marks Anti-Slavery Day 2015 by hosting a charity Gala Dinner, supported by Aston Martin, on Thursday 15th October at Stamford Bridge, home of Chelsea Football Club. This inaugural event brought together people from the world of sport, entertainment, media, and business to unite behind a promise to tackle the issue of modern day human trafficking and slavery.  <br />
Hosted by Sky presenters Sarah-Jane Mee and Jim White, the Sport for Freedom Gala Dinner includes guests such as jockey AP McCoy OBE; Denise Lewis, former British Olympic Gold Medal winner; BBC Strictly star, Brendan Cole; Al Bangura, former Watford FC player and Sport for Freedom Ambassador who was trafficked from Africa to the UK at the age of just 14yrs old; Made in Chelsea star, Ollie Proudlock; ITV weather presenter, Lucy Verasamy; Sky Sports F1 presenter and SFF Ambassador, Natalie Pinkham; Premier League footballers Ryan Bertrand of Southampton FC and Troy Deeney of Watford FC and champion boxer, Anthony Joshua; and The UK’s first independent Anti Slavery Commissioner, Kevin Hyland OBE, who highlighted the issues of modern day slavery that face the UK and world today. <br />
The evening concluded with chart topping music from ‘Naughty Boy’. <br />
Sport for Freedom are also joining forces with the Premier League Academies for an international  ‘Football for Freedom’ tournament with their U16’s players that will also involve educating those taking part about the issues surrounding modern day slavery. The final will take place at Liverpool FC’s Academy on Anti-Slavery Day, 18th October.
    Sport for Freedom Gala GBPhotos 18.jpg
  • Ollie Proudlock (Made in Chelsea and gang) and his girlfriend Emma Connolly - UK charity, Sport for Freedom (SFF), marks Anti-Slavery Day 2015 by hosting a charity Gala Dinner, supported by Aston Martin, on Thursday 15th October at Stamford Bridge, home of Chelsea Football Club. This inaugural event brought together people from the world of sport, entertainment, media, and business to unite behind a promise to tackle the issue of modern day human trafficking and slavery.  <br />
Hosted by Sky presenters Sarah-Jane Mee and Jim White, the Sport for Freedom Gala Dinner includes guests such as jockey AP McCoy OBE; Denise Lewis, former British Olympic Gold Medal winner; BBC Strictly star, Brendan Cole; Al Bangura, former Watford FC player and Sport for Freedom Ambassador who was trafficked from Africa to the UK at the age of just 14yrs old; Made in Chelsea star, Ollie Proudlock; ITV weather presenter, Lucy Verasamy; Sky Sports F1 presenter and SFF Ambassador, Natalie Pinkham; Premier League footballers Ryan Bertrand of Southampton FC and Troy Deeney of Watford FC and champion boxer, Anthony Joshua; and The UK’s first independent Anti Slavery Commissioner, Kevin Hyland OBE, who highlighted the issues of modern day slavery that face the UK and world today. <br />
The evening concluded with chart topping music from ‘Naughty Boy’. <br />
Sport for Freedom are also joining forces with the Premier League Academies for an international  ‘Football for Freedom’ tournament with their U16’s players that will also involve educating those taking part about the issues surrounding modern day slavery. The final will take place at Liverpool FC’s Academy on Anti-Slavery Day, 18th October.
    Sport for Freedom Gala GBPhotos 17.jpg
  • Camilla Kirslake the girlfriend of Chris Robshaw. RHS Chelsea Flower Show, Chelsea Hospital, London UK, 18 May 2015.
    Chelsea Flower Show GBPhotos 50.jpg
  • Emily Roberts (cosplayer name Sayuri),27 from Cardif, plays the Harlequin, the Jokers 'girlfriend' from Batman. She puts a lot of effort into developing many versions of the same costume as well as others. She has just taken part in the amateur Cosplay parade which allows people to show off their outfits in front of a large crowd. London Film and Comic Con 2014, (LFCC), at Earls Court, London, UK.
    London Film and Comic Con 28.jpg
  • Aristarkh  Chernyshev LOADING 2007 - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 28.jpg
  • Rafael Lozano-Hemmer Surface Tension 199 - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 22.jpg
  • Nam June  Paik Internet Dream 1994 - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 18.jpg
  • Peter  Sedgley Light Pulse No 3 1968 - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 16.jpg
  • Lynn  Hershman Leeson Lorna 1979-198 - Electronic Superhighway (2016-1966) at the Whitechapel Gallery opens on 29 January to show the impact of computers and internet technologies on contemporary art. The exhibition brings together over 100 works including film, photography, interactive works, painting and drawing by over 70 artists. Arranged in reverse chronological order, the exhibition begins with works made at the arrival of the new millennium, and ends with artefacts from Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Highlights include: Internet Dream (1994) by Nam June Paik, ‘the father of video art’ - a video-wall of 52 monitors displaying electronically-processed images; New large-scale works by Douglas Coupland, author of ‘Generation X: Tales for an Accelerated Culture’, on show in the UK for the first time; Photographs from Amalia Ulman’s Instagram based selfie project Excellences & Perfections; and a wall covered in an image by artist Constant Dullaart of Jennifer in Paradise, the first picture ever to be manipulated using Photoshop (Taken by one of the creators of Photoshop on holiday in the 80s, it depicts his girlfriend on a tropical beach).
    Whitechapel Electronic GBPhotos 06.jpg
  • Ollie Proudlock (Made in Chelsea) and his girlfriend Emma Connolly - UK charity, Sport for Freedom (SFF), marks Anti-Slavery Day 2015 by hosting a charity Gala Dinner, supported by Aston Martin, on Thursday 15th October at Stamford Bridge, home of Chelsea Football Club. This inaugural event brought together people from the world of sport, entertainment, media, and business to unite behind a promise to tackle the issue of modern day human trafficking and slavery.  <br />
Hosted by Sky presenters Sarah-Jane Mee and Jim White, the Sport for Freedom Gala Dinner includes guests such as jockey AP McCoy OBE; Denise Lewis, former British Olympic Gold Medal winner; BBC Strictly star, Brendan Cole; Al Bangura, former Watford FC player and Sport for Freedom Ambassador who was trafficked from Africa to the UK at the age of just 14yrs old; Made in Chelsea star, Ollie Proudlock; ITV weather presenter, Lucy Verasamy; Sky Sports F1 presenter and SFF Ambassador, Natalie Pinkham; Premier League footballers Ryan Bertrand of Southampton FC and Troy Deeney of Watford FC and champion boxer, Anthony Joshua; and The UK’s first independent Anti Slavery Commissioner, Kevin Hyland OBE, who highlighted the issues of modern day slavery that face the UK and world today. <br />
The evening concluded with chart topping music from ‘Naughty Boy’. <br />
Sport for Freedom are also joining forces with the Premier League Academies for an international  ‘Football for Freedom’ tournament with their U16’s players that will also involve educating those taking part about the issues surrounding modern day slavery. The final will take place at Liverpool FC’s Academy on Anti-Slavery Day, 18th October.
    Sport for Freedom Gala GBPhotos 19.jpg
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