Widow (Red)
Photograph
01/1997 (made), 03/1997 (printed)
01/1997 (made), 03/1997 (printed)
| Artist/Maker | |
| Place of origin |
Inez Van Lamsweerde is one of the most important contemporary photographers who traverses both art and commercial photography. Her unsettling fashion photographs have been influential in defining British magazines such as The Face and i-D. The photographer's work has received international acclaim for the blending of commercial photographic style with startling narratives, often psychological and sexual in nature.
The use of digital manipulation in Widow (Red) is more subtle than in the photographer's previous work. Visible only at the bottom, the male appears to float across the image.
The use of digital manipulation in Widow (Red) is more subtle than in the photographer's previous work. Visible only at the bottom, the male appears to float across the image.
Object details
| Category | |
| Object type | |
| Title | Widow (Red) (assigned by artist) |
| Materials and techniques | C-type colour print |
| Brief description | Inez van Lamsweerde & Vinoodh Matadin, 'Widow (Red)', 1997 |
| Physical description | Photograph of a girl holding a man in her arms. Her eyes are half closed and she is wearing a red dress. Part of a series of four images. |
| Dimensions |
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| Copy number | 4 of 6 |
| Gallery label |
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| Object history | 'Widow'(Red) is one image from a series of four. Historical significance: Van Lamsweerde is one of the most important contemporary photographers who traverses both art and commercial photography. |
| Subjects depicted | |
| Summary | Inez Van Lamsweerde is one of the most important contemporary photographers who traverses both art and commercial photography. Her unsettling fashion photographs have been influential in defining British magazines such as The Face and i-D. The photographer's work has received international acclaim for the blending of commercial photographic style with startling narratives, often psychological and sexual in nature. The use of digital manipulation in Widow (Red) is more subtle than in the photographer's previous work. Visible only at the bottom, the male appears to float across the image. |
| Bibliographic reference | Catalogue: Silver and Syrup: Selections from the History of Photography exhibition |
| Collection | |
| Accession number | E.480-1998 |
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| Record created | September 13, 2003 |
| Record URL |
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