Learn how to die the easy way" (Trolley Books, 2002) Waplington's contribution to a group exhibition in part of the Venice Biennale 2001, expresses a yearning for the artistic and commercial freedom that the web might yet expose and a celebration of the dislocated reason behind conventional thoughts and media. "If, as I suspect," says Waplington, "the Internet has broken the stranglehold of governments and large media corporations on mass communication, then we could be in for a very exciting period of development on a number of different levels. Would a breakdown of current modes of social, moral and political cohesion be too much for a man to ask for?"

These days you document your own family, it’s as though you’ve come full circle. What’s the most important thing you’ve learned along the way?is a monumental artistic endeavor initiated by photographer Frederic Brenner, who believes that only through the eyes of great artists can we begin to understand the complexities of Israel – its history, its geography, its inhabitants, its daily life – and the resonance it has for people around the world.

His other photographic books include You Love Life, (Trolley Books, 2005) in which the photographer uses pictures taken over a 20 year period to construct an autobiographical narrative. Waplington’s ‘Living Room’ series, completed between 1987 and 1991, invites viewers into untidy, crowded, noisy lives. We enter the bathroom, the kitchen, the lawn, and, of course, the living room, although ultimately every room becomes a “living room.” A review of the ‘Living Room’ series in the Village Voice said, “Such intimate social realism makes you think it must take exceptional people, on both sides of the camera, to achieve such a degree of osmosis.” From 1984 Waplington would regularly visit his grandfather on the Broxtowe Estate in Nottingham where he began to photograph his immediate surroundings. Friends and neighbours of his family became his subject matter of choice. He continued with this work on and off for the next 15 years and from it came two books (Living Room and Weddings, Parties, Anything, both Aperture Foundation) and numerous exhibitions. (The book Weddings, Parties, Anything was called The Wedding for the American version only.) Providing a rare behind-the-scenes look into one of fashion’s most innovative and celebrated names, Waplington’s photographs capture the creative journey of McQueen’s final Autumn/Winter collection, Horn of Plenty in 2009. The critically acclaimed collection was an iconoclastic retrospective of McQueen’s career in fashion, reusing silhouettes and fabrics from his earlier collections, and creating a catwalk set out of discarded elements from the sets of his past shows. Exposition Exhibition : « Conflict, Time, Photography » at the Museum Folkwang "Conflict, Time, Photography" presents the many facets of the artistic portrayal of armed conflicts using the medium of photography. Artists such as Don McCullin, Pierre-Antony-Thouret, Simon Norfolk, Stephen Shore, Michael Schmidt and Taryn Simon have depicted acts of war and their legacy, in photographs taken in the mo-ment of the action, as well as days, months, years, and even decades after the event. This major group exhibition has no intention of serving as a ‘history of war photography’, however. It instead explores the various possibilities and strategies that artists and photographers have adopted to try to come to terms with violent conflict, in the hope of overcoming it. On show are some 200 works ranging from a period of just over 150 years in the history of photography, from 1855 to 201...

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verifyErrors }}{{ message }}{{ /verifyErrors }}{{ Other Edens (Aperture 1994) focused on environmental concerns and, although it was conceived and worked on at the same time as 'Living Room', was seen as a major departure in style and content. This work is global in nature and its ideas are ambiguous and multi-layered. Exposition THIS PLACE, The complexity of Israel The complexity of Israel and the West Bank through the eyes of twelve internationally acclaimed photographers. What is remarkable about the photographs is the special way in which they make the intimate something public; something that we, who do not know personally the two families photographed, can look at without any sense (or thrill) of intrusion,” writes John Berger in the accompanying essay.