Vanessa Winship - Barbican Art Gallery (until 2 September 2018)

Vanessa Winship, Untitled, from the series She Dances on Jackson , 2011/2012

Vanessa Winship: And Time Folds is at the Barbican Art Gallery until 2 September 2018.
(This exhibition is showing alongside Dorothea Lange: Politics of Seeing - see separate entry below)
From the Barbican website:
A wanderer by nature, Winship has amassed a body of work from her journeys through Albania, Serbia, Kosovo and Greece in the early 2000s; through to her 2012 project she dances on Jackson, where she criss-crossed America sensitively capturing a sense of dislocation during the Obama presidential campaign. Her award-winning photographs have explored ‘concepts of borders, land, memory, desire, identity and history’. Using photography as a tool through which to chronicle and engage with the world at large, her penetrating and incisive images are all distilled through her poetic gaze.
The recipient of the prestigious Henri Cartier-Bresson prize in 2011, Winship’s deeply intimate photographs often appear to avoid specific contexts or any immediate political significance. The exhibition brings together an outstanding selection of more than 150 photographs, many never been seen before in the UK.

Vanessa Winship, Untitled, from the series Black Sea: Between Chronicle and Fiction, 2002-2006

Vanessa Winship, Untitled, from the series Georgia: Seeds Carried by the Wind, 2008-2010

Vanessa Winship, Untitled, from the series She Dances on Jackson , 2011/2012

Vanessa Winship, Untitled, from the series She Dances on Jackson , 2011/2012

Vanessa Winship, Untitled, from the series Humber, 2010

Vanessa Winship, Untitled, from the series Black Sea: Between Chronicle and Fiction, 2002-2006

Vanessa Winship, Untitled, from the series Black Sea: Between Chronicle and Fiction, 2002-2006

Reviews
Matthew Collings (Evening Standard)
Laura Cumming (The Guardian)
Sean O'Hagan (The Guardian)
Mark Hudson (The Telegraph)
 

Dorothea Lange - Barbican Art Gallery (until 2 September 2018)

Dorothea Lange, White Angel Breadline, San Francisco, 1933

Dorothea Lange: Politics of Seeing is at the Barbican Art Gallery until 2 September 2018.
(This exhibition is showing alongside Vanessa Winship: And Time Folds - see separate entry above)
From the Barbican website:
In 1936, Dorothea Lange made one of the most iconic photographs of the twentieth century. Her portrait of Florence Owens Thompson, now known simply as Migrant Mother, portrays a migrant worker who, like countless others, had journeyed west from Oklahoma to California during the Great Depression. This image became a symbol of American endurance in the face of unemployment, hunger and homelessness.
While the world has changed dramatically over the last eighty years, much of what concerned Lange is just as relevant today: poverty, displacement, environmental devastation and racial inequality. Lange was perfectly placed to document and observe these changes as they gripped the United States from the 1930s to the Second World War and beyond.
A proto-feminist, visual activist and environmental campaigner, Lange was a powerful woman of unparalleled vigour and resilience. Using her camera as a political tool to shine a light on cruel injustices, Lange went on to become a founding figure of documentary photography.
Reviews
Matthew Collings (Evening Standard)
Laura Cumming (The Guardian)
Sean O'Hagan (The Guardian)
Mark Hudson (The Telegraph)
Emily Spicer (Studio International)

Dorothea Lange, Migrant Mother, Nipomo, California, 1936

Dorothea Lange, Migratory Cotton Picker, Eloy, Arizona, 1940

Dorothea Lange, Family walking on highway - five children. Started from Idabel, Oklahoma, bound for Krebs, Oklahoma, June 1938

Dorothea Lange, Cars on the Road, August 1936

Paul S. Taylor, Dorothea Lange in Texas on the Plains, c1935