Art of the Digital Age

A comprehensive reference section that includes a year-by-year timeline of breakthroughs in digital art, an extensive bibliography, a list of artists' websites and online projects, and a glossary of digital terms complete this indispensable assessment of art in the new millennium. 232 illustrations, 218 in color.

read more | digg story

Copyright Laws for Websites

IP lawyer Geraldina Mattsson has started off her new career with ACID Accredited Law Firm DMH Stallard’s legal team, with a useful set of guidelines about setting up a webpage to sell and market your products regarding intellectual property rights. It is almost standard practice these days for businesses of any size to have websites to advertise and sell their products and services. Although the web’s popularity grew exponentially in the mid-90s, its policing remains largely uncontrolled. It is therefore important for owners of intellectual property rights to be aware of the ease of intellectual property infringement in cyberspace and of committing infringement against other rights-holders, whether innocently or intentionally. This applies to businesses that commission webpage specialists to construct a website as well as those that prefer building their own. Either way, it is important to consider the following issues before your webpage goes live:-

Ensure that you warn others of your ownership in the intellectual property rights in the webpage content by displaying a copyright notice either at the bottom of your webpage or which can be retrieved by clicking on a link on your page.

If you are displaying any goods that have the benefit of registered trade mark or registered design protection, be sure to use the relevant symbols to warn others that your goods are protected by intellectual property rights. ACID members, of course, can use the powerful ACID logo together with an IP statement, “All intellectual property rights in our designs and products and in the images, text and design of this website are and will remain the property of (insert your name), Any infringement of these rights will be taken seriously”.(see,;; as examples).

Include a set of conditions of use and/or service which sets out clearly the issues of intellectual property ownership, responsibilities and liabilities required of the end-user and/or how you may wish to use any intellectual property created by the end-user, if applicable. You should also specify that the end-user is only granted a limited licence to access and use your website without conferring any rights to modify or download any content without express consent from you.

Beware of taking material protected by copyright from other web pages such as texts, photos, specialised fonts or typographical arrangements and using such material on your webpage without prior permission from the rights-owner. As is widely known, it is easy to right-click on your mouse to copy material from another page; but according to IT specialists, there is technology available that can enable copyright owners to identify the source carrying out the infringing act, making it easier and quicker for copyright owners to catch infringers. In turn, you may wish to invest in the same technology to deter potential infringers and include a notice to that effect on your webpage. If you do, a pop-up message may appear after an end-user has right-clicked on copy-protected material to warn the end-user against copying the content without permission. Alternatively, this technology may be covert where the end-user is not forewarned about the potential liability in copying the protected content, but will be directly issued with a cease and desist letter containing a demand for compensation. Businesses must decide which of these methods is of more value to them.

If you wish to place links to interesting or relevant articles illustrations or photos on your webpage, you must ensure that permission from the copyright owner is obtained first.
It is essential that you register your domain name; this is the address of your webpage. A domain name is an extremely important marketing tool as it identifies your business. You should choose a domain name that best suits your business and should ensure that your domain name registrar (should you decide to use one) conducts the requisite checks to ascertain that the name selected has not previously been registered or may be a trade mark of another company.

You should also choose your domain name registrar carefully. Nominet, the internet registry for .uk domain names, provides some general advice on its webpage on how to choose a registrar. To apply for .eu domain names, you should consult the webpage of the European Registry of Internet Domain Names (EURid), at

Implementing the above points will provide you with some basic defences against infringers and rights-holders. Owners of intellectual property rights will need to balance vigilance in protecting their intellectual property rights with cautiousness against inadvertently infringing the rights of other rights-holders. Don’t forget the ACID legal hotline number is 0845 230 5742 and this is available for initial free advice on contentious and non-contentious matters.

Ground Breaking Design Legislation

In a ground breaking judgment between Proctor & Gamble and Reckitt Benckiser at the Court of Appeal, Lord Justice Jacob has issued guidelines on how monopoly rights over designs should be interpreted in the future across the European Union. The relatively new registered and unregistered Community design has only been going for four years, and, as a result, there have been very few cases to clarify the position. Prior to this latest ruling the legal test was whether one product would provide the “same overall impression on the informed user” to an alleged copy. However, in his analysis Judge Jacob ruled that a variety of “differences” - from the “shape” of the head of Reckitt Benckiser’s Febreze sprayer to the “tapering off” of the can - provided a “different overall impression on the informed user” to the Proctor & Gamble product thus changing the way this monopoly right will be relied upon in the future.

What is the definition of design?

“Design” means the appearance of the whole or a part of a product resulting from the features of, in particular, the lines, colour, shape, texture, contours, materials and ornamentation. The Registered Community Design is a monopoly right lasting 25 years, renewable every 5 years. It is valid in 27 member states.
Read more @

Why Frieze is hot

London’s Frieze fair is the hippest place to be this week: and the art will be pretty good, too.

Frieze Art Fair takes place every October in Regent’s Park, London. It features around 150 of the most exciting contemporary art galleries in the world. The fair also includes specially commissioned artists’ projects, a prestigious talks programme and an artist-led education schedule.

Admission - Opening Hours
Thursday 11 October 11am-7pm
Friday 12 October 11am-7pm
Saturday 13 October 11am-7pm
Sunday 14 October 11am-6pm

Box Office & 24 hour credit hotline: See Tickets
Tel +44 (0)870 890 0514 Group Bookings +44 (0)870 899 3342 Book tickets here

Frieze Art Fair Tours
For an insight into the art works on display and an introduction to the fair itself, professional guides will provide an overview of Frieze Art Fair and its history introducing you to the highlights of the exhibition looking at art works in more detail.
Tours last for approximately one hour and are limited to 12 places. Group guiding systems are provided by Acoustiguide. Tickets are now available.

Since we live in a democracy, you are notionally free to choose where you go between Thursday and next Sunday. If, however, you live your life in the manner of most modern citizens, guided by the frantic proddings of the zeitgeist, pushed this way and that by the rhythms of cool, then you actually have little say in the matter. If you don’t want to be the only square in your village, you need to go to Frieze. Everybody else will be there.

On paper, it’s just an art fair. But then, on paper, Michelangelo’s David is just a lump of stone. On paper, the Taj Mahal is a building, and Helen Mirren is an actress. When it comes to describing exceptional cultural phenomena, the English language is occasionally out of its depth. And “art fair” is a particularly unfortunate example. It’s the way word two seems to undermine word one that annoys. I’m not saying Frieze isn’t, technically, an art fair. My point is that this glum definition doesn’t begin to capture the drama and buzz of the event in the tent.
For four days in October, the Frieze Art Fair transforms London into a mecca, and collecting into a hajj. People fly in from Miami and New York, from LA and Chi-cago, from Berlin and Zurich, and now, I see, from Beijing, Seoul and Tokyo. Hotels are packed, restaurants booked. You can’t get a limo for love nor money. But the most remarkable thing about Frieze is that it has achieved all this from a standing start. Five years ago, it didn’t even exist.

If you’ve been to the Ideal Home Show or the Motor Show, you will recognise the basic setup. People who want to sell you something rent a venue, jolly it up and fill it with their wares. You are then invited to join them, and are flogged as much of the stuff as your weaknesses will allow. It’s what happens at all trade fairs. But Frieze’s first organisational masterstroke was to locate these familiar exchanges in a venue that was excitingly unfamiliar. Where the typical trade fair takes place in the sucked and spat-out misery of Olympia or tatty old Ally Pally, Frieze happens in a specially designed tented pueblo, a kind of temporary Brasilia made of tarpaulins, situated for some fantastical reason in the unlikely horticultural expanses of Regent’s Park. Marching up to this huge and noisy big top makes you feel like an excited kid being taken to the circus by his nan. And the people selling stuff inside are a different crowd from the ones you are probably used to. Art dealers follow a specific sartorial rule book. The men dress like Mormon missionaries, in dark suits and crisp white shirts, while the women wear only Prada.

The second defining decision made at the outset by the organisers was to deal exclusively in contemporary art. Not modern art, contemporary art. No Picassos, no Henry Moores; no repetition from any of the old-timers. The rule-makers are hardliners on this subject. Only new art from around the world is allowed in. If you’re up with Frieze, therefore, you’re as up as you can be with art. There is nothing fresher than this.

It was all planned and enforced by two absurdly young and adventurous cultural entrepreneurs. One of them, Amanda Sharp, lives in New York, and I know nothing about her. The other one, Matthew Slotover, I’ve encountered a few times, and I can happily confirm that he looks more like my paperboy than the creator of the definitive 21st-century art event so far. As with many contemporary millionaires and internet revolutionaries, he seems far too callow and casual to have achieved what he has.

The name “Frieze”, he confesses happily, was discovered by chance in a thesaurus. He was looking for synonyms for “art”, and there was “frieze”, meaning a horizontal band of carved reliefs. By a curious coincidence, it’s a homophone of the pioneering exhibition mounted in a London warehouse by Damien Hirst in 1988. Freeze was the event that triggered the whole Brit Art thing – and the entire dramatic turnaround in British art taste that was to culminate in the opening of Tate Modern can be traced back, I suggest, to the original Freeze show. So, it was a good name to stumble across.

Before Frieze the art fair came along, Slotover and Sharp ran Frieze the magazine, and that, too, was an impossibly hip blend of obscure thoughts and elegant ads. They started thinking about an art fair in 1998. But it wasn’t until the day Tate Modern opened, in 2000, that they knew they had to go ahead with it. “The whole of the international art world was here,” Slotover says.“They had never come before. But we looked around and thought, they will come to London.”

Bravely and perspicaciously Slotover and Sharp remortgaged their houses and began planning the Frieze Art Fair in the exact detail that characterises their approach to this day. And from the moment it untied its tent flaps in October 2003, it was clear that the zeitgeist was behind it. The figures speak for themselves. In 2005, 47,000 visitors were lured into the great marquee, and spent £33m on art. The next year, the figures were up by 35%. They’ll be up again this year, and next year, and the next. But by how much, we will never know, because, last year, Frieze stopped releasing the details. I suspect they were embarrassed by them.
I spotted Jude, Gwyneth, Elton and Nigella at last year’s Frieze. Jude and Gwyneth were definitely buying, as, I presume, was Elton; and if Nigella wasn’t, then her husband, Charles, whom I also saw, must have been. I think I noticed Claudia hurrying past, too, and Kate would have been there, because Kate goes to everything. Tracey was around, of course, and although I didn’t see Damien, I couldn’t miss Jake and Dinos, because they were plonked right in the middle of the thing, churning out ludicrous portraits of anyone prepared to fork out £4,000 for the pleasure. I wanted to have mine done – who wouldn’t? – but the queue was too long.
Those were just the recognisable faces in the crowd, the A-, B- and C-listers whose presence so handily signals a cultural success. Then there were all those anonymous visitors who, judging by the cut of their thongs and the swing of their bling, constituted a large percentage of the nation’s groovers: the young, the fresh, the giggly. If Al-Qaeda decided to take out the Frieze tent, they would undoubtedly take out most of Britain’s happening types.

But the hipness of Frieze is certainly not why I, a longtime abhorrer of art fairs, approve of this event and, indeed, delight in it. I like Frieze because it gives so much away. I don’t mean the leaflets and baseball caps you come out with. That happens at all trade fairs. Frieze deals in a different kind of freebie. One of the best things the fair does is to commission work by artists who are not directly involved with a particular gallery. This year, the venerable American trouble-maker Richard Prince will be showing a full-size recreation of a macho 1970 car called a Dodge Challenger. The original Challenger was a mass-produced piece of flash that guys liked. But Prince has reversed its usual manufacturing process by building his model entirely by hand, from scratch. What’s being challenged, therefore, is the nature and value of an original – a key art-world question. And seeing it being asked at Frieze is like going to a motor show and finding a poster covered in road-safety warnings. All the Frieze commissions this year seem to be biting the hand that feeds them by asking awkward questions of the event itself. Elin Hansdottir has set up a lighting system that ensures your shadow is split up into its constituent parts as you enter, as if you don’t really exist.

All these performances share a questioning mood. And that applies to Frieze in general. On the surface, it’s an art fair, but beneath that it’s an art-world conspiracy to subvert the system. In my favourite conceptual manoeuvre, Gianni Motti has asked one of the policemen patrolling Frieze to take a regular public break from security to practise yoga. That I really want to see. And it’s why a hardened art-fair hater like me will be at the head of the queue on Thursday, making sure I get in before you.

Frieze Art Fair, Regent’s Park, NW1, October 11-14.

1600+ Images from the Cooklin archive

International digital artist, Paul Cooklin, finally launches his full catalogue of images. From the very first to over 1600, these images have impact and depth which connect with the viewer. Suitable for all media applications including editorials, web and print, the collection is priced with a Rights Managed license for affordability.

read more digg story

100% Design - Earls Court London

If you go to only one exhibition this year… 100% Design at Earl’s Court.

“100% Design is the UK's premier contemporary interiors event for the contract market. There is no other show that connects the worlds of architecture and design with innovative, contemporary interior products, creativity and an exciting mix of new and established talent.”

Entry is FREE
Take a look at the Exhibition’s website:

Mount London Expedition

© Kollaborators 2007
Expedition 2007

Sunday 30 September 2007 14.00–15.00

Expedition is new media production about London borough of Southwark. Using the analogy of a mountain expedition, local teenagers explore the cultural wealth of their borough, navigating its histories, fantasies and the everyday realities of Southwark to map the otherworldly qualities of this familiar terrain. For more information visit

Tate Forum Mobilography Launch

Capture images of your immediate environment at Mobilography
© Tate
Saturday 22 September 2007 12.00–16.00

Mobile phones and portable technology are everywhere – but do we use them to their full potential? How attached are you to your mobile phone? Mobilography creates a visual language which captures symbols and works of art in Tate Britain’s surrounding environment.

Tate Forum and the artist Tracey Moberly explore the world using mobile phones and help you discover how portable technology can be used to collect images to build up a contemporary visual narrative of individual experiences of life and your immediate environment.
There will be debate, music, film and a chance to view Tate Britain’s historic and contemporary social and political art.

Find out how you can join Tate Forum, Tate Britain’s youth group for 15-23 year-olds at

Anti Copyright In Design

In August 2004 ACID started to deliver news online. Since then it has been a way of letting our members know what is happening when it happens.

ACID Online is a quick, effective way to keep your finger on the pulse. All ACID members receive a monthly email linking to the latest ACID online newsletter with up-to-date IP news, advice and legal tips.

In this current format, ACID’s online newsroom not only delivers the news, but allows you to access all previous issues. You can search through past articles either by category or by using the search tool at the top of each screen. ACID members can also comment on news items and use this facility to debate issues with other members of ACID.

Please click on the links to the side of this page for all the current and archived news as well as accessing a host of other resources.

For further information about ACID please use the contact details below:

Legal Hotline: +44 (0) 845 230 5742

Membership Hotline: +44 (0)845 644 3617

Membership Fax: +44 (0)845 644 3618


Full contact details available on the ACID website

Linda Barker © Infringement

Romo Simonii Design

Hot foot from taking enforcement action against Linda Barker on a copyright issue with their Simonii cushion design, ACID (Anti Copying in Design) members Romo Limited, designers of original and exclusive soft furnishings had to tackle a further apparent infringement when they discovered that a fabric called "Merge Flower" (virtually identical to their Simonii design) was being sold though the Hong Kong based company Margaret Muir Limited's trade catalogue and website.

Grand Designs Awards

Success for ACID Members!

At the fabulous and glitzy Grand Designs Awards held on 8th June, Dids Macdonald, ACID's CEO presented the ACID sponsored Grand Designs Best Furniture Award to Bruno Allard of Ligne Roset. This was made possible by the generosity of ACID's Accredited Law Firm, DMH Stallard, who co-funded the ACID sponsorship.

Read on...

What's an Artist?

That tuckered-out argument we've been having here for know, the one about who's an artist and what makes something art...reared its ugly head in my consciousness again while reading an article in the Science section of The New York Times this morning. It's a profile of photographer, Felice Frankel, who has virtually revolutionized the way images are presented in science education:

With her help, scientists have turned dull images of things like yeast in a dish or the surface of a CD into photographs so striking that they appear often on covers of scientific journals and magazines. According to George M. Whitesides, a Harvard chemist and her longtime collaborator, “She has transformed the visual face of science.” [...]

In her book, “Envisioning Science” (M.I.T. Press, 2002), Ms. Frankel instructed researchers, in words and many pictures, in the kind of visual depiction of scientific processes and subjects she and Dr. Whitesides produced in an earlier book, “On the Surface of Things,” (Harvard University Press, 1997). Now they are finishing a book about “small things,” as Dr. Whitesides put it, things at the limit of what can be seen with light, even through the microscope.

Meanwhile, Ms. Frankel has been organizing conferences around the country on “Image and Meaning,” and working to establish a program sponsored by the National Science Foundation on the uses of visual imagery in teaching science.
Her images are indeed captivating:

But in the Times article, she explains why she's not comfortable with her photographs being described as "art":

When people call Felice Frankel an artist, she winces.

In the first place, the photographs she makes don’t sell. She knows this, she says, because after she received a Guggenheim grant in 1995, she started taking her work to galleries. “Nobody wanted to bother looking,” she said.

In the second place, her images are not full of emotion or ideology or any other kind of message. As she says, “My stuff is about phenomena.”

Phenomena like magnetism or the behavior of water molecules or how colonies of bacteria grow — phenomena of nature. “So I don’t call it art,” Ms. Frankel said. “When it’s art, it’s more about the creator, not necessarily the concept in the image.”
There's not a lot of information about her experience with galleries in that statement, but it's not difficult to image the details. What gets me about this, though, is the notion that someone doing something so fundamentally related to what true "art" does (i.e., help us see the world in a new way) has decided what she does isn't "art" because of some degree of rejection by the commercial gallery system. Without knowing whether that experience was limited to walking into some big name spaces and asking the gallerinas if someone would look at her prints, it's difficult to conclude whether such a response was premature or not (and I'll admit, the work's not quite right for our program), but it's merely the idea that Ms. Frankel permitted someone else to decide for her whether she was an "artist" that bothers me here.

In this 1998 interview on The NewsHour, the interviewer called what Ms. Frankel does "a marriage of art and science," and she doesn't object to that characterization, suggesting perhaps back then she was still actively seeking gallery exhibitions (or, obviously, that she wasn't presented the opportunity to object), but clearly at one point she wanted to be taken seriously as an "artist." In fact, when she first became affiliated with MIT, according the Times article, it was as an artist in residence. What changed her mind about whether she was an "artist" appears to have been the gallery system.

But let's back up to her definition for more insight into this decision:

In the second place, her images are not full of emotion or ideology or any other kind of message. As she says, “My stuff is about phenomena.”

Phenomena like magnetism or the behavior of water molecules or how colonies of bacteria grow — phenomena of nature. “So I don’t call it art,” Ms. Frankel said. “When it’s art, it’s more about the creator, not necessarily the concept in the image.”

Now I don't imagine she meant that as the criticism it reads to me as, but still. Yikes.

Or is she right? Is art more about the creator than anything else? What is an "artist" minus the ego? Is ego a primary component of "art"?

Even more disturbing perhaps than this assertion is the initial conclusion that her photographs are not "art" because "the photographs she makes don’t sell." Perhaps that reflects nothing more than Ms. Frankel's personal assessment. But it was alarming to read it in print, so matter-of-factly stated by someone so clearly intelligent and creative.

Like I said, we've been over this terrain with a fine tooth comb, but I wasn't aware of how much such notions have seemingly seeped into the conventional wisdom. I mean she's now convinced...where did her doubt about the definitions go?

Can I just say Yikes, again?


posted by Edward_ at 7:44 AM

Contemporary Photography

Tate Britain

SYMPOSIUM: Obsession and Repetition: Documenting in Contemporary Photography

This one-day symposium explores ideas of documenting, obsession and process in contemporary visual art. With particular emphasis on photography, the speakers consider when repetition becomes obsession and how artists can use 'obsessive' forms of practice to articulate their ideas and new forms of figuration. Does this then lead to new and emergent forms of making and looking? Speakers include Briony Fer, Adam Phillips and Sophie Calle.

In collaboration with Kingston University's new BA Photography course and the Stanley Picker Gallery

Obsession and Repetition: Documenting in Contemporary Photography
Saturday 30 June, 10.00-17.00
Tate Britain, Auditorium
£25 (£15 concessions), booking required
Price includes refreshments
Find out more
Book online

How We Are: Photographing Britain Supported by
Wallis Annenberg and the Annenberg Foundation through the American Patrons of Tate

Photographing Britain

Tate Britain

EXHIBITION: How We Are: Photographing Britain

A treasure trove of stunning images, this exhibition takes a unique look at the journey of British photography. The images in this exhibition have come from the length and breadth of the UK and present the extraordinary variety and depth of one-and-a-half centuries of image-making.

To coincide with How We Are: Photographing Britain, Tate has partnered Flickr to create "How We Are Now", a project which invites you to add your photograph to the exhibition. Your photograph will displayed* at Tate Britain, on Tate Online and on The Observer's website, and a shortlist will be chosen to be be displayed in the exhibition's final month and archived online. Visit How We Are Now for details and full terms and conditions.

*Terms and conditions apply

Supported by Wallis Annenberg and the Annenberg Foundation through the American Patrons of Tate
Media partner: The Observer

Tate Britain, Linbury Galleries
Until 2 September

Find out more
Book online
Read the TATE ETC. Article

722 - "Velocity" v1

722 - "Velocity" v1, originally uploaded by Paul Cooklin.



_MG_4889, originally uploaded by Paul Cooklin.


_MG_4886, originally uploaded by Paul Cooklin.


_MG_4885, originally uploaded by Paul Cooklin.

_MG_4887 - Classic

_MG_4887, originally uploaded by Paul Cooklin.

_MG_4888 - Classic

_MG_4888, originally uploaded by Paul Cooklin.

_MG_4890 - Classic

_MG_4890, originally uploaded by Paul Cooklin.

_MG_5226 - Depth of Field

_MG_5226, originally uploaded by Paul Cooklin.

Tate Modern

The Artist's Dining Room
Anselm Reyle Manfred Kuttner Thomas Scheibitz

2 March - 4 June 2007

Click to see a larger version of the image

Anselm Reyle

Untitled, 2006

Mixed media on canvas, acrylic glass

Courtesy the artist

© Anselm Reyle


The Artist’s Dining Room brings together three German artists

working within the tradition of abstraction. The two younger artists, Anselm

Reyle and Thomas Scheibitz, are currently significant figures on the international

art scene, while Manfred Kuttner is an artist who was active in the 1960s,

and whose work, overlooked for many years, is now being reappraised.

All three artists move effortlessly between painting and sculpture, with

an eclectic approach to both form and materials. They play with optical illusions,

shifting perspectives, tricks of the light, mirrors and reflections, often

using new technology, (whether it is the latest developments in paint or

digital image manipulation) to reinvigorate familiar forms.

The title of the exhibition, The Artist’s Dining Room, is taken

from a work by Pablo Picasso from 1918. Though it is an abstract composition,

it also refers to the importance of the domestic and personal realm underlying

an artist’s work. The choice of title is intended to remind us of a key moment

in the history of European Modernism, while pointing to the way in which

the artists exhibited here sample and reference the past.

The Artist’s Dining Room is the third in

a series of five thematic exhibitions located in Level 2 Gallery, Tate

Modern’s dedicated space for the latest ideas, themes and trends in

international contemporary art. The 2006-7 series is conceived and led

by Emma Dexter, Curator, Tate Modern. The

Artist’s Dining Room
is curated by Emma Dexter and Juliet Bingham, Assistant Curator, Tate Modern.

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Photographing Britain - Tate

How We Are: Photographing Britain

How We Are Now

Nancy Hellebrand, Marion in a Bed Sitter July 1974, © Copyright Nancy Hellebrand

Nancy Hellebrand

Marion in a Bed Sitter July 1974

© Copyright Nacy Hellebrand

22 May - 2 September 2007

For the first time, Tate Britain is inviting members of the public to contribute to the content of
an exhibition. How We Are: Photographing Britain takes a unique look at the journey of
British photography, from the pioneers of the early medium to today’s photographers who use new
technology to make and display their imagery.

To submit a photograph to the exhibition, simply join the How We Are Now Flickr group and contribute
your photograph anytime from 21 May until 25 July 2007. Your photograph must be taken in the United
Kingdom and illustrate one of the four themes of the exhibition: portrait, landscape, still life
or documentary. The group's photographs will be displayed on screens as part of the exhibition at
Tate Britain. The photographs will also be posted and shared on Tate's website and on the website
of the exhibition's media partner, The Observer.

In the final weeks of the exhibition, 40 photographs – 10 from each of the four themes – will be
chosen by Tate to form the final display in the gallery from 6 August – 2 September 2007. A panel
of curators, artists, photographers and others will select the final 40 photographs. The final 40
images will also be archived on Tate Online as part of the exhibition's website.

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Photographing Britain - Tate

How We Are: Photographing Britain22 May - 2 September 2007

This is the first major exhibition of photography ever to be held at Tate Britain. It takes a unique look at the journey of British photography, from the pioneers of the early medium to today’s photographers who use new technology to make and display their imagery.

The images in this exhibition have come from the length and breadth of the UK, and include well-known oeuvres alongside mesmerising lost masterpieces. As well as famous names – William Henry Fox Talbot, Lewis Carroll, Julia Margaret Cameron, Bill Brandt, Madame Yevonde, Susan Lipper, David Bailey and Tom Hunter among them – the exhibition includes postcards, family albums, medical photographs, propaganda and social documents. It includes work by many women photographers and photographers from different cultural backgrounds who are usually underplayed in the history of British photography.

Ultimately, this is a treasure trove for any one who loves photography, and presents the extraordinary variety, breadth and idiosyncratic nature of one-and-a-half centuries of image making.

For the first time, Tate Britain is inviting members of the public to contribute to the content of an exhibition. How We Are Now invites you to add your photograph to the exhibition through the community and photo-sharing website Flickr.

Supported by Wallis Annenberg and the Annenberg Foundation through the American Patrons of Tate

Media partner: The Observer
Homer Sykes, Caking Night Dungworth Yorkshire 1974, ©

Homer Sykes

Caking Night Dungworth Yorkshire 1974

Dan Holdsworth, A Machine for Living: Untitled  1999 © Dan Holdsworth

Dan Holdsworth

A Machine for Living: Untitled 1999

© Dan Holdsworth
Elaine Constantine Mosh, 1997 © Elaine Constantine

Elaine Constantine

Mosh, 1997

© Elaine Constantine

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_MG_4470 - No manipulation

_MG_4470, originally uploaded by Paul Cooklin.

Taken as one of the last shots of the day, I like the shadows on the graves and the sun's intensity.

_MG_4366 - Light & Shadow

_MG_4366, originally uploaded by Paul Cooklin.

Another photo experimenting with light and shadows

1412 - Istanbul Bridge

1412, originally uploaded by Paul Cooklin.

Manipulated photo of part of a bridge structure taken in Istanbul

_MG_4353 - Light & Shadows

_MG_4353, originally uploaded by Paul Cooklin.

Experimenting with light and shade

The Wish

The Wish, originally uploaded by 62Lofu.

Central Piers, Victoria Harbour, Hong Kong

Bourne Identity Film Shoot

Piggy Love

Piggy Love, originally uploaded by Paul Cooklin.