Currency of visibility

For the graduation exhibition at the Royal College of Art in London in 1997, Northern Irish Hannah Starkey hired female actors to create photographic reconstructions of observed reality. With her seven monumental works, she took the British art scene by storm.

Starkey quickly became his own agent and was purchased by both Tate Modern and Saatchi Gallery. But insisting on complete focus on women's looks was not an obvious success formula for the artist's career. Equally, Starkey has only photographed women for over twenty years. This retrospective photo book testifies to her gradual awareness process.


The feminine visual representation has long been very limited. Photographic artists such as American Cindy Sherman and Norwegian Vibeke Tandberg play with a stenciled representation of the woman, especially with references to the film's archetypal. . .

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