Copyright © 2026 OyList. All Rights Reserved.
Share
Items29
25
Sally Mann
Born
Mann works with an old 8x10 view camera and, since the 1990s, the Victorian wet-plate collodion process, and she welcomes its flaws: light leaks, swirling edges, cracks and streaks that make her Virginia landscapes and Civil War battlefields feel haunted. Her earlier series Immediate Family, intimate black-and-white pictures of her three children at their summer cabin, was made with the children as active collaborators and caused fierce controversy in 1992. Her memoir Hold Still explains the family and Southern history behind both bodies of work.
More about Sally Mann26
Martin Parr
Born
Parr's language is bright, close and funny: ring flash in broad daylight, saturated colour film, and subjects shot from a few feet away, so a seaside chip, a sunburnt shoulder or a cake at a village fête looks almost lurid. The Last Resort, made in New Brighton in the mid-1980s, divided critics who saw mockery where he saw affection, and he kept the method through decades of work on tourism, food and the British middle classes. He set up the Martin Parr Foundation in Bristol to support other photographers. He died in December 2025.
More about Martin Parr27
Nan Goldin
Goldin photographs the people she lives with. The Ballad of Sexual Dependency, first shown as a slide show with a soundtrack in New York clubs in the early 1980s, is a diary of friends and lovers in bedrooms, bars and bathrooms, with saturated colour, available light and flash, and her own bruised face after a beating among them. The same intimacy runs through her later work on friends lost to AIDS. Her campaign group PAIN, against the Sackler family's role in the opioid crisis, extended the work into activism, as told in the documentary All the Beauty and the Bloodshed.
More about Nan Goldin28
Cindy Sherman
Sherman is in nearly all her photographs and never as herself. Her Untitled Film Stills of 1977 to 1980, 70 black-and-white pictures of her as invented heroines from B-movies and European art films, set the method: wigs, make-up, costume and lighting she does entirely alone, playing director, model and stylist at once. Later series turned to colour and grew stranger, from history portraits and clowns to society women and digitally altered faces on Instagram. The point is how images of women are built, and you see the construction more clearly the more of the work you see.
More about Cindy Sherman29
Zanele Muholi
Muholi, who uses they/them pronouns and calls themself a visual activist, works in two connected series. Faces and Phases is an ongoing archive of black-and-white portraits of Black lesbian, gay, trans and queer South Africans, made with participants who choose how they are seen and often return over years. Somnyama Ngonyama, Hail the Dark Lioness, is a series of high-contrast self-portraits in which Muholi darkens their skin tone and improvises headdresses from clothes pegs, rubber tubes, scouring pads and cables, each image tied to a South African history.
More about Zanele Muholi
