Millennium Images

Millennium Images is renowned for its high quality creative imagery. We sell reproduction rights, run an online gallery and manage portfolio reviews. Contemporary photography is our world.

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So we are starting to receive 2014 graduate works-this set from Alaska Løvald-who was part of the Kingston BA Photography images copyright of the artist.

New Submission by Millennium contributor Kenneth Hope

Please click here to see a gallery of Kenneth’s work

A photographer and film-maker Kenneth Hope makes works that address the continuous evolution of society, exploring the way commonplace things are seen and documenting nostalgic images alike. His artistic preoccupations reflect a close relationship with conceptualism whilst maintaining a narrative undertone. He began his career as a freelance editorial photographer working mainly in the field of fashion.

From 1989 until 1994 he lectured at the Royal Academy for Fine Arts in the Hague, the Netherlands. Following this he went on to direct television commercials, shorts and eventually feature length films for which he has been the recipient of many awards. In 2004 he severed all ties with commercial projects in order to concentrate solely on his own images.

Examples of his work reside in museums and private collections both in Europe and the United States.                                                             

Shortlisted Peaches & Cream 2013 Announced

We are delighted to announce the 12 Shortlisted entries to Peaches & Cream III! Shortlisted works will be exhibited from the 2nd until the 16th of October 2013 at DreamSpace gallery, London.

Congratulations to Andrew Kovalev, Catherine Lindsay-Davies, Jennine Wilson, Justyna Neryng, Luisa Whitton, Nicholas White, Rory Millien, Teri Havens, Veronika Marquez, William Arnold, Wim De Schamphelaere, Zoe Plummer!

http://www.milimgallery.com/news-article.php?id=ULFG7OOZLJ

Peaches & Cream entry Silvia Noferi

Inspired by Gaston Bachelard’s essay ‘The Poetics of Reverie’ (1960)  and looks at day dreaming. The work was made in the dusty rooms of a hotel being renovated just on the edge of the center of florence. 

They are transitory visions that can be deciphered in different ways. 

Luisa Whittion Peaches & Cream submission

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With the Peaches & Cream deadline looming we have received some great submissions! 
Recent LCC graduate, Luisa Whittion’s work explores the contemporary advances in Japan that have blurred in to the realm that was once thought to be science fiction. A niche of the Japanese robotics industry is driven by a pursuit to understand what it means to be human and believe that making human robotics is the answer. the body of work acts as an anthropomorphic study of the future faces of technology…find more of her work herewww.luisawhitton.com

To submit your great entry visit: http://www.milimgallery.com/news-article.php?id=OMMA737ADY

Mark Ponsford Peaches & Cream

Peaches & Cream submitter, Mark Ponsford deliberately intervenes the developing surfaces of polaroids to create his images, he says he is “Interested in photographs both as images and physical objects.”

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Remember that the submission price for Peaches & Cream go up from £10 to £20- after midnight on the 12th (i.e. tomorrow!) 
So make sure you submit before then…just think of all the things you could spend that saved £10 on!!

Zara Pool Peaches & Cream III

Submissions to Peaches & Cream III close on the 20th July so make sure you’ve submitted work before then!!
Go here to submit: www.milimgallery.com

Here is an interesting travel submission from Zara Pool the artist uses 35mm film to capture sights from her travels.

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Zoe Plummer Peaches & Cream III

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 Zoe Plummer was a finalist in our first year of Peaches & Cream. This year her submission looks at capturing interventions “as a result of merging the exterior with the interior- a humanistic projection to the process of visual perception.”

Amanda Harman’s Peaches & Cream submission

Amanda Harman’s Peaches & Cream submission was made at an historic garden where she volunteered as a gardener for a year and subsequently returned to photograph. The work reveals the unseen and often

unsung work of the gardeners in the form of unintentional or unexpected still lives found about the gardens and glasshouses.