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Stephen White & Co

@stephenwhiteandco

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Fine art photographers in London. Images on this platform are used with kind permission of the rights holders.
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People I Care About Mario Cresci Until 19 December Mario Cresci studied industrial design in Venice in the mid sixties. In 1967, he traveled from the North to the South of Italy with a multidisciplinary group of urban planners, architects, and sociologists from Venice. The group, Il Politecnico, settled in the town of Tricarico, in Basilicata.The encounter with Tricarico brought Cresci to discover a new region and within that experience, the multiform ways to record and reframe his perception of the physical world. "The translation of photographs into drawings within the same geometric grid is proof of the artist’s defiance of his snaps as true representations of what occurred, rather, as light-sensitive debris of a memory that transforms and deforms those figurations. The view of these three large grids beside the original portraits is evocative of the artist’s subjective experience and rethinking of those moments where the memory of those visual encounters began to fray the edges." Antonella Pelizzari Running alongside Cresci’s London exhibition, 'People I Care About', Matèria gallery @materia_gallery_rome in Rome will present 'I luoghi del possibile' from 3 October to 5 December. We are open Thursday to Saturday, 11am-6pm, pop in! #Tricarico #MarioCresci #PeopleICareAbout @antonella_pelizzari_ Images: Mario Cresci, ‘Dall’assemblea contadina, dalla serie Fotogrammi d’affezione, Tricarico 1967’ photos: Stephen White and Co.
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It’s a beautiful morning in London. Come and see an exhibition, come and see this exhibition … People I Care About Mario Cresci "Cresci described the work with this community as a slow and incremental process of human connection and reciprocal storytelling, explaining how the experience demanded that one left one’s own coordinates, certainties and beliefs, and entered other existential spaces – as he recounted, it would take a whole day to make one photograph of interiors and let those stories merge with objects and emotions found on the walls. Hence the detailed frames of interiors taken with a wide-angle lens that embraces and scrutinizes the bedrooms, the kitchens, the devotional images, and the crowded surfaces of horseshoes act here as counterpoint to the movement in time that Cresci found functional to his other experience of a collectivity in action. Time pervades these spaces as the texture piled up by the living, day after day, family after family, ritual after ritual, desire after desire." Antonella Pelizzari We are open until 6pm today ! #Tricarico #MarioCresci #PeopleICareAbout @antonella_pelizzari_ Images: 1 and 2: Mario Cresci, 'Dalla serie Antropos, Tricarico 1967', Vintage print on orthochromatic film from a 35mm b/w neg. 3: photo: Stephen White and Co.
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People I Care About Mario Cresci until 19 December 2026 Back at the gallery after a great day at Frieze and Frieze Masters yesterday. Today is the first day of Mario Cresci’s show ‘People I Care About’ after a wonderful opening on Saturday, thank you all for coming ! "In 1967, Cresci traveled from the North to the South of Italy with a multidisciplinary group of urban planners, architects, and sociologists from Venice, where Cresci had shaped his vision according to a multi-disciplinary school of industrial design. The group, Il Politecnico, settled in the town of Tricarico, in Basilicata, to develop its first masterplan. The culture of this project transcended earlier perceptions of the Southern territory as primitive and marginal, and instead, implicated the local farmers to speak their minds. No longer the passive victims of numerous documentary photographs taken in the Italian South in the postwar years, the local inhabitants contributed to a pragmatic method that supported their work and interaction with the land." Antonella Pelizzari We are open Thursday-Saturday, 11am - 6pm, stop by for a visit ! #Tricarico #MarioCresci #PeopleICareAbout @antonella_pelizzari_ Image: Installation view: ‘People I Care About’, Mario Cresci at Large Glass, London photo: Stephen White and Co
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Today is the LAST DAY! Thank you all for your enthusiasm, visits and repeat visits ! Our final post dedicated to a work currently on display in our 15th anniversary show, Rumours, is … 5. Alison Turnbull, Hubble 276, 2024 Oil and acrylic on canvas on board 48 x 54 x 3 cm Exhibited in: The Edge of Forever, 2025 The Hubble image is a composite image made by astronomers from 2,000 different images from the Hubble Space Telescope. At the time, it was the deepest image of space in existence. “When Hubble peered through sky gaps, probing ever more deeply into space and farther back in time, it still did not come to the end — or the beginning — of either. Enmeshed in infinities, scientists and artists conjure with the universe from within the narrow confines of the human body. They apply mathematics and imagination. They hear the music of the spheres.” [Dava Sobel, press release] Come and visit us today, we are open until 6pm, don’t miss! #Rumours #15thAnniversary #largeglassgallery #AlisonTurnbull #DavaSobel #hubbletelescope Image 2 and 3: Installation view of ‘Rumours’, 2026 Installation view of ‘The Edge of Forever’, with Emma McNally, 2025 photos: Stephen White and Co.
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Saturday, the last of the week's posts dedicated to a work currently on display in our 15th Anniversary show, Rumours. Today’s work is… 7. Emma McNally, DR, 2012 Carbon, acrylic on paper 83.5 x 63.5 x 4 cm Exhibited in: Time Spirals: Vanessa Billy, Emma McNally, 2023 “With this drawing, as with all my work, I was thinking about inseparability. There seems to be an in between, a threshold with two bands of dark compressed matter across the top and bottom. But the gap is filled and traversed by matter moving. I’m always thinking about the movement of carbon and water, entangled, non linear. Here there is the cycling of states of matter: rain, mist, smoke, cloud, signal, noise, without separation or border. A sort of interfacial layer where states are not distinct: they mix and merge.”[Emma McNally, DR] Come and visit us, we are open Wednesday-Saturday 11am-6pm! #Rumours #15thAnniversary #largeglassgallery #drawing #EmmaMcNally Image 2: Installation view of ‘Time Spirals: Vanessa Billy, Emma McNally’, 2023 Image 3: Installation view of ‘Time Spirals: Vanessa Billy, Emma McNally’, 2023 Image 4: Installation view of ‘Rumours’, 2026 photos: Stephen White and Co.
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We are entering the final round of posts dedicated to a work currently on display in our 15th Anniversary show, Rumours. Keep looking ! Today’s work is… 1. Hélène Binet, St George’s, Bloomsbury (02), Nicholas Hawksmoor, 2013 Gelatin silver print on paper Framed 60 x 48.5 x 4 cm Exhibited in: Time After Time, 2019; A Coin in Nine Hands: Part One, 2017 This exquisite print was made by Binet in her North London darkroom. It exemplifies the difference between analogue and digital printing. The double shadow is a deep black, revealing just enough light to make out the stonework of this 18th-century London church, built by Nicholas Hawksmoor. To quote Nicholas Hawksmoor, as channelled through Peter Ackroyd's novel Hawksmoor: 'I make no mention that in each of my churches I put a sign so that he who sees the fabric may also see the shadow of the reality of which it is the pattern or figure.' Binet's photograph captures this mystery perfectly. [Press release] Come and visit us, we are open Wednesday-Saturday 11am-6pm! #Rumours #15thAnniversary #largeglassgallery #Hawksmoor #PeterAckroyd #HélèneBinet Image 2: Installation view of ‘Time After Time’, 2019, photo: Stephen White and Co. Image 3: Installation view of ‘A Coin in Nine Hands: Part One', with Jean-Luc Moulène, 2017, photo: Stephen White and Co. Image 4: Installation view of Photo London, 2026, photo: Graham Carlow
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We are entering the final round of posts dedicated to each work currently on display in our 15th Anniversary show, Rumours. So, bear with us ! Today’s work is… 2. Guido Guidi, San Trovaso, 1980 Gelatin silver print on Baryta paper Framed 41.5 x 46.5 x 3.5 cm Exhibited in: Guido Guidi: Di Sguincio, 2023 “Di sguincio” is an Italian expression, often associated with looking, that can be rendered in English as obliquely, aslant, asquint, and, by extension, diagonally, furtively, indirectly. Many of these photographs focus on details of objects, scenes, or parts of people’s bodies, often employing medium close-ups which flaunt a lower framing, taken at chest level, and regularly foregrounding the subjects’ hands. These hands work as metonyms for photography as they point to things outside the frame, seize translucent objects like glasses, or draw with light, repeatedly staging a performance of the act of photographing. [Marina Spunta, press release] Come and visit us, we are open Wednesday-Saturday 11am-6pm! #Rumours #15thAnniversary #largeglassgallery #GuidoGuidi @marinaspunta Image 2: Installation view of ‘Di Sguincio’, 2023, photo: Stephen White and Co. Image 3: Installation view of Large Glass at The Photography Show by AIPAD, 2025, photo: Daniel Terna
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We continue our series of posts dedicated to a work currently on display in our 15th Anniversary show, Rumours. Today’s work is… 3. Mario Cresci, Scanprint #04, dalla serie Misurazioni, Matera 1975 Bergamo 2016, 2016 Giclée Fine Art print on Baryta Hahnemühle paper Framed 52 x 42 x 5 cm Exhibited in: Mario Cresci: Geometries/ Epiphanies, 2025 "I find this photographic work by the Italian artist Mario Cresci most intriguing because of its complex visual layering. The images were created by placing objects directly onto a scanner and digitally overlaying them. It is a “cameraless” photograph. As Josh Lustig wrote in the FT Weekend Magazine on 17 May 2025: 'Layers of imagery and layers of history circle back through time in the photographs. Not just to the 1960s and '70s, when Cresci began working with these tools and utensils, or even to the earliest photography experiments of the mid-19th century. But further back, and back again, into the artistic traditions of the Mezzogiorno, which in turn echo a carving tradition going back millennia.' " [Charlotte Schepke, Large Glass gallery] We are open this week Wed-Sat 11am-6pm, pop in! #Rumours #15thAnniversary #largeglassgallery #MarioCresci Images: 2: Installation view of ‘Geometries/ Epiphanies’, 2025 photo: Stephen White and Co.
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Following on from yesterday's post, today's artwork by Hendl Helen Mirra is positioned within the 'Rumours' exhibition to engage in a dialogue with Caroline Tisdall's photograph of Joseph Beuys' performance piece, 'I Like America and America Likes Me'. You'll see why... 10. Helen Mirra, Fourth Paragraf, 2003 Wood, milk paint, wool 10 x 34 x 4 cm Exhibited in: Helen Mirra: small mirror, 2023 “Their failed shelves hint at functionality, again suggest legacy: an old lacquered desk, a wool cape, the felt pads on the legs of furniture. They exude an air of devotion and care: something precious is wrapped here, felted against cold, against knocks; protected by materials from a time when safe meant it. How far back is that?” [Cherry Smyth, press release] We are open 11am-6pm, Wednesday to Friday only this week. Pop in ! #Rumours #15thAnniversary #largeglassgallery #HendlHelenMirra @cherrysmythpoet Images: 3-Installation view of ‘Helen Mirra: small mirror’, 2023 4-Installation view of ‘Rumours, 2026 photos: Stephen White and Co.
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We are back! Today is WORLD PHOTOGRAPHY DAY and we stock many great photography books and rare, out of print gems. Our book shop is open this week Wednesday - Friday only. Come and visit us soon! photo: Stephen White and Co. #worldphotographyday
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We are back, and continuing the journey through our 15th Anniversary show, Rumours. Each post is dedicated to a work displayed in the exhibition. Today’s work also coincides with WORLD PHOTOGRAPHY DAY, so we have chosen this one … 11. Caroline Tisdall, Joseph Beuys: Coyote, 1974 Archival pigment print, dry-mounted on museum board Framed: 52.5 x 78.5 x 3 cm Exhibited in: Coyote, Caroline Tisdall/ Joseph Beuys, 2011 In May 1974, at Rene Block’s New York Gallery, the German artist Joseph Beuys (1929-86) spent one week (days and nights) in a cage with a wild coyote. He described the ‘performance’ as an attempt to have a meaningful dialogue between a human and an animal. He called the piece “I Like America and America Likes Me”, making an ironic comment about the relationship between European settlers in North America and the native population- for whom the coyote is a sacred animal, rather than a feral pest. Caroline Tisdall, collaborator and friend of Beuys, was present, watching from outside the cage. [Press text] “Sometimes [The Coyote] hovered, waiting and watchful, circling cautiously around the felt figure, nervous of the slightest movement. And occasionally he went quite mad with excitement, mischief and malice mixed, playful to the point of aggression, leaping at the stick, mauling the felt, tearing it apart until it was reduced to tiny shreds that resembled the moulting tufts of his own pelt… occasionally he tried to creep beneath the felt.” [Caroline Tisdall, Joseph Beuys: We go this way] #WorldPhotographyDay #Rumours #15thAnniversary #largeglassgallery #coyote #JosephBeuys #PerformanceArt Image 2: Installation view of ‘Rumours’, 2026, photo: Stephen White and Co.
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After another hot week, we are continuing our series of posts dedicated to the works currently on display in our 15th anniversary exhibition, Rumours. Today’s piece is... 23. Mark Ruwedel, Orchard #28C, 2022, 2022 Archival pigment print mounted on archival board Framed: 62.5 x 77.5 x 4 cm Exhibited in: Mark Ruwedel: Inland, Haunted by the Desert, 2022 “Before European colonisation, Southern California was, to a great extent, tree-less. The three trees that characterise the region – eucalyptus, palm and citrus – are all imports. Ruwedel focuses on these non-native trees, which are gradually disappearing as human activity encroaches further on the landscape.” [Mark Ruwedel, press release] Come and visit us, we are open today 11am-6pm! #Rumours #15thAnniversary #largeglassgallery #MarkRuwedel Image 2: Installation View ‘Inland, Haunted by the Desert’, 2022, photo: Stephen White and Co.
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