Hannah Starkey1990mise-en-scenes / 12flneurflneuse201720Charlotte CottonLiz Jobey

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Since the mid-1990s, the Northern Irish photographer Hannah Starkey has dedicated her work to women and the ways in which photography has shaped ideas about what it means to be female. Known for her cinematic mise-en-scenes, Starkey constructs portraits of women of different generations, often situated in everyday urban contexts. Proffering the view of the flneuse a female counterpoint to the artistic tradition of the male flneur Starkeys images reveal moments of private reflection, alienation, or social interaction that might otherwise go unseen: a woman fleetingly fascinated by another womans reflection, or the attentive gaze of a mother carrying her child.

Like modern-day genre paintings, Starkeys images are driven by familiar narratives, but ones that play on the visual languages of diverse photographic genres including diaristic, street, documentary, cinematic, fine art, and fashion to subtly probe the ways that women are represented in popular culture. As Starkey has said, I really think that visual culture is the last battleground for womens equality and freedom. From her early staged photographs made in Belfast to her recent documentation of the 2017 Womens March in London, this catalogue raisonn charts two decades of Starkeys influential image-making, and serves as a significant touchstone for discussions on the female gaze. The book includes a biographical essay by the curator and writer Charlotte Cotton and a candid conversation between the artist and the editor and writer Liz Jobey.