
Ophelia, 2018
c-print
40 x 54 inches
edition of 7
Bathers at Tower Bridge, 2018
c-print
40 x 54 inches
edition of 7
1928 Flooding of the Tate Gallery, 2018
c-print
30 x 40 inches
edition of 10
Amy Johnson, 2018
c-print
40 x 54 inches
edition of 7
Chewing Gum, 2005, c-print, 40 x 54 inches, AP edition
The Moment of Truth, 2013, c-print, 40 x 54 inches, edition of 7
The Runaway, 2013, c-print, 40 x 54 inches, edition of 7
The Secret Conversation, 2013, c-print, 40 x 54 inches, edition of 7
Renaissance 1, 2012, c-print, 40 x 54 inches, edition of 7
Renaissance 2, 2012, c-print, 41 x 43 inches, edition of 7
Renaissance 4 (Schizophrenia), 2013, c-print, 40 x 54 inches, edition of 7
Girl in Bedroom, 2010, c-print, 40 x 54 inches, edition of 7
Ladder, 2013, c-print, 40 x 54 inches, edition of 7
Broken Lunchbox, 2007, c-print, 40 x 54 inches, edition of 7
Bike Accident, 2005, c-print, 16 x 20 inches, edition of 10
Broken Eggs, 2005, c-print, 40 x 54 inches, edition of 5
Marbles, 2005, c-print, 40 x 54 inches, AP edition
P&O, 2005, c-print, 40 x 54 inches, edition of 5
Fern, 2008, c-print, 25 x 31 inches, edition of 15
Hallway, 2008, c-print, 40 x 54 inches, edition of 7
Living Room, 2009, c-print, 40 x 54 inches, edition of 7
Staircase, 2008, c-print, 40 x 54 inches, edition of 7
Bamboo, 2008, c-print, 25 x 31 inches, edition of 15
Bedroom, 2008, c-print, 25 x 31 inches, edition of 15
Books, 2011, c-print, 25 x 31 inches, edition of 15
Garden House, 2011, c-print, 40 x 54 inches, edition of 7
Night Dress, 2011, c-print, 40 x 54 inches, edition of 7
Swimming Pool, 2011, c-print, 40 x 54 inches, edition of 7
Custody Battle, 2012, c-print, 40 x 54 inches, edition of 7
Departure, 2012, c-print, 40 x 54 inches, edition of 7
Pretty New Thing, 2012, c-print, 25 x 31 inches, edition of 15; 40 x 54 inches, edition of 7
The Divorce, 2012, c-print, 40 x 54 inches, edition of 7
The Party is Over, 2012, c-print, 40 x 54 inches, edition of 7
The End of the Affair, 2013, c-print, 40 x 54 inches, AP edition
Library, 2007, c-print, 25 x 31 inches, edition of 15; 40 x 54 inches, edition of 7
Book, 2005, c-print, 40 x 54 inches, edition of 4
Renaissance 3, 2012, c-print, 40 x 54 inches, edition of 7
Dressing Gown, 2009, c-print, 40 x 54 inches, edition of 7
The Lonely Road, 2013, c-print, 40 x 54 inches, edition of 7
The Unforgiven, 2013, c-print, 40 x 54 inches, edition of 7
Violin, 2008, c-print, 25 x 31 inches, edition of 15
Yellow Dress, 2011, c-print, 40 x 54 inches, edition of 7
Reflection in Water, 2005, c-print, 54 x 40 inches, edition of 4
The Wedding Day, 2012, c-print, 40 x 54 inches, edition of 7
Alabaster Doll, 2012, c-print, 40 x 54 inches, edition of 7
Julia Fullerton-Batten was born in Bremen, Germany. Her early life was spent in Germany and the USA, but after her parent’s divorce she and her siblings moved to the UK. There she completed her secondary education, then studied photography at college. Subsequently she assisted professional photographers for five years before a first commercial assignment kick-started her career in 1995, and first gained recognition as a fine-art photographer in2005.
Fullerton-Batten is best known for her investigations of teenage girls, their psyches, and their relationships with others. Teenage Stories (2005) was the first of her explorative series, and in it, she heightens and emphasizes the girls’ feelings of not belonging by photographing them as giants amid miniature villages. Later series like School Play (2007), In Between (2009 – 2010), Awkward (2011), Mothers and Daughters (2012), and A Testament to Love (2013) look at these growing girls’ relationships with friends, boys, and family, as well. Her recent series Renaissance (2013) reflects her subject’s state of minds. Fullerton-Batten’s series show regular people who, although seemingly emotionless, truly bring us closer to understanding the inner workings of the mind.
Julia’s use of unusual locations, highly creative settings, street-cast models, accented with cinematic lighting are hallmarks of her very distinctive style of photography. She insinuates visual tensions in her images, and imbues them with a hint of mystery, which combine to tease the viewer to re-examine the picture, each time seeing more content and finding a deeper meaning. These distinctive qualities have established enthusiasts for her work worldwide and at all ends of the cultural spectrum, from casual viewers to connoisseurs of fine-art photography.
Fullerton-Batten’s work has received much critical acclaim and has been featured in The New Yorker, Financial Times, Vogue Korea, and Le Monde, among others. She was commissioned by The National Portrait Gallery in London to shoot portraits of leading people in the UK National Health Service. She won the 2019 LensCulture Visual Storytelling Award and is a Hasselblad Master. Her work was the covering image for Thames and Hudson’s 2009 book A Guide to Collecting Contemporary Photography. She has shown at esteemed international institutions like the Centre Pompidou, Paris; Museum of Contemporary Art, Shanghai; Museo Thyssen-Bomemisza, Madrid; the Swedish Museum of Photography; Musee de l'Elysee, Lausanne, Switzerland; and a solo exhibition at the National Portrait Gallery in London. Julia currently lives in London
The judges have spoken. And today we reveal the ten finalists of the American Photo Open 2019 competition. Congratulations to Hardijanto Budiman; Julia Fullerton-Batten; Dean Gibson; Corina Howell; Zay Yar Lin; Rebecca Moseman; Tomas Neuwirth; Ernesto Ortiz; Md Tanveer Hassan Rohan; and Alain Schroeder.
Our next Fable & Folk interview is with fine art photographer Julia Fullerton-Batten. Her earlier personal work derives from her childhood and teenage years growing up in Germany and the USA. Her series “Teenage Stories” tells the story of the transition from adolescence to womanhood, portraying the difficulties we all experience. Her images use cinematic locations and lighting which makes her work so unique.
We wanted to interview Julia because we think she is such a well-known and respected photographer, with such an interesting body of work and lots of different experiences to share.
Julia Fullerton-Batten is as comfortable breathing new life into Old Master paintings as she is shining a spotlight on Britain’s sex trade. As a globally acclaimed fine-art photographer, her macro-scale work scrutinises human beings in micro-detail, and always through the prism of wildly diverse themes. The results are both dreamy and disarming, and completely cinematic.
Artsy zeroes in on the legacy of Cindy Sherman and how artists Julia Fullerton-Batten, Ilona Szwarc, Rachel Maclean, Jaimie Warren, Holly Andres, and Silin Liu are extending her approach.
Works depicting dozens of female politicians and campaigners to be introduced
Seguir el curso de un río implica recuperar la memoria de aquellos que transitaron a lo largo de sus orillas. La autora de estas evocadoras imágenes recrea algunos de los relatos y fábulas que arrastra su enigmático caudal. Un universo onírico basado en hechos ficticios y reales que viaja por el territorio de la fantasía.
The Association of Photographers’ awards celebrate the captured image, including still lifes, photojournalism and portraits. Here’s are a selection of photographs – from a mass vape in London to a squalid camp of migrants in Belgrade – of the 250 on show.
Sieben Männer waten durch kniehohes Wasser und tragen gemeinsam ein großes Gemälde. Sie befinden sich in der Tate Britain in London, deren unteres Geschoss von Wasser überflutet ist - und versuchen Kunstwerke zu retten.
Julia Fullerton-Batten's work Ophelia was shown at last yeat's Photo Basel.
In an ongoing series, fine art photographer Julia Fullerton-Batten investigates and recreates some of the centuries-old customs and traditions that played out on the banks of the River Thames.
Julia Fullerton-Batten, best known for her exquisite fine art portraits, photographed Seema Kennedy, Conservative MP for South Ribble in Lancashire and private secretary to the prime minister.
The article analyzes how Julia Fullerton-Batten recreates her own life and other people's stories through photographic works.
From an Edwardian swimming sensation to the women who built Waterloo Bridge, fine-art photographer Julia Fullerton-Batten is recreating some of the most dramatic episodes of the Thames’ past.
We're proud to announce that Julia Fullerton-Batten from Bremen, Germany (living and working in London, UK), was selected as a winner of the 11th edition of the Pollux Awards. Her work will be exhibited in the 5th Biennial of Fine Art & Documentary Photography to be held in Barcelona this October.
Julia's work pushes the envelope in areas you wouldn't expect. Whether she's documenting the complex relationship between mothers and daughters, or capturing the raw energy of feral children across the globe, the worlds she creates are as immersive and detailed as they are thought-provoking. Each viewing brings new meaning and clarity to solid and purposeful vision, and we can't look away.
Why do some women choose to get involved with the sex industry? The UK-based photographer put a year into finding out
Few industries are as controversial as the sex industry. And few workers are as judged, stigmatised and heaped with the pre-conceived notions of others as sex workers.
It was these ideas that lead London-based photographer Julia Fullerton-Batten to turn her lens to women who use their bodies to earn a living, in an attempt to understand what might lead a person to go into sex work by choice. The resulting photobook, called The Act, features escorts, pornstars, lap and pole-dancers, a stripper, a webcam girl, sex “slaves”, a dominatrix, a burlesque dancer; aerial artistes and a ping pong girl. Each is depicted on a stage to highlight how their work involves an element of performance.
Photographer Julia Fullerton-Batten's latest project, The Act, captures women in the sex industry in theatrical scenes and allows them to tell their own stories.
My most recent projects have involved social commentary on various aspects of past and present society. The role of the sex industry in today’s society and sex-worker rights have been heavily debated and disputed in recent years. The content of these often heated discussions have interested me and I finally decided to take on the challenge of building a project around the work and lives of young women engaged in the sex industry. As a fine-art photographer and despite my own personal open-mindedness, I approached this particular project with some trepidation as I knew it could be controversial and, in some respects, overstep the boundary between erotic fine-art imagery and pornography. The project is comprehensive and includes main images of the women ‘at work’, personal portraits of each of them, a video and written ‘stories’ of their lives built up from my interviews with them.
In her new fine art series "The Act," photographer Julia Fullerton-Batten addresses the sex industry through the women who choose to work within it. Presented individually on tailor-made sets, her subjects include escorts, porn stars, burlesque performers, strippers, erotic dancers, and a dominatrix. Each image is accompanied by an interview, conducted by Fullerton-Batten herself. At the heart of the project is an exploration of agency—as an adult, as a woman, as a sexual being.
In her new fine art series “The Act,” photographer Julia Fullerton-Batten addresses the sex industry through the women who choose to work within it. Presented individually on tailor-made sets, her subjects include escorts, porn stars, burlesque performers, strippers, erotic dancers, and a dominatrix. Each image is accompanied by an interview, conducted by Fullerton-Batten herself. At the heart of the project is an exploration of agency—as an adult, as a woman, as a sexual being.
“I wanted to approach the [sex industry] in a completely different way,” Fullerton-Batten explains over the phone. “Most photographers do more behind-the-scenes—the nitty-gritty, black-and-white. It’s normally quite negative. I wanted to show something very beautiful, very aesthetic,” she continues. “It’s meant to be a reflection of the modern woman and the choices that we have.”
Raised between Germany, the U.S., and the U.K., and currently based in London, Fullerton-Batten picked up a camera as a young teenager. “My father used to do photography as a hobby,” she recalls. “We lived in Pennsylvania, and he would travel to New York and come back with all these amazing images of women in miniskirts running down Fifth Avenue.”
After beginning her career in advertising, Fullerton-Batten broke into the art world over a decade ago with “Teenage Stories,” her study of girlhood and adolescence. Since then, she has exhibited her images across the world at the National Portrait Gallery in London, the Pompidou in Paris, and the Museum of Contemporary Art Shanghai. For different series over the years, she photographed both professional and non-professional models. In 2015’s “Feral Children,” for example, she had child actors recreate scenes of famous children raised outside of society. In 2013’s “Blind,” the focus is on the subject’s personal stories.
In 1845, so the legend goes, an unclothed girl was spotted running on all fours through the wilderness near Del Rio, Texas, appearing barely human. Joined by a pack of wolves, the young girl allegedly attacked a herd of goats. The tale, though often ridiculed, spread like wildfire, and before long a group of Mexican vaqueros teamed up to hunt for the mythical Lobo Wolf Girl.
On the third day of searching, the group supposedly captured the young girl by Espantosa Lake, surrounded by wolves. She was captured but soon escaped, tearing planks off a boarded-up window and escaping without a trace into the night. In 1852, she was said to be spotted for the final time, suckling two wolf cubs. After that, she was never seen or heard from again.
Stories like this, hovering in an area closer to fiction than truth, reappear throughout history, popping up in different spots around the globe for centuries. Every story is unique yet familiar -- a child, lost or neglected, takes up in the wild with the creatures residing there, adapting to their characteristics and modes of survival, slowly melting into their species. Instances of such feral children have been reported from 1845 to 2008, in habitats ranging from Cambodia to Russia to the United States.