{"id":597,"date":"2019-11-26T18:51:25","date_gmt":"2019-11-26T18:51:25","guid":{"rendered":"http:\/\/www.richardwhitlock.gr\/?page_id=597"},"modified":"2025-11-19T18:58:02","modified_gmt":"2025-11-19T18:58:02","slug":"about","status":"publish","type":"page","link":"http:\/\/www.richardwhitlock.gr\/?page_id=597","title":{"rendered":"about"},"content":{"rendered":"\n
\n
<\/div>\n\n\n\n
<\/div>\n<\/div>\n\n\n\n
\n
\n

Richard Whitlock is a visual artist, sculptor, and photographer. His work has been exhibited widely and presented in Afterimage<\/em>, Photomediations Machine<\/em>, and Philosophy of Photography<\/em>. He studied Modern History and Modern Languages at the University of Oxford and Fine Arts at Brighton Art School. He has taught at the International University of Greece, the School of Art and Design of Saint-\u00c9tienne, and the American College of Thessaloniki. He lives in Greece.<\/p>\n\n\n\n

Video installations<\/strong><\/p>\n\n\n\n

(2024) Close your eyes (Zapri O\u010di)<\/em>, with Nika \u0160pan, Equrna Gallery, Ljubljana, Slovenia.<\/p>\n\n\n\n

(2022) The White Tower<\/em>, \u2018Urban Landscapes\u2019, National Museum of Kutaisi, Georgia.<\/p>\n\n\n\n

(2022) The Street, <\/em>Helsinki Photomedia, Helsinki, Finland.<\/p>\n\n\n\n

(2020) Present continuous<\/em>, \u2018So far so close\u2019, Center of contemporary art, Thessaloniki, Greece.<\/p>\n\n\n\n

(2016) Mount Olympus<\/em>, International Association for Media and Communication Research, Leicester University, UK.<\/p>\n\n\n\n

(2015) The Street,<\/em> \u2018Time and the image \u2013 images of crisis\u2019, Greek Film Archive \/ CAN Gallery, Athens, Greece.<\/p>\n\n\n\n

(2015) The Port<\/em>, \u2018Diasporas\u2019, 50th Dimitria Arts Festival, Thessaloniki.<\/p>\n\n\n\n

(2013) The Street<\/em>, Queens College, New York.<\/p>\n\n\n\n

(2012-13) The Street<\/em>, \u2018Places of Memory \u2013 Fields of Vision\u2019, Center for Contemporary Art, Thessaloniki.<\/p>\n\n\n\n

(2009) The Hospital<\/em>, \u2018Kiss Kiss BANG BANG\u2019, Espace Vall\u00e8s, Grenoble, France.<\/p>\n\n\n\n

Photography<\/strong><\/p>\n\n\n\n

(2025) \u2018Techni \u2013 Diagonios, and the museum that never came to be\u2019, <\/em>Telloglion Institute, Thessaloniki, Greece.<\/p>\n\n\n\n

(2009) \u2018Aletheia \u2013<\/em> Positions in Contemporary Photographies\u2019, 9th Photography Biennale, Meilahti Museum, Helsinki, Finland.<\/p>\n\n\n\n

(2008) \u2018Captivated by Bakhchisaray\u2019, Palace of the Khans, Bakhchisaray, Crimea, Ukraine.<\/p>\n\n\n\n

Sculpture<\/strong><\/p>\n\n\n\n

(2017) Light\/buoyant Puzzle Sphere<\/em>, Greek pavilion, 7th Beijing Art Biennale, National Museum of China, Beijing, China.<\/p>\n\n\n\n

(2010) L\u2019\u00e2ge d\u2019or<\/em>, International Design Biennale 2010 \/ Atelier Favier, Mus\u00e9e de la Mine, Ville de St-Etienne, St-Etienne, France.<\/p>\n\n\n\n

(2008) Standing Wave<\/em>, \u2018Captivated by Bakhchisaray\u2019, Divan Hall, Palace of the Khans, Bakhchisaray, Crimea, Ukraine.<\/p>\n\n\n\n

(2007) Double Cube<\/em>, Bazaar Hammam, 1st Biennale of Contemporary Art, Thessaloniki, Greece; 4th Tashkent International Biennale of Contemporary Art, Uzbekistan.<\/p>\n\n\n\n

(2006) Colonne Oblique<\/em>, \u2018Ma\u00eetres d\u2019\u0153uvre\u2019, Palais de Justice, St-\u00c9tienne, Ville de St-\u00c9tienne, France.<\/p>\n\n\n\n

(2004-5) White Balance<\/em>, \u2018Cosmopolis I \u2013 microcosmos >< macrocosmos\u2019, State Museum of Contemporary Art \/ Macedonian Museum of Contemporary Art, Thessaloniki.<\/p>\n\n\n\n

(2003) \u2018Atoma\u2013Individus\u2019, Ecole sup\u00e9rieur des beaux-arts de Marseille \/ Galerie du Tableau, Marseilles, France.<\/p>\n\n\n\n

(2002) Atelier 33, Marseilles, France.<\/p>\n\n\n\n

(2002) Underground Tower<\/em>, Moni Lazariston, Festival of Thessaloniki.<\/p>\n\n\n\n

(2002) Sphere<\/em>, Bissell Library, American College of Thessaloniki.<\/p>\n\n\n\n

(2001) \u2018Atoma\u2019, Warehouse III, Port of Thessaloniki.<\/p>\n\n\n\n

(2001) \u2018\u03a0\u03a1\u039f\u0393\u03a1\u0391\u039c\u039c\u0391\u2019, Shchusev State Museum of Architecture (MUAR), Moscow, (with Evanthia Tsantila).<\/p>\n\n\n\n

Publications<\/strong><\/p>\n\n\n\n

(2025) \u2018The View from Nowhere: Exploring Parallel Projection in Photography.\u2019 Philosophy of Photography<\/em><\/a>, Volume 16, Issue 1.<\/p>\n\n\n\n

(2024) \u2018Perspectives\u2014Pavel Florensky\u2019PHLSPH<\/em><\/a>, <\/em>Thessaloniki.<\/p>\n\n\n\n

(2018) \u2018Perspective and Memory in Photographic images\u2019, Membrana<\/em> \/4<\/a> \u201cAugmented\u201d, Ljubljana.<\/p>\n\n\n\n

(2016) \u2018The Port\u2019, Photomediations Machine<\/em>, London.<\/p>\n\n\n\n

(2015) \u2018The Power of Perspective in the Photographic Image\u2019, in Mika Elo and Marko Karo with Marc Goodwin (eds.) Photographic Powers \u2013 Helsinki Photomedia<\/em> 2014<\/em>, Helsinki.<\/p>\n\n\n\n

(2014) Portfolio (inside cover spread), Afterimage<\/em><\/a>, Rochester NY, Vol 41 No 4.<\/p>\n\n\n\n

(2013) \u2018Non-perspectival photography \u2013 towards a post digital visuality\u2019, Photomediations Machine<\/em>, London.<\/p>\n\n\n\n

(2012) \u2018Expanded view photography : the rejection of central perspective in art\u2019, in Lundstr\u00f6m, Jan-Erik (ed.) Kuinka valokuvaa katsotaan (How to know photographs)<\/em>, LIKE, Helsinki.<\/p>\n\n\n\n

(2002) Avant-hier, le soir<\/em> by Bernard Dumont, with 25 drawings by Richard Whitlock, Harpo &, Corbi\u00e8res.<\/p>\n\n\n\n

Interviews<\/strong><\/p>\n\n\n\n

(2025) with Alexandra Athanasiadou, PHLSPH<\/em><\/a>, <\/em>Thessaloniki, October.<\/p>\n\n\n\n

(2024) with Andromaque Zens, <\/em>FauxQ<\/em><\/a>,<\/em>  Vol 18, Paris, May.<\/p>\n\n\n\n

(2014) with Gregory Sholette, Afterimage<\/em><\/a>, Rochester NY, Vol 41 No 4, Jan\/Feb.<\/p>\n\n\n\n

Lectures<\/strong><\/p>\n\n\n\n

(2022) How emerging technologies are limiting our visualities through reliance on machinic perspective.<\/em> International Association of Photography and Theory, International Conference of Photography<\/em> and Theory (ICPT), Cyprus, November 17-20.<\/p>\n\n\n\n

(2022) Altering space-time in composite photographic images: Can time have more than one dimension?<\/em> Helsinki Photomedia 2020, April-May.<\/p>\n\n\n\n

(2021) Lessons in anti-perspective from China and Byzantium<\/em>, University of Ioannina, Greece, March 3.<\/p>\n\n\n\n

(2017) Anti-perspective in Byzantine and Chinese painting<\/em>, Central Academy of Fine Art (CAFA), Beijing, September 20.<\/p>\n\n\n\n

(2016) Photography and the construction of reality<\/em>, School of Architecture, Aristotle University of Thessaloniki, March 6.<\/p>\n\n\n\n

(2015) Non-linear time: non-linear perspective<\/em>, Experimental Cinema Festival \u2018Time and the image \u2013 images of crisis\u2019,Greek Film Archive, <\/em>Athens, May.<\/p>\n\n\n\n

(2014) Non-perspectival photography \u2013 towards a post-digital visuality, <\/em>Helsinki Photomedia, Helsinki, April.<\/p>\n\n\n\n

(2014) Material Matters<\/em>, Action Field Kodra, Thessaloniki, September.<\/p>\n\n\n\n

(2012) Perspective and Anti-perspective in Art since Antiquity<\/em>, International Hellenic University, Thessaloniki, March 14.<\/p>\n\n\n\n

(2010) Le refus de la perspective en art<\/em>, Ecole Sup\u00e9rieur d\u2019art et design de Saint-Etienne, France, March 20.<\/p>\n\n\n\n

(2010) Parallel projection in film and photography<\/em>, School of Fine Art, Aristotle University of Thessaloniki, Greece, May 5.<\/p>\n\n\n\n

(2009) Expanded view photography : the rejection of central perspective in art.<\/em> Symposium: \u2018Knowing Photographs\u2019, Finnish National Academy of Art, Helsinki, January 29.<\/p>\n\n\n\n

Languages, translations<\/strong><\/p>\n\n\n\n

Richard Whitlock speaks English, French and Greek. He has translated poetry and art criticism from Greek and French into English and worked as editor and accredited translator of art publications for the Municipal Art Gallery of Thessaloniki, the Greek State Museum of Contemporary Art (Costakis Collection), the Goulandri Museum of Cycladic Art, the Center of Contemporary Art of Thessaloniki, the Greek Ministry of Culture (Venice Biennale 2013), and the A.G. Levendis Foundation, Cyprus.<\/p>\n\n\n\n

<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Richard Whitlock is a visual artist, sculptor, and photographer. His work has been exhibited widely and presented in Afterimage, Photomediations Machine, and Philosophy of Photography. He studied Modern History and Modern Languages at the University of Oxford and Fine Arts […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-597","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/www.richardwhitlock.gr\/index.php?rest_route=\/wp\/v2\/pages\/597","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.richardwhitlock.gr\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/www.richardwhitlock.gr\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/www.richardwhitlock.gr\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.richardwhitlock.gr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=597"}],"version-history":[{"count":63,"href":"http:\/\/www.richardwhitlock.gr\/index.php?rest_route=\/wp\/v2\/pages\/597\/revisions"}],"predecessor-version":[{"id":1034,"href":"http:\/\/www.richardwhitlock.gr\/index.php?rest_route=\/wp\/v2\/pages\/597\/revisions\/1034"}],"wp:attachment":[{"href":"http:\/\/www.richardwhitlock.gr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=597"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}