In her more recent work, Karen Knorr constructs scenes for her photographs from the real and virtual worlds to produce the series Fables and India Song. In her recent work, Anna Fox continues to explore stereotypes that have become entrenched in lifestyle magazines, that underscore contemporary aspirations, both British in specific, and by example in today’s ubiquitous consumer-driven world. As described by British photo critic Sean O’Hagan, her ‘subject matter is the ordinary and the everyday,’ but what makes the resulting images striking is how she ‘approaches it with an artist's eye for the absurd and the revealing.’ Through these works we see the photographers’ thinking about culture, gender, environment, and nature.
Since the late 1970s, there has been a volume of activity in the field of documentary photography in the UK, which both builds upon and stands as a reaction to the documentary tradition. Photography played an incisive part in constructing a British documentary movement from the mid 20th-century, that began in 19th-century realist literature (for example, Charles Dickens, George Eliot), soon extended to film (figures like John Grierson) and, in time, to television. The spirit of questioning and re-invention that characterized the particular period of New, or Expanded Documentary that emerged from the 1980s, was new in that it began to draw on strategies from contemporary art, primarily in its questioning and play with notions of authenticity and truth. That play, in terms of the mix of carefully observed reality and consciously constructed illusions, is embodied in the work of Anna Fox and Karen Knorr, described here as ‘another way of telling’.