“There were things happening in black America that lend themselves to the conversation in Italy in a way that perhaps people never would have imagined,” says Theaster Gates, a social practice artist and curator of a new exhibition,The Black Image Corporation, dedicated to exploring the legacy of the Johnson Publishing Company archive and its two acclaimed magazines, Ebony and Jet.
Presented at the Fondazione Prada from 20 September to 14 January, the exhibition gathers photographs from the company’s extensive archive of more than four million images, focusing primarily on the work of two photographers – Moneta Sleet Jr and Isaac Sutton. “When the Prada Foundation invites you to do a project, you know there’s already this big and ambitious living legacy; and so it felt really amazing to then put the Johnson Publishing Company in the context of this other fashion family,” explains Gates.
“We do not need to specifically just focus on changing stereotypes of what being African is through our visual storytelling; I think that’s an additional burden that other artists from other continents are not expected to subscribe to. I do think that through our visual storytelling, whatever theme we choose, and the quality of our work, we already do so much to challenge external perceptions of the African continent,” says Ngadi Smart, one of the image-makers whose work will feature in the exhibition Foreseen: New Narratives from the African Photojournalism Database.
It’s just one of the shows in the forthcoming Nuku Photo Festival Ghana, the first event of its kind in the country. Featuring exhibitions, a conference, a portfolio review, and networking events, Nuku Photo Festival Ghana aims to “create a space for artistic explorations and exchanges”, according to the festival founder Nii Obodai. “For this first edition, we have curated a diverse programme in cooperation with local and international partners that showcases the works of 50 both established and up-and-coming photographers and visual artists.”
It is difficult to unravel, in many of the stories that Max Pinckers tells, where fiction became unstuck from fact. Or how the characters in his photographs can look back out at the world so boldly, shake their heads at reality as most people see it, and tell stories that fly in its face. But for the Brussels-based photographer, the six curious individuals in his latest book, Margins of Excess – including a boy who compulsively hijacks trains, and a private detective with prosthetic hands – lead the way to understanding documentary photography’s role in the ‘post-truth’ era.
One such character, an American amateur inventor with a mane of silken hair, sat at the kitchen table of his home in Dunnellon, Florida and told Pinckers that he believed he had become the media’s new Osama bin Laden. “My name is Richard Heene. A few years ago I got into a bit of trouble,” said the forty-something showman, detailing the events that led him to end up behind bars.
Belgian photographer Max Pinckers has won the prestigious Leica Oskar Barnack Award with his series Red Ink. He receives €25,000, plus a Leica M camera and lens.
Red Ink was shot in North Korea while Pinckers was on assignment for The New Yorker magazine, accompanying journalist Evan Osnos on a four-day trip in August 2017 – the height of the propaganda war with the US. Pinckers’ access to the country was heavily stage-managed by the North Korean government, which carefully set up scenes for him to photograph. Knowing that this would be the case, Pinckers shot the images with a flash, creating a sense of the artificial that tipped the scenes presented to him into the surreal.
“The ethics for me is the backbone of what we do. If we don’t follow strict ethics within our work, I think we are damaging the credibility of the whole of this profession,” says Bénédicte Kurzen, a photographer and member of the prestigious NOOR photography collective since 2012. Now she, and seven other NOOR photographers are putting her words into action, with three masterclasses offered free of charge to budding photojournalists.
Supported by Nikon Europe, the masterclasses are four days long, and each feature three tutors. Kurzen is teaming up with Sanne De Wilde and Francesco Zizola for the masterclass in Turin, held from 12-15 November; Tanya Habjouqa, Sebastian Liste and Kadir van Lohuizen are at the masterclass held in Budapest from 26-29 November; and Tanya Habjouqa, Jon Lowenstein and Léonard Pongo are at the masterclass held in Zürich from 03-06 December.
Bangladeshi photographer and Drik Gallery director Shahidul Alam has reportedly been denied bail by a court in Dhaka.
Various local media outlets, including United News of Bangladesh, The Daily Star, and Bangla Tribune, have all reported that Judge KM Imrul Kayes of Dhaka Metropolitan Session Judge’s Court passed the order on 11 September. Public Prosecutor Mohammad Abu Abdullah moved against the bail petition, while Barrister Sarah Hossain stood for Alam – who filed the bail petition through his lawyers on 28 August, asking for it to be granted as he is ill.
Dr Yasufumi Nakamori has been appointed new senior curator, International Art (Photography) based at Tate Modern, heading up the development of Tate’s collection of photography and programme of photography exhibitions and displays. He’s taking up the post in October, filling the gap left by Simon Baker back in January (when he became director of the Maison Européenne de la Photographie in Paris).
For the last two years, Nakamori headed up the photography and new media department at the Minneapolis Institute of Art, staging exhibitions with image-makers such as Omer Fast, and making key acquisitions “which transformed and diversified the museum’s photography collection”. From 2008-2016 he was curator of photography at the Museum of Fine Arts, Houston, where he created exhibitions such as Katsura: Picturing Modernism in Japanese Architecture, Photographs by Ishimoto Yasuhiro (which won the 2011 Alfred H. Barr Jr. Award for Smaller Museums), and For a New World to Come: Experiments in Japanese Art and Photography, 1968-1979.
Les Rencontres d’Arles is the most prestigious photo festival in the world – that’s beyond question. But according to a high-profile group of photographers, curators, and writers, there’s still more that it could do. They’ve got together to sign a public letter to festival director Sam Stourdzé, which urges him to include more exhibitions by women in the main programme at Arles, and which was published in the French newspaper Libération on 03 September.
The letter is signed by influential industry figures such as Iwona Blazwick, director of the Whitechapel Gallery; Victor Burgin, Professor Emeritus of History of Consciousness, University of California, Santa Cruz, and Emeritus Millard Chair of Fine Art at Goldsmiths College, University of London; collectors Claire and James Hyman; and Olivier Richon, Professor of Photography, Royal College of Art, London, as well as photographers and artists such as Clare Strand, Sunil Gupta, and Anna Fox.
Holly Hay’s induction into publishing came by way of the fashion communication and promotion BA at Central Saint Martins. “That course was like training to work at a magazine,” she explains. “It was photography, journalism and graphic design, all meshed into one.” While on it she started taking her own photographs and after she left, she had a stint as a photographer. “It was all going quite well until I met more photographers, and realised I liked their work more than my own!” she laughs. “I discovered that I could create the images I wanted through other people, rather than myself.” Following this revelation, she shifted to a producer role, commissioning photographers, writers and stylists at the newly-conceived Garage magazine, before spending three years as the photographic editor at AnOther, fostering an extensive network of image-makers and collaborators. Now, just over eight months into her tenure as photography director of Wallpaper*, she’s making her presence felt in artist collaborations and visual journalism. How has the way you commission changed since joining Wallpaper*? I would describe the …
It’s six years since the inaugural edition of Unseen Amsterdam arrived with the mission to shake up the art fair model, focusing on emerging photographers and collectors, and instilling a welcome dose of fun to proceedings. And despite its beginnings during difficult times for arts funding, the ‘fair with a festival flair’ has largely succeeded, developing into something more ambitious than a glorified trade show, with its own public programme and a city-wide celebration of the medium in one of the world’s great photography capitals.
The emphasis remains on championing new talent, and with this in mind, the latest addition to Unseen is Futures, a cross-European photography platform bringing together 10 cultural institutions from around the continent, each with their own talent programmes.