Kathleen Fox-Davies and Anna Kirrage first met when they worked together at a Mayfair gallery. Eight years later, they’ve set up their own outfit – Black Box Projects. “We always attended art events together, so we retained a continual dialogue about the art market and our respective interests,” Kirrage tells BJP. “We have always worked in small businesses where there wasn’t necessarily room for growth, so the obvious step was to start out on our own.” Fox-Davies is a photography specialist with over a decade of experience in galleries such as Michael Hoppen, Hasted Hunt and ATLAS, while Kirrage’s experience is in managing art organisations’ PR and strategy. Drawing on their complementary skills, they’ve decided to break the traditional gallery mould and will run Black Box Projects as a series of pop-up installations, rather than opening a permanent space.
“The Garden Gate Project has a reputation in my neighbourhood,” says Jason Evans, who has just published a zine with participants from the Margate-based charity. “Established almost 20 years ago for people with learning difficulties and/or mental ill health, the Garden Gate Project is visited by various members of the community for a range of seasonal activities.” He was volunteering there two years ago when the organisers realised he was a photographer, and invited him to come up with ideas for the programme, which centres mainly on Horticultural Therapy. His first project with GGP was Tool Shed Dark Room, which saw Evans improvising with participants “without mains electricity or an enlarger to make photograms using materials from the garden”.
“The end of war does not mean peace,” says Sara Terry, founder of The Aftermath Project. “Every story of war includes a chapter that almost always goes untold – the story of the aftermath, which day by day becomes the prologue of the future.” It was in September 2000 that Terry decided to go to Bosnia. Six weeks earlier she had come across a story reporting on so-called ‘Bosnia fatigue’, the factor that meant that, five years after the end of the Bosnian War, the reporters were long gone and the international aid agencies were shipping out. Frustrated by the idea that people could forget what had happened, Terry felt compelled “to capture the images that are the all-too-often forgotten companions of the vivid pictures of war itself.” Terry had started out as a print reporter but went on to produce formative photographic work in Bosnia, which she published as Aftermath: Bosnia’s Long Road to Peace. The experience also led her to set up The Aftermath Project in 2003, with the aim of telling post-conflict stories from around the world and throughout time.
What does Eastern Europe look like 25 years after the fall of Communism? And how do young image-makers there see it? Calvert 22 is investigating, with an exhibition titled Post-Soviet Visions: image and identity in the new Eastern Europe. Curated by Ekow Eshun, creative director of Calvert 22 Foundation, and freelance writer and curator Anastasiia Fedorova, the exhibition includes work by 14 emerging photographers born in Eastern Europe and Russia – Armen Parsadanov, David Meskhi, Dima Komarov, Genia Volkov, Grigor Devejiev, Hassan Kurbanbaev, Ieva Raudsepa, Jędrzej Franek, Masha Demianova, Michal Korta, Patrick Bienert & Max von Gumppenberg, Paulina Korobkiewicz, and Pavel Milyakov.
“The streets were dark with something more than night,” wrote Raymond Chandler in The Simple Art of Murder (1950). Born in Chicago but brought up in Los Angeles, Chandler helped create the genre that became synonymous with the City of Angels – the grimy, morally ambiguous Noir. And, suggests a new book by Taschen’s executive editor Jim Heimann, there’s good reason why LA gave birth to Noir. A small (though already shady) city until 1892, it was transformed when oil was discovered in modern day Echo Park. The black gold brought in money, and with it corruption, and a series of lurid real-life crimes. At the same time, Hollywood and the burgeoning newspaper industry helped ensure a plentiful supply of photographers, documenting both the good and the bad to be found.
“It is a very progressive, very independent festival. It’s not part of the city’s art establishment. It’s dynamic, because the organisers are working way out on a limb,” says Susan Bright, ‘godmother’ of the Circulation(s) festival of young European photography, which takes place in Paris from 17 March-06 May
“It’s crazy, I can’t believe it,” says Ivor Prickett, of his two nominations for the World Press Photo of the Year award. “Out of a line up of six, to have two images seems insane considering the amount of great work being produced last year. I can’t quite believe it.” He’s on the phone from Iraq where he’s headed back back to Mosul, the city he’s been photographing for well over a year. Iraq’s second biggest city, Mosul was taken by ISIS militants in June 2014; in October 2016 Iraqi troops began a major offensive to regain the city, the largest military operation since the 2003 invasion of Iraq, and Prickett joined them right away. Originally from Ireland, he’s been based in the Middle East since 2009 and says that “as a reporter in the region, I couldn’t help but cover it”.
“Normally people don’t get set on fire during the protests, but there were many barricades on fire and the demonstrators use Molotov bombs,” says Ronaldo Schemidt. “I got the photo when a National Guard motorcycle exploded during a clash between demonstrators and government forces. It was lying on the floor, on fire, surrounded by young people. One of the protestors hit the tank, generating an explosion. Then the guy in the photo caught fire. I was standing a few meters away with my back to him, but when I felt the heat of the flames, I got my camera and turned around to start shooting whatever had just happened. It all took just a few seconds, so I didn’t know what I was shooting. I was moved by instinct, it was very quick. I didn’t stop shooting until I realised what was going on. There was somebody on fire running towards me.”
Born in Australia in 1969, Patrick Brown lived in the Middle East and Africa before his family settled in Perth, Australia. Drawn to documentary photography, and influenced by the images of war and civil unrest from the 1980s and 90s, he returned to Africa and spent six weeks documenting the work of an Australian surgeon in Malawi. Brown joined Panos Pictures in 2003, and has shown his work in institutions such as the International Center of Photography in New York, and Visa Pour l’Image in France; he works for organisations such as The New Yorker, TIME, Newsweek, National Geographic, GEO Germany, OXFAM, Human Rights Watch, and The Red Cross. Brown focuses on documenting issues across Asia, and has been nominated for the World Press Photo of the Year for an image showing the bodies of Rohingya refugees laid out after the boat in which they were attempting to flee Myanmar capsized about eight kilometers off Inani Beach, near Cox’s Bazar, Bangladesh. BJP: Your image is quite oblique, you have to look again to see what’s actually being shown. Why …
Born in Australia in 1978, Adam Ferguson studied photography at Griffith University. He first won recognition for his work in 2009, when his photographs of the war in Afghanistan won awards from World Press Photo and Photo District News. Since then he has worked all over the world, for clients such as The New York Times, TIME Magazine, National Geographic, The Financial Times Magazine, WaterAid, UNICEF, and Human Rights Watch. Ferguson has been nominated for the World Press Photo of the Year for his shot of Aisha, a 14-year-old girl who was kidnapped by Boko Haram and wired for a suicide bombing, but managed to escape. The image comes from a series of portraits shot on commission for The New York Times, which has been nominated in World Press Photo’s People category. BJP: Your image is very different to a hard-news style shot. Why did you choose to shoot a portrait (and in fact a series of portraits) in this way? How did you do so? Where did you take the shots, and how did you set …