Photography is generally accepted as a medium representing reality or the idea of that revealing what you see before you, onto a two-dimensional plane. Multiple Planes, an exhibition organised by Thai New Wave Photography, uses its platform to construct works, in terms of its materials, processes and notions, that relate to photography through atypical dimensions. “It’s a place where you can expect to see inventive works,” says curator Mary Pansanga.
As the apps we use become a bigger part of our daily routines, the line between our digital and real lives is increasingly blurred. “But there’s a tension point where privacy comes in which makes everything even more complicated,” says VICE editor in chief Ellis Jones. How much of ourselves do we share publicly and how do we decide which pieces to share? Which labels do we use to describe ourselves? And how do we avoid others imposing labels onto us? These are a few of the questions posed in “The Privacy and Perception Issue”, VICE’s annual photography magazine.
“Most people would walk by a dump pile and assume that there’s no picture there,” says global industrial landscape photographer Edward Burtynsky. “But there’s always a picture, you just have to go in there and find it.” Born in Canada in 1955, Burtynsky has been investigating human-altered landscapes in his artistic practice for over 35 years, capturing the sweeping views of nature altered by industry; from stone, to minerals, oil, transportation, and silicon. “Of course, it’s important to me to make sure that my pictures are attractive to the eye,” he says. “But beneath the surface there’s always a bigger, deeper environmental issue.”
Shahidul Alam, one of the world’s leading figures in photography, and a social activist who has been a harsh critic of the government in his native Bangladesh, has been arrested in Dhaka for making “provocative comments” following mass protests that have brought parts of the country to a standstill over the past week.
According to his partner, Rahnuma Ahmed, at least 30 plainclothes officers entered his home in the capital at around 10pm on Sunday, and sped him away in a car. He was officially arrested the next day. Alam had posted videos on Facebook and was interviewed by Qatar-based television station Al-Jazeera about the protests, which he said stemmed from anger about widespread government corruption, and not just the bus accident that initially sparked them.
“I had access to what felt like this secret world,” says Dafydd Jones, who has worked as a social photographer since the 1980s for publications such as Tatler, Vanity Fair, The New York Observer, The Sunday Telegraph, and The Times. “I was taking pictures of elites that nobody had seen before. It was Thatcher’s Britain, a period of celebration for those that had money. People described it as the ‘last hurrah’ of the upper classes.”
In 1981 he won a photography competition run by The Sunday Times magazine with a set of photographs of “Bright Young Things”, named after the earlier group of hard-partying aristocrats immortalised by novelist Evelyn Waugh and photographer Cecil Beaton. Tatler editor Tina Brown hired Jones off the back of it, commissioning him to photograph the Hunt Balls, society weddings, and debutante dances that were a mainstay of the upper-class publication. Now Jones has put together a collection of his work for Tatler from 1981-89, titled The Last Hurrah and currently on show at The Photographers’ Gallery and put out as a publication by Stanley Barker.
Cindy Sherman’s first UK retrospective goes on show at the National Portrait Gallery, London from 27 June – 15 September, 2019.
Titled Cindy Sherman, the exhibition will feature around 180 works, including the seminal series Untitled Film Stills. Shot from 1977-1980 in New York, the 70-strong series cemented both her reputation and her approach – manipulating her own appearance to explore the complex relationship between facade and reality.