This “photographer’s photographer” is known for his measured understatement and his influential books, such as The Pond (1985) and Berlin in the Time of the Wall (2004). His latest, Looking Up Ben James – A Fable, will soon be published by Steidl, and he’s currently working on his next, The Last Days of Fontainebleau, shot in his hometown, Washington DC
In terms of history and photography, 1938 was a significant year. With Germany’s annexation of Austria, the Munich Agreement, the November Pogrom and the Évian Conference, which addressed the international response to the refugee crisis, it was a decisive point in time, with repercussions that would shape generations to come. It was also the year that six iconic photographers, who would document this shifting world, were born. This spring, the occasion will be honoured with a special celebration at the Sprengel Museum Hannover, titled 1938. Birthday Party with Guests. Initiated to commemorate the 80th anniversary of German photographer Heinrich Riebesehl, whose archive is housed at the museum, the exhibition evolved into a wider historical survey that sketches an international perspective on the second half of the 20th century. Joining Riebesehl are Johan van der Keuken, Josef Koudelka, Boris Mikhailov, Daido Moriyama and Helga Paris. For curator Inka Schube, this wave of artists born in 1938 represents a very particular generation: those who experienced the Second World War as children, too young to remember much more than playing in its rubble but growing up in the world it created.
When New York’s Museum of Modern Art first introduced its New Photography series, it did so to locate contemporary work in a dedicated space, often providing the selected image-makers with the opportunity to get their foot in that most revered of doors. The inaugural exhibition opened in August 1985, curated by the late, great John Szarkowski, and over the following 32 years, these shows have remained true to their moniker, tracking some of the most exciting developments in new photography in its myriad forms – be that in books, on screens, in posters or through zines. As the years brought evolved types of media, it fed artists’ appetites both for new ideas and for fresh means by which to execute them. MoMA’s latest instalment, Being: New Photography 2018 (18 March–19 August), is a deft demonstration of how effectively such collections can reflect a moment in contemporary consciousness. Being presents 17 artists working in photo-based media around the world, and “all the works in the exhibition take on charged and layered notions of personhood and subjectivity,” explains Lucy Gallun, its curator and the assistant curator of MoMA’s department of photography.
“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 would be an understatement to say that the legacy of Gyula Halász – better known by his pseudonym, Brassaï – has been the object of extensive research and countless curatorial projects. Yet the Fundación Mapfre, the private institution that has shown the highest devotion to photography in Spain, has entrusted Peter Galassi, the former chief curator of photography at Museum of Modern Art, to conduct what will probably be the definitive exhibition about the Hungarian-French photographer at its Barcelona gallery, the Garriga i Nogués exhibition hall (19 February to 13 May). The exhibition could be considered to be Galassi’s biggest curatorial endeavour so far since he retired from MoMA, and the catalogue, published by Fundación Mapfre, can attest to the pertinence of this major survey of Brassaï.
Marrakech is a hub of arts-related activity this February. On the 24th, 1-54 Contemporary African Art Fair launches its first edition on the continent, and on the same day the Museum of African Contemporary Art Al Maaden opens a special exhibition and programme, Africa Is No Island. Curated by Afrique in visu, the latter exhibition is a physical embodiment of everything the photography platform has been working towards since it was started a decade ago online with the mission to develop a professional network for photographers across the continent and the wider diaspora.
Last month BJP focused in on group work; this month we’re looking at a different kind of collaboration – projects in which photographers engage in a two-way dialogue with their subjects. One of the best – and the best-known – examples is Jim Goldberg, who works with subjects such as teenage runaways and migrants to tell wide-sweeping stories of marginalisation and economic disparity. Using an eclectic mix of photographs, archive materials and video, and both marking up himself and invites his subjects to write on, he creates complex montages guided by his sense of “intimacy, trust and intuition”. Incorporating the perspectives of the communities and subcultures he represents, his work is informed by his own background in a blue-collar family in New Haven.
Susan Meiselas has been a pivotal figure in photography since her career began in the 1970s, a decade when the ethical discussion surrounding the inspiration, intent and dissemination of documentary image-making was rampant. Perpetually questioning the motivation and perception of her images, the American has spent her life grappling with these issues, practising what it means to document something outside of her own personal experience. This spring (06 February to 20 May), Jeu de Paume in Paris presents Mediations, a retrospective revisiting her vast oeuvre, beginning with early portraits that include 44 Irving Street (1971) and Carnival Strippers (1972-75).
London’s Hayward Gallery is reopening with a huge Andreas Gursky retrospective on 25 January, celebrating its 50th anniversary and its return after a comprehensive two-year refurbishment. The first major retrospective of the acclaimed German photographer in the UK, Andreas Gursky will include around 60 of images from the 1980s to the present day. Focusing on man-made structures and large gatherings of people. Gursky’s images draw attention to our changing relationship with the natural world, and chronicle the effects of globalisation on daily life; his subjects range from a crowded techno music festival in Germany (May Day IV, 2000/2014), to an underground water tank in the Kamioka Nucleon Decay Experiment in Japan (Kamiokande, 2007), in which a boat glides amid a gold-studded interior. “I only pursue one goal,” he has said, “the encyclopedia of life”.
“I hate myself because I am a murderer… You can’t save me… We are a faceless, forgotten part of society…” These are just some of the intimate, often devastating thoughts of the inmates at HMP Grendon, a category B men’s facility in Buckinghamshire and Europe’s only “wholly therapeutic” prison. Their words accompany My Shadow’s Reflection, a series informed by Edmund Clark’s artist-in-residence at Grendon, which forms part of his larger body of work, In Place of Hate, on show at Ikon Gallery in Birmingham from 06 December.