Katie Burdon’s ethereal fashion images make no secret of a childhood spent outside in the English countryside. A Cornish native, the 20-year-old first began taking photographs when she was 14, using her friends as models and the picturesque fields, woods, and seaside of her surroundings as her backdrop. Now a graduate of the University of Bournemouth, her practice has evolved into an intimate and considered portrayal of femininity through fashion photography. With a rich yet hazy 1970s-inspired palette and surreal undertones, Burdon’s photographs are elegant in their composition, yet still capture something of the raw and playful nature of youth. Determined to counteract the impossible beauty standards of the imagery she grew up with, the young photographer prefers being real and “celebrating women”, choosing models with big personalities.
“In this series, I dissolve images and fragments of time,” says French photographer David Infante. The monochrome ‘portraits’ that make up Mirror without a memory certainly feel as if they are unfixed, spanning time as they shift and melt under a fragmented surface. Triggered by a period of solitude in London, he resurrected images from his archive, reprocessing his memories by selecting photographs, cutting them up and combining snippets to give them new forms. For Infante, slowing down time or wrestling many layers of it into one frame takes us into what he calls “parallel worlds”: a space to reflect and search for new meanings beyond the surface of the everyday. The photographer, who has just completed an MA at the Royal College of Art in London and is based in southern Portugal, ascribes his meditative approach to his early experience with analogue photography. “It brought me concentration and contemplation,” he explains.
When Veronica Viacava moved to London, straight out of high school in Milan, she had never studied photography. But she had developed an interest in the concept of the photographic image, beyond the physicality of manually taking pictures, and seeking independence from her family, who didn’t approve of her desire to study the arts, enrolled at the University of Middlesex. Viacava has just graduated, and her work has been deeply personal throughout. When she was 17, her mother passed away, which led to intense musings on old family photo albums. By the end of her second year at Middlesex, she had begun to think about the materialisation of memory and “the idea of photography turning the past into an object”, she says. “So that you can look through it.”
The Parisian curator Quentin Bajac has spent the past two decades working in three of the world’s leading cultural destinations – starting out at the Musée d’Orsay, he moved to Centre Pompidou, and then the most coveted post of all, chief curator of photography at MoMA in New York. Here he shares his insights into photography and life with BJP editorial director Simon Bainbridge
On the face of it, Thomas Ruff has radically altered course since his first major series brought him to international fame in the mid-1980s. He followed his portraits of fellow students at the Düsseldorf Art Academy (where he was studying photography with the legendary Bernd and Hilla Becher) with photographs of modern architecture in the 1987-1991 series Hauser, and then began working with appropriated images. His 1989 series, Sterne, used astronomical panoramas from the European Southern Observatory, for example, while his Zeitungsfotos made during the 1990s took images culled from newspapers. Over the following decade he has continued working with the vernacular, incorporating source material such as manga comics which he manipulated into colourful abstractions (Substrat), highly pixellated images he downloaded from the internet (Jpegs), and an archive of glass negatives found in a factory archive from the 1930s and 40s (Machines). But while Ruff is happy to admit his techniques change from series to series, the concept behind his work has remained consistent. In an interview for his latest catalogue he told Hans Ulrich …
“The Face had a different theme every issue and were planning an issue on sex, so Graham Rounthwaite [the art director] said ‘Can you photograph in clubs and sixth form parties and get an idea of young kids’ idea of love?’”says Ewen Spencer. The feature became a regular spot, sometimes shot by Spencer and sometimes by another photographer, a writer going along each time to talk to the kids they found. But it became an ongoing interest for Spencer, who started to pursue it in his own time as well as on commission, and images from the series have now been published as a book by Stanley Barker
Martin Parr has found a permanent home for the foundation he set up in 2014, giving visitors access to his archive and to his formidable collection. “I’ve been very lucky,” he told BJP’s Gemma Padley. “I have secured a very good living from doing this, and so the foundation is a great way to feed some of that back into the system.”
Never heard of Sory Sanlé? If so you’re not alone – in fact he was aged 74 and living in obscurity when French record producer and writer Florent Mazzoleni came across him while researching popular West African music. Fascinated by his album covers, Mazzoleni arranged to meet him at his studio – only to find him burning his negatives. “‘He said people didn’t care about the old stuff,’ Mazzoleni told the New York Times’ Lens blog earlier this year. ‘I spent all night looking at his photos and negatives with a flashlight. He has tens of thousands of photos from the ’60s, ’70s and ’80s. He gave me a box of negatives that I could print. That’s how our relationship began’.” From this inauspicious start Sanlé’s legacy is now seriously being reappraised. In 2013 he was given a solo show at the Institut Français du Burkina Faso in Ouagadougou and Bobo Dioulasso, and four of his shots are currently on show at the Fondation Cartier in Paris in the Autophoto exhibition, alongside work by icons such as …
Sleeping by the Mississippi has been ranked with the great representations of the United States, including Walker Evans’ pictures of the depression, Robert Frank’s harsh vision of the 1950s and, more recently, the colour work of Joel Sternfeld. As Alec Soth’s seminal work goes on show in London and is given a handsome reprint by MACK, we revisit an interview with him from back in 2004 – when the series first came out.
Long before the public sat up and took notice of the staggering number of refugees risking everything to make their way to Europe, Alessandro Penso had made migration to the continent the focus of his work. Since 2009 he has been documenting the conditions of refugees who have attempted to cross borders in search of safety and the hope of a better future for themselves and their families. Beginning with detention centres in Malta, which many migrants had mistaken for Penso’s homeland of Italy, the photographer then travelled to Bulgaria where, between 2012 and 2013, the number of refugees surged from 1700 to 10,200. He followed migrant agricultural workers in Italy as they moved from one harvest to another. He also accompanied young adults from the Middle East trying to make their way from Greece (which refuses the majority of asylum seekers’ applications), to its neighbouring countries and beyond, capturing the moment when one, Mostafa El Mouzadhir, was deliberately hit by a car in a hate crime, sustaining multiple injuries. When Penso visited him in …