It began in March 2015 when David Yates, a client of photographer and fine art printer Mike Crawford, turned up at his print studio, Lighthouse Darkroom, with a “shopping trolleyful” of old boxes of expired photographic paper. The next day, he brought another. The two loads were what was left of a mass clear-out of Yates’ late grandfather Bret Sampson’s darkroom. The British photographer’s London studio was his first port of call, given that Crawford was already working with Yates on another of his personal projects.
Gustavo Tavares has spent many years exploring the arctic, photographing the landscapes as a way to understand the climate’s harshness, and the relationship between man and nature. For Gustavo, the arctic embodies a fractured sense of home. It is not where he lives, but where he finds his spiritual and emotional balance, calling into question what actually defines our notion of home. His OpenWalls Editor’s Pick photograph is an image taken in Pyramiden, an abandoned Soviet coal mining city, with a population of just six people. Gustavo is based in Aveiro, Portugal, a colourful town set along the Ria de Aveiro lagoon, often described as the Venice of Portugal – a far cry from the sparseness, and coldness, of Pyramiden. But these deserted, freezing landscapes are where Gustavo finds his sense of belonging. We spoke to Gustavo about his father’s photographic influence, protecting himself from polar bears, and his series ‘La Camera du Flaneur’, a project inspired by the words of Susan Sontag. Can you tell me about your background as a photographer? How and …
When you Google Bobby Doherty, staff photographer at New York Magazine, the words “film,” “35mm,” and “vertical” repeatedly come up. But since being commissioned for editorial, the New York based artist has focused his time on producing digital still life photography. “Now I’m known for doing super digital studio stuff, which is cool because I like making that kind of work; but it’s nice to be able to step away from the studio and live outside,” he says. “I like taking photos all the time – it’s nice not to have to worry about the technical aspect and just go out with a camera and film.”
In October 2017, Oliver Chanarin, a photographer professor at the University of Fine Arts in Hamburg, printed an archival photograph onto cardboard in his office, and left it on display for his job share partner Adam Broomberg. The next week, his colleague printed an image on top of the photograph. This exchange happened several times, ultimately creating unprompted photomontages. “I left a sample for Adam, as a little gift,” says Chanarin, who was born in London but grew up in South Africa as a child to South African parents. “That’s how it began; as a conversation in images printed on cardboard.”
Has anything improved since Linda Nochlin’s 1971 essay Why Have There Been No Great Women Artists? The fact that women make up just 15.5% of the artists’ files on Wikipedia suggests not. According to L’Observatoire de l’Egalite, only 30% of the artists exhibited in galleries are women, even though more than 60% of art students in France are women.
Even so, there is some cause for optimism – as French photographer Vincent Ferrané points out. “Of the top 500 contemporary artists in 2017 [in France], only 14% of women,” he says. “But 30% of those were born after 1980.”
“Plankton are intriguing and beautiful creatures,” says Japanese photographer Ryo Minemizu. “They symbolise how precious life is by their tiny existence.”
He’s been shooting plankton for 20 years, spending between two and eight hours underwater everyday recording the tiny creatures, which can be plants, animals, or other types of organism. Drifting in the ocean, unable to swim against the current, plankton are the most abundant life form on earth after bacteria, but measuring 2mm-40mm in size, are invisible to the naked eye. Minemizu has registered his own technique to photograph them, which he’s called Black Water Dive, and which involves setting a stage underwater using flashes and other forms of lighting.
Photographer Shahidul Alam has been imprisoned by Dhaka Metropolitan Magistrate’s Court for spreading “false and harmful information” against the government after remaining in police custody for seven days.
He was placed before authorities around 3pm on Sunday 12 August, and charged under section 57 of the Information and Communications Technology Act, Moshiur Rahman, deputy commissioner of police, told the Bangladeshi title The Daily Star. His lawyer and his family members were not informed about the court hearing.
In a letter submitted by investigating officer Mr Arman Ali, the 63-year-old was accused of giving “false and harmful information through Al-Jazeera, various electronic media, and his Facebook timeline, which led to deterioration of the law and order situation in the country, and created fear and terror in the minds of the public”.
Growing up, photographer Tom Roche learned about his Romani Gypsy heritage only through fragmentary stories and speculation. “My great, great uncle was stabbed in the heart with a wooden stake because he owed money for land,” says Roche, a recent University of the West of England graduate. “Then I had one aunt, aunt Liz, who used to pick crops, one aunt that made baskets, and another who sold pegs – or so I’m told; I don’t have any images, records, or concrete facts of my ancestors.”
Photomontage artist Peter Kennard is among 40 artists who have demanded their work be removed from London’s Design Museum after discovering the institution had hosted a private event associated with the arms trade. The museum complied with the requests to return work by 01 August, but defended its curatorial independence from its need to raise funds and sponsorships.
In an open letter, the artists said that they are “appalled” that the London institution arranged for Italian aerospace company Leonardo to hold an event on 17 July, during the Farnborough International Airshow. A demonstration outside the museum also took place on the same day (02 August) in which several artists arrived to collect their works.
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.