It’s the biggest and best-respected photo festival in the world – it’s Arles and it’s back from 02 July-23 September, with a special opening week from 02-08 July. With the blessing of the French Minister of Culture François Nyssen – who declares that “Arles wouldn’t be Arles without photography” in her welcome to the festival – the 49th year of the festival is lead by director Sam Stourdzé, who took over its organisation in October 2014. As you might expect, the momentous events of May 1968 are commemorated at Arles this year, with a group of exhibitions titled Run Comrade, The Old World is Behind You. Considering events such as the student demonstrations and strikes in France, and the assassination of Robert F Kennedy that year, this section includes shows such as 1968, What a Story! which uses previously unseen images from police archives, Paris Match and Gamma-Rapho-Keystone. Elsewhere Arles looks to the future with a group of shows titled Augmented Humanity which includes work by Cristina de Middel & Bruno Morais, Matthieu Gafsou and Jonas Bendiksen; and in the Emergences section, which includes the ten photographers included in the New Discovery Award this year.
How can art express movement in the human figure? And how does it convey emotion and strain through depictions of the body? A summer exhibition at Tate Liverpool will try to answer those questions by pairing work by influential 20th century American photographer, Francesca Woodman with drawings by Austrian expressionist Egon Schiele. Life in Motion: Egon Schiele/Francesca Woodman, which opens on 24th May, will investigate how Woodman’s photographs depict both physical movement and what she referred to as “the body’s inner force”. It will also highlight the relationship between the two artists’ work, and how Woodman’s images of the body from the late 1970s illuminate Schiele’s drawings – which were made more than fifty years before.
“The culture and mythology of Bigfoot is something that has always interested me growing up and now as a grown man,” says Harry Rose. “How can people be so convinced? What real evidence is there?” Rose is BJP’s creative campaign manager, but he’s also the founder of Darwin Magazine and a Newport graduate, whose work has appeared on sites such as Self Publish, Be Happy, Vice and Photoworks. His ongoing personal project, Looking for Bigfoot, uses photography, archive images, found objects, sighting accounts and interviews with believers to try to build a picture of the mythical British giant, who is also known as the Wildman, Green Man and Yeti. Now he’s discussing his work and the human desire to create mythologies at Miniclick’s next outing, at Temple Bar Brighton on 28 March. Joining Rose will be fellow Newport graduate Hannah Saunders, who is currently studying for an MA in the History of Art at the Courtauld Institute, focusing on The Supernatural Middle Ages. Her project Allegorical or Historical explores the lives of three Medieval Saints through self-portraiture, and …
Photography is often considered a solitary pursuit, but the Ryerson Image Centre (RIC) in Toronto, Canada hopes to overturn this conception with a research project led by artists, scholars, and curators such as Ariella Azoulay, Wendy Ewald, Susan Meiselas, Leigh Raiford, and Laura Wexler. Now an exhibition at RIC called Collaboration: A Potential History of Photography is putting their work on view. Featuring approximately 90 photographic projects the work on show demonstrates some of the many ways photographers have collaborated with their subjects and other participants. It includes Wendy Ewald’s Reciprocating in Arabic installation, which combines image and text in an attempt to show the experience of walking through the Arabic language, and WEB Du Bois’ The Potential of the Archive I, a look into the history and present challenges of black America, among many other projects.
“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”.
“We’ve had five great extinctions,” says Edward Burtynsky. “Now our species is having a similar effect – we are the equivalent of a meteor impact.” He’s currently working on a five-year project on the Anthropocene – the proposed name for our current geological age, an age on which human activity has had a profound and still ultimately unknown impact. A multidisciplinary initiative with long-term collaborators Jennifer Baichwal and Nicholas de Pencie, Anthropocene includes images showing urbanisation, urbanisation, industrialisation and mining, from oil bunkering and sawmills in Nigeria to the salt mines of the Ural Mountains. Now a preview of this project, plus other new work by the renown Canadian artist including an AR experience, is going on show at Photo London 2018, which takes place from 17-20 May at Somerset House. The public programme, which is supported by LUMA Foundation, will also include an exhibition called Exit from Paradise: Japanese & Chinese Contemporary Photography, presented by Korean curator Jiyoon Lee, and a photography-themed installation by set designer Es Devlin. The International Center of Photography (ICP) and Photo London will …
It’s one of the best-respected photo agencies in the world, representing image-makers such as Nina Berman, Yuri Kozyrev, and Kadir van Lohuizen – and yet NOOR is offering three four-day masterclasses completely free of charge to “young, aspiring photojournalists and documentary photographers”. Run by NOOR and the NOOR Foundation with the support of Nikon Europe, the masterclasses will take place in Warsaw (26 February-01 March), Stockholm (12-15 March), and Brussels (19-22 March).
London-based collectors Claire and James Hyman have donated 125 photographs to the Yale Center for British Art, gifting key works by leading figures in British photographic history – including Bill Brandt, Bert Hardy, Roger Mayne, Tony Ray-Jones, Martin Parr, Chris Killip and Anna Fox – to the 44-year-old institution in New Haven in the US. It’s a move that could be interpreted as a damning indictment of UK institutions’ commitment to collecting British photography – particularly as, the last time BJP caught up with James Hyman (our May 2015 issue), he said building such collections has been “left to private individuals, and it shouldn’t have been”. In the same interview Hyman also singled out Birmingham Library and its curator of photography collections Peter James for praise – yet in the intervening time, both the photography archive and James’ job have fallen victim to funding cuts. But Hyman says the donation should be viewed in a positive light as evidence of the growing interest in British photography abroad – an interest which may spark more commitment in the UK.
Born in Naples, Italy in 1988, Lorenza Demata was raised in Florence and took her first degree in International Cooperation and Conflict Management in the city. She went on to study photography for three years at the Fondazione Studio Marangoni in Florence, graduating in 2016 and moving to London to study for an MA in Photography at the London College of Communication. She recently graduated from the LCC with a final project called It all started when some of us left the country, which compares the movements of people and food – linking the fact that approximately 40% of London’s population is made up of expatriates, and almost 50% of the total consumption of food resources relies on imported fruit and vegetables. BJP: Your BA is in International Cooperation and Conflict Management, why did you switch to photography? Or do you feel you’re still working on similar issues? Lorenza Demata: I have always been interested in social and political issues. When I started my first BA, almost ten years ago, I wanted to understand what was happening …
The Walther Collection has kicked off an 18-month exploration of vernacular photography with a show titled The Shadow Archive: An Investigation into Vernacular Portrait Photography. Taken from the 1850s to the present day, the collected portraits depict groups such as ‘migrant laborers’, ‘inmates of an asylum’, ‘criminal photographs’, and ‘G&G Precision Works Photographic Identity Badges’, and, says the organisers, show how “identification photographs have been used to sort, shape, segregate, and select subjects based on occupation, social group, body type, or political affiliation”. The title references a phrase used by writer and photographer Allan Sekula to reference “the entire social field of human representations, comprising both heroes and deviants, within which every portrait takes its place as part of a moral hierarchy”.