All posts filed under: Exhibitions

© Olivia Rose

Olivia Rose’s Boy London

“This is one of my good friends Dapper,” Olivia Rose points out, as we pore over the many strikingly wistful close-ups that fill her portfolio. “He was arrested for carrying a corkscrew, for which he was going to open a bottle of wine. He went to prison for that! Oh, and this is Terry. Look at his double grill. His son’s name is Terry, and his dad’s name is Terry; he’s such a sweetheart, you know. He likes dancing to Haim.” Rose is not one to shy away from the complex realities that exist within her work. The male-orientated portraits feature not the faces of your typical pin-up, agency model, but real lads and men, fresh off the street. Her repertoire of male muses originate from all walks of life; drug dealers, gang members, young London lads off of the local council estate – you name it. They have all been captured by Rose’s lens. She is leading a new wave of photographic talent who, frustrated with the fashion industry’s stagnant stereotypes, are breathing life …


Love and Lead – how paparazzi dealt truth and fiction in terror-stricken Rome

It was early on the morning of 16 March 1978. Italy’s former Prime Minister, was sitting in the back of a blue Fiat, his driver inching through the labyrinthine streets of rush-hour Rome. Moro was heading to the Italian Parliament, where he was due to chair a vote for a new government that might, for the first time, make the Italian Communist Party a party of government – the first step in what he had called “the historic compromise” between Parliamentary Social Democracy and Euro-Communism. Oreste Leonardi, a high-ranking carabiniere and his chief bodyguard, sat beside him; following his Fiat was a white Alfetta manned by three armed security agents. Driving down Via Fani – a tight road in a shady part of town – Moro’s car was hit by another Fiat, which came screeching in from a side road. A second vehicle arrived from behind, hemming Moro’s convoy in. A hail of bullets tore through the air as four uniformed men emerged from the bushes, semi-automatic weapons held to their shoulders. Leonardi was killed …


Happy museum visitor gets a shock from static generator, 2011. Silver gelatin print (unknown photographer) presented in a handmade sandstone frame enamelled blue. From the series Les Belles Images © Thomas Mailaender.

Thomas Mailaender’s weird and wonderful world

“Thomas Mailaender’s forum and sphere of operations is less the art world than the rowdier public domain where events can easily run out of control,” writes Ian Jeffrey, the respected photography critic. That rowdy sense of anarchy and fun is clearly on show in the French artist’s current exhibition at Roman Road, which is punningly titled Solo Chaud. With liberal use of sheets of white plastic, Mailaender has literally transformed the gallery into a white cube, and populated it with artwork culled from various recent projects – a print on plasterboard, showing a man grabbing and photographing a bird, is taken from his Cyanotypes series; humorous press prints ‘framed’ in roughly-shaped, brightly-coloured clay come from his Les Belles Images collection; large, roughly cut boards showing amateur snaps of everything from hapless plastic surgery fans to questionable bikini lines are relics from the Chicken Museum installation he created at Rencontres d’Arles in 2011. Behind the gallery, in owner Marisa Bellani’s home, more work is on display – lumpen vases, a more traditional large-scale print, and what look like family …


Photo-collage with Two Segments at Richard Neutra's Silver Lake house in Los Angeles 1939 © Barbara Hepworth, The Hepworth Photograph Collection

Barbara Hepworth’s never seen before photographs go on display in London

This June, Hepworth: Sculpture for a Modern World – the first major retrospective of the work of British sculptor Barbara Hepworth, as well as her never-before-seen photographs, will open at the Tate Britain. The set of photographs reveal the importance of photography to Hepworth, and how she used it to shape public opinion of her work. As Sophie Bowness, Hepworth’s granddaughter and co-curator of the Tate show explains: “Hepworth had a life-long appreciation of the importance of photography in the recording and reception of her work.” The Hungarian Constructivist artist Laszlo Moholy-Nagy is thought to have taught Hepworth how to use her first camera – a Zeiss Ikon in 1933. The two became friends when Moholy-Nagy moved to London to escape Nazism, and his modernist ideas influenced her greatly. It was after a meeting with the artist on his first trip to London that Hepworth produced her first Self-Photogram (1932 – 33), two self-portraits depicting her fuzzy profile surrounded by a halo of hair. A photogram is an image made by placing objects directly onto photosensitive paper and exposing them …


Pre -  The Entropy Pendulum archive image © Clare Strand

Five minutes with…Clare Strand

From photographs inspired by crime scenes to pseudo-scientific experiments, Clare Strand has always marched to the beat of her own drum – and her latest exhibition, Getting Better and Worse at the Same Time, is no exception. Featuring The Happenstance Generator (a machine that blows around images from her research projects) and The Entropy Pendulum (a moving arm that swings backwards and forwards over one of her prints), it’s a quirky, animated take on photography and kinesis that, like her previous projects, is somehow held together by Strand’s idiosyncratic, retro-futuristic aesthetic. BJP took five minutes with the artist to find out more. BJP: Is the work in this exhibition all new, apart from The Happenstance Generator? Clare Strand: It’s all pretty much new – there are few pieces that have been shown but never in the context of a cohesive show. BJP: Did you make it all for the show? Or have you just had a particularly fruitful time of it recently? CS: Yes, most the works have been made for this show. I like working …


© Thomas Hoepker

What to see at Norway’s Nordic Light Festival of Photography 2015

The Nordic Light Festival of Photography, spaced across galleries in the small island-city of Kristiansund, on the northern reaches of the Norwegian coastland, is now in its tenth year. Not especially well-known in international photography circles, it’s one of the most picturesque, dedicated, surprising celebrations of photography in Europe. For a festival with only a handful of full-time staff, and made possible only by the army of local volunteers, its testament to the passion of the festival that 18 established international photographers will exhibit in Kristiansund. It’s tenth year is celebrated through the reappearance of three photographers who exhibited in previous festivals, such as Giorgia Fiorio. The international photographers present range from James Nachtwey, an American war photojournalist; to Thomas Hoepker, a German documentary photographer; to Per Maning, a Norwegian fine art photographer; to Pieter Ten Hoopen, a Dutch photojournalist and filmmaker (see photographs above). The festival uses its scale to its advantage, helping local photography people mixing with world-class photographers in the local bars and restaurants. Set in the local cinema in the centre of town, Nordic Lights’ …


Ciarán Óg Arnold wins First Book Award

A project called I went to the worst of bars hoping to get killed. but all I could do was to get drunk again, by Irish photographer Ciarán Óg Arnold, has won this year’s First Book Award. Born in 1977, Arnold has spent almost his whole life living his pictures in the town of Ballinasloe. The project, taken over the past five years, shows drunken knuckle-fights, hard men’s tears and derelict homes as the active participants in a post-recession landscape. “I never really had a project in mind,” Arnold tells BJP. “I just took the photographs at weekends to have something to do. The photographs are about this fatalistic atmosphere of male negativity. Machismo, and having nowhere to express it. I wanted to show how something feels, how it looks – to get the emotional desperation and the anger. I’ve never really talked about it with anyone before. It’s hard. “You would go into one nightclub on weekends, there’d be no one in the entire place except for these guys in the corner with the boxing machine, getting out their aggression …


High Street Kensington from the series On a Good Day

Staying Power: Photographs of Black British Experience 1950s-1990s – Review


A young girl, speaking on the telephone, stands in a well-kept living room. She smiles to someone outside the frame, yet her posture suggests this isn’t a casual snapshot. As we learn from photographer Neil Kenlock, she’s pretending to speak to her grandparents in Jamaica — the photograph a token of the family’s prosperous new life in Britain, balancing the quotidian with the achingly intimate. This communication between generations, between the motherland and a new home, gets to the heart of Staying Power, a new exhibition currently on display at the V&A. The exhibition is the culmination of a joint project with the Black Cultural Archives, started in 2008, showcasing photographs that respond and relate to the ‘black British’ experience. With a collection spanning 118 photographs and 17 different photographers, black British life is rendered with a comprehensiveness and variety rarely seen in the cultural landscape. Marta Weiss, curator of photographs at the V&A, says: “We didn’t restrict ourselves or depict particular events or particular types of people, in keeping with the V&A’s collecting remit …


© Janette Beckman

Hip-Hop Revolution – Museum of the City of New York


Hip-Hop Revolution, a brilliant and wide-ranging new exhibition at the Museum of the City of New York, showcases more than 100 photographs captured between 1977 and 1990 by three pre-eminent NYC photographers: Bronx born-and-bred Joe Conzo, who came of age in the 70s; esteemed documentary photographer and former NY Post staffer Martha Cooper; and London-born Janette Beckman, who chronicled the UK punk scene, then “visited a friend in New York in 1982 and never left”. The exhibition largely focuses on the key pillars of hip-hop culture in its formative days: music (rapping and DJing), breakdancing, graffiti and, of course, the fashion. The subjects are a beguiling mixture of local and cult heroes (Shack Crew, Treacherous Three) and those who’d one day achieve megastardom (Run DMC, Beastie Boys, Queen Latifah) — all of whom seem to share an uncanny confidence and a sense of pride in their local environs. Before you make the right turn into the main gallery space, you’re met front-on by a giant canvas of a Conzo snap from 1981. It depicts the …


Syngenta Photography Award exhibition – Review


As you walk through the Syngenta Photography Award, its difficult to shake off the feeling that the future looks grim. We know we’re consuming resources at an unsustainable rate. And still we carry on the same. Oddly, the sheer scale of the problem makes it easier to shrug off. Now in its second edition, the Syngenta Photography Award hopes to counter such apathy by highlighting photography that explores global challenges. Last year’s theme was Rural-Urban, this year it’s Scarcity-Waste. On this theme, and currently showing at Somerset House’s East Wing gallery, is winning photo essays by the 2015 winners of the professional award Mustafah Abdulaziz (1st), Rasel Chowdury (2nd), Richard Allenby-Pratt (3rd) and open award Benedikt Partenheimer (1st) Camille Michel (2nd) Stefano De Luigi (3rd). Worrying statistics accost visitors from the walls – “By nearly 2025 nearly 3.4 billion people will face water scarcity”, one reads – and objects in display cases, including a carrot discarded by a supermarket as too ugly to sell, signal an educational intent. Environmental photography can sometimes struggle to engage …


BJP Staff