“I used to describe myself as a photojournalist, and was very proud of it,” wrote Abbas in 2017. “The choice was to think of oneself either as a photojournalist or an artist. It wasn’t out of humility that I called myself a photojournalist, but arrogance. I thought photojournalism was superior, but these days I don’t call myself a photojournalist because, although I use the techniques of a photojournalist and get published in magazines and newspapers, I am working at things in depth and over long periods of time. I don’t just make stories about what’s happening. I’m making stories about my way of seeing what’s happening.” Abbas has been described as a “born photographer”, who over his 60-year career covered war and revolution in Vietnam, the Middle East, Bangladesh, Biafra, Chile, Cuba, Apartheid South Africa, and Northern Ireland. He also pursued a lifelong interest in religion in his work, shooting in 29 countries to create the book and exhibition Allah O Akbar: A Journey Through Militant Islam, and publishing long-term series on Christianity, Buddhism, Hinduism, Judaism, and animism.
Pitcairn Island is a tiny lump of rock in the middle of the Pacific Ocean, stretching only two miles long and a single mile wide. It is the last British overseas territory in the South Pacific, and home to just 42 adults and one child, who are descended from the Bounty mutineers who marooned themselves on Pitcairn with its Tahitian population in 1790. Big Fence / Pitcairn Island by London-based photographer Rhiannon Adam is the first in-depth project on the remote island, and includes photographs, audio, and memorabilia gathered during her three-month stay there. Adam grew up on a boat being told stories of the sea by her father – a shipwright – to ease the pain of leaving her friends and home behind. She and her family sailed for around the world for seven years, intermittently living in Trinidad and returning to the UK when Adam was nearly 14. Back on land, Adam found she had no proof of the adventures she’d had at sea. “That was sort of in the end what inspired …
Running since 2013, the PHM Grant has a reputation for finding interesting new photographers such as Max Pinckers, Tomas van Houtryve, and Salvatore Vitale. Now the 35-strong shortlist for the 2018 has been announced, with the winners due to be announced on 08 May and four prizes up for grabs – a first, second and third in the main award, plus a New Generation Prize. Each winner gets a cash prize plus a publication on World Press Photo’s Witness, a projection at Cortona On The Move and at Just Another Photo Festival, and promotion via PHmuseum. The jury handing out the awards is made up of photography specialists – Genevieve Fussell, senior photo editor at The New Yorker; Roger Ballen, photographer and artist; Emilia Van Lynden, artistic director of Unseen; and Monica Allende, independent photo editor and cultural producer. The jury is able to give Honourable Mentions, up to six in the main prize, and up to three in the New Generation Prize.
“This year’s theme is Belonging,” says PhotoEast/Panos Pictures director Adrian Evans. “Brexit, Trump and the rising tide of nativism and nationalism inspired us to explore just what belonging means today from the role of family and community through to larger global concerns.” Initially, Evans set up the festival with his wife Jo after moving to rural Suffolk, in an attempt to “bring something of what we did in our daily working life to where we lived.” For the second festival they were keen to broaden the appeal and and accommodate different points of view. “You get bored of your own taste after a while and we love the FT Weekend Magazine and the way they use photography,” says Evans, “so we approached Emma Bowkett and Josh Lustig (director and deputy director of photography on the magazine) to curate a series of shows around this year’s theme.” In response, Bowkett and Lustig brought together over 30 photographers, including Mark Power, Matt Eich, Sian Davey, Giulietta Verdon-Roe and Julian Germain. “We are keen to investigate the theme of Belonging through …
First awarded back in 1985, the Kraszna-Krausz Foundation Best Photography Book prize is one of the oldest in the business. Previous winners include Sergio Larrain (with Vagabond Photographer in 2014), Susan Meiselas (with In History in 2009), Boris Mikhailov (with Case History in 2000), and Eugene Richards (with Cocaine True, Cocaine Blue in 1994); this year three contemporary image-makers have made the shortlist – Stephen Gill, Chrystel Lebas, and Dayanita Singh. Gill has been nominated for the book Night Procession, which he self-published through his imprint Nobody Books. Shot using motion-sensor cameras in rural southern Sweden, where Gill moved with his family in 2014, the book reveals nocturnal animal activity in the dark forests. The book also includes an essay by Norwegian writer Karl Ove Knausgȃrd, who is best-known for his series of six autobiographies, Min Kamp [My Struggle]. Chrystel Lebas won a place on the shortlist with Field Studies: Walking through Landscapes and Archives, which is published by Dutch organisation FW: Books). Her work retraces the steps of British botanist Sir Edward James Salisbury, creating new images in the same …
With its dungeon-like chambers, ghostly corridors, and casemates on which guns would have stood, Coalhouse Fort in East Tilbury, Essex, is an unlikely art gallery. But on 28 April 2018, the 144 year fort on the edge of the Thames Estuary will open its doors to the public for a pop-up exhibition, featuring artists such as Felicity Hammond, Dafna Talmor, and Corinne Silva. Caught between a military past and its current use as a tourist attraction, the fort’s identity is shifting. The building is deteriorating and being reclaimed by nature – the antithesis to its original role as a robust military base. A team of volunteers is working with the local council to restore it, and keep it from falling into obscurity. But while it may be ramshackle, it is a space full of artistic possibility, and that is what captured my imagination when I was invited by artist and lecturer Michael Whelan to curate a pop-up exhibition there. Whelan had been working with Thurrock Council to digitise its rich archive of photographs, documents, and military-related artefacts and, noticing the site’s potential as a space to show art, decided to put on an exhibition.
“Tu sais qu’est-ce que c’est le rayon vert?” Marie Rivière’s listless character Delphine asks, her legs swinging, in Éric Rohmer’s 1986 film Le Rayon Vert [The Green Ray]. The film – a portrait of its main character’s halting search for summer romance – was based on Jules Verne’s 1882 novel of the same name. While in theory its title refers to an optical phenomenon – in which the appearance of the sun as it rises or falls beyond the horizon creates a brief flash of green, and with it a supposed moment of mental clarity for all those who see it – in reality its subject matter is far more elusive. “I related the ‘rayon vert’ phenomenon to the process of photography – this special and quick moment that happens rarely,” Swiss photographer Senta Simond explains, referring to her project of the same name. Her series, which will be published by Kominek and shown at London’s Webber Gallery soon, adds a new, compelling layer to the meteorological event/Jules Verne/ Éric Rohmer mix of references. Indeed, Simond, a former student of ECAL, University of Art and Design Lausanne, from which she graduated last summer, first encountered the concept via the 1986 film.
Centred around the theme of New Chic, the works on show at Riga Photomonth this May “are united by quests in the language of photography,” says curator Alnis Stakle. Raising questions about the materiality of photography, he continues, these projects also examine “individual and collective meanings and identities and the rituals of looking and showing off”. Inka and Niclas Lindergård are showing a series titled The Belt of Venus and the Shadow of the Earth, for example, which addresses the materiality of the photograph and photography’s role in the stylisation of the landscape. Through manipulation and the use of colour flashlights “their works become an open portal to the hyperrealistic synthesis of beauty, kitsch and visual desire in the language of photography,” says Stakle, who is director of Multimedia Communication and Photography at Riga Stradins University, and a celebrated photographer in his own right (bjp-online featured his series Theory of R in March 2017).
Born in 1876 in the German mining town of Herdorf, August Sander discovered photography while working at a local slagheap. Serendipitously meeting a landscape photographer working there for a mining company, he went on to assist the image-maker, and by 1909 had opened his own studio in Cologne. Around this time he also started taking portraits of his fellow-Germans, deliberately eschewing the then-prevalent pictorialist approach in favour of recording as much detail as possible. “Nothing seemed to me more appropriate than to project an image of our time with absolute fidelity to nature by means of photography,” he stated. “Let me speak the truth in all honesty about our age and the people of our age.”
“I’m reclaiming my blackness, which I feel is continuously performed by the privileged other,” says South African photographer Zanele Muholi. Born in 1972 in Umlazi, a township close to Durban, Muholi defines herself as a visual activist using photography to articulate contemporary identity politics. In her latest series, Somnyama Ngonyama: Hail the Dark Lioness, she uses her body to confront the politics of race and representation, questioning the way the black body is shown and perceived.