Nicholas White is based on Dartmoor National Park, where he pursues projects that examine our relationship with our landscape, and the way we interact with our natural spaces. Since graduating from Plymouth College of Art several years ago, Nicholas’ work has been featured in a number of publications, including British Journal of Photography. He has been commended as Landscape Photographer of the Year, has won positions on two Magnum Photos workshops, and has been shortlisted for the World Photography Organisation ZEISS Photography Award for his project ‘Black Dots’. A portrait from the project has also been shortlisted for this year’s Portrait of Britain exhibition. Nicholas’ interest in nature informs all of his work, taking him away from his familiar surroundings, into bothies dotted around the UK, and now to the Southern Carpathian Mountains of Romania, where he is documenting a new European Wilderness Reserve. We spoke to Nicholas about his work away from home, in light of our OpenWalls theme, ‘Home & Away’. How did you get into photography and how has your background influenced your approach? All of my …
In adopting the photobook as his primary medium, using complex sequences as well as free ranging associations to create what’s been described as ‘open metaphors’, Jason Fulford is more interested in questions than answers. He invites readers to become active participants in his work, presenting an open enquiry in which the various interconnecting layers are often cryptic and complex, and the meaning is less important than the experience of looking and thinking.
“I had access to what felt like this secret world,” says Dafydd Jones, who has worked as a social photographer since the 1980s for publications such as Tatler, Vanity Fair, The New York Observer, The Sunday Telegraph, and The Times. “I was taking pictures of elites that nobody had seen before. It was Thatcher’s Britain, a period of celebration for those that had money. People described it as the ‘last hurrah’ of the upper classes.”
In 1981 he won a photography competition run by The Sunday Times magazine with a set of photographs of “Bright Young Things”, named after the earlier group of hard-partying aristocrats immortalised by novelist Evelyn Waugh and photographer Cecil Beaton. Tatler editor Tina Brown hired Jones off the back of it, commissioning him to photograph the Hunt Balls, society weddings, and debutante dances that were a mainstay of the upper-class publication. Now Jones has put together a collection of his work for Tatler from 1981-89, titled The Last Hurrah and currently on show at The Photographers’ Gallery and put out as a publication by Stanley Barker.
“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.
“I come across so many amazing women in photography, and yet their voice is nowhere near as powerful as their male counterparts,” says Del Barrett, vice-president of The Royal Photographic Society. “We are working to ensure that there are no barriers in photography. Hundred Heroines is a major step towards this, raising public awareness of the excellent work being created by women globally.”
Inspired by the 100-year anniversary of women’s suffrage in the UK, Hundred Heroines invites members of the public to nominate inspirational female photographers. Nominations are open until 30 September, then a panel of judges, chaired by photographer Rut Blees Luxemburg, will pick out the top 100 photographers. An exhibition of their work will go on show next year, and each one will receive a specially-minted medal named after Margaret Harker – the first female professor of photography in the UK, and the first female president of The Royal Photographic Society.
Cindy Sherman’s first UK retrospective goes on show at the National Portrait Gallery, London from 27 June – 15 September, 2019.
Titled Cindy Sherman, the exhibition will feature around 180 works, including the seminal series Untitled Film Stills. Shot from 1977-1980 in New York, the 70-strong series cemented both her reputation and her approach – manipulating her own appearance to explore the complex relationship between facade and reality.
“The atomic structure of materials, and the influence of DNA on the appearance of people and all other living organisms, rely on the language of mathematics for their expression,” says British photographer Peter Fraser, whose new exhibition is called Mathematics. On show at the Camden Arts Centre, it’s a wide-ranging series which brings together seemingly disparate, people, objects, and landscapes, shot in various places and locations.
For Fraser they’re linked by the fact they can all be described mathematically. “I’m inviting the viewer to imagine that mathematics is the code behind everything we see in each of these images,” he says. “And therefore the encyclopaedic nature of the way the subjects jump and change around is really important, for me, to try to suggest the totality of our environment mathematics can describe.”
When Robin Hammond started work on his project Where Love Is Illegal, he changed his approach to photography. Shooting members of the LGBTI [lesbian, gay, bisexual, transgender and intersex] community who have faced persecution and punishment in countries in which such prejudice is enshrined in law, he relinquished much of the creative control to the sitters.
Up until then, he’d worked in the tradition of great photojournalists, committing extended periods of time to documenting stories as they unfolded in front of his lens. His acclaimed project Condemned, for example, a study of the treatment of the mentally ill in Africa, was shot over 10 years. But during his numerous trips to the continent, he had become acutely aware of the deep-rooted homophobia there.
“Wherever I went, I was surprised by how extreme the views on homosexuality were,” he says.
Our very first OpenWalls exhibition will be held next year in Arles. We are looking for up to 50 photographers to exhibit as part of a month-long group show at Galerie Huit Arles during Les Rencontres d’Arles 2019. The exhibition is calling photographers to respond to the theme Home and Away, with images capturing a sense of escapism, belonging or identity. But why is exhibiting in Arles such an important rite of passage for photographers? “The opening week of Les Rencontres d’Arles summer festival attracts the Who’s Who of the photography world,” explains Julia de Bierre, the owner of Galerie Huit Arles, and an OpenWalls judge. “They all descend on Arles to participate in this extraordinary celebratory event.” Photo editors, curators, gallery owners and photography dealers all head to Arles not only to see works by old masters, but also to poach undiscovered talent, looking to the coinciding Voies Off festival, as well as independent galleries and street artists, to commission new work. The festival also yields a huge amount of media attention, this year receiving …
The Fondation Henri Cartier-Bresson is moving to new premises in Paris, giving it double the exhibition space, a bigger research space, street-level access, and a place in the cultural hotspot of Le Marais, also home to the Maison Européenne de la photographie, The Pompidou Centre, the Museum Picasso, the Museum Carnavalet, and the forthcoming Pinault Foundation, to name just a few.
The Fondation HCB’s 800 square metre new home will open on 06 November, and will be further expanded “in a year or two” when a new extension will triple the hanging space from its current venue in Montparnasse, according to Fondation HCB director François Hebel. “Then we will enter more experimental shows,” he told BJP. “It is hard to say [more] as this is not today and linked to the creativity of the artists that we will enjoy showing then.”