The New York Times Magazine’s director of photography on the stand-out projects of the year
Fascinated by the strange environments typical of pure scientific research, Daniel Stier set about investigating the idea of the experiment as an art form. “I am interested in the experiment, the idea of work that people do without any clear outcome. This constant loop of doing something, maybe failing and then starting again. That is exactly what we do as artists,” he tells BJP.
Exploring the creation of Splash and Grab, a London-based photography magazine that aims to give a platform to the best emerging and under-the-radar international photography talent.
The dichotomy between documenting and experiencing an event is a predicament faced by even the most established photographer, the continual dilemma of where to draw the line – when to shoot, and when to put the camera down. This dilemma however, came early on in 20 year old photographer Johnny Griffiths’ career. On the 13th April 2015, his partner Hannah was diagnosed with stage four Hodgkins Lymphoma. “The hardest thing was to find that balance between being a documentarian and being a boyfriend,” says Griffiths. “I had to keep reminding myself what the actual importance of it was.” His series It’s Cancer, follows the unpredictable summer the couple faced as Hannah carried out her treatment. Within weeks of Hannah’s diagnosis, the couple had returned to her home in Reading to begin a six month course of chemotherapy. “We were just being normal 20 year olds, having a good time and then it just kind of happened quite out of the blue. Hannah went to Berlin for her 20th birthday and on the flight back she …
Cedric Van Turtlebloom’s contemporary documentary style centres around everyday life – but not as we know it. Currently editing his second photobook, in which he takes a quizzical look at China’s burgeoning middle class and its penchant for artificial ski slopes, his visual stories are anything but conventional.
Let Me Tell You Who I Am, a new photography series documenting the movement of refugees across Europe, started in the spring of 2015, it is the result of almost a year of research across the continent, revealing, in a collection of portraits, the people behind the greatest movement of humanity since the Second World War.
“Photography does not make me less of a dancer, and dance does not make me less of a photographer,” says Aëla Labbé. “They are both my means of expression.” These dual artistic inclinations converge to create a body of work that’s fluid, at times ambiguous, and which defies easy interpretation. Labbé grew up in the countryside in Saint-Nolff, a region in northwest France with a strong Celtic heritage. Her childhood not only informs the way she views the world, it also greatly informs her work. Hers was an unconstrained youth, the youngest of five children let loose in nature to catch tadpoles, swim in the river, pick wildflowers and watch chicks hatch. The family would spend summers in Romania, a nation rich with folklore, and experiences that, Labbé says, “awoke all her senses”. “The food, the music, the smell, the colours – everything about Romania has enriched my life.” At 19 she moved to Holland from her home in the wilds of Brittany to study contemporary dance at the Amsterdam School of Arts and soon …
As Abbas Kiarostami passes away in Paris at 72, BJP looks at the visual style of this artistic polymath; a director of over 40 films who held a fundamental role within the Iranian New Wave.
A new memoir tells the story of how a 20-year-old Jewish New Yorker captured the defining images of the Civil Rights Movement.
Tate Modern has just opened an extension that gives it 60 percent more exhibition space, which means more room to show photography as part of the institution’s newfound commitment to the medium, weaving it into exhibits alongside other art forms. BJP visits Tate’s curator of photography ahead of the opening.