Born in 1983 in the United States, Lucas Foglia grew up on a small farm some 30 miles east of New York city. His family grew their own food and lived a life away from the bustle of shopping centres and the surrounding suburbs. “The forest that bordered the farm was my childhood wilderness,” he says. “It was a wild place to play that was ignored by our neighbours, who commuted to Manhattan.” But in 2012 Hurricane Sandy charged through his family’s fields, flooding the farm and blowing down the oldest trees in the woods. “On the news, scientists linked the storm to climate change caused by human activity,” Foglia recalls. “I realised that if humans are changing the weather then there is no place on earth unaltered by people. I looked through my archive and set aside some photographs that became the seeds for my third book.”
We are in Arles, where in July 2016 he showed Mortuary, one of his signature sculptural installations, made up of heavily manipulated, elongated photographic forms. He had been selected for the Rencontres photofestival’s Discovery Award, though in truth this cat had been long out of the bag – Yokota exhibited in Arles in 2015, showing his almost imperceptible inky-black prints from his Inversion series as part of Another Language: 8 Japanese Photographers, curated by Simon Baker of Tate Modern. And in the preceding half decade, his intriguing, visually arresting performances, experiments, installations, books, soundscapes and collaborations have blazed a trail from Tokyo to wider international acclaim, taking photography on a journey to the extreme. In this he is a revolutionary, with neither pretension nor timid creativity. The sheer energy with which he produces work is extraordinary, verging on obsessional and driven by a desire to constantly record, destroy and then recreate. Anxiety is the fuel. “In my mind, I have an image of burning energy in continual production,” he says.
There is something frantic about David Brandon Geeting’s photography. In his latest collection, Amusement Park, the Greenpoint, Brooklyn-based artist creates a mood that is exhilarating and vibrant, but also verging on collapse, as though its tether could snap at any moment. Where his 2015 book, Infinite Power, was energetic and kinetic, with Amusement Park he’s aiming for “information overload”. “I’m not afraid of making people confused or dizzy,” he says. “I wanted it to be an onslaught of colours and forms and things that don’t make sense.”
Katie Burdon’s ethereal fashion images make no secret of a childhood spent outside in the English countryside. A Cornish native, the 20-year-old first began taking photographs when she was 14, using her friends as models and the picturesque fields, woods, and seaside of her surroundings as her backdrop. Now a graduate of the University of Bournemouth, her practice has evolved into an intimate and considered portrayal of femininity through fashion photography. With a rich yet hazy 1970s-inspired palette and surreal undertones, Burdon’s photographs are elegant in their composition, yet still capture something of the raw and playful nature of youth. Determined to counteract the impossible beauty standards of the imagery she grew up with, the young photographer prefers being real and “celebrating women”, choosing models with big personalities.
“There are two important things about this show,” says Clément Chéroux, senior curator of photography at SFMOMA. “First, the quantity of work – more than 300 photographs, quite a large selection, because we were able to get support from most of the big institutions – MOMA, the Art Institute of Chicago, the Metropolitan Museum of Art, National Gallery of Canada, the Musée du Quai Branly and so on, and private collections from around the world. Second, is the fact that it is arranged thematically rather than chronologically. Usually when you look at important retrospectives they are chronological, but we organised by theme because we wanted to organise it around Evans’ passion for the vernacular. He was fascinated with vernacular culture.”
On the face of it, Thomas Ruff has radically altered course since his first major series brought him to international fame in the mid-1980s. He followed his portraits of fellow students at the Düsseldorf Art Academy (where he was studying photography with the legendary Bernd and Hilla Becher) with photographs of modern architecture in the 1987-1991 series Hauser, and then began working with appropriated images. His 1989 series, Sterne, used astronomical panoramas from the European Southern Observatory, for example, while his Zeitungsfotos made during the 1990s took images culled from newspapers. Over the following decade he has continued working with the vernacular, incorporating source material such as manga comics which he manipulated into colourful abstractions (Substrat), highly pixellated images he downloaded from the internet (Jpegs), and an archive of glass negatives found in a factory archive from the 1930s and 40s (Machines). But while Ruff is happy to admit his techniques change from series to series, the concept behind his work has remained consistent. In an interview for his latest catalogue he told Hans Ulrich …
“Neverland came via my participation in the Wrzesnia Collection, a long-term photography project and ongoing photographic residency which is creating an ever-growing photo archive on the Wrzesnia Town and Commune. Every year, the Mayor of Wrzesnia Town and Commune invites one photographer, selected by the curator, to spend some time in the town creating a personal series of images that illustrates the district and its inhabitants. I had a very open brief, it was completely up to me how to portray the place. It’s an extraordinary little city, but it also seems very boring and calm on the face of it. I had to work like a journalist, cooperating with the local newspaper and researching every local event, initiative, meeting or story that could be interesting. All these events were an opportunity to meet the people, to spend some time with the community,” says Polish photographer Adam Lach
In the latest book from Jonas Bendiksen, the Norwegian photographer takes us on a global journey of spiritual exploration, seen through the worldview of seven fascinating individuals who literally believe themselves to be the Second Coming of Jesus Christ. It’s an expansive and sumptuously designed book of more than 140 photographs and several thousand words of accompanying textual scriptures, co-published by GOST and Aperture. In it, Bendiksen portrays himself as a photographic apostle, asking why the Bible story of a returning Messiah has remained so potent. “My approach here was to ask, who is this person and who are their followers,” he explains. “By immersing myself in their revelations and spending time with their disciples, I’ve tried to produce images that illustrate the human longing for faith, meaning, and salvation.”
Martin Parr has found a permanent home for the foundation he set up in 2014, giving visitors access to his archive and to his formidable collection. “I’ve been very lucky,” he told BJP’s Gemma Padley. “I have secured a very good living from doing this, and so the foundation is a great way to feed some of that back into the system.”
Long before the public sat up and took notice of the staggering number of refugees risking everything to make their way to Europe, Alessandro Penso had made migration to the continent the focus of his work. Since 2009 he has been documenting the conditions of refugees who have attempted to cross borders in search of safety and the hope of a better future for themselves and their families. Beginning with detention centres in Malta, which many migrants had mistaken for Penso’s homeland of Italy, the photographer then travelled to Bulgaria where, between 2012 and 2013, the number of refugees surged from 1700 to 10,200. He followed migrant agricultural workers in Italy as they moved from one harvest to another. He also accompanied young adults from the Middle East trying to make their way from Greece (which refuses the majority of asylum seekers’ applications), to its neighbouring countries and beyond, capturing the moment when one, Mostafa El Mouzadhir, was deliberately hit by a car in a hate crime, sustaining multiple injuries. When Penso visited him in …