“As an audience, you’re hanging from her chandelier. She’s saying things will change and get better but at the same time you’re able to decide what you look at. You do listen to her words of sadness and regret but from being in her room, you can decide what to make of it,” says Natasha Caruana ahead of her interactive exhibition being featured in the House Biennial in Brighton at the end of the month. Inspired by the theme of excess, the project follows Caruana’s mother, Penny, who lives her life in extremes: designer fashion brands are a must, hours are spent scrolling through dating apps, 50 pills a day keep her alive. But on the edges of this, are we happier and what are the social implications on are communities and are health services?
“What I experienced and witnessed in most families was a really strong sense of well-being and love towards each other, because it’s tough out there,” says Sian Davey, whose latest photoseries, Together, is about to go on display at the National Portrait Gallery in London ahead of an international tour. The photographer, who is already known for photographing her own family, was compelled to start a project that celebrated modern, diverse families after separating from her partner and seeing first hand how it affected her own family.
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.”
“I believe that the great strength photography has, and in particular documentary photography, is content. So much of what is published today, seems to me to be content less. I hope my photography illuminates and resonates with viewers and tells how British society was. And, of my more recent work, of how society is,” says Homer Sykes. he has been photographing British society for five decades, including major social and political events, such as The Battle of Lewisham. Now, some of his work is set to be featured in a Burberry show this month.
“The floor is covered with the plastic ammunition from the session that ended before I went in, one of the obstacles in the darkened corridor has a print out of a zombie figure used as target practice. The pillar has a splash of red paint to suggest blood.” Joe Pettet-Smith has gained access to a zombie apocalypse experience centre, where our fascination with the end of the world becomes a reality. What would you do if you were the last survivor?
Sleeping by the Mississippi has been ranked with the great representations of the United States, including Walker Evans’ pictures of the depression, Robert Frank’s harsh vision of the 1950s and, more recently, the colour work of Joel Sternfeld. As Alec Soth’s seminal work goes on show in London and is given a handsome reprint by MACK, we revisit an interview with him from back in 2004 – when the series first came out.
“People might not have a lot, but they will give you what they can. That’s true of so many Irish people. They’re a very warm and friendly and welcoming people. They will tell you stories and their lives and give you their time.” Josh Adam Jones, a student at the University of West England, Bristol, developed his project 99 Peace Walls whilst volunteering at Belfast’s photo festival this summer. The youth of the city helped him to understand the divides that are still ingrained into the culture there, and how, in spite of this, there is a warm community to be found throughout the city.
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 …
“It was also about reshaping that American icon: everyone thinks of the cowboy as this white American hero who has come to slay Native Americans. Actually the word cowboy is a racist term. It comes from when slave masters called all their slaves ‘boys’ and so the cow boy was the boy who looked after the cows and the horse boy was the boy who looked after the horses.” Cian Oba-Smith journeys to Philadelphia at a politically charged time during the 2016 U.S. election to meet with an infamous group of horsemen dealing with this ingrained racism on a daily basis.
“You could say I’m a member of the establishment,” says Martin Parr, the Magnum Photos member who has published early 50 monographs, had solo shows at The Barbican, Jeu de Paume, and Maison Europeenne de la Photographie, guest-directed the Rencontres d’Arles, and co-authored The Photobook: A History. We’re discussing his latest exhibition and book, Oxford, which was shot on commission for the world-famous university, is going on show in its Weston Library, and will be published by the Oxford University Press.