Kickstarter has arguably revolutionised photography, allowing image-makers to source crowdfunding for big projects, and therefore help bring trends such as self-publishing to life. It’s now commonplace for photographers to announce they’re making a book and start a Kickstarter campaign to fund printing it, for example – but the platform only launched in 2009, and Arnold van Bruggen and Rob Hornstra were very early adopters when they used it to fund the first book in The Sochi Project (which was published in early 2010). Now Kickstarter has announced a new initiative allowing artists, collectives, and communities to seek funding on a more ongoing, subscription-like basis, rather than for one-off projects. Called Drip, it was soft-launched on 15 November and, so far, is only open to creatives invited by the platform – though of course anyone who wants to fund a project is now welcome. Drip is scheduled to open up to more creatives at the start of 2018.
The September issue brings the otherwise invisible into sharp focus. Invisible World explores forgotten conflicts, intimate retreats, abused landscapes and remote islands to uncover the hidden realities and unknown societies behind ordinary backdrops. “As social beings, we all demand to be seen,” says Hoda Afshar, whose latest series, Behold, takes us to an exclusive male-only bathhouse. Her point resonates with all the photoseries explored in this issue: how do we negotiate our surroundings, how do we see our societies, how do we interpret our world? We need to first see the invisible to answer these ever salient questions.
For over four decades, the documentary photography course has forged a reputation as one of the UK’s leading photography teaching destinations. In fact, the very first photography class can be dated back even further to 1912, when it was introduced by the head of the school of art at Newport Technical Institute. The course, however, was set up in 1973 by Magnum photographer David Hurn as a 12-month Training Opportunities Scheme to ‘re-skill’ miners and steelworkers.
Blank Paper: Histoires du présent immédiat [Stories of the Immediate Present], which features recent work by Julián Barón, Ricardo Cases, Federico Clavarino, David Hornillos, Alejandro Marote, Óscar Monzón, Bernardita Morello, Miren Pastor, Michele Tagliaferri, Fosi Vegue and Antonio M. Xoubanova, opened this week at the offbeat Ground Control space in Arles. Images from the six-member collective are intertwined with those from teachers and alumni from the eponymous school
In our third annual edition focusing on photography education, BJP visits schools around the world to discover what it takes to “see photographically”. From one of the oldest photography schools in the UK, to pioneering institutions in Germany and Denmark, tutors stress the need to appreciate the mechanics of a photograph – light, shape, space and perspective. “Our bodies learn to adapt to the camera that is shaping our experience,” explains Thomas Sandberg, photographer and co-founder of the Ostkreuz School for Photography in Berlin.
How can art contribute to our understanding of justice in a time of global conflict? Award-winning photographer Edmund Clark considered the question with former Guantanamo detainee Moazzam Begg and human rights lawyer Cori Crider at the IWM London – home to his ongoing show, War of Terror
Put together on little budget, and without subsidies from the Northern Irish government, Belfast Photo Festival gives heft to the claim that Belfast is a hotbed of contemporary photography. Many of the exhibitions on show are themed around sexuality and gender, but there are also more open-ended group shows – many of which were curated through an international open submission process, moderated by a panel of experts from MoMA, MACK, FOAM, Magnum Photos, The New York Times, and BJP
It’s the scandal of the season – a young Anglo-Indian photographer Souvid Datta has been caught stealing other photographers’ images and claiming them, or elements of them, as his own. The story broke on 03 May, when PetaPixel published a story alleging Datta had taken a figure included in an image shot by Mary Ellen Mark on Falkland Road, Bombay 1978, and copy-pasted it to one of his own shots. Datta then renamed the person Asma and claimed Asma was a veteran sex worker friends with a 17 year old fellow sex worker, who he also named and who is also clearly identifiable in the photograph. The article included damning and pretty inarguable compare-and-contrast shots of the two images, and by 04 May, Time LightBox editor Olivier Laurent had managed to get an interview with Datta in which he confessed to this and other misdemeanours – such as taking images by Daniele Volpe, Hazel Thompson and Raul Irani and passing them off as his own, and cloning and restitching multiple components of his own images together. “I foolishly doctored images,” stated the …
Spearheaded by Vogue Italia’s senior photo editor, Alessia Glaviano, the inaugural Photo Vogue Festival got off to an impressive start, says curator Federica Chiocchetti
If you are into photography, the last three years have dragged interminably in Northern California. Since the lights went out at San Francisco Museum of Modern Art (SFMOMA) in 2013, when it closed for a massive expansion on the back of a blockbusting Garry Winogrand retrospective that brought in huge crowds, there’s been a sense of loss and anticipation. Founded in 1935, the museum has always been the city’s visual arts powerhouse. It was also the first North American museum to collect photography seriously, and has mounted many stellar photography exhibitions in its eight decades. The intervening period has seen other photography venues emerge from its shadow; most notably Pier 24, an exhibition space dedicated to a large and eclectic private photography collection that rivals many museums, housed in a massive set of vaults under the Bay Bridge. Those lucky enough to snag a slot via its reservation system (limited to just 20 viewers at a time) have enjoyed thematic exhibitions – such as last year’s Secondhand, devoted to found imagery that has been reworked, …