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.
In our September 2018 issue, we interview Vanessa Winship and Hellen van Meene about the genesis of their latest works, and the backstory of death and rebirth that led them in new directions. We also speak to Marina Paulenka, the artistic director of Organ Vida festival in Croatia, about the 10th anniversary edition and its focus on the female gaze. Lucy Davies meets Winship at the Barbican Art Gallery, which is currently staging a mid-career retrospective of her work alongside Dorothea Lange. They discuss the photographer’s decision to step back from making pictures at the height of her success, and how she found her way back after the arrival of her first grandchild. “It has been a rebirth in a way,” she says, speaking about her new direction, “sort of freeing myself from the constraints of my former life. But it was also about conveying the immediacy with which my granddaughter sees the world.” Van Meene’s new series, which goes on show in Amsterdam this September, confronts the subject of death in an inherently personal …
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.”
1854 was a big year for photography. Kodak founder George Eastman was born, and the first issue of British Journal of Photography was published in Liverpool. Since then, the magazine has undergone several evolutions, rejigging its format from a weekly trade journal to a monthly glossy, and changing its name several times along the way. The magazine’s content has also continued to shift. With roots in scientific journals, British Journal of Photography has now changed course and grown into an art and documentary photography magazine, focused on the cutting edge of editorial and commercial practices. However, looking to the past, its most instantly noticeable transformation is its change in design. Staying alive for 164 years is a formidable achievement, but perhaps the key to our long life is our capacity for change. The redesigns of the magazine have always reflected its changing direction and willingness to adapt to the times, and they have carried us through right up to the present day. Here are some of British Journal of Photography’s most drastic changes. 1864 This centenary …
Internet penetration in Kenya has grown so rapidly over the past decade that the country has been dubbed the “Silicon Savannah”. In 2009, a submarine fibre optic cable linking Mombasa to the rest of the world was launched, and construction of “Kenya Vision 2030” is now underway – a £11.2bn, 5000-acre technology city expected to create around 60,000 jobs in the IT sector.
Household tech names such as Google, Intel, Microsoft, Nokia, and Vodafone all have a presence in Kenya, and, says 27-year-old German photographer Janek Stroisch, “young entrepreneurs are seizing this opportunity as a chance to make change”. “Hundreds of youths have used the internet to launch start-up companies to try to create jobs for themselves,” he adds, “because sadly there aren’t enough to go around.”
Antonin Kratochvil has been suspended from the VII Photo Agency, pending an investigation into accusations he sexually harassed female photojournalists in the agency. The allegations were made in an article written by Kristen Chick for the Columbia Journalism Review, which contends that sexual harassment is widespread in photojournalism, and cites Kratochvil as just one example.
The report includes quotes from photographer Anastasia Taylor-Lind, a one-time member of VII, stating that Kratochvil physically groped her at a VII Annual General Meeting in Paris in 2014. “She says she was approached by founding member Antonin Kratochvil, a well-known photojournalist who has won three World Press Photo first prizes over his long career,” the article reads. “Taylor-Lind was wearing a long skirt, and said she stood with a group of people near a window during a break from the meeting.
“Without warning, Kratochvil slid his hand between her buttocks, she says, and pushed it forward until he was touching her vagina over her clothing. He held his hand there for several seconds, she says. She froze until he removed his hand and then she walked away.”