“They’re all driven by motivations that are both personal and political to a degree, and they are all self-initiated projects,” says curator Alona Pardo of the photographers in the show Another Kind of Life: Photography on the Margins. “Some may have started as commissions, but very early on took on a life of their own. It was interesting to think about the role of the photographer, because often the photographer hides behind the camera as a facade. There is also an interesting subtext of the photographer occupying the position of an outsider within mainstream society. They are there, assertively documenting the world.”
“What is ‘home’?” writes Magnum Photos curator Pauline Vermare. “Instinctively, the idea of peaceful haven comes to mind. A cocoon where one feels secure, loved and understood – a nurturing and forgiving place.” It’s a topic she’s been thinking about in depth, because back in 2017 Fujifilm invited Magnum Photos to collaborate on an ambitious group project, which eventually saw 16 of its documentary photographers reflect on the idea of ‘home’. These photographers are better-known for documenting the lives of others, but in this project, they were able to create intensely personal work instead. “This project provided photographers with an ideal pretext to explore a place they held dear, a familiar and familial landscape,” says Vermare. “It was an invitation to look inward and outward. Home – an inherently intimate and introspective subject matter – was also a formidable challenge to take on; for the past seventy years, Magnum photographers have predominantly been looking into the lives of others – and seldom looking into their own.”
Travelling to Kiev in the wake of protest, revolution and civil war, Belgian photographer David Denil set about documenting the aftermath of conflict in the minds of ordinary people still coming to terms with the country’s sharp divisions. The resulting series, Let Us Not Fall Asleep While Walking, departs from journalistic record, instead attempting to depict “the psychological state of this Ukraine looking at its future while haunted by its past and memory,” he says. “The images are metaphorical representations from the everyday life encountered where time seems frozen but dreams of hope still linger.”
“Back in 2005, I made a list of possible subjects to photograph and taking photos at a horse racing meeting was top of the list,” says Martin Amis, who first went to the races as a child with his father. “I have vivid memories of these childhood days out; the sea of interesting faces, the hubbub of activity and the thrill of winning.” When he started Amis had no plans to make a book but, after taking a break from the project in 2009, he realised it had the potential. Now he’s finally launching The Gamblers, which he’s made with RRB Publishing. “I put together a dummy version back then, but this was a time when the photobook business really started to take off, so I left it as a work-in-progress,” he says. “I mentioned the project to Rudi Thoemmes at RRB in 2016, and with his encouragement I decided to revisit the work and shoot more material to finish the book.” The photobook business he mentions is his online shop, Photobookstore.co.uk, which he set …
London-based publisher MACK Books is one of the world’s best-respected photobook makers. A leading producer of contemporary books, working with some of the most established artists in the field, MACK has also won acclaim for republishing hard-to-find classics such as Masahisa Fukase’s Ravens and Luigi Ghirri’s Kodachrome, and for supporting and promoting emerging artists, particularly through its prestigious First Book Award. In addition, MACK has published several books compiling writing on photography by artists such as Joan Fontcuberta, Allan Sekula and Victor Burgin. MACK was originally set up as steidlMACK in 2004 and was part of the Steidl publishing house, but its founder, Michael Mack, left the German company to go it alone in 2010. Now MACK’s work to date under both imprints is being showcased at the Centre for Contemporary Photography in Australia, in an exhibition presented by Perimeter Books which features over 200 books and special editions, including MACK’s pioneering experiments in digital publishing via MAPP Editions. In most cases, visitors are able to hold, handle and read these rare and sometimes out-of-print photobooks.
Vanessa Winship’s biggest UK show to date, the first UK retrospective of Dorothea Lange, and a huge group exhibition including work by photographers such as Mary Ellen Mark, Dayanita Singh, Alec Soth, Chris Steele-Perkins, Daido Moriyama, Diane Arbus, Pieter Hugo, Bruce Davidson, and Boris Mikhailov – they’re all coming up this year at London’s Barbican Centre, in a season titled The Art of Change.
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.
Daniel Castro Garcia wins the $35,000 W. Eugene Smith grant to continue his work on the European migrant crisis – read more about the work in BJP’s interview with him, first featured in our September 2016 issue. l. “The fact that my mum and dad are foreign, it’s played a massive role in my life. When those two boats capsized, the way that was written about, the adjectives used, and the type of photographs – on a personal level, that resonated. I know the kind of things my parents went through when they moved to the UK, and I know they’ve contributed really positively to British society. It felt increasingly uncomfortable, the way they were representing people who effectively did what my parents did, for the same reasons – poverty. Some of the things that were written were just unbelievable bullshit about people that are just the same as any of us. What an individualistic, separatist, regressive mentality.”
“Being a photographer of dogs…I always felt there needed to be a more intelligent representation of the animal than the cute and fluffy images you tend to see online,” says Martin Usborne – photographer, publisher, and now picture editor of a book called Really Good Dog Photography. A collaboration between Hoxton Mini Press, which Usborne co-founded with Ann Waldvogel, and Penguin Books, Really Good Dog Photography contains work by some well-known, and sometimes surprising photographers, such as Alec Soth, Peter Hujar, Elliot Erwitt, and Ruth van Beek. It took “lots of looking” to put it together, says Usborne, and he enlisted Marta Roca, creative director of Four & Sons magazine, to help. BJP contributor Lucy Davies added interviews with many of the photographers plus a thoughtful introductory essay.
“The Hobbyist is the first major exhibition to explore the relationship between photography and hobby culture, focussing both on the photography of hobbies and photography as a hobby,” write curators Pierre Hourquet, Anna Planas and Thomas Seelig of the forthcoming show at the Fotomuseum Winterthur, The Hobbyist – Hobbies, Photography and the Hobby of Photography, which opens on 08 September. It’s a fair but also deceptively simple summary of this intriguing show, which is backed up by a busy events programme and a magazine (in place of a catalogue). “A phenomenon as diverse and participatory as the hobby can hardly be tackled through a classical exhibition alone,” write the curators, and the magazine reflects some of this diversity, including images by photographers such as Alberto Garcia-Alix, Bruce Davidson, Alec Soth, Mike Mandel, Ricardo Cases, and Kirill Golovchenko, vintage adverts for TVs, cameras and videotape recorders, an extract from Theodore W Adorno’s test The Culture Industry, a Q&A with Jeremy Deller and Alan Kane on their Folk Archive, and essays by contemporary cultural theorists such as Olivia Baeriswyl, Therese Steffen, and Doris Gassert.