“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.”
Last month BJP focused in on group work; this month we’re looking at a different kind of collaboration – projects in which photographers engage in a two-way dialogue with their subjects. One of the best – and the best-known – examples is Jim Goldberg, who works with subjects such as teenage runaways and migrants to tell wide-sweeping stories of marginalisation and economic disparity. Using an eclectic mix of photographs, archive materials and video, and both marking up himself and invites his subjects to write on, he creates complex montages guided by his sense of “intimacy, trust and intuition”. Incorporating the perspectives of the communities and subcultures he represents, his work is informed by his own background in a blue-collar family in New Haven.
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.