“It was a different time to now, it’s hard to remember just how scarce images were,” says John Myers. “Now you can get things on screen, in the early 1970s there was only a smattering of images available. When I give a talk, I often start by handing out a sheet of paper with a list of interests and influences in 1972-75. The names run across just half a side of A4. There aren’t that many on it, and it includes people I was interested in on the basis of one or two images.” But for Myers, this scarcity was part of the allure. After studying Fine Art with Richard Hamilton, he got into photography in 1972 “because I had never done it”; initially only familiar with Bill Brandt and Henri Cartier-Bresson’s work, as photography rapidly gained recognition in Britain he soon had access to much more. “I was so excited to come across people, when photography suddenly started emerging from the shadows and books were being published,” he says. Myers started shooting with a Mamiya but, finding it “odd” to be looking down at his waist, moved to a 5×4 plate camera and soon found his stride.
When Polish photographer Wiktoria Wojciechowska first heard about the ongoing Ukrainian conflict she was in China, shooting a project titled Short Flashes, which went on to win the 2015 Leica Oskar Barnack Newcomer Award. “I was cracking the internet but everything was so blocked I couldn’t get any information,” she says. “I was asking all my friends, then I realised not many people knew about it, even though it’s so close [as Ukraine borders Poland]. I was really inspired to go by fear, by wondering how I would react if the same thing happened in my country.”
It’s the biggest and best-respected photo festival in the world – it’s Arles and it’s back from 02 July-23 September, with a special opening week from 02-08 July. With the blessing of the French Minister of Culture François Nyssen – who declares that “Arles wouldn’t be Arles without photography” in her welcome to the festival – the 49th year of the festival is lead by director Sam Stourdzé, who took over its organisation in October 2014. As you might expect, the momentous events of May 1968 are commemorated at Arles this year, with a group of exhibitions titled Run Comrade, The Old World is Behind You. Considering events such as the student demonstrations and strikes in France, and the assassination of Robert F Kennedy that year, this section includes shows such as 1968, What a Story! which uses previously unseen images from police archives, Paris Match and Gamma-Rapho-Keystone. Elsewhere Arles looks to the future with a group of shows titled Augmented Humanity which includes work by Cristina de Middel & Bruno Morais, Matthieu Gafsou and Jonas Bendiksen; and in the Emergences section, which includes the ten photographers included in the New Discovery Award this year.
Peter James was an instrumental figure in British photography, establishing an outstanding collection of photography at the Library of Birmingham over his 26-year career at the institution, and researching and curating exhibitions at the V&A, National Portrait Gallery, Somerset House, Birmingham Museum and Art Gallery, Ikon Galley, the Library of Birmingham, and many more. He was also a modest and affable man, universally known as Pete and as at home over a curry as in a lecture hall delivering an academic paper. As Hilary Roberts, research curator at the Imperial War Museum, put it in a tribute on James’ Facebook page: “Pete has been a wonderful friend and exceptional colleague for more years than I can remember. His contribution to the world of photography cannot be overstated. It was a privilege to work with him and I will miss him more than I can say.”
Patricia Karallis and Giada De Agostinis, founding editor and editor of the online photography magazine, pick out their top five of the year – including Vincent Ferrané’s book Milky Way
“On s’engage, on va le faire” – that is, “We’re in, we’ll do it”. The New York-based, French-Venezuelan photographer Mathieu Asselin goes back and forth from Spanish to English to French as he recalls how Sam Stourdzé, the director of the Rencontres d’Arles, enthusiastically agreed to exhibit his five-year long, research-intensive project about the US chemical corporation Monsanto. It happened a week before last year’s festival, and Asselin was then showing the dummy of his photobook, Monsanto®. A Photographic Investigation. This year the project is being shown at the Magasin Électrique at Arles, and the book has been published in French by Actes Sud, and in English by the Dortmund-based Verlag Kettler. Asselin’s project is conceived as a cautionary tale putting the spotlight on the consequences of corporate impunity, both for people and the environment. Designed by fellow countryman Ricardo Báez, a designer, curator and photobook collector who has notably worked with the Venezuelan master Paolo Gasparini, Monsanto® submerges the reader into an exposé of the corporation’s practices, whether by showing contaminated sites and the health and …
Born in 1983, Emmanuelle Andrianjafy grew up in Madagascar and worked as an engineer in France before moving to Dakar in 2011. Relocation to Senegal proved quite a shock. “It’s very energetic, very hectic, very loud,” she told BJP for the June Ones to Watch issue. “It’s very different to where I’ve lived before. It’s by the sea but it’s not peaceful; the landscape is harsh and dry. I was tempted to not deal with it and just stay at home.”
When approaching Mathieu Pernot’s 20-year-spanning work on a Roma family settled in southern France, you should leave all misconceptions and prejudices aside, as he did, and read the introduction to Les Gorgan, the photobook published by Editions Xavier Barral to accompany his critically-acclaimed exhibition at this year’s Rencontres d’Arles festival. When he began, the French photographer writes, he didn’t know anything about the Gorgan family, nor was he aware that its members had been living in France for over a century. It was to be a transformative experience, one that led Pernot to witness the birth of a child for the first time, attend funerals and engage in a type of intimacy that only time and surrender can offer.
Congenital achromatopsia is a hereditary condition in which the eye cannot detect colour – the cones in the retina do not function, leaving the vision to the rods alone, which only detect shades of grey. In most places the disease is rare, occuring in less than one in 30,000 people. But on the Micronesian island of Pingelap it’s much more common, present in more than 5% of the population. It’s an extraordinary phenomenon – and one that immediately gripped Belgian photographer Sanne De Wilde when she heard about it back in 2015
“There are two important things about this show,” says Clément Chéroux, senior curator of photography at SFMOMA. “First, the quantity of work – more than 300 photographs, quite a large selection, because we were able to get support from most of the big institutions – MOMA, the Art Institute of Chicago, the Metropolitan Museum of Art, National Gallery of Canada, the Musée du Quai Branly and so on, and private collections from around the world. Second, is the fact that it is arranged thematically rather than chronologically. Usually when you look at important retrospectives they are chronological, but we organised by theme because we wanted to organise it around Evans’ passion for the vernacular. He was fascinated with vernacular culture.”