The 18-year-old Hamburg Triennial will be directed for the second time by Polish curator Krzysztof Candrowicz, who moved to Hamburg four years ago and set about transforming the it, bringing people and institutions together, and determined to make it more relevant to the viewing public. The 2015 edition was, he says, “The first holistic attempt to create the collaborative framework of the festival. Before, the museums were basically highlighting their own exhibitions, but there was no actual curatorial collective structure.” The determinedly political and environmentally-conscious theme this year was inspired by an amalgamation of many factors, he says, including spending a year “away from structured, mechanised and commercial reality”, travelling around Latin America, Nepal and India. “Breaking Point became, for me, a metaphor for rapid and sometimes unexpected transformation on a personal and global level.”
“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.
This “photographer’s photographer” is known for his measured understatement and his influential books, such as The Pond (1985) and Berlin in the Time of the Wall (2004). His latest, Looking Up Ben James – A Fable, will soon be published by Steidl, and he’s currently working on his next, The Last Days of Fontainebleau, shot in his hometown, Washington DC
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.
1. Gregory Halpern’s ZZYZX, published by Mack A book that merges documentary, portraiture and a strange heightened sense of mystery that keeps you guessing about what it is he is evoking. I think it’s a work of the imagination as much as anything: a California of the mind that carries an undercurrent of anxiety and unreality. 2. Diane Arbus: In the Beginning at The Met Breuer, 12 July-27 November Wonderfully-curated show about Diane Arbus before she became the Diane Arbus we know. Grainy photographs from the NY demimonde of Times Square peep shows and Coney Island freak shows, but also some moments of dark melancholy. You sensed very strongly from this show that she was always a loner with a camera, searching for other outsiders to connect with however fleetingly. 3. Provoke: Between Protest and Performance at Le Bal, Paris from 14 September-11 December An intriguing look at the 1960s Provoke generation that placed them in the social and political context of the time, but also within the tradition of Japanese photography and the influences …
Pace London’s new exhibition features key works by iconic postwar American photographers, to give an insight into both the country at that time and the image-makers’ vision of it