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.
For more than 40 years, Peter Mitchell has been quietly making photographs of his surrounding environment in the north of England. He’s done so with the minimum of fuss, without any fanfare or desire for the public eye. Now he’s finally been awarded his first major survey show, A New Refutation of the Viking 4 Space Mission, opening a week before the closing of his exhibition at Rencontres d’Arles. A recluse he may be, but Mitchell is also extremely influential. “It’s a mystery to me,” he says with a shrug, when I ask him how he’s achieved such a feat. “But there you go.”
“I’m thrilled to be given the opportunity to lead an organisation I have admired for so many years,” says Shoair Mavlian of her new role, director of Photoworks. “I look forward to working with the team, developing partnerships and supporting artists at local, national and international levels to connect new audiences with photography.”
Vogue Italia’s picture editor picks out Monica Alcazar Duarte’s The New Colonists as one of her top five of 2017 – and throws in one more selection for luck
The Walther Collection has kicked off an 18-month exploration of vernacular photography with a show titled The Shadow Archive: An Investigation into Vernacular Portrait Photography. Taken from the 1850s to the present day, the collected portraits depict groups such as ‘migrant laborers’, ‘inmates of an asylum’, ‘criminal photographs’, and ‘G&G Precision Works Photographic Identity Badges’, and, says the organisers, show how “identification photographs have been used to sort, shape, segregate, and select subjects based on occupation, social group, body type, or political affiliation”. The title references a phrase used by writer and photographer Allan Sekula to reference “the entire social field of human representations, comprising both heroes and deviants, within which every portrait takes its place as part of a moral hierarchy”.
It’s the 21st year of the prize, and this year the shortlisted projects by Mathieu Asselin, Rafal Milach, Batia Suter, and Luke Willis Thompson all “reflect a shared concern with the production and manipulation of knowledge and systems of representation through visual formats”, say the organisers of the Deutsche Börse Photography Foundation Prize 2018. Mathieu Asselin (b. 1973, France) has been nominated for Monsanto: A Photographic Investigation, which was published this year by Actes Sud and exhibited at Les Rencontres d’Arles, and which has already won the First Book of the Year in the Paris Photo-Aperture Foundation Photobook Awards 2017.
“I lived there, I grew up there, and I loved it very much,” Latif Al Ani has said of his home, Baghdad. “All of it has been devastated, and most of it has vanished.” Known as the founding father of Iraqi photography, Al Ani captured the country in its cosmopolitan Golden Age from the late 1950s to the outbreak of the Iran-Iraq War in 1980. Employed by the Iraqi Petroleum Company in the 1950s, he went on to found the photography department in the Iraqi government’s Ministry of Information and Guidance in 1960, and to become the head of photography at the Iraqi News Agency in the 1970s.
“Asselin’s Monsanto® is a courageous, investigative project that connects evidence-driven photography and visual research to the democratisation of knowledge; it’s important that this book exists in physical form, as a document, and not just in the virtual world,” says Cristiano Raimondi of Mathieu Asselin’s photobook Monsanto®. A Photographic Investigation. Raimondi is head of development and international projects at the New National Museum of Monaco and an invited curator for Platform 2017 at this year’s Paris Photo, but he’s speaking as a jury member for the 2017 Paris Photo-Aperture Foundation PhotoBook Awards because Asselin’s book has just won the prestigious First PhotoBook prize.
“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 …