Photographs of a woman holding her baby, two shoppers, a drum majorette, and a child from a remote village in Sierra Leone have all been shortlisted for the National Portrait Gallery’s prestigious Taylor Wessing Photographic Portrait Prize this year. The prize winners will be announced at an award ceremony at the NPG on 16 October, with the overall winner receiving £15,000 and other cash prizes awarded to the shortlisted photographers at the judges’ discretion.
Two of the images were shot in London, with Max Barstow behind a striking photograph of two women in a busy shopping street in the city centre. The image comes from his series Londoners and in it, he says, his aim has been to “make unposed portraits with the intensity of images made by great studio photographers such as Richard Avedon and Irving Penn”.
“When people think of Victorian photography, they sometimes think of stiff, fusty portraits of women in crinoline dresses, and men in bowler hats,” says Phillip Prodger, head of photographs at the National Portrait Gallery. “Victorian Giants is anything but. Here visitors can see the birth of an idea – raw, edgy, experimental – the Victorian avant-garde, not just in photography, but in art writ large. The works of Cameron, Carroll, Hawarden and Rejlander forever changed thinking about photography and its expressive power. These are pictures that inspire and delight. And this is a show that lays bare the unrivalled creative energy, and optimism, that came with the birth of new ways of seeing.”
“This image documents a transcendental fact in the life of the person portrayed: Amadou had just been rescued from the sea by a European vessel,” says Dezfuli. “Apparently his dream is fulfilled. However, fear, mistrust and uncertainty are present, as well as determination and strength.” For his series, Passengers, photographer Cesar Dezfuli took a sequence of 118 photographs in 120 minutes as a boat load of refugees were rescued just off the coast of Libya. These people had journeyed from different countries looking for a better future in Europe.
Early 20th-century surrealist photographer Claude Cahun (1894-1954) and contemporary artist Gillian Wearing come together in The National Portrait Gallery’s ambitious new exhibition, Behind the mask, another mask. The exhibition includes 100 works by the two artists who, despite being separated by 70 years, have “extraordinary links” according to curator Sarah Howgate, in an interview for the March 2017 issue of BJP. “Although their trajectories as artists are markedly different, many parallels can be drawn between their work,” she says. The exhibition – the result of a “light-bulb moment” at a round-table meeting of NPG directors – addresses themes of gender, masquerade and performance through images that often involve the artists dressing up and wearing masks to portray a character or communicate a message. In an early Cahun self-portrait the photographer is dressed as a ‘dandy’, for example – a young man with a shaved head and a neatly pressed black suit, complete with a handkerchief tucked into the breast pocket. The show explores “Cahun’s transformation from young girl to gender-neutral figure”, explains Howgate. Cahun, a contemporary of Man Ray who was born Lucy …