“The truth can be hard to look at,” says an introductory essay to the exhibition Hard Truths, on show at Sotheby’s this weekend. “We all have a protective need to distance ourselves from disaster. But we ignore our neighbors’ misery at our own peril. Violence and hatred proliferate and can quickly engulf those who seek only to avoid them.” The exhibition gathers five series shot by freelance photographers for The New York Times and it shows some very hard truths – Ivor Prickett’s images from the end of the Caliphate in Mosul, Iraq; Tomas Munita’s images from a Cuba at the end of an era; Meredith Kohut’s photograph’s of Venezuela’s “collapse”, as she puts it; Newsha Tavakolian’s portraits of individuals in Tehran; and Daniel Berehulak’s hard-hitting images of President Rodrigo Duterte’s drug crackdown in the Philippines. The show was organised by David Furst, The New York Times’ international picture editor, and Arthur Ollman of the Foundation for the Exhibition of Photography, and it will travel to PHotoEspaña this summer. There are further plans for shows in …
Arunà Canevascini was nominated by Erik Kessels for the richness of her projects, which merge femininity, domesticity and migration. In Villa Argentina, Canevascini examines these themes through elaborately-designed images in which the domestic settings she photographs are disrupted by intrusions from both the history of art and her own family past.
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.
The Madrid-based photography correspondent reports on the Spanish top five of 2017 – including Álvaro Laiz’s The Hunt
“The British Landscape…is a long-term ongoing project about the enormous changes that have taken place in the UK – the world’s first industrial society and the first to de-industrialise,” says John Davies. “Much of Britain’s infrastructure and the rapid expansion of industrial cities were created through the unprecedented growth of the Industrial Revolution. By the early 1980s, when I started this project, many of these large-scale industries and industrial communities were in terminal decline.”
“Breaking onto a dance floor with a large format camera and a portable photography studio, as in my case, paralyses everything that happens,” says Jesús Madriñán, a Spanish photographer whose nightlife photos document the 21st century youth in different communities across the world. He is looking for an unique authenticity from his participants: “For me that’s really interesting: it gives them the opportunity to express themselves in front of the camera and in front of the eyes of the others.”
Born in 1908, Minor White lived at a time when being openly gay was risky. He remained in the closet for much of his life, fearful of losing his teaching positions at institutions such as the California School of Fine Arts, Rochester Institute of Technology and Massachusetts Institute of Technology – a factor which helped shape his aesthetic vision, argues an exhibition of his work currently on show in Madrid, “employing close-ups and cropping to express what couldn’t be shown”.
BJP is proud to present the Book Dummy Award, a new competition run in partnership with La Fábrica and Photo London.
The award offers one winner the chance to have his or her book published, in a print run of at least 1000 copies, and have it showcased through La Fabrica’s sales catalogue, presented an exhibited at festivals and fairs such as Photo London 2018 and PHotoESPAÑA 2018, and submitted to the most important photography competitions around the world.
“Anders Petersen, Pierre Molinier, Antoine d’Agata, Teresa Margolles, Karlheinz Weinberger, Paulo Nozolino, Adam Broomberg and Oliver Chanarin produce a work outside of orthodoxies where emotion is everything,” states Alberto Garcia-Alix. “They take their great strength from their capacity for transmission and empathy. “Like a spark. An intense current of excitement. We convulse. We fill ourselves with resonances. The comprehension of the universe as the last act. That is the great subliminal power that art has. The exaltation of the being.” The Spanish photographer, known for his raw portraiture and involvement with the hedonistic post-Franco La Movida Madrilene, has been given free reign to curate PHotoEspaña’s 20th edition, and has taken a radical approach. Celebrating “work that lives outside the norms because it feeds off what is most intimate and passionate in the author”, he’s selected cult and obsessive projects, many of which have an element of sexual subversion. He finds “exaltation takes flesh as a catapult for the senses” in d’Agata’s scenes of sexual encounter for example, and “fierce hedonism and independence” in Molinier’s fantastic and fetishistic …
Before Yurian Quintanas Nobel went on holiday to Sri Lanka, friends told him how welcoming the people there are. “And they really are,” he says, “but I always felt there was a kind of darkness in this country. “The recent history of Sri Lanka is very painful in human terms,” he explains. “The country suffered a long civil war that finished only eight years ago, and they had a devastating tsunami in 2004. I remember one afternoon I was taking pictures of a ruined house when a man came out to say hello. We talked for a while and then he told me that his wife and his child had died in the tsunami, and he pointed next to us where they were buried. “These kinds of situations shocked me, and influenced me more than other things like the hospitality of the people and the beauty of the country. What I had in mind while taking pictures was that not everything is what it seems. Sometimes things are not as beautiful as you thought and sometimes, …