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 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.”
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.
Wim Wenders was given a new Polaroid camera yesterday. It was a gift. He doesn’t plan on using it. “It’s funny,” he says quietly, before pausing to carefully frame what he wants to say next. “I picked up this new One Step 2 camera and instantly everything came back to me. My hands remembered how to hold it and how to use it. But it was definitely a nostalgic act, and that felt a bit strange. When I took all these thousands of Polaroids between the late 1960s and early 80s it was anything but nostalgic. At the time, that was modernity.”
Cathedral of the Pines has had a long gestation, and is the product of a lot “personal upheaval”, brought on by a “very tormented relationship” and, finally, a bad divorce. It is, by some stretch, Gregory Crewdson’s most personal work to date.
The Dutch photographer’s epic Imperial Courts project, which was shot over 22 years, impressed the judges with its “affirmation of photography’s power to address important ideas through pure image”
The director of the We Folk agency on the best photographic projects and events of 2016 and 2017
With the deadline for entering this year’s International Photography Award not too far away, BJP has called on each member of our elite judging panel and asked, what it is they are looking for in this year’s winning series
During his lifetime, Saul Leiter (1923–2013) was something of the ignored artist of American photographic history. While his career spanned a time when quintessential New York street photography was defined as swift, sharp and precise, Leiter’s leisured, impressionist style went against the grain. Leiter was a pioneer of colour photography, adventurously using Kodachrome colour slide film well before the likes of William Eggleston and Joel Meyerowitz. As the Guardian’s Sean O’Hagan wrote in Leiter’s obituary, “[his photographs] are as much about evoking an atmosphere as nailing the decisive moment.” A retrospective of the late photographer’s work has just began at The Photographers’ Gallery; the first major public show of his work in the UK features more than 100 works, including early black-and-white and colour photographs, sketchbooks and related materials. While Leiter’s early black-and-white images were published in LIFE magazine and exhibited in New York and Tokyo, he quickly moved into fashion photography, shooting for Harper’s Bazaar, Elle, British Vogue, Esquire and more. When I speak to Brett Rogers, director of the Soho gallery …
“The Irish can’t forget their history because the English refuse to remember it,” says Luke Dodd, quoting renowned academic Terry Eagleton. If that’s true, it’s something Dodd hopes to change with an exhibition at The Photographers’ Gallery devoted to Ireland’s rebellion against British rule. The Easter Rising 1916: Sean Sexton Collection depicts the growth of Irish nationalism, the uprising of 1916, the subsequent emergence of the Irish Free State, and how it all played out in images. Dodd, who has just edited a book of Jane Brown’s photojournalism, has drawn the images from a private collection of more than 20,000 prints put together by Sexton over the last 50 years. Including press and military photographs, amateur shots and postcards, Sexton’s archive is outstanding, says Dodd, because it’s so comprehensive, but at the same time so personal. “He’s a slightly eccentric character and has searched everywhere – he’s been to every car boot sale, and voraciously collected anything Irish,” he says. “That means there’s a lot of obscure stuff, but that’s also its great strength. “There aren’t …