All posts filed under: 1854 Awards

What does a week’s worth of food look like around the world?

OpenWalls Arles is an international photography award exhibiting contemporary work in historic locations around the world. The 2020 edition is now on show at Galerie Huit Arles until 05 September In an 8×8 metre tin hut on a construction site outside Mumbai, Anchal Sahni [above] sits down to dinner with her parents and two siblings: homemade aloo bhindi (okra and potatoes simmered in curry) and chapati (flatbread) from scratch, with a side of lentils. There is one tap of running water on the entire site. Anchal has a healthier diet than many middle-class children in India, who can afford to eat out: in Mumbai, a medium Domino’s pizza costs 13 dollars — nearly three times what Anchal’s father earns in a day. In the West, awareness has been burgeoning around the harm of ultra-processed foods packed with salt, fat and sugar. While awareness hasn’t led to substantial change in our behaviour (since the rise of corn syrup alone, the incidence of diabetes in America has tripled), corporations — who promote junk foods to the masses …


It’s a Mess Without You: Osceola Refetoff on abandoned dreams in the American West

In his book Examples: The Making of 40 Photographs, Ansel Adams recounts the production history of his 1944 image “Winter Sunrise,” depicting darkened hills beneath the vast, craggy peaks of Mount Whitney, Sierra Nevada. Lone Pine High School graduates had climbed the rocky slopes of the Alabama Hills to whitewash an imposing “L P” against the stone, which the famed American landscape photographer later ruthlessly removed in his negative: “I have been criticised by some for doing this,” he writes, “but I am not enough of a purist to perpetuate the scar and thereby destroy — for me, at least — the extraordinary beauty and perfection of the scene.” Where Adams epitomised idealised landscape photography, which elevated the natural and the elemental in deliberate omission of human interference, some decades later the “New Topographic” era would materialise in partial response. Through the 1970s, the likes of Robert Adams, Lewis Baltz and Catherine Wagner employed landscape photography to visualise man-made America in all its rigorous banality: monochrome warehouses, industrial sites, parking lots. It is between these …


“Will I ever see my freedom?”: Powerful Portraits of Daily Life from OpenWalls Arles 2020

OpenWalls is an international photography award exhibiting contemporary work in prestigious and historic locations around the world At work, at leisure, awake, asleep, in the street, in reflection. The everyday is, according to 20th century French philosopher Maurice Blanchot, that which is “most difficult to discover”: it is “what we are first of all, and most often”; it is ourselves, ordinarily. But the immediate proximity of our everyday renders its beauty hard to appreciate.  When ‘Daily Life’ was chosen as one of two themes for OpenWalls Arles 2020 — a look at the small moments, the ordinary routines, that make up human existence — we had no idea the exhibition would fall in such an extraordinary year. At the time of writing, the world is slowly emerging from lockdown, persisting through a pandemic that continues to magnify cracks in our systems. Following the death of George Floyd at the hands of Minnesotan police in May, the Black Lives Matter movement has erupted around the globe. Across oceans and borders, ways of thinking, acting and existing …


Announcing the judges for Female in Focus 2020

Having launched to international acclaim in 2019, Female in Focus is back to celebrate exceptional women in photography. Following last year’s finale exhibition at United Photo Industries in Brooklyn, New York – which was extended due to popular demand – 2020 will see 1854 Media and British Journal of Photography continue their commitment to discovering, promoting and rewarding new generations of women photographers whilst working to combat gender inequality in photography. Female in Focus welcomes entries from women-identifying and non-binary photographers based anywhere in the world. Presiding over this year’s winners is a judging panel of editors, directors and curators from leading global institutions: Sandra M. Stevenson – Assistant Editor, Photography Department, New York Times Kate Bubacz – Photo Director, BuzzFeed News Chiara Bardelli Nonino – Photo Editor of Vogue Italia and L’Uomo Vogue Elizabeth Houston – Owner and director, Elizabeth Houston Gallery Laylah Amatullah Barrayn – Documentary photographer & co-author of MFON: Women Photographers of the African Diaspora Gulnara Samoilova – Founder of @WomenStreetPhotographers Carol Allen-Storey – Award-winning photographer, curator and educator The panel will select two bodies …


Female in Focus: championing a gender-equal photography industry

Female in Focus is a platform purposed to discover, promote and reward a new generation of women-identifying photographers around the world In 1985, feminist art collective the Guerilla Girls famously posed the question on a public billboard: “Do women have to be naked to get into the Met Museum?” At the time, less than 5% of the artists in the Met were women. Meanwhile, 80% of the nude bodies depicted were… You guessed it. Women. It’s no secret that women have been gravely underrepresented throughout art history. From literature through to painting, photography and beyond: since storytelling began, the masculine experience has consistently framed and filtered how we see the world. The meteoric rise of popular feminism in recent years might reasonably lead one to assume things are changing. In the art world? Not so much. Almost three decades after their original campaign, the Guerilla Girls revisited the Met’s numbers: in 2012, only 4% of artists in the Met’s modern art wing were women. 76% of the nudes were still women. In 2019, Huck reported that …


Portrait of Humanity: You Have Nothing to Worry About

In 2017, Melissa Spitz was named TIME Instagram Photographer of the Year, for her deeply personal Instagram account, cataloguing her mother’s struggles with mental illness. Spitz employs the platform to open up a conversation about mental health. One of her captions begins: ‘The first time I thought my mom killed herself I came home to find our house in a mess…’. Her account comprises beautifully shot portraits, screenshots of personal conversations, and archive footage of her mum from Spitz’s childhood. The work is arresting in its honesty; “I’ve been embarrassed by my mum for my entire life,” says Spitz. “So it’s been very liberating to say ‘fuck it, this is my mum, this is my life’.” Through her Instagram account, Spitz has built the community and support system that she lacked growing up with a mentally unwell parent. “I think about when I was a teenager and my mum was really bad, and I spent my time locked in my room to hide away,” she explains. “Had I had a community, I wouldn’t have felt …


BJP Staff