All posts filed under: Any Answers

Any Answers: Laia Abril

Originally trained as a journalist, Barcelona-born Laia Abril expanded her storytelling methods after studying at New York’s ICP. She is best-known for the first chapter of her long-term project A History of Misogyny, On Abortion, which recently won the Paris Photo-Aperture Foundation PhotoBook of the Year Award and has been shortlisted for the 2019 Deutsche Börse Photography Foundation Prize  

2018-11-23T11:28:27+00:00

Any Answers: Quentin Bajac

The Parisian curator Quentin Bajac has spent the past two decades working in three of the world’s leading cultural destinations – starting out at the Musée d’Orsay, he moved to Centre Pompidou, and then the most coveted post of all, chief curator of photography at MoMA in New York. Here he shares his insights into photography and life with BJP editorial director Simon Bainbridge

2018-11-23T11:31:11+00:00

Any Answers: John Gossage

This “photographer’s photographer” is known for his measured understatement and his influential books, such as The Pond (1985) and Berlin in the Time of the Wall (2004). His latest, Looking Up Ben James – A Fable, will soon be published by Steidl, and he’s currently working on his next, The Last Days of Fontainebleau, shot in his hometown, Washington DC

2018-11-23T11:31:55+00:00

Any Answers: Sirkka-Liisa Konttinen

In 1969 the Finnish-born photographer Sirkka-Liisa Konttinen ditched her filmmaking course, moving to Newcastle with a group of idealistic young ex-students to found the Amber collective, and embarking on a series of long-term projects, including her seminal work on Byker, which was inscribed in the Unesco UK Memory of the World Register. Nearly 50 years on, she continues to live and work in the north-east as a member of Amber

2018-11-23T11:32:50+00:00

BJP #7869: The Community Issue

Last month BJP focused in on group work; this month we’re looking at a different kind of collaboration – projects in which photographers engage in a two-way dialogue with their subjects. One of the best – and the best-known – examples is Jim Goldberg, who works with subjects such as teenage runaways and migrants to tell wide-sweeping stories of marginalisation and economic disparity. Using an eclectic mix of photographs, archive materials and video, and both marking up himself and invites his subjects to write on, he creates complex montages guided by his sense of “intimacy, trust and intuition”. Incorporating the perspectives of the communities and subcultures he represents, his work is informed by his own background in a blue-collar family in New Haven.

2018-04-10T09:33:51+00:00

Any Answers: Joel Meyerowitz

The camera is like a divining rod and I have lived my life letting instinct show me what I am interested in, says Joel Meyerowitz, who quit his job in advertising in 1962, after seeing Robert Frank at work. A native New Yorker, he became known for his early colour work on the city streets

2018-11-23T11:33:27+00:00

Any Answers: Donald Weber

“I’ve just about had enough of photojournalism. What I find most disheartening is the staunch anti-intellectualism; an almost complete lack of self-awareness, with severe consequences in today’s world of ‘alternative facts’. We don’t trust what we see. Why is that?” asks Donald Weber, originally a trained architect but now a leading thinker with four photobooks to his name

2018-11-23T11:33:46+00:00

Any answers: Hilary Roberts

“It’s difficult to try and make sense of the Cold War, let alone events in Iraq and Afghanistan and Syria. It takes a lot of time to collect the resources we need to be able to properly tell the story of these conflicts. So we have to be honest about the limitations of information available to us.”

2018-11-23T11:34:20+00:00

BJP Staff