Addressing the disproportionate number of men attempting suicide, Wileman photographed young men who have endured depression, survived suicide attempts, or suffered the loss of a loved one
If her images appear unsettling, that’s our own hang-ups, says Aneta Bartos, who photographed herself with her ageing father
This month, the director of Autograph ABP reflects on his life and career
Federico Estol empowers the vilified shoeshiners of La Paz, Bolivia, turning their working lives into a fictional tale of superheroes
The photo editor of Vogue Italia and L’Uomo Vogue shares her insight on commissioning fashion photography
“I am drawn to the details and the things that you would often pass by,” says the photographer, whose surreal still lifes monumentalise the materials of knife-maker Stuart Mitchell’s trade
An Arctic town plunged into darkness for two months of the year, and known as “ground zero for climate change”, provided Mark Mahaney with the impetus for his first personal project.
This month, editor, publisher, and executive director at Aperture Foundation Chris Boot reflects on his life and career
This article was originally published in issue #7892 of British Journal of Photography. Visit the BJP Shop to purchase the magazine here. Male privilege permeates the private clubs depicted in Karen Knorr’s series, Gentlemen – hidden spaces where the act of exclusion protects the power of those invited in. Spread throughout St James’s, a historically wealthy area in central London, grand Georgian buildings housed, and continue to house, the playgrounds of the rich: extended living rooms for royalty, politicians, new and old money. In perpetuating racial, class and gender divisions, the clubs, which Knorr photographed from 1981 to 1983, safeguarded the ascendency of a privileged few. Now, Knorr’s series will be shown as part of the Barbican’s latest blockbuster show, Masculinities: Liberation through Photography. Knorr was born in Germany to American parents, grew up in San Juan, Puerto Rico, studied in Paris, and moved to London in the summer of 1976. She wanted to understand the country she had chosen to live in and reflect on her position as a white upper-middle- class woman in it. “I was …
Opening this week, a timely exhibition at the Barbican explores how masculinity has been coded and performed since the 1960s. We speak to curator Alona Pardo about destabilising and debunking the myths surrounding it.