When the first issue of Huck went to press in 2006, it was quite different to what it is today. Started by a team of friends passionate about the skate and surf scenes, and formed soon after the closure of Adrenalin magazine, where many of them had worked, it championed the personal stories of the sports’ icons and surrounding culture, rather than the action. Though still passionate about radical culture, Huck is now decidedly less niche.
“Over the years, the voice we’ve always had as an alternative to the mainstream became more relevant to more people,” says Andrea Kurland, who has been part of the team from the start, and became editor-in-chief in 2010. “As we’ve grown, the generation that grew up with us has become more socially and politically engaged. This is now very embedded in the magazine, so we’ve been bolder and braver with this particular world stance.”
To the people of Provence, the Mistral is a local menace. It regularly ruins weddings, steals hats and scarves with ease and, at its worst, this epic wind has the strength to sweep up metal chairs and smash them into neighbouring windows. Even so, says Rachel Cobb, “I think maybe they actually like it”. “What I feel is that it’s a source of pride among the Provincials, a way of defining the region,” she adds. “They can withstand it, and they’ve learned to live with it.”
Cobb’s new book, Mistral: The Legendary Wind of Provence, is a record of the 20 years she spent hunting the wind. She has holidayed in the south of France for 40 summers now and, though she has been victim to the perils of the strong gales, she’s also found it inspirational – as have many other artists and writers. “I’m energised by it,” she says. “At night, when you hear it stir, you can feel the energy in the air.”
Out of nearly 1000 submissions, the winners for this years Paris Photo/Aperture Foundation Photobook Awards, established in 2012 to celebrate the photobook’s contribution to the narrative of photography, have been announced at Paris Photo.
The Photobook of the Year award went to Laia Abril, for part one of her long-term project, A History of Misogyny, Chapter One: On Abortion (Dewi Lewis). The project is not about the experience of abortion itself, but about the repercussions for women who do not have access to legal, safe or free abortions, forcing them to consider dangerous alternatives that cause physical and mental harm.
“I’ve waited a long time to bring this book out and between Donald Trump and #MeToo, I don’t see how it could possibly be a better moment,” says Andrew Moisey from his office at Cornell University, New York, where he is an assistant professor in art history and visual studies. The book, The American Fraternity: An Illustrated Ritual Manual, is published by Daylight, and is looks at the secretive, ultra-masculine worlds of the fraternity houses that dominate US university life.
The image we now have of fraternities is very different from how they were when they first set up in the late 1700s. The initial male collegiate organisations were literary societies, where university students gathered to debate politics. Many had mottoes and names in Greek lettering, such as the first and perhaps more poignant Phi Beta Kappa in Williamsburg, Virginia.
Over the years these gave way to social societies in more universities around the US, recruiting members according to their race, religion and social status. Their exclusivity, need to differentiate and tradition of privacy were traits that gradually reached extremes in the modern day, and have now earned them a reputation of encouraging misogyny, bullying and elitism.
“Most people would walk by a dump pile and assume that there’s no picture there,” says global industrial landscape photographer Edward Burtynsky. “But there’s always a picture, you just have to go in there and find it.” Born in Canada in 1955, Burtynsky has been investigating human-altered landscapes in his artistic practice for over 35 years, capturing the sweeping views of nature altered by industry; from stone, to minerals, oil, transportation, and silicon. “Of course, it’s important to me to make sure that my pictures are attractive to the eye,” he says. “But beneath the surface there’s always a bigger, deeper environmental issue.”
Asked to describe the style of photography featured in The Fader, the celebrated music journal launched in New York in 1999 championing contemporary style and emerging artists, Keegin shoots back with, “All-you can-eat buffet”. The magazine’s photo director since 2015, having previously worked for Time and Bloomberg Businessweek, she describes her preferred aesthetic as “manic”, explaining, “I like all kinds of photography and am happiest when genre, style and hue smash into each other on the same page”.
While her predecessors championed intimacy and authenticity, gaining unusual access to musicians and shooting them in relaxed pose in natural light, Keegin’s approach injects flash, colour and surrealism. “To me, great photography is the result of an emotional connection between a photographer and her subject,” she says. “This form of interpersonal magic is not genre specific or the result of a certain set of aesthetic constraints.”
After the economic crisis in Argentina in 2002, Sebastián Bruno’s family moved to a small town in Castilla La Mancha in central Spain. It was then that the photographer decided to re-read Don Quixote, the iconic 17th-century novel about a traveller who slowly converts from hero to bandit. The tale was foremost in Bruno’s mind when he returned to the region years later to retrace the 2500km route of the fictional legend, while studying for a BA in Documentary Photography at the University of South Wales in Newport.
“I thought it was a beautiful metaphor to re-interpret,” he says. “I was walking, cycling and hitchhiking, but no one ever really stopped. The landscape was very flat, the sun was hot and there was not a single tree to hide under.”
In our latest issue, Reframing History, we speak with Patrick Waterhouse about his project collaborating with the Warlpiri people in Australia. We talk with Andrew Moisey, who reveals the dark secrets of US all-male frat houses. And 100 years since the end of the Great War, Nicolas Thomas Moreno turns his lens on memorials to this terrible history in Topography of Remembrance. We also journey to the French capital to highlight two shows exhibiting alongside Paris Photo. The cover feature for this month’s issue is the work of Patrick Waterhouse. Over the course of eight years, he has travelled to and from Australia’s Northern territory, culminating in his latest project: Restricted Images. Made in collaboration with the Warlpiri people, he hopes to give agency to his subjects by asking them to contribute creatively to each image. Through his artistic process, he addresses the problematic break in representation, respect and consent between the first anthropological photographs of the indigenous groups of the past. A professor at a US College, Andrew Moisey has devised a comprehensive insight into …
“South Africa is a deeply religious country,” says Giya Makondo-Wills, whose work-in-progress, They Came From the Water While the World Watched, maps out the interplay between Christianity and ancestral religion in the region. With four trips to the country under her belt so far, the 23-year old has travelled as much into the past as in the present, tracing the indelible repercussions of 19th-century European migration as they resonate through South African culture today.
Makondo-Wills, who is British-South African, became interested in her African grandmother’s faith while shooting another project. “She’s very Orthodox Christian but she also still practises ancestral religion, and that’s a core part of who she is. She prays to a God and the gods,” the photographer explains.
This duality got her thinking about the intersections of belief systems and how they were brought into contact. How did Christianity become so influential? How does it co-exist with indigenous religions? Building on her interests in race and identity, these questions soon elicited many others, spawning a long-term project that has carried her from a BA to an MA at the University of South Wales.
The creation of a dummy is an integral process for any photographer with aims on publishing their own photobook. It is a visual mockup for a proposed project, created before being sent to the publishers. Organised by La Fábrica in collaboration with Photo London, the Book Dummy Award selects a entry that is renowned for its quality, uniqueness and international scope, the winners of the award will then have their dummy physically realised. The competition encourages photographers from anywhere in the world to submit a physical copy of their dummy, under the rule that no digital copies may be entered. One winner from 20 finalist dummies will then be selected by an international jury. The winner’s work will be published with a print run of at least 1000 copies, and distributed worldwide. Photographers submit entries from all over the world, as in 2017 there were participants from 45 countries and every continent. The winner of the 2017 edition was Iranian-born, Swiss photographer Arunà Canevascini. Nominated as one of British Journal of Photography’s Ones to Watch …