Would you want Martin Parr to take your portrait? You might say its a brave soul who goes in front of his penetrating lens, but it’s part of a portfolio of benefits the Martin Parr Foundation is launching in its Membership Scheme.
Parr set up the Bristol-based Foundation in 2014 to house his archive, but in October 2017 it opened to the public in a purpose-built space, offering free access to much more – a rolling programme of exhibitions, a large photobook library, and a growing collection of prints. Parr’s used the opportunity to hone in on British and Irish photographers, as well as work taken in the British Isles by others, and put the focus on their documentary work – an area which he believes is still underrated.
“The ethics for me is the backbone of what we do. If we don’t follow strict ethics within our work, I think we are damaging the credibility of the whole of this profession,” says Bénédicte Kurzen, a photographer and member of the prestigious NOOR photography collective since 2012. Now she, and seven other NOOR photographers are putting her words into action, with three masterclasses offered free of charge to budding photojournalists.
Supported by Nikon Europe, the masterclasses are four days long, and each feature three tutors. Kurzen is teaming up with Sanne De Wilde and Francesco Zizola for the masterclass in Turin, held from 12-15 November; Tanya Habjouqa, Sebastian Liste and Kadir van Lohuizen are at the masterclass held in Budapest from 26-29 November; and Tanya Habjouqa, Jon Lowenstein and Léonard Pongo are at the masterclass held in Zürich from 03-06 December.
Growing up, photographer Tom Roche learned about his Romani Gypsy heritage only through fragmentary stories and speculation. “My great, great uncle was stabbed in the heart with a wooden stake because he owed money for land,” says Roche, a recent University of the West of England graduate. “Then I had one aunt, aunt Liz, who used to pick crops, one aunt that made baskets, and another who sold pegs – or so I’m told; I don’t have any images, records, or concrete facts of my ancestors.”
Christopher Bethell’s work comes from a desire to explore his identity, making his personal reflections universal. His complex relationship to home comes from his dual American and British citizenship. Despite never having visited America, he has always thought of it as a home, and so embarked on his major MA project, The Duke of Earl, last year in the US, as a way to document his understanding of this new but familiar place. What followed was a struggle between cliche and authenticity, as Christopher came to terms with the stereotypes that had informed his perception of this fractured home. Christopher’s interest in photography was first sparked at the age of 19, and he quickly threw himself into the medium, studying at Mid Cheshire College, Staffordshire University, and finally at London College of Communication, where he received a Masters in Photojournalism and Documentary Photography. He cites his most valuable lessons as those about the foundations of photographic theory, and the ethics of representation, which have changed the way he approaches projects and commissions. Since graduating he …
In adopting the photobook as his primary medium, using complex sequences as well as free ranging associations to create what’s been described as ‘open metaphors’, Jason Fulford is more interested in questions than answers. He invites readers to become active participants in his work, presenting an open enquiry in which the various interconnecting layers are often cryptic and complex, and the meaning is less important than the experience of looking and thinking.
In our September 2018 issue, we interview Vanessa Winship and Hellen van Meene about the genesis of their latest works, and the backstory of death and rebirth that led them in new directions. We also speak to Marina Paulenka, the artistic director of Organ Vida festival in Croatia, about the 10th anniversary edition and its focus on the female gaze. Lucy Davies meets Winship at the Barbican Art Gallery, which is currently staging a mid-career retrospective of her work alongside Dorothea Lange. They discuss the photographer’s decision to step back from making pictures at the height of her success, and how she found her way back after the arrival of her first grandchild. “It has been a rebirth in a way,” she says, speaking about her new direction, “sort of freeing myself from the constraints of my former life. But it was also about conveying the immediacy with which my granddaughter sees the world.” Van Meene’s new series, which goes on show in Amsterdam this September, confronts the subject of death in an inherently personal …
Maybe you’re a working photographer who feels stuck in a rut, or you’re just keen to inject some oomph into your practice. If you’ve been toying with further study but are unable to relocate because of family or work commitments, online learning could be the way to go. Distance learning has long been an established option for studying photography at higher education level, the big advantage, of course, being how flexible it can be. For many of us who lead increasingly busy lives it goes without saying that this is appealing. An institution well versed in the benefits of online teaching is Falmouth University, which runs MA Photography and BA(Hons) Photography (Top Up) courses alongside its portfolio of campus-based photography degree programmes. Priddy, Somerset, 2015 from the series Elementary Husbandry © Jesse Alexander Part-taught and part-self-directed research, the courses offer a versatile approach to the learning of photography, says Dr. Gary McLeod, a module leader for the BA(Hons) Photography (Top Up) and MA Photography programmes at Falmouth University’s Institute of Photography. “Weekly themed videos and …
Starting out in his father’s carpentry workshop, Ken Grant first pursued his interest in photography through a two-year technical course, studying with unemployed shipyard labourers in the mid-1980s. He’s now a respected documentary photographer who also teaches at the Belfast School of Art; as his work on New Brighton goes on show alongside his early mentors Tom Wood and Martin Parr, and BJP caught up with him on his approach to pedagogy
Running during Les Rencontres d’Arles and with an opening week all of its own, Voies Off is a well-established, free, fringe festival. Featuring exhibitions, evening projections, portfolio reviews, and parties – this year sound-tracked by the Africa Fete Festival – it’s the place to discover and be discovered.
Based in the Cour de l’Archevêché in the centre of Arles but with exhibitions running all over town, Voies Off is sponsored by Leica and is screening the 2018 Leica Oskar Barnack Award finalists every night this week except Wednesday. But it also has a well-defined programme of their own, which this year includes an exhibition titled If Slovenia Were… curated by the respected Slovenian/French photographer Klavdij Sluban and featuring work by 19 contemporary Slovenian photographers.
It’s the biggest and best-respected photo festival in the world – it’s Arles and it’s back from 02 July-23 September, with a special opening week from 02-08 July. With the blessing of the French Minister of Culture François Nyssen – who declares that “Arles wouldn’t be Arles without photography” in her welcome to the festival – the 49th year of the festival is lead by director Sam Stourdzé, who took over its organisation in October 2014. As you might expect, the momentous events of May 1968 are commemorated at Arles this year, with a group of exhibitions titled Run Comrade, The Old World is Behind You. Considering events such as the student demonstrations and strikes in France, and the assassination of Robert F Kennedy that year, this section includes shows such as 1968, What a Story! which uses previously unseen images from police archives, Paris Match and Gamma-Rapho-Keystone. Elsewhere Arles looks to the future with a group of shows titled Augmented Humanity which includes work by Cristina de Middel & Bruno Morais, Matthieu Gafsou and Jonas Bendiksen; and in the Emergences section, which includes the ten photographers included in the New Discovery Award this year.