Our followers voted Iranian photographer Hossein Fardinfard’s image as their favourite of the recent Guardian Editor’s Pick gallery of the best Portrait of Humanity entries so far. Taken in Tbilisi, the image depicts a scene from a national holiday in Georgia, with girls dressed in traditional costume. It captures a moment of togetherness and community, values at the heart of Portrait of Humanity. Fardinfard, now based in the Netherlands, found photography via an unconventional route. Having studied cartography, Geomorphology and IT, he pursued a career as a web developer before discovering his aptitude for the art form at the age of 30. Initially interested in street photography, his focus eventually shifted onto documentary photography and portraiture. He’s currently undertaking photography research at the Royal Academy of Art in The Hague, Holland. What are your key interests as a photographer? Social observation, human rights, and identity. I’m currently working on some long-term projects, like the Post-Soviet Generation project I’m doing in Georgia, which is about changes that the collapse of the Soviet Union has spelled for …
In the second of our interviews with BJP IPA 2019’s judges, we meet Sarah Allen. As assistant curator at Tate Modern, Allen has worked on a number of major shows, the most recent being Shape of Light, the first blockbuster exhibition to explore the relationship between photography and abstract art. Before moving to Tate Modern, Allen worked at a string of leading galleries, including The Hugh Lane Gallery in Dublin, The Guggenheim Museum in New York, and The Photographers’ Gallery, London. Among the high-profile photographers she’s worked with is Mark Ruwedel, who recently made it on to the Deutsche Borse Photography Prize 2019 shortlist with his show The Artist and Society, curated by Allen. We spoke to her about how to get noticed by curators, and what she’s looking forward to seeing in BJP IPA 2019. What are the most exciting things happening in photography at the moment? And what trends do you think we’ll see in 2019? I think there is some extremely important work being made at the moment on the subject of …
In 2010, when BJP first came across Jamie Hawkesworth, he’d just been shooting in Preston Bus Station along with Adam Murray and Robert Parkinson from the Preston is my Paris zine. Picking out passersby who caught his eye in the rundown but celebrated Brutalist transport hub, Hawkesworth’s images were published in a free newspaper and given to the disadvantaged teenagers who used the buses. They helped save the bus station from demolition, but they also helped launch a stellar career, with Hawkesworth signing up with the prestigious London agency MAP soon afterwards.
Fast-forward to 2018 and Hawkesworth is a celebrated fashion photographer, who’s shot ad campaigns for Alexander McQueen and Marni, and editorial for publications such as Vogue Italia, W, and Purple. He’s also got an exhibition on show in London, a blue painted fence, which shows off his film, drawings, and writing, as well as new photographs from Kenya, Louisiana and Romania. Despite his success he’s still very much the same man BJP first met eight years ago, down-to-earth and modest, with a refreshingly breezy approach to his many talents.
Of his drawings, for example, he says it’s just a case of “having room to get out there and explore, of being open to chance”. “I found myself giving it a try, thinking ‘Oh I’ll just try some charcoal’, and it went from there,” he says. “The great thing about charcoal is it’s easy to get it on [the paper] and see where energy takes you.”
BJP-online Loves Maria Sturm’s You don’t look Native to me, Jean-Vincent Simonet’s psychedelic images of Tokyo, Roger Melis’ photographs of East Germany, Dawoud Bey’s exhibition Places in History, and the fact that MACK’s First Book Award is now open-entry
Silvia Rosi and Theo Simpson have won the UK’s Jerwood/Photoworks Awards for emerging photographers. Each receives £10,000 to make new work plus an additional fund of £5000 and print support from Spectrum Photographic, plus high-profile mentoring and a two-person exhibition that will start at the Jerwood Space in January 2020 and travel throughout the UK.
Born in 1992 in Scandiano, Italy, Rosi is a Togolaise/Italian artist living and working in London. Graduating from the London College of Communication in 2016 with a BA in Photography, she makes work that references the West African studio portrait to explore her family and its experience of migration. Born in 1986 in Doncaster, Theo Simpson lives and works in Lincolnshire, UK, and has shown his work at institutions such as FOAM in Amsterdam, and Webber Gallery, London. His work considers the long game and the transformations of the globalising world, and has previously been published on bjp-online www.bjp-online.com/2017/02/theosimpson/
“Your memory isn’t like a file in your hard-drive that stays the same every time you revisit it. It actively changes,” says John Houck, whose images, just like our memories, can be deceptive. His pieces are made cyclically, by photographing and rephotographing objects, paintings, and sheets of folded paper, adding and removing elements with each iteration. “It’s a way to get at the way in which memory is an imaginative act,” he says.
“I love how the city is in perpetual metamorphosis. It’s always moving and glowing,” says Jean-Vincent Simonet, who visited Tokyo, Japan for the first time in 2016, and quickly decided he would shoot at night. “Giving a liquid feeling to the photographs made sense to me. It reinforced the psychedelic experience of being in the city”.
People in Japan describe Tokyo as a “living entity” – not just because of the earthquakes and typhoons that regularly stir the capital, but because it is a city in constant flux. At all hours of the day and night, streams of people and cars rush down its huge neon streets, which sprawl out like tributaries into pedestrianised roads, stacked 10 stories high with shops, restaurants and karaoke bars. Vibrant city centres seem to emerge right off the back of darker inner-city suburban streets, which are all connected by colossal highways, and an elaborate train network that dwarfs most other capital cities’.
In the first of our interviews with BJP International Photography Award 2019’s judges, we meet Russ O’Connell. His impressive career has seen O’Connell in editorial roles at celebrity weekly Heat, music magazine Q, and men’s lifestyle guide British GQ. He is currently Picture Editor at The Sunday Times Magazine – which, as the UK’s first colour supplement to a national newspaper, has long been leading the way with editorial photography. O’Connell has worked with superstar photographers from David Bailey to Nadav Kander, and regularly direct shoots with Hollywood actors, world-class musicians and prominent politicians, including – among many others – U2, Rihanna, and Hillary Clinton. When pushed for a career highlight, he can cite memories that most can only dream of: joining Bruce Springsteen on his private jet, and hanging out with Daft Punk in Paris. We spoke to O’Connell about the benefits of entering photography awards, and what he’s looking forward to during BJP IPA 2019. What are the most exciting things happening in photography at the moment? And what trends do you think we’ll see …
For over 40 years, American photographer Dawoud Bey has been photographing people from groups too often marginalised in the USA, seeking out stories overlooked by conventional and stereotypical portrayals.
Born and raised in New York, Bey began his career in 1975 at the age of 22. For five years he documented the neighbourhood of Harlem – where his parents grew up, and which he often visited as a child – making pictures of everyday life. This series, along with three more of his projects, is on show this month at the Stephen Bulger Gallery in Toronto, Canad
An interview with Don McCullin is never going to be a dull affair – he is a complex man who has told the story of his life many times before. He is unfailingly polite and gentlemanly, but one detects a slightly weary tone as he goes over the familiar ground. He often pre-empts the questions with clinical self-awareness.
The story of McCullin’s rise from the impoverished backstreets of Finsbury Park in north London is one of fortuitous good luck, but it didn’t start out that way. Born in 1935, he was just 14 when his father died, after which he was brought up by his dominant, and sometimes violent, mother. During National Service with Britain’s Royal Air Force, he was posted to Suez, Kenya, Aden and Cyprus, gaining experience as a darkroom assistant. He bought a Rolleicord camera for £30 in Kenya, but pawned it when he returned home to England, and started to become a bit of a tearaway.
Redemption came when his mother redeemed the camera, and MccCullin started to take photographs of a local gang, The Guvners. One of the hoodlums killed a policeman, and McCullin was persuaded to show a group portrait of the gang to The Observer. It published the photo, and kick-started a burgeoning career as a photographer for the newspaper.