Tom Hegen’s aerial photography explores the impact of human intervention on natural environments. His latest project, photographed on a DJI drone, documents salt production across Europe
Born in 1931 to a British diplomat and an American artist, Fay Simmonds married publisher Tony Godwin in 1961, and was introduced to the cream of literary London. Already a keen amateur photographer, by the 1970s she had started taking portraits of the writers she met and by the end of the 1980s had shot almost every significant figure of the period – including Philip Larkin, Saul Bellow, Angela Carter, Ted Hughes, Philip Larkin, Doris Lessing, Salman Rushdie, Jean Rhys, and Tom Stoppard. But Fay Godwin was also a keen walker – in fact she led the Ramblers’ Association from 1987 to 1990 – and it was for her landscape photography that she became best known. Informed by a sense of ecological crisis, she shot books such as Rebecca the Lurcher (1973), The Oldest Road: An Exploration of the Ridgeway (1975), and co-authored Remains of Elmet: A Pennine Sequence with the poet Ted Hughes.
“It was like stepping into the past,” says Laura Hynd says of her first venture on set of the Oscar-nominated film, Phantom Thread. Set in 1950s London, Paul Thomas Anderson’s movie chronicles the life of fashion couturier Reynolds Woodcock [played by Daniel Day Lewis] and the women that surround him. Hynd’s unique access was granted after Sophie de Rakoff, a friend of Anderson’s, asked if she could document the workings of the costume department. “I have to admit, I considered not doing it at first,” says Hynd – although it soon became clear that the job would expand far beyond the initial brief. Her adventure started when she was asked, last-minute, to go to the Cotswolds to photograph Woodcock’s country house. On arrival, she was instantly won over. “It was amazing to be on set,” she says. “The detail and beauty were astonishing. I spent quite a lot of time photographing his atelier, as the cast and crew were shooting elsewhere.”
Lewis Chaplin and Sarah Piegay Espenon, founders of the publisher and design studio, pick out their top five of 2017 – including Torbjørn Rødland’s exhibition at Serpentine Sackler Gallery
In August of 2016, at the International Geological Congress in Cape Town, one of the world’s leading scientists declared we were living at the dawn of a new geological epoch – the human-influenced age. This new era, termed Anthropocene, replaces the current epoch, the Holocene, the 12,000 years of stable climate since during which all human civilisation developed. Format International Photography Festival in Derby, the UK’s largest photography festival, opened this weekend for its eighth edition, aiming to explore this notion of the Anthropocene by asking photographers to respond to the word “habitat”. Featuring more than 200 international artists and photographers across 30 exhibitions, the biennial is situated across independent cinema and exhibition spaces such as Quad, University of Derby and the Derby Museum and Art Gallery. The festival’s flagship exhibition, titled Ahead Still Lies Our Future, is on show at art space Derby Quad, and features work by ten photographers, brought together by curators Hester Keijser and festival director Louise Clements. “I wanted to offer up experiences concerning the complexity of our existence on …
Donald Trump’s Mexican wall may have got the headlines over the last year, but walls – in a very physical sense – are being built between nations all over the world, at a pace and urgency under-reported by the world’s most viable media organisations. “In many ways, the barrier-building is being driven by fear,“ The Washington Post wrote in the introduction to New Age of Walls, a multimedia investigation detailing each of the 63 border walls and barriers, many of them newly constructed, that are now dividing nations across four continents. New Age of Walls was the winner of the Innovative Storytelling category in World Press Photo’s Digital Storytelling contest, an award for a piece of journalism designed specifically for the online space. “Most of the new walls are being erected within the European Union, which until recently was nearly borderless,” The Post wrote. “Britain is going further, rolling up its bridges to the continent by voting to exit the E.U. “Intended to counter migrants and terrorist attacks, these moves are not limited to Europe. In the Middle …
A new music video from Bonobo features a terrified Gemma Arterton stumbling around a London suburb as a sequence of supernatural visions appear before her. In an exclusive interview, BJP sat down with the director, Bison, to discuss a promo that utilises a variety of glitchy video loops to devastating effect.
Emerging Chinese artist Cheng Ran is gaining his first US solo exhibition at New York’s The New Museum, the culmination of his three-month residency at the Museum, part of a new partnership with China’s K11 Art Foundation.
Anywhen, a new AV installation by French photographer and artist Philippe Parreno, will transform Tate Modern’s Turbine Hall this October, “guiding the public through constantly changing stages of light, sound and moving elements.”
How do you find meaning amidst chaos? Mythologies have always given shape to the world around us, weaving stories to make sense of natural forces, potential futures and other mysterious phenomena. The parallel between the myths and rites of the past, and the alternative belief systems of today’s postdigital age, are explored in POSTmatter’s newly relaunched online format, which will see the digital platform publish two issues per year, developing custom interactive and moving image pieces that put a new spin on the traditional. Separate to each issue, the magazine will also publish original written and visual pieces on varied topics throughout the year. With a primary focus on contemporary art, POSTmatter is the trailblazing force setting out to challenge the outdated separation between online and print, looking at how emerging and established artists alike are being influenced by new technologies, and how they in turn are changing the ways in which we engage with these tools. “I began to wonder why it seemed to be the rule that a magazine’s print output was the …