The shortlists are out for the Kraszna-Krausz Book Awards and the result for the photobook prize is striking: this year, all three shortlisted books are by women, with Laia Abril’s On Abortion (Dewi Lewis Publishing), Deana Lawson: An Aperture Monograph, and Somnyama Ngonyama, Hail the Dark Lioness by Zanele Muholi (Aperture) all making the grade.
But says chair of the Kraszna-Krausz, Brian Pomeroy, that fact shouldn’t stand out as remarkable. “We’ve had female winners before,” he says. “It just shows talent is equally distributed, and you wouldn’t expect anything else. There have been very strong female photographers since the beginning of photography, I don’t think it’s something new.”
Liz Jobey, associate editor of the FT Weekend Magazine and a member of the photobook jury along with Chrystel Lebas, photographer and Kraszna-Krausz Book Award Winner 2018, and Anne McNeill, director of the Impressions Gallery, agrees, adding that the jury wasn’t deliberately looking out for books by women. But, she says, it’s an interesting time in which photography – and society and culture more generally – is opening up to other perspectives, and that was naturally reflected in this year’s shortlist.
The inaugural award calls for entries from unpublished photographers, with the winning work to be edited, designed, and distributed by the ICP/GOST imprint, along with an exhibition at ICP’s new space in New York
“Ideally a [World Press Photo] Picture of the Year would be surprising, unique, relevant, memorable,” says Whitney C. Johnson, vice president, Visuals and Immersive Experiences, at National Geographic, and jury chair for World Press Photo’s 2019 contest.
This year John Moore has won that top spot, with an image showing Honduran toddler Yanela Sanchez crying as she and her mother, Sandra Sanchez, were taken into custody by US border officials in McAllen, Texas, USA, on 12 June 2018.
This year World Press Photo also added a Story of the Year to its awards, and that prize has also been won by a project on immigration, which was shot by Sweden-based, Dutch photographer Pieter Ten Hoppen. His series shows people travelling with the largest migrant caravan in recent history, which left San Pedro Sula, Honduras on 12 October and gathered as many as 7000 people on its way to the USA, according to UN agencies – including at least 2300 children. Shot in soft colours, it focuses in on individuals in the caravan, and moments of beauty in their lives.
“The photographers we have selected who are part of the exhibition are the vanguard – they are the next generation,” says Brendan Embser, managing editor of Aperture. He’s talking about the professional finalists in this year’s Sony World Photography Awards, which he helped judge alongside three other photography experts: Emma Lewis, assistant curator, Tate; Liu Heung Shing, founder of the Shanghai Center of Photography; and Isabella van Marle, head of artist & gallery relations at Unseen Amsterdam.
The Sony World Photography Awards are divided into four categories – professional, student, youth, and open – which this year received over 326,000 submissions from 195 countries and territories. The shortlisted work will go on show at the 2019 Sony World Photography Awards Exhibition at Somerset House, London, before going on tour around the world; this exhibition will also include a section dedicated to work by Nadav Kander, who has been awarded a prize for his Outstanding Contribution to Photography.
Worldwide, one in ten people do not have access to clean water. Vivianne Sassen collaborates with WaterAid and
From the star-studded hills of Hollywood, to Ukraine’s military camps, Russia’s Caucasus region, and the gloomy streets of Thatcher-era England, the programme for this year’s Portrait(s) festival covers a wide breadth of both geography and context. The French photofestival dedicated to portraiture returns to Vichy for its seventh edition this summer, with exhibitions by Philippe Halsman, Tish Murtha, Michal Chelbin, Bastiaan Woudt, Turkina Faso, Benni Valsson, Ambroise Tézenas, and an intriguing show about selfies, curated by Olivier Culmann.
Selfies, Equal/Egos presents a mixture of amateur photography and artists who explore the phenomenon in their practice. Both serious and offbeat, the exhibition examines the mechanisms of virality, and the repetitive nature of the image economy in a digital age.
One winter night at a charity shop in Paris, a young Afghan refugee named Zaman arrived at the store. He had travelled for sixteen months from Kabul in a flimsy pair of flip flops, and was looking for a new pair of shoes. When presented with the selection of footwear on offer, Zaman said, “Not ugly sneakers – sneakers like Jay-Z”. This anecdote was the starting point for photographers Ambroise Tézenas and Frédéric Delangle, leading to a project that questions the social function of clothing for refugees. Sneakers like Jay-Z was commissioned by the charity Emmaüs Solidarity – who currently run over 600 second-hand shops in France – and is the winning project of the inaugural Ooshot Award. The Ooshot Award is the first photographic prize dedicated to commissioned photography. Valerie Hersleven, founder of the award, wants to break the boundaries between art and commercial photography, pointing out that some of the greatest photographs in history were made under a commission. One of her favourite images, Tears by Man Ray, for example, was created for the mascara brand …
London’s National Portrait Gallery is no longer taking a £1m gift from the Sackler Trust, amid growing controversy over the trust’s links to Purdue Pharma – makers of the OyxContin prescription painkiller which has been linked to the opioid crisis.
The £1m gift was to support the gallery’s Inspiring People initiative, a £35.5m project which would see the biggest-ever building development of the gallery since it opened in 1896. The NPG has stated that it has jointly agreed not to proceed with the gift with the Sackler Trust, and has issued two statements.
“The Sackler Trust has supported institutions playing crucial roles in health, education, science and the arts for almost half a century and we were pleased to have the opportunity to offer a new gift to support the National Portrait Gallery,” reads the first statement, from a Sackler Trust spokesperson. “The giving philosophy of the family has always been to actively support institutions while never getting in the way of their mission.
We are delighted to unveil our new memberships platform, 1854 Access. For the first time, photography lovers will have the opportunity to become fully involved with every aspect of 1854 Media. With benefits spanning our editorial, awards and commercial platforms, 1854 Access is an essential tool for anyone who is serious about photography. Members can choose between Full Access or Digital Access memberships. The former includes a print subscription to British Journal of Photography, the world’s longest-established and leading authority on contemporary photography. Full Access members will receive our beautifully crafted and multi award-winning magazine delivered to their door every month, and each edition will come with an exclusive, collectable cover – a perk just for our members and subscribers. Both Full Access and Digital Access members can also enjoy an ad-free digital subscription to British Journal of Photography, meaning they can get the latest stories on their mobile or tablet, on the go. This includes more than five years of back issues from the archive, so members can start building their collection right away. …
Japan is thousands of miles away from the Western world where photography was born, but its scene is thriving. Not only do they lead the world in camera and printing technology, but from the radical photographers of PROVOKE, to the cutting-edge work of rising stars, its practitioners are internationally recognised and respected; and its photofestivals are are no different in quality or flare. Set within the ancient city of Kyoto, among countless temples, shrines, and imperial palaces, is Japan’s largest international photofestival, Kyotographie. It returns this spring for the seventh time, catching the last of the cherry blossoms – an important season in Japan, symbolic of renewal and the fleeting nature of life.