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.
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.
Our pick of the key stories from the past week, including Q&As with image-makers like Mathilde Vaveau and Karol Palka, Paul Senn’s documentation of a mass migration from Spain in 1939, and the programme for the 50th Les Rencontres d’Arles.
50 years ago, photographer Lucien Clergue, writer Michel Tournier and historian Jean-Maurice Rouquette put together the first edition of Les Rencontres d’Arles in the city’s town hall. They had three exhibitions – a group show tracing the history of photography, and solo shows by Gjon Mili and Edward Weston. Now it’s the largest and most prestigious photography festival in the world, and this summer, they celebrate 50 years with 50 exhibitions, looking back on their history and heritage, as well as championing cutting-edge photography and emerging talent.
Running from 01 July till 22 September, the festival is lead by director Sam Stourdzé for the sixth year. Last year, Stourdzé was criticised by a group of eminent photography specialists in an open letter urging him to include more women in the main programme. A year on, it seems they’ve taken the criticism on board. Marina Gadonneix, Germaine Krull, Helen Levitt, Evangelia Kranioti, Libuse Jarcovjakova, Camille Fallet, and Pixy Liao, among many more, appear on the main programme with solo shows; the festival also includes a section titled Replay, which is dedicated to female-led narratives.
Replay includes a group show titled The Unretouched Woman, which combines the work of Eve Arnold, Abigail Heyman and Susan Meiselas, whose photobooks from the 1970s challenged gender bias and celebrated women from across the globe. In the same section is a group exhibition of around 200 vintage prints by Berenice Abbott, Florence Henry, Germaine Krull and more, as well as Tom Wood’s Mothers, Girls, Sisters, which was shot in the suburbs of Liverpool between the early 1970s and late 1990s.
Our pick of the key stories from the past week, including interviews with image-makers such as Yorgos Yatromanolakis, Sara Cwynar, Hiro Tanaka and Patrick Waterhouse, updates on news and exhibitions such as the Deutsche Börse Photography Foundation Prize, and an appreciation of the photojournalist Yannis Behrakis
Now in its 22nd year, the Deutsche Börse Photography Foundation Prize is awarded each year to image-makers who’ve made the biggest contribution to the medium in the previous 12 months in Europe. This year the shortlisted artists are: Laia Abril, for her publication On Abortion; Susan Meiselas, for the retrospective exhibition Mediations; Arwed Messmer, for his exhibition RAF – No Evidence / Kein Beweis; and Mark Ruwedel, for the exhibition Artist and Society: Mark Ruwedel. The winner of the £30,000 prize will be announced at The Photographers’ Gallery on 16 May 2019.
Born in Athens in 1960, Yannis Behrakis was inspired to take up photography after chancing across a Time-Life photobook as a young man. Going on to study photography in Athens and at Middlesex University in the UK, he starting work for Reuters in 1987, and by 1989 had been sent on his first foreign assignment – Muammar Gaddafi’s Libya, where he quickly made his name.
“He quickly displayed a knack for being in the right place at the right time,” reports Reuters’ site The Wider Image. “When Gaddafi visited a hotel where journalists had been cooped up for several days, a scrum of reporters crowded around the Libyan leader to get pictures and soundbites.
‘I somehow managed to sneak next to him and get some wide-angle shots,’ Behrakis wrote. ‘The next day my picture was all over the front pages of papers around the world.’”
“A lot of my work has undertones of female sexuality and ritual, because photography was a place where it was okay to explore those things,” says Tabitha Barnard, the oldest of four sisters raised in a close-knit, religious community in rural Maine. “In photographing my sisters, and in trying to find a private place to do that, we kind of found this escape. I could always just tell my parents it was make-believe.”
Barnard has just won the 2018 Gomma Grant with this work, which she’s titled the Cult of Womanhood. Second prize went to Vladimir Vasilev with Nocte Intempesta, which was shot at night in a small city in Normandy, France. Fatima Abreu Ferreira took Third prize with How to disappear completely, “a work of struggle, obsession and complete hallucination” shot over two years in the photographer’s home town. Yorgos Yatromanolakis, meanwhile, won an Honourable mention for The Splitting of the Chrysalis & the Slow Unfolding of the Wings, which was also shot back home in the Greek island of Crete.
Our pick of the key stories from the past week, including interviews with World Press Photo-nominated photographers, details of Bangladesh’s Chobi Mela festival, plus Piero Percoco on his wildly successful Instagram The Rainbow is Underestimated
“Chobi Mela continues the way it began,” writes Shahidul Alam. “Unyielding to power.” He’s referencing the very first Chobi Mela festival, which opened in Dhaka, Bangladesh back in 2000. Alam and Robert Pledge had painstakingly put together an exhibition on Bangladesh’s 1971 war, which a government minister – phoning at midnight – wanted to censor; rather than comply and remove the offending prints, Alam and Pledge moved the entire exhibition to a new venue, which opened at 3pm the next day.
“That is how we’ve always done it,” writes Alam, the founder of Chobi Mela. “Against the odds, facing the storm, with the wind against our face.”
Though he doesn’t mention it outright, it’s difficult to read his comments now without also thinking of Alam’s own recent experience, in which he spent 107 days in Dhaka Central Jail last year. The 63-year old photographer and Drik Gallery director was arrested on 05 August after stating in an interview with Al Jazeera that the wave of student protests in Bangladesh last year was a reaction to government corruption. He was charged with violating Section 57 of Bangladesh’s Information and Communication Technology Act (ICT) – which has been used in more than 20 recent cases involving journalists, most of them related to news-reporting – and was held for more than 100 days.