“The Pink and Blue Projects were initiated by my five-year-old daughter, who loved the colour pink so much that she wanted to wear only pink clothes and play with only pink toys and objects,” writes JeongMee Yoon. “I discovered that my daughter’s case was not unusual.
“In the United States, South Korea and elsewhere, most young girls love pink clothing, accessories and toys. This phenomenon is widespread among children of various ethnic groups regardless of their cultural backgrounds. Perhaps it is the influence of pervasive commercial advertisements aimed at little girls and their parents, such as the universally popular Barbie and Hello Kitty merchandise that has developed into a modern trend. Girls train subconsciously and unconsciously to wear the colour pink in order to look feminine.”
When Kanghee Kim started making photographs, it was out of frustration. Due to visa complications, Kim hasn’t been able to leave the US for 10 years, even to visit her relatives back home in Korea, because her entry back into the states isn’t guaranteed. Now 27, Kim moved to New York with her family when she was 14. Getting a green card should have been simple – at the time there was a need for more nurses in the states, and her mother was helping to fill that gap – but their lawyer missed a deadline, and Kim was never able to secure a citizenship. Eventually, she was protected under the DACA (Deferred Action for Childhood Arrivals) policy, but her status has made leaving the country too much of a risk. “I really miss Korea, especially over the last few years,” she says. “Korea is the motherland. Whenever I see photos or hear about it I feel a bit torn.” Kim didn’t get into photography until her final year of studying painting at Maryland Institute College …
If you wanted to become a professional photographer in the Soviet Union, says Victor Kochetov, you only had two options. Either you could work at an atelier producing pictures for books or postcards, or you could work for the press – and both meant conforming to the ideological pressure of the state. Kochetov chose the first option, and through the 1960s he worked as a commercial photographer in Kharkiv, Ukraine, photographing events such as weddings and funerals, and providing images for books on travel.
“I was quite scared to begin with,” says Ingvar Kenne, who has now been to ten Bachelor and Spinster (B&S) Balls, all in different regions of the Australian outback. “It’s by far one of the most intense things I’ve ever experienced. It’s full on, and non-stop.”
B&S Balls are notoriously drunken and raucous. They were originally set up to give young people in rural Australia the rare opportunity to meet a potential life partner. Nowadays they are mostly an excuse to party and let loose, but many of the old traditions have stuck, and hundreds of people still drive from all over the country to take part.
Then They Came for Me On 19 February, 1942, President Franklin D. Roosevelt signed Executive Order 9066, setting in motion a process in which all Americans of Japanese ancestry living on or near the West Coast were imprisoned. In total, 120,000 Japanese Americans were forced to leave their homes, moving into detention camps in which they were sometimes literally held behind barbed wire, without recourse to due process or other constitutional protections to which they were entitled. It was, argues a forthcoming exhibition in San Francisco, a “dark chapter” in American history, motivated by “fear-mongering and racism at the highest levels of the US government”. Titled Then They Came for Me: Incarceration of Japanese Americans during WWII and the Demise of Civil Liberties, the exhibition features work by both noted American documentary photographers such has Dorothea Lange and Ansel Adams and incarcerated Japanese American artists Toyo Miyatake and Miné Okubo. American Winter by Gerry Johansson “For me it is important not to create a story with the pictures,” says Gerry Johansson. “Normally when you edit you …
When Felicia Honkasalo’s grandfather passed away in 2009, he left behind boxes full of rocks and minerals, and stacks of notes, sketches, and fading photographs. “No one else in the family wanted them,” says Honkasalo, who never got the opportunity to meet her grandfather, “I was really intrigued by it all, but I didn’t really know what to do with it at first”.
Honkasalo’s debut book, Grey Cobalt, is an attempt to construct imagined memories of her grandfather, who was a metallurgist during the Cold War in Finland as well as an avid cosmologist. Published by Loose Joints, the book release accompanies an exhibition at the Webber Gallery in London, which will run till 15 February.
Publications we loved, and the big news stories from the last month in photobooks, including American Winter by Gerry Johansson, Void’s Hunger project, and JA Mortram’s Small Town Inertia
“For me it is important not to create a story with the pictures,” says Gerry Johansson. “Normally when you edit you try to sequence the photographs. But for me it is important that each picture is considered as a single, individual image.”
Johansson’s photography is largely driven by intuition, but when it comes to making a book, logic and order triumph. Almost all of his 31 photobooks are defined by their geography, if not the subject matter, and their equally-sized photographs are generally organised either alphabetically or chronologically, a bid to encourage readers to interpret them individually.
Taking a new approach to documentary photography after a near-death experience in Libya, Guy Martin captured Turkey’s fantasies and created a series which was recently published by GOST. “To not learn from that event in April 2011, I couldn’t do that to myself,” he says. “I couldn’t justify it to my family, I couldn’t be put in that same situation again,” he says. “The starting point was to take control of my photography, to use my photography instead of letting it use me.”
“Such great number of photo books in one place has never been presented in Kyiv before – since the foundation of the city more than 1500 years ago,” says Dmitriy Krakovich, director of the Kyiv Photo Book festival. “The goal of the festival is developing a communication between authors-photographers and publishers from one side, and broad circles of art lovers and photography art lovers in Ukraine.”
The first event of its kind in Ukraine, Kyiv Photo Book festival will feature both local and international photographers, publishers and galleries, with organisations such as MOKSOP (Museum of Kharkiv School of Photography) and Rodovid Press lined up to take part.