Debuting last year at Photo London, Photography on a Postcard offered the chance to own a signed, one-off print by a world-renowned photographer for as little as £55. The twist was that all photographers would remain anonymous until after the auction, when buyers found out which print they had won – a lucky dip of sorts. Now back at the fair for its second year, buyers have the chance to bid on a specific photograph. All photographers still remain anonymous until after the auction, and all bids begin at the same price. The aim is to democratise Photo London by placing photographers of various stages in their career on an equal playing field. There are over 550 prints to choose from, which include those by some of photography’s biggest names – from Larry Clark, Janet Delaney and Eamonn Doyle, to Roger Ballen and Michael Wolf. Bidding starts on 08 May, and runs until 22 May, with 100 percent of the proceeds going to The Hepatitis C Trust and its campaign to eliminate the virus by …
London-based photography publisher Palm* Studios has announced the 100 artists shortlisted for its 2019 Palm* Photo Prize. Selected from almost 4,000 entries, the shortlisted mages will be exhibited at theprintspace gallery in east London between 14 and 17 May as a satellite event to this year’s Photo London fair. On the opening night of the exhibition, the public are invited to vote for the photograph they think is most deserving of winning the prize. The photographer with the highest number of votes will go on to win the People’s Choice award. First and second place awards will be presented to two photographers selected by a judging panel that comprises Karen McQuaid, senior curator at The Photographers’ Gallery; Sarah Allen, assistant curator at Tate Modern; Jessica Lopez, photo editor at Polaroid Originals; and writer and curator David Campany. The open call specified no set theme and photographers were asked to submit no more than two standalone images. Photographers took part from all over the world, with images encompassing a vast array of styles and disciplines. Among …
There is no single formula that guides the practice of Han Nguyen; visual stimuli and, sometimes, instinct shape his work. For Nude Compositions, a selection of which are on show at Joseph Bellows Gallery, La Jolla, California, from 02 May to 14 June, the photographer co-opts the pictorial language of Cubism. Nude forms, rendered in black-and-white and fragmented by layered planes, melt into related shapes and tones – shreds of Cubist paintings; abstract shapes; greys, whites, and blacks. Many of the fractured torsos belong to models who the photographer captured years before; others were re-photographed from books and movies; a few are self-portraits. In 1996, Nguyen began to carve up negatives and reassemble them using Scotch tape. The results, which he refers to as “collage negatives,” were then blown up with an enlarger. “I was trying to create images that resemble assemblages or collage,” Nguyen explains, “… at the time I thought it was a good idea and it had never been done before.” Nguyen moved to the US from Vietnam in 1975 and settled …
Between 1971 and 1983, Bob Colacello served as editor of Andy Warhol’s Interview Magazine; a physical incarnation of New York City’s cultural renaissance. Often armed with nothing but his miniature Minox 35 EL camera, Colacello became a fixture of Warhol’s New York party scene, documenting some of the most significant figures of the time in their most off-guard moments. On 03 May, 150 of Colacello’s photographs – many of which have never been exhibited before – will go on show at Vito Schnabel Projects in New York. Encompassing portraits taken in iconic locations including Studio 54 and Regine’s, and featuring portraits of Warhol and other icons, Pictures from Another Time documents a world in the midst of social change: “It was a world where classifications and categories seemed to fall by the wayside,” says Ingrid Sischy, Colacello’s successor at Interview Magazine. “Where black and white, gay and straight, traditional society and new society, uptown and downtown, the powerful and the powerless, and young and old, all danced under the same disco ball.” Alongside hedonistic images …
Born in New York in 1893, Florence Henri left the city when she was two years old after the death of her mother. She was thrown into a peripatetic life, travelling between her mother’s relatives in Silesia (then part of Germany), a convent school in Paris, and family homes in London and the Isle of Wight, and as an adult continued her travels, studying music in Rome, relocating to Berlin in World War One, acquiring Swiss citizenship through a hasty marriage, and moving to Paris in 1925, where she studied painting under Fernand Leger.
In 1927, when she was 34, Henri enrolled as a non-matriculating student at the Bauhaus in Dessau, where she studied photography with László Moholy-Nagy and struck up a close friendship with Lucia Moholy. Between 1928 and the late 1930s she created the photography she’s now best-known for, using prisms and reflections to complicate her images and experimenting with techniques such as photomontage, multiple exposures and photograms.
Established in 1986 as a festival for young fashion designers, and adding a prize for emerging photographers in 1997, the International Festival of Fashion, Photography and Fashion accessories, Hyères has established itself as a small but beautiful festival with a cutting-edge handle on photography in fashion and beyond.
The artistic director for photography is Raphaëlle Stopin, and this year she’s presenting exhibitions such as a solo show by Craig McDean plus a 25-year retrospective of Self-Service magazine. As usual, the festival also features work by 10 up-and-coming photographers, plus exhibitions by the two prize winners from 2018 – Eva O’Leary (who won the Grand Prix for photography last year) and Sarah Mei Herman (who won the American Vintage-sponsored prize).
The finalists for the 2019 competition are: Federico Berardi (Switzerland – Italy); Hubert Crabieres (France); Kerry J Dean (United Kingdom); Tommy Kha (China – USA); Hilla Kurki (Finland); Vincent Levrat (Switzerland); Alice Mann (South Africa); Andrew Nuding (Ireland); Jean-Vincent Simonet (France); and Elsa & Johanna (France). Their work will be on show until 28 May, and as well as competing for main prize, they will be commissioned to shoot new images for a Still Life Prize, and for the American Vintage Photography Prize.
Born in Poland in 1985 and based in London, Joanna Piotrowska has had a stellar career so far. Studying photography at the Academy of Fine Arts in Kraków and then on the prestigious MA at London’s Royal College of Art, she won MACK’s First Book Award in 2014 with FROWST, and then the Photoworks & Jerwood Award in 2015. She’s already shown her work at the Winterthur Fotomuseum, Switzerland, MoMA in New York, Hayward Gallery, Institute of Contemporary Arts and Sadie Coles in London, and now her first solo show has opened at Tate Britain.
Titled All Our False Devices, the exhibition includes both still photographs and 16mm films to consider gestures, relationships, and power. The series Self Defense, 2015 shows young women re-enacting poses from self-defence manuals, for example, while Shelters, 2016-2018 shows makeshift structures Piotrowska invited people to build at home in Lisbon, Rio de Janeiro, Warsaw, and London.
A group show of contemporary Czech photography, Tender is dedicated to work that “registers vulnerabilities of people and their environments – the bruises on the fruit”. The selected photographers include image-makers such as Tereza Zelenková, Vendula Knopová, and Hana Knížová, for example, who adopt widely varying styles but can all be seen to investigate this idea in their selected work.
“Remember, ‘tender’ also means a bid and this exhibition is a part of a program established to promote the Czech Republic abroad,” write the exhibition curator Michal Nanoru. “Are you going to accept the offer?”
“To me photography is a means, perhaps the best means of our age – of widening knowledge of our world. Photography is a method of education, for acquainting people of all ages and conditions with the truth about life today,” wrote photographer Berenice Abbott, in an unpublished text from 1946, Statement in Regard to Photography Today. Berenice Abbott: Portraits of Modernity will run at the Fundación MAPFRE in Barcelona till 19 May 2019. Following its showing in Barcelona, the exhibition will go on display at the Fundación MAPFRE’s Sala Recoletos in Madrid from 01 June till 23 August.
Since 2012, Temps Zero has matched emerging photographers and cutting-edge music, creative “a sonic and visual experience” that has popped up in Paris, Berlin, Athens, Rome, and many more. No two performances are alike, but the project is overseen by Stéphane Charpentier, a French photographer currently based in Athens.
Temps Zero’s next outing is in Vienna during Foto Wien 2019, with a photo projection in the Schikaneder Kino on 23 March, 24 March and 13 April accompanied by a soundtrack record by Alyssa Moxley, plus a photography show in the cinema. Guest-curated by Damien Daufresne and Kunstnetzwerk, the show includes images by French photographers Gaël Bonnefon and Gabrielle Duplantier, Italian photographers Marco Marzocchi and Lorenzo Castore, and Swedish photographers Theo Elias and Martin Bogren