Peter James was an instrumental figure in British photography, establishing an outstanding collection of photography at the Library of Birmingham over his 26-year career at the institution, and researching and curating exhibitions at the V&A, National Portrait Gallery, Somerset House, Birmingham Museum and Art Gallery, Ikon Galley, the Library of Birmingham, and many more. He was also a modest and affable man, universally known as Pete and as at home over a curry as in a lecture hall delivering an academic paper. As Hilary Roberts, research curator at the Imperial War Museum, put it in a tribute on James’ Facebook page: “Pete has been a wonderful friend and exceptional colleague for more years than I can remember. His contribution to the world of photography cannot be overstated. It was a privilege to work with him and I will miss him more than I can say.”
Patricia Karallis and Giada De Agostinis, founding editor and editor of the online photography magazine, pick out their top five of the year – including Vincent Ferrané’s book Milky Way
“On s’engage, on va le faire” – that is, “We’re in, we’ll do it”. The New York-based, French-Venezuelan photographer Mathieu Asselin goes back and forth from Spanish to English to French as he recalls how Sam Stourdzé, the director of the Rencontres d’Arles, enthusiastically agreed to exhibit his five-year long, research-intensive project about the US chemical corporation Monsanto. It happened a week before last year’s festival, and Asselin was then showing the dummy of his photobook, Monsanto®. A Photographic Investigation. This year the project is being shown at the Magasin Électrique at Arles, and the book has been published in French by Actes Sud, and in English by the Dortmund-based Verlag Kettler. Asselin’s project is conceived as a cautionary tale putting the spotlight on the consequences of corporate impunity, both for people and the environment. Designed by fellow countryman Ricardo Báez, a designer, curator and photobook collector who has notably worked with the Venezuelan master Paolo Gasparini, Monsanto® submerges the reader into an exposé of the corporation’s practices, whether by showing contaminated sites and the health and …
Born in 1983, Emmanuelle Andrianjafy grew up in Madagascar and worked as an engineer in France before moving to Dakar in 2011. Relocation to Senegal proved quite a shock. “It’s very energetic, very hectic, very loud,” she told BJP for the June Ones to Watch issue. “It’s very different to where I’ve lived before. It’s by the sea but it’s not peaceful; the landscape is harsh and dry. I was tempted to not deal with it and just stay at home.”
When approaching Mathieu Pernot’s 20-year-spanning work on a Roma family settled in southern France, you should leave all misconceptions and prejudices aside, as he did, and read the introduction to Les Gorgan, the photobook published by Editions Xavier Barral to accompany his critically-acclaimed exhibition at this year’s Rencontres d’Arles festival. When he began, the French photographer writes, he didn’t know anything about the Gorgan family, nor was he aware that its members had been living in France for over a century. It was to be a transformative experience, one that led Pernot to witness the birth of a child for the first time, attend funerals and engage in a type of intimacy that only time and surrender can offer.
Congenital achromatopsia is a hereditary condition in which the eye cannot detect colour – the cones in the retina do not function, leaving the vision to the rods alone, which only detect shades of grey. In most places the disease is rare, occuring in less than one in 30,000 people. But on the Micronesian island of Pingelap it’s much more common, present in more than 5% of the population. It’s an extraordinary phenomenon – and one that immediately gripped Belgian photographer Sanne De Wilde when she heard about it back in 2015
“There are two important things about this show,” says Clément Chéroux, senior curator of photography at SFMOMA. “First, the quantity of work – more than 300 photographs, quite a large selection, because we were able to get support from most of the big institutions – MOMA, the Art Institute of Chicago, the Metropolitan Museum of Art, National Gallery of Canada, the Musée du Quai Branly and so on, and private collections from around the world. Second, is the fact that it is arranged thematically rather than chronologically. Usually when you look at important retrospectives they are chronological, but we organised by theme because we wanted to organise it around Evans’ passion for the vernacular. He was fascinated with vernacular culture.”
“The Face had a different theme every issue and were planning an issue on sex, so Graham Rounthwaite [the art director] said ‘Can you photograph in clubs and sixth form parties and get an idea of young kids’ idea of love?’”says Ewen Spencer. The feature became a regular spot, sometimes shot by Spencer and sometimes by another photographer, a writer going along each time to talk to the kids they found. But it became an ongoing interest for Spencer, who started to pursue it in his own time as well as on commission, and images from the series have now been published as a book by Stanley Barker
“I have always wanted my photobook collection to go to a public institution in the UK and with the recent commitment to photography from Tate, this was a very easy decision to make. I’m also very happy that thanks to Maja and LUMA, the city of Arles will embrace the photobook phenomenon,” says Martin Parr. Well-known as an avid photobook collector, co-author of the seminal three-volume anthology The Photobook: A History, and a respected photographer, the Magnum Photos member has given his entire collection to Tate. Built up over 25 years and including 12,000 photobooks, it is a world-class library which includes a broad geographical scope and many different approaches to photography, and includes self-published amateur work and mass-produced books alongside iconic publications by artists such as Hans Bellmer, Nobuyoshi Araki and Robert Frank.
Global business developer for Magnum Photos and founder of Firecracker, Fiona Rogers picks out her top five from the Arles festival and its fringe events – the group show Iran, Year 38; Looking for Lenin by Niels Ackermann; The Incurable Egoist by Masahisa Fukase; Life in Cities by Michael Wolf; and The Island of the Colorblind by Sanne De Wilde