All posts tagged: clare strand

50 years of Arles: Les Rencontres d’Arles 2019 programme

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.

2019-04-23T17:11:54+00:00

Angle 24°: Fun with Negatives by Clare Strand

Clare Strand’s latest project presents a series of negatives printed onto translucent paper. “The offer’s there,” says Strand, “People can make their own prints and then they have the images themselves, or they can keep the book as it is. The negatives have a physicality to them – they have their own aesthetic – so it’s not a redundant object if you don’t use them”.
Strand’s zine is the 24th edition of Angle 1-90°, a 90-part project by Norwegian book publisher Multipress. Each zine is made by a different artist who presents their own unique angle on the world through photography. Multipress will continue to produce four zines a year until they reach 90°.

2019-03-07T14:02:25+00:00

A hundred photographic heroines

What do Sophie Calle, Rineke Dijkstra, Susan Meiselas, and Hannah Starkey all have in common? They’re all on the list of 100 contemporary women photographers picked out by the UK’s Royal Photographic Society, after an open call for nominations. Over 1300 photographers were recommended to the organisation by the general public, which was slimmed down by a judging panel headed up by photographer Rut Blees Luxemburg.

The final list includes well-known names but also less recognised image-makers such as Native American artist Wendy Red Star, Moscow-based photographer Oksana Yushko, and Paola Paredes from Ecuador. Each Heroine will be awarded a Margaret Harper medal, named after the first female president of The Royal Photographic Society, and the first female professor of photography in the UK. An exhibition and accompanying publication will follow, all part of a bid to highlight women working in what is still a male-dominated industry.

“Although it was a truly challenging exercise having to consider 1300 women, being a part of the jury for Hundred Heroines was ultimately an incredibly stimulating and inspirational process,” says Luxemburg. “This final list reflects both the global expanse of female practice and the intergenerational input into contemporary photography. It reflects the wide range of methodologies, practices and diverse approaches of women working with the photographic medium. This is a moment of change and this list of heroines pays heed to it.”

2019-01-08T10:37:03+00:00

How We See: Photobooks by Women

History confirms it – the first photobook was made by a woman, with British photographer Anna Atkins publishing Photographs of British Algae: Cyanotype Impressions in 1843, a year before Henry Fox Talbot’s The Pencil of Nature. Still, many historians, including Allan Porter in his introduction to The Photobook: A History, dismiss Atkins’ work as “photographic prints” rather than photography.

“Unfortunately, this is far too often emblematic of the uphill battle women photobook-makers still encounter when we talk about their history,” says Russet Lederman, co-founder of 10×10 Photobooks. “As we conducted research for the How We See project, we discovered that although women photographers produce relatively equal numbers of photobooks to men, their representation in the higher-profile sectors was, and still is, disappointing.”

2018-10-29T10:14:16+00:00

Arles is urged to include more work by women

Les Rencontres d’Arles is the most prestigious photo festival in the world – that’s beyond question. But according to a high-profile group of photographers, curators, and writers, there’s still more that it could do. They’ve got together to sign a public letter to festival director Sam Stourdzé, which urges him to include more exhibitions by women in the main programme at Arles, and which was published in the French newspaper Libération on 03 September.

The letter is signed by influential industry figures such as Iwona Blazwick, director of the Whitechapel Gallery; Victor Burgin, Professor Emeritus of History of Consciousness, University of California, Santa Cruz, and Emeritus Millard Chair of Fine Art at Goldsmiths College, University of London; collectors Claire and James Hyman; and Olivier Richon, Professor of Photography, Royal College of Art, London, as well as photographers and artists such as Clare Strand, Sunil Gupta, and Anna Fox.

2018-10-16T09:50:37+00:00

Clare Strand looks at misinterpretation of information in the digital age

Throughout her career, Clare Strand’s work has been deeply embedded in the act of research. Best known for projects such as The Betterment Room – Devices For Measuring Achievement (2005), Skirts (2011), 10 Least Most Wanted (2011), The Happenstance Generator (2015) and The Entropy Pendulum and OutPut (2015), her interests are often centred around the medium of photography itself, “investigating its origins, uses – and limitations.” For her latest work, The Discrete Channel with Noise, Strand draws on references as diverse as Claude Shannon’s information theory to Roald Dahl’s 1964 novel Charlie and the Chocolate Factory, to discuss the nature of communication. It was the book’s Mike Teavee character explaining the process of transmitting a photograph that was one of the starting points for this project, says Strand. In the 1971 film adaptation, Mike says: “You photograph something then the photograph is split up into millions of tiny pieces and they go whizzing through the air, then down to your TV set when they are all put together in the right order.” What Mike fails to predict are the complications and disruptions which can occur …

2018-04-06T17:18:11+00:00

BJP Staff