All posts tagged: commercial

Zeen by Scheltens & Abbenes

Maurice Scheltens and Liesbeth Abbenes have long been preoccupied by perspective. In fact, this year is the 18th that the artist duo – partners in life, as well as in work – have spent creating their painstakingly controlled scenes to capture on camera together. Translating their immaculately constructed three-dimensional sets into technically precise two-dimensional images, they have made a name for themselves with rich, playful and illusory works that toy with spatial dimensions, and which, though aesthetically pleasing, are conceptually rigorous first and foremost. The concept, Abbenes assures us, always precedes the picture.

Their spring exhibition at Amsterdam’s Foam Museum (from 15 March to 05 June) is something like a retrospective, giving the Dutch duo an opportunity to look back over almost two decades of work from a new perspective. And true to form, they are first rearranging the rooms their work will inhabit by uncovering windows that have not been opened in many years. “We will have light and some fresh air, hopefully. We have to give up walls for that, but it’s good to have a bit of the outside world coming in,” they say. Shifting the dimensions and conditions of the space itself will alter the way viewers see the work, and that typifies their approach to the exhibition, rethinking how the works will appear in this new context, and how they relate to each other.

2019-03-08T10:59:04+00:00

Martin Parr’s Only Human

When the Portrait Gallery was established in London in the mid-19th century, its role was envisioned “to consist of those persons who are most honourably commemorated in British history”. Opening in an era when photography was still a new and untried technology, the National Portrait Gallery (as it later became known) was intended to be the national repository of the images, chiefly paintings and drawings, of those men and, much later, women who represented what was best among the British hierarchy of achievements, skills and aptitudes. Its function was to hold up a mirror to Britain that reflected its qualities back to those who came to observe them, as object lessons about how to aspire to, or more simply respect, the qualities and moral standing of the great and the good.

This conception of the NPG may still be widespread in the public mind, as even Martin Parr thought his work would be an ill-fit for a contemporary exhibition along these lines. “I never thought of myself as a portrait photographer,” he says, “and when I first met Phillip Prodger [NPG’s former head of photographs], I told him I had only a few celebrity portraits. I just put a lightbox together and sent them to him, though I was quite surprised at what I had.” Prodger, however, had other ideas, seeing in Parr the work of a social observer who could also offer a portrait of a nation at a key point in its history. So it is that the NPG put together Only Human, on show from 07 March to 27 May, bringing together some of Parr’s most famous photographs alongside a number of works never exhibited before.

2019-03-08T13:01:39+00:00

The Magnum Photos/BJP 2018 workshops kick off with a guide to editorial assignments

“The Magnum/BJP series of workshops have been extraordinarily rewarding for me,” says Beren Patterson. “Despite being only two intense days per topic, the depth, coverage and expertise from Magnum photographers, industry speakers, and fellow attendees is incredible. I can’t recommend the workshops strongly enough for those wanting to be inspired and grow as a photographer.” Patterson has attended all of the Magnum/BJP workshops to date – and has already signed up for the 2018 series, which kicks off on 17-18 February with session titled Editorial Assignments – How to succeed in the editorial market.

2018-01-23T11:20:44+00:00

On Post-Production, Pt. 1: Klaus Pichler on bringing together analogue and digital techniques

Austrian photographer Klaus Pichler is out climbing a volcano in Lanzarote the first time I try to get in touch. The next day he’s relaxing on the Spanish island’s sandy beaches, taking a well-deserved break after a busy 2016. In the past year, Pichler has won the first prize at Cortona on the Move for his project Golden Days Before They End, about Austria’s last remaining dive bars (featured in our November issue), and the Outstanding Artists Award from the Austrian Ministry of Culture. He has also been working on his latest personal project, This will change your life forever, an exploration of what he called the “swarm stupidity” of New Age esotericism. He’s also seen the publication of his two brand books for Schock, the German kitchen designer, both of which were designed to live up to the client’s name (and featured in BJP’s May issue). Featuring bold artificiality, wacky compositions and clashing colours, these books pair racoons with poodles, and turtles with flamingoes, and generally make the world of sinks look more exciting …

2018-02-15T11:09:54+00:00

The photographer inspired by stoners to mix high fashion with everyday objects

Having graduated from New York’s School of Visual Arts four and half years ago, David Brandon Geeting has already exhibited at Art Basel Miami Beach and shot for the likes of Nylon, The Fader and The New York Times T Magazine. He is clearly a rising star, but modestly comments that “every time I make new work, I feel like I’ve never made art before,” adding, “I also have a hard time learning from experience; I hit my head on the same low ceilings every time. I hope my work looks as if someone who just hit their head on a ceiling is trying to make art for the first time.”       These images come from a shoot for Surface magazine and show off clothes by Maison Martin Margiela, but Geeting is irreverent about high fashion too, noting that he and creative director Zak Klauck paired the clothes with everyday items because “the Margiela couture was so ridiculous”. Done at “the cheapest studio I could find, with off-brand strobes, a modest collection of seamless …

2015-11-09T14:49:48+00:00

All about his mother: Fashion photographer Charlie Engman’s maternal muse

Her eyes are closed and her mouth open, an open robe hanging from her shoulders. She holds in her hand the talons of a grey bird, its wings spread-eagle. A strange, flared light seems to emanate from her. She’s the mother of Charlie Engman, the man behind the camera. In a few short years, the 26-year-old, New York-based photographer has risen to become one of the hottest properties in fashion photography – the go-to guy for brands such as Urban Outfitters and Kenzo and magazines like Zero1, Dazed & Confused and The Cut. His photographs are ephemeral, angular and acute with colour – like a still from a fever-dream. Chicago-born Engman spends roughly half his time in Europe, shooting models for magazines and agencies. We meet in Camden Town, north London, on a burning hot day, an hour or so before another shoot. I find him staring at a topless guy with a beer belly goose-stepping in time to a boombox. “Welcome to Camden,” I say. He laughs. Engman spent his teens and early 20s as a contemporary dancer and painter. He studied …

2015-09-21T18:00:28+00:00

BJP Staff