Multiple jigsaws, almost completed, are laid out in the living room. On the sideboard, porcelain creatures jostle for space with family photos – a marriage scene, a smiling elderly couple, kids in the park. Dolls are piled high on a chair in the corner, arranged in a chaotic arc. White masks, like those from the Venice Carnival, are positioned across one wall. The wallpaper is a scene from a seaside town – spinning Ferris wheels, winding rollercoasters, fairground murals – yet the paper itself is pockmarked with holes and stains.
Richard Billingham, who grew up in this environment, describes the room as “carnivalesque”. When he lived here, in Cradley Heath in the West Midlands, he did so with his mother Liz and, after she moved out, his father Ray. This jam of decorative stuff was all Liz. She had winding, flowering roots and flowers tattooed across her arms. She wore floral dresses and she smoked until the ashtrays overflowed.
When Billingham was 10 years old, Ray was laid off from a job as a machinist. The family sold their home for two grand – a cash-in- hand job to a local conman – and moved here, to what was quaintly referred to as public housing. Ray, who until this point only drank in the pub, began his life as a committed alcoholic and a full-time hermit.
It is difficult to unravel, in many of the stories that Max Pinckers tells, where fiction became unstuck from fact. Or how the characters in his photographs can look back out at the world so boldly, shake their heads at reality as most people see it, and tell stories that fly in its face. But for the Brussels-based photographer, the six curious individuals in his latest book, Margins of Excess – including a boy who compulsively hijacks trains, and a private detective with prosthetic hands – lead the way to understanding documentary photography’s role in the ‘post-truth’ era.
One such character, an American amateur inventor with a mane of silken hair, sat at the kitchen table of his home in Dunnellon, Florida and told Pinckers that he believed he had become the media’s new Osama bin Laden. “My name is Richard Heene. A few years ago I got into a bit of trouble,” said the forty-something showman, detailing the events that led him to end up behind bars.
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.
Three winners and one special mention have been announced for the 2018 Prix du Livre at Rencontres d’Arles – and in all four cases, the books use archival or found photography. The Author Book Award went to Laurence Aëgerter’s Photographic Treatment, which is published by Dewi Lewis; the Historical book award went to The Pigeon Photographer, a collection of images by Julius Neubronner published by Rorhof; and – controversially – the Photo-text Book Award went to Adam Broomberg and Oliver Chanarin’s War Primer 2, which was first published by MACK in 2011 but reissued in paperback this year. A special mention went to Giorgio Di Noto’s The Iceberg in the Author Book Award, which is published by Édition Patrick Frey.
“The British Landscape…is a long-term ongoing project about the enormous changes that have taken place in the UK – the world’s first industrial society and the first to de-industrialise,” says John Davies. “Much of Britain’s infrastructure and the rapid expansion of industrial cities were created through the unprecedented growth of the Industrial Revolution. By the early 1980s, when I started this project, many of these large-scale industries and industrial communities were in terminal decline.”
The opening image in his latest book, Sacrifice Your Body, typifies Roe Ethridgeʼs approach. At first sight, itʼs just an ordinary product shot of a Chanel No 5 bottle and its packaging, but closer inspection reveals chipped paint, stray drops of perfume and an intruding wasp. Rippling the surface of a glossy ad with droll other-world elements, itʼs the kind of image thatʼs made him a star in contemporary art, fashion and advertising. Like Juergen Teller, he shoots both commercial and editorial (for the likes of Kenzo, Self Service, Acne Paper and W) alongside his own artwork, and has been shortlisted for the Deutsche Börse Photography Prize (in 2011, alongside Elad Lassry, who heʼs often cited with as evidence of a new trend for dry conceptualism). The Deutsche Börse organisers described his work as follows: “Blurring the boundaries of the commercial with the editorial, and the mundane with the highbrow, Ethridge’s conceptual approach to photography is a playful attack on the traditions and conventions of the medium itself.”
Born in Denmark in 1976, Jacob Aue Sobol studied at the Fatamorgana Danish School of Art Photography from 1998-1999. In Autumn 1999, he went to live in the Tiniteqilaaq settlement in Greenland, and mainly stayed with his Greenlandic girlfriend Sabine and her family for the next three years. The resulting book, Sabine, was published in 2004, and nominated for the 2005 Deutsche Börse Photography Prize. In 2005, Aue Sobol travelled with a film crew to Guatemala, to make a documentary about a young Mayan girl’s first journey to the ocean. The following year he returned alone and he met the indigenous Gomez-Brito family, and stayed with them for a month. His story on the family won the Daily Life Stories award in the 2006 World Press Photo. In 2006 he moved to Tokyo, and shot a series of images that won the 2008 Leica European Publishers Award. I, Tokyo was published by Actes Sud (France), Apeiron (Greece), Dewi Lewis Publishing (Great Britain), Edition Braus (Germany), Lunwerg Editores (Spain) and Peliti Associati (Italy). Sobol became a nominee at Magnum Photos in 2007, and a full member in 2012. Aue …
The Dutch photographer’s epic Imperial Courts project, which was shot over 22 years, impressed the judges with its “affirmation of photography’s power to address important ideas through pure image”
“People consume photographs,” says Erik Kessels, “they don’t look at them anymore.” It’s a theme he’s played with in his work, most notably in the installation 24hrs In Photos, in which he printed out all the images posted on Flickr on a single day.
Mikhael Subotzky and Patrick Waterhouse were awarded the Deutsche Börse Photography Prize 2015 at The Photographers’ Gallery this evening, Thursday 28 May 2015. The £30,000 award was presented by previous prize winners Oliver Chanarin on behalf of the artist duo Broomberg & Chanarin. Subotzky and Waterhouse won for their publication Ponte City (Steidl, 2014), which depicts a 54-floor apartment block in Johannesburg, built in 1976 for a white elite under apartheid rule. After the end of Apartheid, it became a refuge for black newcomers to the city and immigrants from all over Africa, and it came to be seen as the prime symbol of urban decay in the city – the epicentre of crime, prostitution and drug dealing. Subotzky and Waterhouse began their project in 2007 after a failed regeneration project. Working with remaining residents and using photographs, architectural plans, archival and historical material, they created an intimate social portrait of the building’s community of residents. An accompanying sequence of seventeen booklets containing essays and personal stories complete the visual and spatial narrative of this …