Think of Guy Bourdin, and you’ll probably think of intense, transgressive images shot in highly-saturated colours. There’s his photograph for Pentax in 1980, for example, which shows a gush of red liquid apparently streaming from a prone woman’s mouth; or his shot from 1978, which shows a woman’s bottom and legs lying on orange sofa – her head firmly out of the picture.
But Bourdin also shot award-wining black-and-white work, which is less known now but which was celebrated in its time. There’s his black-and-white campaign for Chanel’s first ‘Premiere’ watch, for example, which he shot in 1987. Influenced by his interest in Surrealism – in particular Man Ray – and not clearly advertising images, this campaign went on to win the Infinity Award at the International Center for Photography (ICP) in New York in 1988.
Photobooks have been booming for the last ten years or so but one prize has been there for the last 49 years – Les Prix du Livre at Arles, which was set up at the same time as the Rencontres d’Arles festival. With its long history and prestigious jury, which is this year overseen by FOAM director Marloes Krijnen, the Prix du Livre are some of the best-respected in photography.
Three Prix are up for grabs in three categories this year – the Historical Book Award, the Author Book Award, and the Photo-text Book Award, each of which come with a €6000 prize to be shared between the photographers and their publishers. The books are on show at Arles until 23 September, and the winners will be announced in the opening week.
Tate Modern’s show Shape of Light: 100 Years of Photography and Abstract Art includes over 300 works by more than 100 artists, making it the first show of this scale to trace abstract art and photography’s parallel development. On show from 2 May to 15 October, the exhibition spans from early experiments of the 1900s to digital innovations of the present day, examining how photographers through the years have responded to the emerging field of abstract art. It places pioneering work such as Alvin Langdon Coburn’s Vortographs (1917) and Imogen Cunningham’s Triangles (1928) alongside iconic paintings and sculptures by the likes of George Braque and Jackson Pollock.
When he joined Tate Modern in 2009 he was Tate’s very first photography curator – but now Simon Baker is on the move, succeeding Jean-Luc Monterosso as the director of the Maison Européenne de la Photographie in Paris. Monterosso, who founded the MEP back in 1996, will leave the institution on 31 March. The news comes just weeks after Shoair Mavlian, assistant curator at Tate Modern, announced she was leaving the institution to become Photoworks’ new director. In October 2017 Kate Bush joined Tate Britain as its adjunct curator of photography, however, responsible for “researching and building the collection of British photography and curating exhibitions and displays”. In September 2017, Tate announced that it had acquired Martin Parr’s 12,000-strong photobook collection, making it one of the leading institutional collectors in this field.
Returning for its eight edition from 13 September, Tbilisi Photo is an international festival in the heart of the Caucasus which hopes to bridge the image-making communities from across Asia, the Middle East, and Europe. This year themed Fashion, the diverse programme includes a look at Guy Bourdin’s iconic oeuvre, the Dutch artist Viviane Sassen’s approach to fashion photography, and an exclusive display of Iranian fashion magazines published before the Islamic revolution in 1978.