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.”
“What do I know about it? All I know is what’s on the internet.” So said Donald Trump in an interview in March 2016, after he was confronted about the legitimacy of a video he had tweeted, along with the claim that the protester it depicted was a member of ISIS. The video has since been proved as a hoax, neatly demonstrating the difficultly of navigating between truth and fiction in today’s digital landscape. In a world where even a layperson can manipulate images on their phone, and spread them to thousands of fake followers with one click, how can we begin to know what is #real?
It’s the kind of question that All I know is what’s on the Internet will pose, a new exhibition opening at The Photographers’ Gallery, London including work by 11 artists and collectives. It includes “social media machines” made by Australian designers Stephanie Kneissl & Maximilian Lackner, built to maximise activity and likes; and wall-mounted installations by Eva and Franco Mattes that reveal the lesser-known, surprisingly personal, world of online content moderators. Curated to draw attention to the neglected corners of digital image production, the show helps visualise the vast infrastructure of online platforms, and the enormous amount of human labour needed to keep it churning.
It’s the biggest, most prestigious photography festival in the world and it’s back – Les Rencontres de la Photographie in Arles opens on 03 July and closes on 24 September. It’s the 48th edition of the festival, which has seen seismic changes in the last few years – the departure of its long-standing director Francois Hebel after the 2014 edition, and the arrival of his replacement, Sam Stourdze, the backing of the influential LUMA Foundation, and the Cosmos-Arles book fair. This history and reputation mean Arles is able to pull in the big names, which this year means including solo shows by Joel Meyerowitz, Michael Wolf, Gideon Mendel, Masahisa Fukase, Alex Majoli and Roger Ballen; plus an exhibition on Surrealism organised by Le Centre Pompidou and including works by Hans Bellmer, Erwin Wurm and Rene Magritte. Arles also uses its might to showcase lesser-known names and regions, however, and one of the themes running through the 2017 edition is Latina!, a celebration of work from South America in four separate shows. Urban Impulses is a group …
Photographing the ‘unphotographable’ has become Mari Bastashevskiʼs mission. Born in Saint Petersburg in 1980, she tackles entrenched and often concealed systemic failures such as corruption, abuse of power, propaganda or the economies of conflict. “I have done some frontline war work, but the result felt like ‘phoning in’. Since then, I have become a lot more focused on the system rather than its victims or results,” she says. After spending three years in Russia and the North Caucasus to produce File 126, which documents cases of abductions, Bastashevski is currently working on distinct yet concomitant series. In 2013, she was awarded a Magnum Foundation Emergency Fund grant for State Business, a scrupulous and intricate study of the paradoxes of the global arms trade industry. She is also continuing It’s Nothing Personal, an ongoing project about the contrast between the corporate branding of western surveillance firms and Privileged/Confidential, an informed look at the abuses committed by officials in the Balkans. Using both text and images, her work has a forensic quality. Precision, distance and restraint inspire her aesthetic. “Beauty and spectacle are …