“A festival is about taking risks,” says Louise Clements, founder and director of Format International Photography Festival, which returns this year to celebrate its ninth edition. “Festivals can come and go, but to sustain something for so many years, you have to work out how to make it valuable for its participants and its audience, by giving people something to work towards.”
The city of Derby, in the UK’s post-industrial Midlands, is not large, but over the last 15 years the biennial event has helped place it on the cultural map. Over the course of each festival some 100,000 visitors will gather there – the city’s compact size lending it some advantages. “Derby is small, like Arles [whose 50-year-old Rencontres photography festival remains the blueprint], so there is this critical mass-like feeling,” says Clements. “People are likely to bump into each other, see our bags and totes – the guides see and integrate them, for example, when we work with the local microbreweries.”
Derby is a small British city but once every two years it hosts a big event – the FORMAT Festival. Directed by the well-respected photography specialist Louise Fedotov-Clements and running since 2004, FORMAT has established a firm reputation for interesting international work, and FORMAT19 looks set to continue the good work with exhibitions spread across both Derby and another neighbouring city, Nottingham. Taking place next spring, FORMAT19 is themed FOREVER/NOW and takes on an interesting contemporary question – the role of documentary photography.
“In 2007, while the photography world was still grappling with the idea of photography as an interpretive, non-narrative, non-representational medium, writer Lucy Soutter wrote about the ‘expressive’ versus the ‘straight’ documentary photograph, insightfully characterising the then two sides of the debate,” runs the FORMAT19 press material.
“Since then photography has grown to encompass many manifestations of the ‘crooked’ image through hybrid forms and visual practises and no longer worries about narrative versus abstraction, expressive versus objective. The new generation of photographic artists rush towards the new, embracing the rapid transformation that technology and cultural exchanges bring to it.”
“The new Photography Centre brings to life some of the V&A’s most beautiful original picture galleries and provides a permanent home for one of the finest and most inspiring collections of photography in the world,” says Martin Barnes, senior curator of photographs at the V&A. “The spaces and facilities allow visitors to access, explore and enjoy photography in its many forms.
“The Photography Centre encompasses more than a new gallery space. Beyond its walls lies an associated programme of research, digitisation, learning activities, publications, exhibitions, access to items in stores, and collaborations with other UK and international partners. Photography is one of our most powerful forms of global communication, and I’m thrilled that we can contextualise the past and present of this powerful medium in new and exciting ways.”
It’s an important development for photography in the UK and it opens on Friday – the V&A’s new Photography Centre, which more than doubles the museum’s existing photography space.
In our latest issue, Reframing History, we speak with Patrick Waterhouse about his project collaborating with the Warlpiri people in Australia. We talk with Andrew Moisey, who reveals the dark secrets of US all-male frat houses. And 100 years since the end of the Great War, Nicolas Thomas Moreno turns his lens on memorials to this terrible history in Topography of Remembrance. We also journey to the French capital to highlight two shows exhibiting alongside Paris Photo. The cover feature for this month’s issue is the work of Patrick Waterhouse. Over the course of eight years, he has travelled to and from Australia’s Northern territory, culminating in his latest project: Restricted Images. Made in collaboration with the Warlpiri people, he hopes to give agency to his subjects by asking them to contribute creatively to each image. Through his artistic process, he addresses the problematic break in representation, respect and consent between the first anthropological photographs of the indigenous groups of the past. A professor at a US College, Andrew Moisey has devised a comprehensive insight into …
Those who have had the pleasure of ambling along the corridors of the 17th-century building at the heart of the museum district in Kensington, London, will recall the Victoria and Albert Museum’s high ceilings and impressive galleries, with polished floors and walls adorned with historical oil canvases, all connected by staircases embellished with intricate mosaics.
Climbing one such stairwell in a far corner of the building, you surface to face two tall, fudge-brown doors with shiny handles. The pair of robust glass cabinets framing these doors are currently empty, but will soon be packed with some 300 cameras and image-making devices. To one side, a long wooden table will be laden with models of some of the first cameras – a large format perched on a tripod, a Rolleiflex, a camera obscura and 35mm camera. Visitors will be invited to play around and put themselves in the shoes of the photographers who used these devices, pausing to peek through the lenses and take note of this new way of looking and constructing an image of the world on the other side. It is a sculptural array of the golden age of photography, the grand entrance to the new photography centre, opening its first phase to the public on 12 October.
It’s a prestigious prize, which earns the winner an exhibition at Photo London plus a photobook published by the well-regraded specialist MACK Books. This year it’s gone to Hayahisa Tomiyasu for his book dummy TTP. Shot from the window of his eighth-floor student flat in Leipzig, Germany, TTP shows a park with a ping pong table, shot at various times of day and in various seasons, and showing different protagonists each time. The table is used as a tischtennisplatte (table tennis table, as a sun lounger, as a climbing frame, as a skate obstacle, and as much more, and, states MACK Books “thanks to Tomiyasu’s sustained curiosity, we observe the habits, humour, and idiosyncrasies of human behaviour”.
The V&A’s new photography centre will open on 12 October, with newly-acquired photographs by Linda McCartney, a newly-commissioned series by Thomas Ruff, and an inaugural display tracing the history of photography through the Royal Photographic Society (RPS) collection. The new facility will more than double the V&A’s current photography exhibition space, and follows the transfer of over 270,000 photographs, 26,000 publications and 6000 pieces of equipment from the RPS collection formerly held in the National Media Museum in Bradford – a controversial transfer, described at the time as “an appalling act of cultural vandalism” by Simon Cooke, the leader of the Conservative opposition on Bradford council. Tristram Hunt, director of the V&A, said that the transfer had “provided the catalyst for this dramatic reimagining of photography at the V&A” however, and that the new centre will “seamlessly span the entire history of photography….from daguerreotype to digital”. He added that the V&A is particularly well-placed to tell this story given its long engagement with photography – it was one of the first museums to put together a photographic exhibition, partly because its founder, Henry Cole, was a keen amateur photographer.
Interviewing Nigel Shafran is a circuitous, informal affair. Meeting him at his North London home, I immediately recognise Ruth, his partner and the subject of many of his photographs. I also meet his son Lev, who, though somewhat older, is also still easily discernible from his father’s pictures. The interview takes place in the kitchen familiar from Flowers for ____. Every now and then a friend calls round or phones, with plans made to throw a boomerang around in the park that afternoon, or play ping pong in the evening. Lev occasionally interjects from the living room with his take on the interview process, or on “nattering on about photography” as he puts it. “Sorry. Oh my God!” says Shafran, as the phone rings for the second time. “No worries,” I say. “You’re a busy man.” “A busy family man!” he replies. It doesn’t always make for an easy interview, but it feels appropriate for a photographer who focuses on the everyday, the domestic and the personal.
From mass shootings to a family hotel – the shortlist for the 2018 First Book Award is nothing if not eclectic. Set up in 2012 to support emerging talent, the First Book Award is open to previously unpublished photographers who have been nominated by an international panel of experts, and previous winners include Irish photographer Ciarán Óg Arnold, Polish photographer Joanna Piotrowska, and Malagasy photographer Emmanuelle Andrianjafy. The ten shortlisted photographers this year come from all over the world, including Indian photographer Tenzing Dapka, Japanese photographer Hayahisa Tomiyasu, and Australian photographer Lionel Kiernan.
Marking the 800th anniversary of the Charter of the Forest signed by King Henry III, and corresponding with the launch of the 2017 Charter for Trees, Woods and People, the V&A’s new display Into The Woods: Trees in Photography, celebrates the significance of trees in the work of photographers across the world and throughout history.
The exhibition is comprised of works from the V&A’s permanent collection as well as photographs recently transferred from the Royal Photographic Society ahead of their rehousing in the museum’s new Photography Centre in 2018. Curated by Martin Barnes, senior curator of photographs at the V&A, Into The Woods began as an impulse – “I just like trees!” – but gradually revealed itself to be the germ of a great idea.