Then They Came for Me On 19 February, 1942, President Franklin D. Roosevelt signed Executive Order 9066, setting in motion a process in which all Americans of Japanese ancestry living on or near the West Coast were imprisoned. In total, 120,000 Japanese Americans were forced to leave their homes, moving into detention camps in which they were sometimes literally held behind barbed wire, without recourse to due process or other constitutional protections to which they were entitled. It was, argues a forthcoming exhibition in San Francisco, a “dark chapter” in American history, motivated by “fear-mongering and racism at the highest levels of the US government”. Titled Then They Came for Me: Incarceration of Japanese Americans during WWII and the Demise of Civil Liberties, the exhibition features work by both noted American documentary photographers such has Dorothea Lange and Ansel Adams and incarcerated Japanese American artists Toyo Miyatake and Miné Okubo. American Winter by Gerry Johansson “For me it is important not to create a story with the pictures,” says Gerry Johansson. “Normally when you edit you …
London’s National Portrait Gallery has revealed the first images of its proposed new design, part of a £35.5m redevelopment which is the biggest-ever at the building since it opened in 1896, and which would increase its gallery space by 20%.
The design, by Jamie Fobert Architects, proposes adding a new visitor entrance and public forecourt on the building’s north face, in addition to the existing entrance; it would also return the gallery’s East Wing to public use, and add new retail and catering facilities, and a new Learning Centre for visitors. The redevelopment would also see the gallery’s collection – which includes 250,000 photographs – redisplayed and reinterpreted across 40 refurbished galleries.
Photographs of a woman holding her baby, two shoppers, a drum majorette, and a child from a remote village in Sierra Leone have all been shortlisted for the National Portrait Gallery’s prestigious Taylor Wessing Photographic Portrait Prize this year. The prize winners will be announced at an award ceremony at the NPG on 16 October, with the overall winner receiving £15,000 and other cash prizes awarded to the shortlisted photographers at the judges’ discretion.
Two of the images were shot in London, with Max Barstow behind a striking photograph of two women in a busy shopping street in the city centre. The image comes from his series Londoners and in it, he says, his aim has been to “make unposed portraits with the intensity of images made by great studio photographers such as Richard Avedon and Irving Penn”.
“When people think of Victorian photography, they sometimes think of stiff, fusty portraits of women in crinoline dresses, and men in bowler hats,” says Phillip Prodger, head of photographs at the National Portrait Gallery. “Victorian Giants is anything but. Here visitors can see the birth of an idea – raw, edgy, experimental – the Victorian avant-garde, not just in photography, but in art writ large. The works of Cameron, Carroll, Hawarden and Rejlander forever changed thinking about photography and its expressive power. These are pictures that inspire and delight. And this is a show that lays bare the unrivalled creative energy, and optimism, that came with the birth of new ways of seeing.”
“This image documents a transcendental fact in the life of the person portrayed: Amadou had just been rescued from the sea by a European vessel,” says Dezfuli. “Apparently his dream is fulfilled. However, fear, mistrust and uncertainty are present, as well as determination and strength.” For his series, Passengers, photographer Cesar Dezfuli took a sequence of 118 photographs in 120 minutes as a boat load of refugees were rescued just off the coast of Libya. These people had journeyed from different countries looking for a better future in Europe.
Early 20th-century surrealist photographer Claude Cahun (1894-1954) and contemporary artist Gillian Wearing come together in The National Portrait Gallery’s ambitious new exhibition, Behind the mask, another mask. The exhibition includes 100 works by the two artists who, despite being separated by 70 years, have “extraordinary links” according to curator Sarah Howgate, in an interview for the March 2017 issue of BJP. “Although their trajectories as artists are markedly different, many parallels can be drawn between their work,” she says. The exhibition – the result of a “light-bulb moment” at a round-table meeting of NPG directors – addresses themes of gender, masquerade and performance through images that often involve the artists dressing up and wearing masks to portray a character or communicate a message. In an early Cahun self-portrait the photographer is dressed as a ‘dandy’, for example – a young man with a shaved head and a neatly pressed black suit, complete with a handkerchief tucked into the breast pocket. The show explores “Cahun’s transformation from young girl to gender-neutral figure”, explains Howgate. Cahun, a contemporary of Man Ray who was born Lucy …