“A lot of people have thought of marking the centenary,” says Tracy Marshall, director of development and partnerships at Open Eye Gallery and co-director of Northern Narrative arts initiative. “But they just haven’t managed to do it.”
We’re talking about the 209 Women initiative, in which 209 photographers are taking portraits of the 209 women MPs in the UK parliament. It does seem like a project that was asking to happen, with 2018 marking both 100 years since (some) women got the vote here, and also the year that the first female MP was elected in this country. But, with 418 photographs and politicians to co-ordinate plus many, many other stakeholders and committees, actually achieving it has been quite a feat. What’s seen it through has been teamwork, with the photographer and academic Hilary Wood, who came up with the idea, getting together with hundreds of other women – and men – to make it happen.
“It’s been a huge collaborative effort,” she says. “We had to take it to the Speaker’s Advisory Committee on Works of Art to get it approved, and we then had to ask each MP individually if they wanted to get involved. The fact that they overwhelmingly gave their support shows how relevant this project is. And what I was really pleased about was that we got cross-party support – every single party is involved.”
Phoebe Kiely was 14 years old when she first picked up a camera. It was terrible, though: a four megapixel digital device from Aldi. But despite the poor quality, Kiely became obsessed with taking pictures. One of the earliest photographs she remembers was of her best friend, Amanda, captured in the garden of Kiely’s family home in Ingoldsby, Lincolnshire. “It’s a picture of her on a small trampoline,” she says. “I’m above her and she’s curled up, looking up at me.” The Aldi camera was replaced with a film camera when Kiely hit her late teens and the “buzz” of shooting, developing and seeing the final results of her pictures became stronger. It was what helped her get through three years of working in retail after finishing her A-levels in 2009. “I remember running into town during my 15-minute morning break to drop my film off,” she says. “I would walk back during my lunch hour to pick up the pictures. It was the most exciting part of the day.” Kiely graduated in 2015 with …
BJP has joined forces with 10 cultural institutions across Europe to promote emerging photography talent under the umbrella of a new photography network, named Futures. Initiated by Unseen Amsterdam and the fair’s owner, Vandejong Creative Agency, the platform launched in spring and continues with a series of shows, events and residencies across the continent, culminating in a large-scale exhibition at Unseen in September. The partners include museums and galleries in Hungary, Belgium and Italy, alongside photofestivals in France, Germany, Poland, Ireland and Romania. Each will present shows and events of their own talent programmes in their own countries, and then elements of these events will come together for the collaborative exhibition in Amsterdam, showcasing 10 emerging photographers from across the continent – a pick from each country. “We realised that we could do more to create opportunities for artists, and that is where we came up with Futures,” explains Menno Liauw, strategy director at Vandejong, which is coordinating activities, having created the platform in the mould of Unseen, the first art fair of its kind, …
Alighting at Peckham Rye train station in south London, a short walk across a busy market street takes you to the Bussey Building complex, a former cricket-bat factory that is now home to an assortment of bars, music venues, yoga studios and art spaces, including the Copeland Gallery. This bright exhibition space is once again the main site of Peckham 24 festival of contemporary photography, celebrating its third edition this year and running over the weekend of 18 to 20 May to coincide with Photo London – more than the 24 hours with which it launched and gave it its name. “Last year we were literally pushing people out of the door at midnight,” laugh the co-founders, Vivienne Gamble, whose Seen Fifteen gallery is in a nearby space, and artist Jo Dennis.
In 1972, while studying photography at Manchester Polytechnic, Daniel Meadows took over a disused shop in Moss Side’s Graeme Street and turned it into a ‘free photography studio’. Shooting people for nothing, and sending them their portraits or putting the prints in the shop window, Meadows was able to keep going for eight weeks before he ran out of money. Troubled by the fact that those whose images were in the shop window could no longer see the photographs, he laid out the remaining prints on wooden boards and nailed them to trees in the local park. He later realised this had been his first exhibition.
“The idea for Paper Journal came about during my final year of studying photography at Westminster,” says founding editor Patricia Karallis. Though studying she was also working as a picture editor for a small online arts and culture magazine at the time, and had found that she really enjoyed the research aspect of the role but also had “many ideas in terms of content that didn’t quite fit where I was working at the time”. The answer was simple – she decided “to start my own platform”. She launched Paper Journal online in 2013, with the aim of showcasing photography, fashion and culture in an exciting way. Featuring photography from unknown or new image-makers alongside more established names, Karallis says, “we love to promote new photography and I think that’s been a really strong point for us, and one that draws readers back to the site.”