White Cube was first opened in 1993 by Jay Jopling, in a small, square room in London’s West End. It now has an exhibition programme extending across three gallery spaces; Bermondsey in South London, Mason’s Yard in St. James’s London, and Hong Kong’s Central District. Since 1993, White Cube has exhibited the work of many of the world’s most highly acclaimed contemporary artists. At Photo London, White Cube will present a solo exhibition by the British artist Darren Almond in the Studio Room Gallery. Almond’s diverse practice incorporates film, installation, sculpture, painting and photography, producing evocative meditations on time and duration, alongside themes of personal and historical memory. We caught up with the director of White Cube, Julia Baumhoff Zouk, to find out more about Darren Almond, and to hear her tips on developing a personal photography collection. What excites you most about exhibiting your artists at Photo London? Photo London is the only photography fair we have in the UK, and since its first edition in 2015, it has become more and more important. …
When the HOME project was proposed to her, Olivia Arthur was heavily pregnant with her second daughter and focussing that seemed a natural choice. “But in terms of presenting it as a project to the outside world, I think what’s interesting is this period of waiting – that’s where it all becomes very personal,” she says. Aptly titled Waiting for Lorelai, the project became about the anticipation she and her family experienced in the lead-up to the birth. “There’s this kind of emotion about how much it’s going to change the dynamics between us,” says Arthur, “and how my [older] daughter’s going to react when she finds out it’s not just her.”
“It was a different time to now, it’s hard to remember just how scarce images were,” says John Myers. “Now you can get things on screen, in the early 1970s there was only a smattering of images available. When I give a talk, I often start by handing out a sheet of paper with a list of interests and influences in 1972-75. The names run across just half a side of A4. There aren’t that many on it, and it includes people I was interested in on the basis of one or two images.” But for Myers, this scarcity was part of the allure. After studying Fine Art with Richard Hamilton, he got into photography in 1972 “because I had never done it”; initially only familiar with Bill Brandt and Henri Cartier-Bresson’s work, as photography rapidly gained recognition in Britain he soon had access to much more. “I was so excited to come across people, when photography suddenly started emerging from the shadows and books were being published,” he says. Myers started shooting with a Mamiya but, finding it “odd” to be looking down at his waist, moved to a 5×4 plate camera and soon found his stride.
“I believe photographers have got to come to terms with the world we live in, not the world journalists like, which is spectacular and exciting and makes good copy,” says John Myers. “Photographers and sub editors and journalists, all kinds of journalist want a story. They want to sell papers, and what sells is something unusual. ‘Man with three legs marries 86 year old widow’, it makes a terrific headline. They’re not so interested in what’s going on down the road at number 83.”
29 ARTS IN PROGRESS was founded in 2013 by Luca Casulli and Eugenio Calini, with an interest in representing artists specialising in photo-based art. Located in the heart of Milan, the gallery exhibits the work of internationally recognised photographers, including both contemporary and modern masters. Casulli and Calini also represent a group of younger emerging photographers, holding an open call each year to search for talented and as yet undiscovered artists. In the five years since its inception, 29 ARTS IN PROGRESS has curated more than thirty exhibitions in partnership with international museums and organisations, such as The V&A Museum, The Hong Kong Arts Centre, The MAMM in Moscow, ERARTA Museum in St. Petersburg, Palazzo Reale and La Triennale Museum in Milan. We spoke to founders and directors Casulli and Calini, to find out more about their involvement in Photo London. What excites you the most about exhibiting your artists at Photo London? Exhibiting at Photo London is a great opportunity to reach a global audience of collectors. It’s also a great networking event where …
“If you are on the lowest rung of society, if when you get on a bus people turn away from you, it’s nice to be noticed,” says Louis Quail. “It’s nice to be seen.” We’re talking about his project Big Brother, which won the portfolio review prize at Format International Photography Festival and has been published as a book by Dewi Lewis. Shot over the last six years, it’s a portrait of Quail’s older brother Justin, who is now 58 and has suffered from schizophrenia for his whole adult life. Quail doesn’t shy away from the obvious effects of his brother’s illness, showing his wrecked shoes and chaotic flat, and including police notes and medical records that speak of medication, sectioning and arrest. But his project also shows another side to Justin – one less familiar, perhaps, in our conception of the mentally ill. It includes Justin’s excellent drawings and paintings, his poetry, and his love of bird watching; it also shows his girlfriend Jackie, who also has mental issues and is an alcoholic, but …
Famously described by Susan Sontag in her 1964 essay Notes on ‘Camp’ as “a sensibility (as distinct from an idea)”, the appreciation of camp was born out of artifice and opulence, a vulgar fascination with theatrical exaggeration. And while it has long been tied up with LGBTQI culture, it has become a compelling way to convey messages without limits. “To me, camp is a very powerful thing,” says Phillip Prokopiou. “It’s a form of satire – a way to exaggerate and ridicule things that are very serious.” Prokopiou, a South Africa-born, London-based photographer behind an eponymous studio, which he co-founded with his partner-in-life-and-art Panagiotis Poimenidis, has long been fascinated with the power of kitsch to communicate our deepest hopes, fears and fantasies – whether they manifest in the form of a moustachioed Virgin Mary (stage name: Virgin Xtravaganzah) sitting chastely in the glow of ‘Gawd’’s glory, or an otherworldly extraterrestrial gazing into the distance.
Nadine Ijewere has been interested in fashion imagery since she was a girl but it wasn’t until she studied photography at the London College of Fashion that she began to pick up on some of its more unsettling undertones – particularly the stereotypes used in the portrayal of non-Western cultures. The Misrepresentation of Representation, an early project that she completed at university reflected on Orientalism and how it came to rigidly define certain cultures for a Western audience.
Born in 1876 in the German mining town of Herdorf, August Sander discovered photography while working at a local slagheap. Serendipitously meeting a landscape photographer working there for a mining company, he went on to assist the image-maker, and by 1909 had opened his own studio in Cologne. Around this time he also started taking portraits of his fellow-Germans, deliberately eschewing the then-prevalent pictorialist approach in favour of recording as much detail as possible. “Nothing seemed to me more appropriate than to project an image of our time with absolute fidelity to nature by means of photography,” he stated. “Let me speak the truth in all honesty about our age and the people of our age.”
In the UK nobody lives more than 72 miles from the sea, and the seaside is entrenched in our culture because of it. “The coastline is significant to Brits whether we live there, or not,” says Simon Roberts, who lives in the seaside town of Brighton, and who has returned to the coast again and again in his work. Now his images are appearing in an exhibition called The Great British Seaside at the National Maritime Museum this spring, alongside work by David Hurn, Martin Parr and the late Tony Ray-Jones.