Publications we loved, and the big news stories from the last month in photobooks, including American Winter by Gerry Johansson, Void’s Hunger project, and JA Mortram’s Small Town Inertia
Our pick of the key stories from the past week, including Paris’ Circulation(s) festival of emerging European photography, the first-ever Kyiv Photo Book festival, and Todd Hido’s Bright Black World
“These documentary practices coalesced into a visual culture which, with its aptitude for capturing and transmitting collective emotions, became a tool for political propaganda,” write Hannah Darabi and Chowra Makaremi. They’re talking about the work produced in Iran in the years 1979-83, the period after the fall of the Shah and at the start of the Islamic government and a time in which freedom of speech briefly flourished, they argue, before descending into something darker.
“These few years stand out on their own in terms of the country’s publishing history,” adds Makaremi. “The creation and distribution of books would never be as unfettered as it was during this period. Nevertheless, at the same moment, books were also progressively becoming instruments of political propaganda and publishing became the laboratory in which to experiment with every form of dissemination of emotions, ideologies, and opinions. This propaganda operated through the production of texts, but also, and especially as of 1979, through visual and pictorial production.”
Darabi is a visual artist and collector who was born in 1981 in Tehran but is now based in Paris; her collection of Iranian photobooks make up the backbone of Le Bal’s latest exhibition, along with her own photographic “reconstructions”, creating using contemporary photographs of Tehran and archive images such as family snaps, press images, and postcards. Makaremi, a tenured researcher and a member of the National Center for Scientific Research (CNRS) in Paris, has “decrypted” the exhibition; in addition, Le Bal and Spector Books have worked with Darabi to create an accompanying photobook, with an introduction by Makaremi.
Publications we loved, and the big news stories from the last month in photobooks – featuring work by Peng Ke, Tom Wood, Paul Reas, Vivian Maier and the post-war PROVOKE group
So far the wildfires in California have claimed the lives of 94 people and laid waste to 1,667,855 acres of land this year. And, according to Dutch paper NRC Handelsblad, they’ve also consumed a world-renown library of photobooks, put together over the last six years by Dutch collector Manfred Heiting.
Based at Cutberth Road, Malibu, Heiting’s collection included vintage photographs, posters, ceramics and art deco furniture – and at least 36,000 photobooks. Residents in this area were told to evacuate a week ago, and the coastal town is now “a war zone”, Heiting told NRC Handelsblad. At the time of the report on 20 November, Heiting has not yet been given the green light to visit his house but he stated that: “On satellite photos I can see that everything in my neighborhood has disappeared. Two or three houses may have survived. The rest was pulverized in a ten-minute fire storm.”
The winners were announced during Berlin Photo Week in Germany (10 – 14 October) where all 100 finalists were exhibited in Supermarkt, a repurposed supermarket and exhibition space. Pachnanda received a trip to Berlin for the event, as well as a Sony Alpha camera. As part of the award, Pachnanda will act as the EyeEm ambassador during 2019. Much of his work centres on bold portraits of unusual people, often in urban areas of London. On receiving the Photographer of the Year title, Pachnanda said, “winning an award with so much calibre from an organisation so pivotal to the world of 21st century photography is amazing”. The EyeEm Awards, run by global community and marketplace for photography EyeEm, currently stands as the world’s largest photography competition. This year marked its fifth edition, and it welcomed a record 700,000 entries from 100,000 photographers, hailing from more than 150 countries across the globe. Covering nine diverse categories – ranging from ‘The Creative’ to ‘The Great Outdoors’ – the award attracts a huge breadth of subject matter. This …
As we welcome people to submit photographs to Portrait of Humanity, an initiative celebrating our shared values of individuality, community and unity, we also highlight the work of photographers who have done just that. And perhaps no one has embodied this ethos more so than Jimmy Nelson, who has spent the last 30 years photographing indigenous cultures around the world, in the hopes that we might be able to learn from them. Jimmy Nelson’s latest project, Homage to Humanity, has just been released. This time, his work has been produced not only in the form of a book, but also digitally, with an app that has the capacity to scan over every photograph in the book, and to bring them to life with interviews and films. This allows people to see the making of the work, and to understand the process behind it. This new way of bringing people into the closed worlds of these indigenous tribes combines their traditions with our technology. As we increasingly spend more time than ever on our smartphones, Nelson …
The creation of a dummy is an integral process for any photographer with aims on publishing their own photobook. It is a visual mockup for a proposed project, created before being sent to the publishers. Organised by La Fábrica in collaboration with Photo London, the Book Dummy Award selects a entry that is renowned for its quality, uniqueness and international scope, the winners of the award will then have their dummy physically realised. The competition encourages photographers from anywhere in the world to submit a physical copy of their dummy, under the rule that no digital copies may be entered. One winner from 20 finalist dummies will then be selected by an international jury. The winner’s work will be published with a print run of at least 1000 copies, and distributed worldwide. Photographers submit entries from all over the world, as in 2017 there were participants from 45 countries and every continent. The winner of the 2017 edition was Iranian-born, Swiss photographer Arunà Canevascini. Nominated as one of British Journal of Photography’s Ones to Watch …
Daniel Castro Garcia wins the $35,000 W. Eugene Smith grant to continue his work on the European migrant crisis – read more about the work in BJP’s interview with him, first featured in our September 2016 issue. l. “The fact that my mum and dad are foreign, it’s played a massive role in my life. When those two boats capsized, the way that was written about, the adjectives used, and the type of photographs – on a personal level, that resonated. I know the kind of things my parents went through when they moved to the UK, and I know they’ve contributed really positively to British society. It felt increasingly uncomfortable, the way they were representing people who effectively did what my parents did, for the same reasons – poverty. Some of the things that were written were just unbelievable bullshit about people that are just the same as any of us. What an individualistic, separatist, regressive mentality.”
Tate was famously slow to institutionalise photography, staging its first photography show (Cruel + Tender: The real in the 20th century photography) in 2003, and appointing its first photography curator, Simon Baker, in 2009. Now, hot on the heels of its acquisition of Martin Parr’s 12,000-strong photobook collection, its now made another major commitment to photography, appointing Kate Bush in the new post of Adjunct Curator of Photography. Bush, who was previously Head of Photography at the Science Museum Group, and prior to that Head of Art Galleries at the Barbican Centre in London, starts at Tate Britain in October.