BJP-online Loves the new Russian photography on FotoDepartament’s Attention Hub, the RPS’ list of 100 photographic heroines, Claudio Majorana’s Head of the Lion, John Myers’ Looking at the Overlooked, Feast for the Eyes – The Story of Food in Photography on show at FOAM, Jamie Hawkesworth’s a blue painted fence, and La Vertigine by Federico Clavarino
What do Sophie Calle, Rineke Dijkstra, Susan Meiselas, and Hannah Starkey all have in common? They’re all on the list of 100 contemporary women photographers picked out by the UK’s Royal Photographic Society, after an open call for nominations. Over 1300 photographers were recommended to the organisation by the general public, which was slimmed down by a judging panel headed up by photographer Rut Blees Luxemburg.
The final list includes well-known names but also less recognised image-makers such as Native American artist Wendy Red Star, Moscow-based photographer Oksana Yushko, and Paola Paredes from Ecuador. Each Heroine will be awarded a Margaret Harper medal, named after the first female president of The Royal Photographic Society, and the first female professor of photography in the UK. An exhibition and accompanying publication will follow, all part of a bid to highlight women working in what is still a male-dominated industry.
“Although it was a truly challenging exercise having to consider 1300 women, being a part of the jury for Hundred Heroines was ultimately an incredibly stimulating and inspirational process,” says Luxemburg. “This final list reflects both the global expanse of female practice and the intergenerational input into contemporary photography. It reflects the wide range of methodologies, practices and diverse approaches of women working with the photographic medium. This is a moment of change and this list of heroines pays heed to it.”
In Sisterhood, Tabitha Barnard photographs her three younger sisters, all on the cusp of womanhood, exploring sexuality, ritual, and the forbidden nature of the occult
In July 2016, Diamond Reynolds’ partner was shot dead by a police officer during a traffic-stop in Minnesota. Reynolds used Facebook Live to broadcast the moments after the shooting, creating a video that became widely circulated, amassing over six million views, and which was also played to a jury as evidence in June 2017 – in a court case which saw the officer acquitted of all charges. In November 2016, Thompson invited Reynolds to collaborate on a project that would portray her in a different way to the original, publicly-consumed image. The resulting 35mm film, autoportrait, shows Reynolds apparently deep in thought and seemingly unaware of the camera, and is presented as a large-scale installation without a soundtrack. First exhibited in London’s Chisenhale Gallery in 2017, it’s been picked out of the winner of the £30,000 Deutsche Börse Photography Foundation Prize 2018, over the three other shortlisted artists – Mathieu Asselin, Rafal Milach, and Batia Suter.
“Rineke Dijkstra’s photographs and films speak brilliantly to the intricacy of the portrait image: its embodiment in time; its capacity to reveal history; the contingency of the act of exchange between sitter, photographer and spectator; and, ultimately, photography’s revelation of the self. “At a moment when the portrait image dissipates itself in an economy of narcissism and fractal celebrity, Rineke Dijkstra reminds us of the photographic portrait’s public potential,” says Duncan Forbes, chair of the jury for the Hasselblad Award 2017, which has awarded the Dutch photographer the SEK1,000,000 prize [just over £90,000]. Born in 1959 in Sittard, The Netherlands, Dijkstra attended the Gerrit Rietveld Academy and first came to prominence in the 1990s, with a series of photographs of mothers and their children moments after birth, and with portraits of bullfighters just after leaving the ring. In the series Beach Portraits [1992-2002], she showed children by the sea in Europe and the USA, picking out youngsters on the cusp of adolescence. Dijkstra is known for working on long-term projects, such as her series of images of …
Michael Schmidt was last night awarded the prestigious Prix Pictet photography prize for Lebensmittel, his global exploration of the food production industry. First founded in 2008 by the Pictet Group in Switzerland, the Prix Pictet focuses on the kinship between photography and sustainability, with this year’s theme being ‘consumption,’ challenging its entrants “to confront the most pressing social and environmental challenges of today”. Schmidt was given the CHF100,000 (£66,200) award by honorary president Kofi Annan at a reception at the V&A museum in South Kensington, London. Today, the museum will open an exhibition of the 10 artists – from nine different countries – shortlisted for the prize. Annan said of the award: “This collection of extraordinary photographs shows us why a new economic model is needed – one that is global, inclusive, co-operative, environmentally aware and science-based.” The Prix Pictet’s judges, which included V&A director Martin Roth and Sir David King, the foreign secretary’s special representative for climate change, described Schmidt’s Lebensmittel as “an epic and hugely topical investigation into the ways in which we feed ourselves”. Lebensmittel, the …