The annual photography festival returns for its fourth edition with a group show of 30 artists presenting 104 images that diverge from the mainstream
Born in 1987, Piero Percoco started taking pictures seven years ago, in his hometown Bari, Italy. He never studied photography – “I was never able to afford it,” he says – but sometimes he bought books, and inspired by photographers like Stephen Shore and William Eggleston, Percoco began to make photographs on his smartphone, and upload them to his Instagram, @therainbow_is_underestimated.
Seven years on, Percoco has 452,000 followers, and regularly posting photographs that extract the magic out of the nuances of his daily life in Southern Italy. Last year, he published his first book with Skinnerboox, Prism Interiors, which was edited by American photographer and publisher Jason Fulford.
Now, as his second book with Skinnerboox, The Rainbow is Underestimated, becomes available for preorder, BJP catches up with the photographer about his new release and how he built his career through social media.
“It’s a bit hard to find words for this – You don’t look Native to me won the PHmuseum Women Photographers Grant,” says Maria Sturm. “I feel exponentially happy and glad to be sharing the list with other women photographers whose work I admire.”
Sturm has won the prize in a strong year for the PHmuseum Women Photographers Grant, with the 31 shortlisted photographers including Magnum Photos’ Diana Markosian, Sputnik Photos’ Karolina Gembara, and Taylor Wessing Photographic Portrait Prize-winner Alice Mann. But her long-term project You don’t look Native to me, which shows young Native Americans in Pembroke, North Carolina impressed the judges with its sensitive approach to its subjects.
Now in its second year, the PHmuseum Women Photographer Grant has a simple premise – to recognise and award world-class photographers, who also happen to be women. Judged this year by a prestigious panel including Magnum photographer Alessandra Sanguinetti and The Photographers’ Gallery senior curator Karen McQuaid, the Grant has two main sections – The Women Photographer Grant and the New Generation Prize for those under 30 years of age. BJP takes a look at those who have made the shortlist.
Diversity has never been hotter in the fashion industry. This year, more non-white, plus-sized, and transgender models have walked the runway than ever before, and a record number of black women have appeared on the covers of glossies worldwide. Alessia Glaviano, senior picture editor at Vogue Italia and director of the Photo Vogue Festival thinks we owe it to the internet. “I believe that nothing would have happened, or not this fast, in terms of inclusivity, if it wasn’t for social media,” she says. “It’s a progressive platform for talking about race, identity, sexuality, and disability.”
But diversity isn’t just a trend, it’s a reality. Years before #diversity began to take off, forward-thinking publications such as Vogue Italia were already poking holes in the industry’s representation problem, with initiatives such as the July 2008 “all black” issue. Vogue Italia is known for being adventurous, for setting a standard for cutting-edge fashion photography. Over the years has given artistic freedom to commissioned photographers such as Steve Meisel, Ellen von Unwerth and Miles Aldridge, who have shot stories unlikely to be seen elsewhere, engaging with themes such as plastic surgery and domestic violence.
“It’s been in our DNA since the beginning,” says Glaviano. “We’ve always been really engaged and committed to this part of fashion that can be very strong and influential.
“I’ve never believed in boundaries and labelling things,” she adds. “No one cares that Michelangelo was commissioned to create the Sistine Chapel. What they care about is the final result.”
It was while working as an art director that rising talent Justine Tjallinks decided she wanted to make her own images. Born in a small village in the east of the Netherlands, the 32-year-old moved to the Dutch capital to study at the Amsterdam Fashion Institute before immersing herself in the commercial world, working on several leading fashion publications.
Launched last year, Labs New Artists is a exhibition of up-and-coming artists at the prestigious not-for-profit gallery, which has spaces in Brooklyn and in Los Angeles. The photographers picked out aren’t represented by galleries or agencies, and are selected by a global jury of experts; this year, each juror has agreed to mentor an artist for the year following the show.
The 25 artists in the show this year are: Antone Dolezal, US; Eli Durst, US; Peyton Fulford, US; Matthew Genitempo, US; Rudi Geyser, South Africa; Li Hui, China; Andrew Jacobs, US; Brendan George Ko, Canada; Kovi Konowiecki, US; Maria Lokke, US; Daniel Jack Lyons, US; Pat Martin, US; Chase Middleton, Australia; Tyler Mitchell, US; Diego Moreno, Mexico; John Francis Peters, US; Luis Alberto Rodriguez, Germany; Scandebergs, UK; Marcus Schäfer, UK; Hugo Scott, UK; Christopher Smith, South Africa; Renate Ariadne Van Der Togt, UK; Drew Vickers, US; Juyan Wang, UK; and Logan White, US.
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.
“The whole jury was in agreement that Eva has a very strong vision and that her work is characterised by a consistency both in aesthetic and content, since the concepts explored are the hot topics of our contemporary society,” says Alessia Glaviano, senior photo editor on Vogue Italia and member of the Hyères Festival photography jury this year – which has awarded the grand prix to Eva O’Leary. The New York-based photographer has won with a series called Spitting Image, which shows American girls aged 11 to 14 photographed while looking at themselves in a mirror. A project involving both photographs and videos, Spitting Image shows both the girls’ discomfort with being put in front of the lens, and the ways in which they – and others – present themselves for the camera.
What does Eastern Europe look like 25 years after the fall of Communism? And how do young image-makers there see it? Calvert 22 is investigating, with an exhibition titled Post-Soviet Visions: image and identity in the new Eastern Europe. Curated by Ekow Eshun, creative director of Calvert 22 Foundation, and freelance writer and curator Anastasiia Fedorova, the exhibition includes work by 14 emerging photographers born in Eastern Europe and Russia – Armen Parsadanov, David Meskhi, Dima Komarov, Genia Volkov, Grigor Devejiev, Hassan Kurbanbaev, Ieva Raudsepa, Jędrzej Franek, Masha Demianova, Michal Korta, Patrick Bienert & Max von Gumppenberg, Paulina Korobkiewicz, and Pavel Milyakov.