“I’ve just about had enough of photojournalism. What I find most disheartening is the staunch anti-intellectualism; an almost complete lack of self-awareness, with severe consequences in today’s world of ‘alternative facts’. We don’t trust what we see. Why is that?” asks Donald Weber, originally a trained architect but now a leading thinker with four photobooks to his name
The international photography festival in Croatia celebrates its ninth edition, hoping to unite audiences in a ‘divided’ world with its eclectic programme, which includes a Pieter Hugo retrospective; Dana Lixenberg’s award-winning Imperial Courts; and Dragana Jurisic’s elegiac pilgrimage through the former Yugoslavia, YU: The Lost Country
My advice to younger photographers is not to be a photographer but to be a human says Anders Petersen, the Swedish image-maker behind the celebrated photobook Café Lehmitz
In 1973 Ralph Gibson published his first photobook, The Somnambulist; he followed up with Déjà Vu in 1973, and Days at Sea in 1974. Together the books form a trilogy which has been credited with re-imagining the modern photobook; all three were published by Lustrum Press, an organisation formed by Gibson to retain creative control of his work. Now more than 150 images from the trilogy – aka The Black Trilogy – will be shown at the Pavillon Populaire in Montpellier, South France.
The Visa Pour l’Image festival returns for the 29th time – to “turbulent time”, in which “photojournalists are obviously needed, and play an essential role which is now more important than ever” as the co-founder and director general Jean-François Leroy puts it
Traditionally taking the idea of a “journey” as its theme, Cortona On The Move has now abandoned this metaphor for a new task – reflecting on the past while theorising on the future. “We are taking the motto ‘on the move’ to keep our eyes open and see what’s happening out there,” explained creative director Arianna Rinaldo to BJP
“It’s difficult to try and make sense of the Cold War, let alone events in Iraq and Afghanistan and Syria. It takes a lot of time to collect the resources we need to be able to properly tell the story of these conflicts. So we have to be honest about the limitations of information available to us.”
“When I unbutton the sleeve of a shirt/Shades of sky under my skin awaken,” read the opening lines of Maria Barnas’ poem You and I, used at the start of Viviane Sassen’s new photobook, Roxane II. Abstract though these lines seem, they possess a subtle symmetry with the images which follow, in which expanses of pale skin sit in stark juxtaposition to graphic, almost blindingly bright streaks of colour. In Roxane II, the human and the organic seem to bleed into one another with captivating results.
“Collaboration is a comfortable way of telling our stories in the company of someone else,…
Each year the Taylor Wessing Photographic Portrait Prize exhibition opens at the National Portrait Gallery,…
