“The culture and mythology of Bigfoot is something that has always interested me growing up…
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“I’m a bit at a loss at the moment; to say that I’m honoured feels like an understatement,” says photographer Daniel Shea, who has won the 12th Foam Paul Huf Award. “I’ve been following this award and Foam for a long time, and I feel incredibly honored, grateful, lucky, and humbled by this opportunity.” Shea has won the prize with his series 43-35 10th Street, described as a reflection on late capitalism and its effects on New York City. He wins €20,000 and a solo show at the Foam Fotografiemuseum in Amsterdam, which will take place in Autumn this year.
Born Ferenc Saluzinszky in Budapest, Hungary on 12 January 1918, Frank Selby first moved to the UK in 1936 to read Economics at Fitzwilliam College, Cambridge. He returned to make Britain his permanent home in 1939 when, under pressure from the Nazis, his father Imre Saluzinszky was forced to give up his position as editor-in-chief of the Az Est newspaper group. Saluzinszky decided to Anglicise his name and to join the Pioneer Corps of the British Army – a move that happily helped him meet his future wife and business partner Elizabeth Guttman, also from a Jewish-Hungarian family and then working for the French resistance in London. Frank and Elizabeth married in 1948 and within six years had set up Rex Features, a picture agency that become a lynchpin of Britain’s newspaper business.
“Philip always hated being called a ‘war photographer,’” says Hannah Watson, director of TJ Boulting Gallery, of Philip Jones Griffiths. “He wasn’t interested in the ‘action’ that you often associated with war photography.” Instead, Watson draws attention to the careful consideration and intelligence behind each of the Magnum photographer’s shots. “In a single image he could give insight and an in-depth analysis to a complex situation,” she says.
“Throughout human history the depiction of the human body has been curiously investigated,” writes BJP‘s…
Photography is often considered a solitary pursuit, but the Ryerson Image Centre (RIC) in Toronto, Canada hopes to overturn this conception with a research project led by artists, scholars, and curators such as Ariella Azoulay, Wendy Ewald, Susan Meiselas, Leigh Raiford, and Laura Wexler. Now an exhibition at RIC called Collaboration: A Potential History of Photography is putting their work on view. Featuring approximately 90 photographic projects the work on show demonstrates some of the many ways photographers have collaborated with their subjects and other participants. It includes Wendy Ewald’s Reciprocating in Arabic installation, which combines image and text in an attempt to show the experience of walking through the Arabic language, and WEB Du Bois’ The Potential of the Archive I, a look into the history and present challenges of black America, among many other projects.
“Photography is a universally understood language. No matter where you’re from, anyone can read an…
Bruce Davidson has won a Lifetime Achievement prize in this year’s ICP Infinity Awards, which will be formally presented on 09 April. Best-known for his two-year project on the poverty-stricken residents of East 100th Street, Davidson joined Magnum Photos in 1958 and showed his work at the Museum of Modern Art in 1963. His work often documents social inequality, and includes iconic series such as The Dwarf, Brooklyn Gang, and Freedom Rides.
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.
“It is a very progressive, very independent festival. It’s not part of the city’s art establishment. It’s dynamic, because the organisers are working way out on a limb,” says Susan Bright, ‘godmother’ of the Circulation(s) festival of young European photography, which takes place in Paris from 17 March-06 May