Christian Boltanski’s After in Amsterdam’s Oude Kerk This recently-opened exhibition in the Oude Kerk in…
Photobook
The Washington Post picture editor picks out his top five of 2017 – including Peter DiCampo and Austin Merrill’s Everyday Africa photobook
The curator, writer, and creative consultant picks out her top five of 2017 – including Jason Fulford’s Fake Newsroom, a contemporary spin on Larry Sultan and Mike Mandel’s 1983 performance
The founder of Firecracker and Global Business Development Manager of Magnum Photos picks out her top five of 2017 – including Megan Doherty’s Instagram feed
The British Journal of Photography’s editorial director picks out his top five of 2017 – including Sam Contis’ Deep Springs
Vogue Italia’s picture editor picks out Monica Alcazar Duarte’s The New Colonists as one of her top five of 2017 – and throws in one more selection for luck
The Guardian’s photo critic picks out his top five of the year, including Sohrab Hura’s installation The Lost Head & The Bird at The Nines, London during Peckham 24
“I was born in 1968 in West Germany – that’s 23 years after 1945,” says…
“The British Landscape…is a long-term ongoing project about the enormous changes that have taken place in the UK – the world’s first industrial society and the first to de-industrialise,” says John Davies. “Much of Britain’s infrastructure and the rapid expansion of industrial cities were created through the unprecedented growth of the Industrial Revolution. By the early 1980s, when I started this project, many of these large-scale industries and industrial communities were in terminal decline.”
“Great storytelling is never merely about facts,” explains Donald Weber. “D-Day actually happened, and as such it can be studied in detail. As an historical event, however, it has the potential to vibrate myth. Together, quantifiable and relative aspects are defining the essence of storytelling which, in itself, is the ultimate art performed in War Sand.” Weber is referring to his latest project, born of the idea that sand is mnemonic and, for this photographer, it is a repository that has retained the war stories of his grandfather, a commando in the Canadian army. Shortly after publishing Interrogations in 2011, Weber says he “needed to recover from my experiences in Ukraine, where I documented all-too-real interrogations of suspected criminals”.