The photographer’s rare 1978 photobook Re-visions becomes available in a new edition
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David Devil’s work that shows the psychological impact of conflict in the Ukraine is now published in a book
Over the last decade, Hiro Tanaka has published two photobooks – Dew Dew Its and Chicharron, which won the 2018 Cosmos Arles PDF Award. He has exhibited globally in group shows and photo festivals, and toured the world with punk and hardcore rock bands, where he is often spotted deep in a mosh-pit, camera pumping in the air. But before all that, he was working nine-to-five as a computer technician in Tokyo, Japan, with no interest in photography. Tanaka’s whole career sprouted from a string of unexpected coincidences, beginning with a free flight to America.
When the Portrait Gallery was established in London in the mid-19th century, its role was envisioned “to consist of those persons who are most honourably commemorated in British history”. Opening in an era when photography was still a new and untried technology, the National Portrait Gallery (as it later became known) was intended to be the national repository of the images, chiefly paintings and drawings, of those men and, much later, women who represented what was best among the British hierarchy of achievements, skills and aptitudes. Its function was to hold up a mirror to Britain that reflected its qualities back to those who came to observe them, as object lessons about how to aspire to, or more simply respect, the qualities and moral standing of the great and the good.
This conception of the NPG may still be widespread in the public mind, as even Martin Parr thought his work would be an ill-fit for a contemporary exhibition along these lines. “I never thought of myself as a portrait photographer,” he says, “and when I first met Phillip Prodger [NPG’s former head of photographs], I told him I had only a few celebrity portraits. I just put a lightbox together and sent them to him, though I was quite surprised at what I had.” Prodger, however, had other ideas, seeing in Parr the work of a social observer who could also offer a portrait of a nation at a key point in its history. So it is that the NPG put together Only Human, on show from 07 March to 27 May, bringing together some of Parr’s most famous photographs alongside a number of works never exhibited before.
Publications we loved, and the big news stories from the last month in photobooks, including American Winter by Gerry Johansson, Void’s Hunger project, and JA Mortram’s Small Town Inertia
“Nothing seemed to me more appropriate than to project an image of our time with absolute fidelity to nature by means of photography… Let me speak the truth in all honesty about our age and the people of our age.” These are the words of August Sander, one of the most poignant figures in the history of photography, best-known for his ambitious, lifelong project, where he sought to create a comprehensive photographic work that faithfully represented the physiognomy of German society.
People of the 20th Century, as it was eventually named, is an attempt at a social portrait of the everyday German man and woman living in the 1900s – a period of time which, unbeknownst to the photographer at its inception, would give way to two world wars, the largest migration of people in human history, and ethical, economic and political hysteria.
John Myers is back with new book called Looking at the Overlooked – a good title for a photographer who specialises in images of the unremarkable, and who himself nearly fell from photographic history. Working in Britain’s post-industrial Midlands from 1973-1981, Myers created an archive of the unspectacular that attracted attention at the time but then lay undisturbed for 30 years until a chance meeting with a curator. A solo show at Birmingham’s Ikon Gallery followed in 2011, kick-starting a comprehensive reappraisal at his work that’s resulted in more solo shows and several publications.
Looking at the Overlooked is published by RBB Photobooks, which also published a collection of Myer’s portraits earlier this year. But where The Portraits focused in on pictures of people, Looking at the Overlooked is a glorious compendium of “the claustrophobia of the suburban landscape in the 1970s”. Focusing in on substations, shops, houses, televisions, and so-called “landscapes without incident” – or as Myers puts it, “boring photographs” – the images are all recorded with a deadpan aesthetic that’s won Myers comparisons to the celebrated New Topographics movement in the US.
BJP’s annual Cool + Noteworthy issue is back, presenting the people, places and projects that have caught our eye over the past year.
Among this year’s noteworthies is the photographer behind our cover story, Tyler Mitchell, who became the first black cover photographer of American Vogue when he shot Beyoncé for the September 2018 issue. He tells the BJP about his new-found mission since returning home after living in London: “I realised I have a responsibility to be, specifically, a black American photographer and filmmaker.”
We also spotlight Kensuke Koike, a Japanese collagist who gives new life to old photo albums. Koike has attracted a loyal following on Instagram with his savvy cut-and-move videos, making his latest book one of the most anticipated on 2018. Feng Li is another newcomer who has made waves in fashion photography over the past year. This issue we feature Li’s playful fashion shoot in his native Chengdu, a creative city on the rise in China.
If you don’t get the reference, it’s a curious title for a photobook – Fables of Faubus, the 30-year retrospective by British documentary photographer Paul Reas. But if you’re a jazz fan you’ll know it’s taken from a song by Charles Mingus, written after Arkansas governor Orval Faubus decided to bar the integration of Little Rock Central High School in 1957.
To Mingus, and many others, Faubus stood for a dark force holding back progressive social change. For Reas, the title suggests the metanarrative that runs behind the many stories he’s shot in the UK on heavy industry, consumer culture, the heritage industry, and more – namely, the disenfranchisement of the British working class, “the years of decline of industry and the fall out from that, communities being de-centred and levelled”.
“I recently did a talk for students and none of them were taking any pictures or trying things out,” says Jack Davison, a self-taught photographer from Essex, and one of BJP’s Ones To Watch talents in 2016. “They were all writing down ideas and planning projects, but not shooting. I kept telling them, ‘You need to make all your mistakes now, before you start showing people’.”
Growing up, his dream was to become a marine biologist, and when it came to choosing a degree subject, he opted for English literature and the University of Warwick. But he was also interested in photography and, curious about the trend for sharing photographs online, grew his Flickr profile and developed his technique all the way through his studies. “Experimenting is a big part of my work,” he says.
