The photographer’s first solo exhibition delves into his archive, presenting unseen images from a time when the supermodel ruled all
In his upcoming book, Depravity’s Rainbow, the British photographer pieces together the life of Werhner Magnus Maximilian Freiherr von Braun; a Nazi rocket developer
Consumerism and imperialism have long been explored and visualised in photography. Indeed, images themselves are a commodity that perpetuate the cycle. But with the dawn of the internet and new technologies, the heightened awareness of the climate crisis, intersectional thought and need for decolonisation, photography’s relationship to capitalism is being reexamined.
The photographer’s new book, There Is Nothing Under The Sun, uses image and text to critique a silent system that we cannot escape
In visualising an aspirational lifestyle, Gladstone’s ongoing series explores the notion of self-optimisation and pursuit of cultural capital
One of the shortlisted photographers for this year’s competition at Festival de Hyères, Geibl’s latest project untangles the distinction between reality and myth
Discovered objects and images play a vital role in the work of Vancouver-born, Brooklyn-based artist Sara Cwynar. Her practice blends collage, still life and portraits in photographic and filmic forms, incorporating material sourced on eBay, or at flea markets and the like. So when the opportunity arose to hold an exhibition at the Minneapolis Institute of Art last autumn, followed by a show at Milwaukee Art Museum this spring, it seemed a serendipitous moment to unearth works incorporating items from an archive close by.
“Some of the pictures that I’ve used as source material over the years came from an eBay seller who bought the archive of an old photo studio in Milwaukee,” she explains. “I think it was operational from the 1950s to the 1970s or so, and it closed down a long time ago. I like that they tie in to the location; I have repurposed some of the negatives from that for this show.”
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
Stakle recently won the New East Photo Prize organised by Calvert 22 Foundation, with a series titled Heavy Waters. Shot in Crimea in 2011, the series shows towns and villages scattered along the coast on the Crimean Peninsula – an area that was at the time part of Ukraine, but which became part of Russia after the Ukraine-Russia crisis in 2014. To date, Crimea remains an internationally unrecognised part of Russia. Crimea was one of the most popular resorts of the Soviet Union but, says Stakle, “being on the crossroads of trade routes has always been risky”. “Since times immemorial, the Crimean Peninsula has been coveted by different countries, near and far,” he writes in his introduction to the series.
Simone Sapienza won the Undergraduate series prize at the Breakthrough Awards 2016 with an astonishingly…