Reading Time: 3 minutes The photographer’s new book, Good Hope, draws on archival imagery and text to build a layered and fragmented narrative
Reading Time: 5 minutes The American photographer’s new book, The Forgotten, trials a complex hierarchy of power between the sheltered, the remembered, and the forgotten
Reading Time: 2 minutes The group exhibition offers an alternative perspective on the climate crisis by emphasising the unheard voices of the southern hemisphere
Reading Time: 3 minutes In A Gadda Da England freely mixes time and place, finding connections between events and protests through the years
Reading Time: 2 minutes Rick Schatzberg captures his closest friends, reflecting on a life shared
Reading Time: 3 minutes Recent graduate Tayo Adekunle travels the lengths of photographic history in order to question who controls the image.
Reading Time: 7 minutes When a Mexican curator invited Pieter Hugo over to make new work, “His only brief to me,” says the photographer, “was that it be about sex and mortality”. So began a two-year inquiry into the country’s complex relationship with life, death and the afterlife
Reading Time: 6 minutes In the early 1900s, Paul Thulin’s great-grandfather settled on the coast of Maine, reminded of his homeland of Sweden. Thulin’s family has returned to Gray’s Point each summer ever since, and Thulin has been working on a project there, called Pine Tree Ballads, for over a decade. Initially inspired by his grandfather’s photographs, he hopes it has “a subtext of struggle and hope that mirrors my narrative sense of self and heritage”.
BJP: How did you first get into photography?
PT: My journey into photography started as a way to rebel against my growing contempt and frustration with the limits of language to effectively communicate. In 1996, I returned from a stressful year of studying Philosophy in a Master’s program at Syracuse University and I remember wanting to escape into the mountains to possibly join a Zen monastery. I wanted to meditate and remain silent in an effort to really just experience the world.
This desire led me to discover the writings and images of photographers Minor White, Frederick Sommer, and Emmet Gowin, as their mystical and spiritual use of photography intrigued me. Before I knew it, I borrowed a 35mm camera to try to make meaningful images of my own and I was hooked.
Reading Time: 3 minutes Growing up, photographer Tom Roche learned about his Romani Gypsy heritage only through fragmentary stories and speculation. “My great, great uncle was stabbed in the heart with a wooden stake because he owed money for land,” says Roche, a recent University of the West of England graduate. “Then I had one aunt, aunt Liz, who used to pick crops, one aunt that made baskets, and another who sold pegs – or so I’m told; I don’t have any images, records, or concrete facts of my ancestors.”
Reading Time: 5 minutes “Tish believed that photography was an important form of visual communication that could stimulate discussions about real life situations and captured accurate records of the world we live in. She was trying to force people to look at the truth and learn from it,” explains Ella Murtha, the daughter of the documentary photographer. In honour of her mother’s memory, Ella has put together a new photobook, Youth Unemployment, which gathers Tish Murtha’s work photographing poverty-ridden communities in Newcastle in the 70s and 80s. Raw, powerful and emotional, Murtha has captured youngsters trying to survive turbulent economic times, when they had limited prospects – something which has recently come full circle as a new generation has had to deal with the global financial crisis.