Issue 29 - Contents
Composed from multiple negatives – so that images, views, and even places are intermingled – Dafna Talmor’s Constructed Landscapes forces us to call into question quite what we understand by landscape. Accompanied here by an essay from Duncan Wooldridge.
Emilia Terracciano on Poulomi Basu’s project which connects the decline of mining in Pennsylvania, US to the expansion of these extractive activities in the global south – namely central and eastern India – to examine the protracted war waged by the Indian military-corporate complex against tribal communities over lands and natural resources.
I give you my life
Less about the gangster stereotype of Yakuza than the day-to-day life of the infamous clan, Chloé Jafé presents us scenes to which we are privileged to be privy, but that remain opaque. Emma Lewis extols the virtues of this project about access – how the photographer found her way to her subject, and the dynamics that played out when she got there.
Michelle Dizon & Việt Lê
Daniel C. Blight addresses the image-text intersections of Michelle Dizon and Việt Lê, whose collaborative book project reflects on the way in which those socialised white often unconsciously experience – and therefore gaze upon – the world around us.
An intimate photographic portrait of the photographer’s older brother, Justin, and his daily struggle with schizophrenia. An essay from Alice Zoo considers what it takes to make work of this nature without flinching or resorting to sensationalism.
Looking Up Ben James – A Fable
A new book with Steidl resulting from a coastal trip around the UK to places as far flung as Caerau, the mining village near Cardiff where photographer Robert Frank had made his famous report and met the miner Ben James in 1953. Gerry Badger marvels at the masterful ability to make the familiar seem newly minted.
Guest Curator of Kraków Photomonth 2018
1000 Words is a leading online contemporary photography magazine. It commissions and publishes exhibition and photo book reviews, essays and interviews in response to the visual culture of our present moment. Founded by Tim Clark in 2008, the editorial commitment has always been to explore the possibilities for the medium whilst stimulating debate around current modes of practice, discourses and theory internationally.