London city guide

Top five photography galleries

Selected by Tim Clark and Thomas King

As the dust settles on Photo London 2024 and Peckham 24 – the capital’s two key points of reference within the UK photography calendar – we benchmark five leading London galleries and museums who are making a sustained effort to create productive and welcoming spaces for the encounter, use and consideration of photography today.


Tim Clark with Thomas King | City guide | 14 June 2024 | In association with MPB

At a time when the funding climate in the UK is at its least favourable in decades, setting up – let alone sustaining – a gallery dedicated to the art of photography, public or otherwise, is far from straightforward. The sector is currently groaning under the weight of government funding cuts, exorbitant energy bills, messy logistical and bureaucratic ramifications arising from Brexit, the fallout of the pandemic and cost of living crisis; not to mention the constant undermining of the arts in education in favour of science, technology, engineering and mathematics (STEM) subjects at the hand of the outgoing Tory party, allied with pedalling culture wars and all round anathema.

Yet, despite – and even in spite of – these significant challenges, the UK government’s own estimates show that the creative industries generated £126 billion in gross value added to the economy and employed 2.4 million people in 2022 alone. A global leader clearly, but one that is woefully underfunded, leaving an increasing amount of arts organisations out to dry as they struggle to thrive in one of the world’s most expensive cities. In a parallel universe, the city of Berlin’s culture budget for 2024 is set at €947 million (with a population of 3.56 million) while the entire culture budget for England in 2024 pales in comparison at £458.5 million (with a population of 57 million): two wildly different per capita spends.

Meanwhile, in March this year, opposition party leader Kier Starmer spoke at the Labour Creatives Conference claiming he would “build a new Britain out of the ashes of the failed Tory project” and restore, what he called, the UK’s “diminished” status on the global stage. His top line pledges were as follows: getting art and design courses back on the curriculum, supporting freelancers’ rights, cracking down on ticket touting and improving access to creative apprenticeships. Essentially, promising to ensure creative skills are a necessity, not a luxury. To use the creative industries as a form of soft power. But it will require a detailed arts strategy coupled with fierce and charismatic advocates, and, crucially, increases in funding for the arts to European levels to get the UK’s cultural infrastructure back on sturdier ground. It is nothing short of a miracle, then, to have London gallery and museum spaces fully participating in a civic society at such a high calibre level.

What follows is a rundown of five leading London galleries and museums who are making a sustained effort to create productive and welcoming spaces for the encounter, use and consideration of photography today. It should be noted that there are a handful of medium specific spaces that haven’t been included, but doubtless could be. Among them: the ambitious British Centre for Photography currently looking for a permanent home; Tate, whose new Senior Curator of Photography and International Art, Singaporean Charmaine Toh, is just a few months in post; beloved and sorely missed Seen Fifteen (its founding director Vivienne Gamble now channels her energies towards growing the annual photography festival Peckham 24); Webber Gallery, which has seemingly shifted the emphasis of its exhibitions’ focus to a vast Los Angeles space; not neglecting to mention stalwart dealer Michael Hoppen whose eponymous gallery no longer operates from its multi-floor premises on Jubilee Place, instead opting for a location in Holland Park. Hopefully that goes some way to account for their omissions. There are other bricks and mortar spaces too: Hamiltons, MMX, Atlas, IWM’s Blavatnik Art, Film and Photography Galleries, TJ Boutling, Huxley-Parlour, Leica, Photofusion, Albumen, Purdy Hicks, Camera Eye, Augusta Edwards Fine Art and Doyle Wham, all worthy of a mention and giving much cause for celebration.

Autograph

Autograph
Rivington Place, London, EC2A 3BA
+44 020 7729 9200
autograph.org.uk

Every exhibition that Autograph stages is unmissable. The organisation’s remit is to ‘champion the work of artists who use photography and film to highlight questions of race, representation, human rights and social justice’, and it offers opportunity after opportunity to see powerful and vitally important work. Far from jumping on any bandwagon, this mission has long been embedded within the organisation, its practices and via ambitious work. Autograph was established in 1988 to support black photographic practices, and began in a small office in the Bon Marché building in Brixton, when it was known as the Association of Black Photographers (ABP). It applied for charitable status and moved to a permanent home at Rivington Place in Shoreditch in 2007, the first purpose-built space dedicated to the development and presentation of culturally diverse arts in England, decades before museums considered it necessary to start rethinking themselves.

Autograph punches significantly above its weight, and has long been an essential port of call for any photography lover living in or coming through the city, not to mention the impact on the capital’s culture at large. Largely owing to the skill and determination of visionary director Mark Sealy OBE – in post since 1991 – and talented and rigorous curator Bindi Vora, exhibitions at Autograph are born out of a professional methodology that is fundamentally interdisciplinary and grounded in both real-life research and experience. Yet it also moves past cultures of “them and us” to routinely bring to life transgressive and inclusive commissions, projects and publications.

As one of Arts Council England’s National Portfolio Organisations (NPO), Autograph saw a 30% uplift increase from £712,880 to £1,012,880 a year to support its work for the period of 2023–2026 (as per the last round of funding decisions announced in 2022). Stuart Hall once served as a chair on the board and Autograph’s unique collection contains works by Rotimi Fani-Kayode, Zanele Muholi, James Barnor, Lina Iris Viktor, Yinka Shonibare, Ingrid Pollard, Joy Gregory, Colin Jones, Phoebe Boswell, Raphael Albert, Ajamu and others.

V&A Photography Centre

V&A Photography Centre
Cromwell Road, London, SW7 2RL
+44 020 7942 2000
vam.ac.uk/info/photography-centre

Two transformative moments in the recent history of the V&A’s longstanding relationship with photography have been, firstly, the appointment of scholarly curator Duncan Forbes as the inaugural Director of Photography in 2020, who came from the Getty Research Institute, Los Angeles, and then the launch of The Parasol Foundation in Women Photography Project in 2022, spearheaded by the prodigious Fiona Rogers. Dedicated to supporting women artists though acquisitions, research and education, augmented through a commissioning programme with support from the Parasol Foundation Trust, Rogers’ programme also features an increasingly important prize established to identify, support and champion women artists. It attracted over 1,400 submissions for the 2024 edition produced in partnership with Peckham24.

Prior to this, its vast photography holdings were bolstered when the Royal Photographic Society (RPS) Collection was transferred in 2017, and the collection now runs to over 800,000 photographs that span the 1820s to the present day. Programmes have evolved amidst a backdrop of institutional accountability and inclusivity during the dramatic changes we’ve witnessed in recent years and has embraced dynamic contemporary practices as well as pivoted to account for the medium’s many histories. It’s now the largest space in the UK dedicated to a permanent photography collection, with a total of seven galleries, three rooms of which focus on contemporary international practices with Noémie Goudal and Hoda Afshar commanding ample space, the mighty impressive resource that is The Kusuma Gallery – Photography and the Book, and The Meta Media Gallery – Digital Gallery. Fledging curators: take note of The Curatorial Fellowship in Photography opportunity, supported by The Bern Schwartz Family Foundation, aimed to facilitate in-depth research into under-recognised aspects of the photography collection.

The Photographers’ Gallery

The Photographers’ Gallery 
16-18 Ramillies St, London, W1F 7LW
+44 020 7087 9300
thephotographersgallery.org.uk

While the restrictive nature of its building – a converted, six story former textiles warehouse situated off Oxford Street in the heart of Soho – doesn’t make for an optimum exhibition experience, The Photographers’ Gallery remains an important and well-visited public gallery for photography in London. TPG spaces are tricky given the premises’ vertical orientation and warren-like galleries, but recent exhibitions such as the exemplary Daido Moriyama: A Retrospective, guest curated by Thyago Nogueira of São Paulo’s Instituto Moreira Salles, did well to turn the entire gallery into something coherent.

Founded by the late Sue Davies OBE (1933-2020) in 1971 as the UK’s first public gallery dedicated to photography, TPG has a strong legacy and recently saw is funding maintained at £918,867 per year as one of Arts Council England’s NPOs during the 2022 announcement, the same year it launched its outdoor cultural space, Soho Photography Quarter – a rotating open air programme with much potential. It’s the world-class education and talks offer, programmed and curated by Janice McLaren and Luisa Ulyett, that are among its standout qualities. Workshops and short courses are just some of the events that broaden access and steer conversation. At street and basement level there is an innovative Digital Wall catering for photography’s increased automated and networked lives, a print sales gallery, well-stocked bookshop and much-loved café area providing a condensation point for a range of different publics. TPG’s annual exhibition, The Deutsche Börse Photography Foundation Prize, an award of £30,000, has also entered a new phase since 2020 to include a broader range of voices as evidenced by the past five winners: Mohamed Bourouissa, Cao Fei, Deana Lawson, Samuel Fosso and Lebohang Kganye.

Former Photoworks director Shoair Mavlian took the helm in 2023, positive news given her curatorial background, NPO experience and canny thought leadership. Of course, it takes a couple of years for a new incumbent to put their stamp on a place like this but TPG is primed to reap the benefits of Mavlian’s ethos – contemporary, generous and diverse – and question what the space can be and who it can be for in order to thrive into the future.

Large Glass Gallery

Large Glass Gallery
392 Caledonian Road, London, N1 1DN
+44 020 7609 9345
largeglass.co.uk

In 2011, former director of Frith Street Gallery, Charlotte Schepke established a contemporary art gallery that leans heavily into photography: the innovative and elegant Large Glass Gallery based near Kings Cross on the edge of central London. Large Glass bills itself as an ‘alternative to the mainstream commercial gallery scene’, a description that is wholly warranted in light of its original and inquisitive approach to exhibition-making. From the inaugural exhibition, a precedent was set: channelling the energy of Marcel Duchamp by way of eclectic presentations of artworks, design pieces and found objects that take inspiration from the father of Conceptual Art, not only nodding to his famed work The Bride Stripped Bare by Her Bachelors, Even (1915–1923), more commonly known as ‘The Large Glass’, but through embracing experimental juxtapositions.

Playful use of concepts and materials are still to be found and the current “rolling” exhibition is in case in point. Staged in three parts, After Mallarmé is curated by Michael Newman, who is Professor of Art Writing at Goldsmiths, University of London. The heady thematic exhibition riffs off the works and legacy of French poet Stéphane Mallarmé to reflect on ideas of spaces, the page, the book, chance, mobility and contingency. Whereas, previously this year, Francesco Neri: Boncellino offered a more classic take via a selection of quiet and meditative, mostly black-and-white portraits of farmers and the farming community in the countryside around Modena in northern Italy, ‘a census of a village’s population’. Large Glass’ represented artists are: Hélène Binet, Guido Guidi, Hendl Helen Mirra, Francesco Neri and Mark Ruwedel.

Flowers Gallery

Flowers Gallery
21 Cork Street, London, W1S 3LZ
+44 020 7439 7766

82 Kingsland Road, London, E2 8DP
+44 020 7920 777
flowersgallery.com

Heavyweight Canadian photographer Ed Burtynsky may occupy much of the limelight at Flowers Gallery and their presence at art fairs such as Photo London and Paris Photo (Burtynsky was recently the subject of back-to-back exhibitions at the gallery’s Cork Street space which coincided with Saatchi Gallery’s major 2024 retrospective, BURTYNSKY: EXTRACTION / ABSTRACTION, the largest exhibition ever mounted in Burtynsky’s 40+ year career), but it boasts an impressive roster of photographers built up over years, first by Diana Poole then Chris Littlewood, who established the department which is now run by Lieve Beumer. Among them: Edmund Clark, Boomoon, Shen Wei, Robert Polidori, Julie Cockburn, Gaby Laurent, Tom Lovelace, Simon Roberts, Esther Teichmann, Lorenzo Vitturi, Michael Wolf, Mona Kuhn, Nadav Kander and Lisa Jahovic, all recognised for their engagement with important socio-cultural, political and environmental themes. Aficionados of the medium may hope for further in-depth and major photography exhibitions in due course from the esteemed gallery, but despite Flowers’ deep commitment to photography, it works across a range of media within contemporary art.

Flowers has presented more than 900 exhibitions across global locations, including from New York and Hong Kong outposts, and lists a total of 80 represented artists. Established in 1970 by Angela Flowers (1932–2023), Flowers has long held East End venues, initially in the heart of Hackney with Flowers East on Richmond Road, set up in 1988, before moving to Kingsland Road in Shoreditch in 2002, a 12,000 square foot venue spread over three floors of a 19th century warehouse, arguably London’s most elegant white cube space within which to view photography. ♦

 

 

 

 


Tim Clark is a writer and curator based in London. He is Editor in Chief at
1000 Words, Artistic Director at Fotografia Europea in Reggio Emilia, Italy, and teaches at The Institute of Photography, Falmouth University. 

Thomas King is Editorial Intern at 1000 Words and a student on BA (Hons) Culture, Criticism, Curation at Central Saint Martins, University of the Arts London.

Images:

1-Autograph, London. © Kate Elliot

2-Hélène Amouzou: Voyages exhibition at Autograph. 22 September 2023-20 January 2024. Curated by Bindi Vora. © Kate Elliot

3-Wilfred Ukpong: Niger-Delta / Future-Cosmos exhibition at Autograph. 16 February-1 June 2024. Curated by Mark Sealy. © Kate Elliot

4-Gibson Thornley Architects, V&A Photography Centre. Installation view of Untitled (Giant Phoenix), 2022, Noemié Goudal, Photography Now – Gallery 96 © Thomas Adank

5-Gibson Thornley Architects, V&A Photography Centre – Photography and the Book – Gallery 98 © Thomas Adank

6-Gibson Thornley Architects, V&A Photography Centre – Photography Now – Gallery 97 © Thomas Adank

7-The Photographers’ Gallery, London. © Luke Hayes

8>9-Daido Moriyama: A Retrospective exhibition at The Photographers’ Gallery. 6 October 2023-11 February 2024. © Kate Elliot

10-Ursula Schulz-Dornburg: Memoryscapes exhibition at Large Glass Gallery. 13 May-1 July 2023. © Stephen White and Co

11-Francesco Neri: Boncellino exhibition at Large Glass Gallery. 19 January–16 March 2024. © Stephen White and Co

12-Guido Guidi: Di sguincio exhibition at Large Glass Gallery. 3 February-11 March 2023. © Stephen White and Co

13-Flowers Gallery, Cork Street. © Antonio Parente

14-Edward Burtynsky, New Works exhibition at Flowers Gallery, Cork Street. 28 February-6 April 2024. © Antonio Parente

Hiroshi Sugimoto: Time Machine

Hayward Gallery, London

Interview with Director, Ralph Rugoff

Hiroshi Sugimoto: Time Machine is now open at the Hayward Gallery, London and marks the largest retrospective to date of the internationally renowned Japanese artist. Featuring key works from all of Sugimoto’s major photographic series, the exhibition, curated by Director Ralph Rugoff, offers an arc of the myriad ways the artist playfully and philosophically explores the ambiguous nature of photography as a medium suited to both documentation and creative expression. 1000 Words Editor in Chief Tim Clark speaks with Rugoff about the exhibition making process, stretching and reshaping our notions of time in photography, the artist’s affinities with other art forms and why Sugimoto’s approach can be framed through a ‘lens of doubt’.


Tim Clark: What is the impetus to stage Hiroshi Sugimoto’s retrospective now at the Hayward Gallery? What would you argue are the reasons behind his contemporary relevance? I’m curious, since, as you have noted, Sugimoto goes against the grain in many ways with his analogue approaches and routinely keeps ‘ancient dialogues in play’, albeit embedded within a conceptually driven approach.

Ralph Rugoff: Sugimoto turned 75 this year, and it seemed like a career survey in London was overdue, as he’s been making influential and highly singular photographs for five decades. I don’t think there’s another contemporary artist who has so rigorously and inventively explored the medium’s possibilities, and in our era of Deep Fakes, some of his work also takes on a special resonance as it reveals photography’s inescapable artifice, and reminds us in different ways that photographs do not present an objective view of reality.

TC: Time Machine is an intriguing subtitle. In what ways has Sugimoto innovated around ideas of stretching and reshaping our notions of time in photography?

RR: He’s messing with notions of time in very different ways with different series. With Theaters (1976–), he condenses the images from an entire movie into a single glowing white screen by keeping his aperture open for the length of the film. Some of his photographs in Portraits (1999), featuring historical figures from Madame Tussauds – including Henry VIII and Anne Boleyn – almost look like photographic portraits of real people; as Sugimoto himself quipped, he might be the first photographer of the 16th century. And with Architecture (1997–), he created images that portray landmarks of modernist architecture as if they were ancient monuments, seen through a haze of historical memory.

TC: Tell us about the journey of ‘Sugimoto as visionary’ that the exhibition takes viewers on.

RR: I wouldn’t use the word ‘visionary’. Sugimoto is an extremely canny artist with a profound understanding of the possibilities of the photographic medium and how it can be used to explore a wide range of psychological and philosophical questions. The exhibition takes viewers on a journey through some of those possibilities, most of which lay far outside our usual experience of photography. It’s a very inspiring, and moving, experience, and his stunningly meticulous craftsmanship plays a role in this, as his carefully nuanced black-and-white prints invite a lingering gaze and encourage us to explore each image in depth.

TC: Are there any curatorial devices within the exhibition’s orchestration that you might like to share?

RR: The works are hung in rooms devoted to particular series, but there’s a progression from his pictures that deal with social environments and cultural representations (Dioramas, Movie Theaters, Portraits, Architecture) to works that have connections to either more spiritual/sublime subjects (Sea of Buddha, Lightning Fields) or to abstract painting and sculpture (Conceptual Forms, Seascapes, Opticks).

TC: In your catalogue essay, you eloquently describe Sugimoto’s approach as framed through a ‘lens of doubt’. Can you expand on this and talk us through an example of where some of these layers of ambiguity that exist within his imagery are particularly palpable?

RR: There are people who think Sugimoto is a wildlife photographer because his pictures of American Museum of Natural History dioramas look so convincingly like images of real natural habitats and animals. For me, they instead seem to occupy a threshold position; they don’t look completely real but then they don’t look obviously artificial either. So this creates a sense of doubt about whether the creatures we’re looking at, say, were alive or if they are mere objects – that kind of uncertainty is practically a text-book definition of the ‘uncanny’. Inasmuch as the diorama was a kind of theatrical precursor of photography, there’s another layer to unpick here as well.

TC: Strategies of deception abound across many of Sugimoto’s bodies of work, which has interesting implications given photography’s responsibility-cum-burden as a document. You talk about how ‘the elusive, “in-between” character of these photographs [is what] links them.’ I’m curious, then, about Sugimoto’s key artistic influences. Marcel Duchamp is often summoned in relation to discussions around Sugimoto’s motivations and key concerns for instance. As are Jasper Johns and the Bechers, to name but a few. What unites this group in your view?

RR: Sugimoto has frequently remarked that photographers steal objects from the real world, and recontextualise them in ways that strip them of their everyday significance to create new possibilities of what they might mean. This is a view that corresponds with Duchamp’s comments about his intentions with his readymade sculptures, something Johns picked up with his paintings and sculptures of everyday objects. The Bechers are a slightly different case, but to some extent their pictures seem to treat industrial structures as found sculpture… Like Sugimoto, they also tend to scrupulously remove any sense of the surrounding environment, so that their subjects are decontextualised. In addition, I think that Sugimoto – who was definitely inspired by the Bechers’ work – also drew on the practice of working in extended series (which Johns also shared) – as a way of drawing attention away from the specific or ‘real’ subject of a picture to its other possible meanings.

TC: Thinking about Sugimoto’s engagement with painting more broadly, as you point out, nowhere are the crossovers between aesthetic conventions more evident than in his deliberately blurred Architecture series and indeterminate Seascapes (1980–), recalling the work of Gerard Richter or Mark Rothko respectively. Can you discuss his affinity for other disciplines, such as architecture?

RR: In terms of the painting reference, I’d add his Opticks series, which really does suggest a new kind of colour field painting (and recalls Rothko even more than some of the moodier Seascapes do). We also have two of his Brâncuși-like Mathematical Model sculptures in the exhibition, and Sugimoto recently unveiled a monumental sculpture in this same series on Yerba Buena island outside San Francisco. Along with his architectural endeavours, I think all this work reflects his keen interest in, and understanding of, how we experience space and light.

TC: In the case of Lightning Fields (2006–), it could be argued that these are maybe Sugimoto’s most elemental and metaphysical works in that he shifts his focus to instantaneous capture. The imagery not only recalls some of the earliest and most ambitious experiments in scientific photography, such as Charles David Winter’s Éclair électrique produit par l’appareil de Ruhmkorff (1865), but also certain examples of contemporary photography like Clare Strand’s The Betterment Room – Devices For Measuring Achievement (2005). Do you think Sugimoto is as interested in exploring or surpassing the limits of human vision as much as he is trapping time? In revealing the invisible?

RR: Lightning Fields – named, of course, after Walter De Maria’s sprawling land-art installation in New Mexico – is an ongoing experiment that has multiple angles to it, some of which have nothing to do with lightning. To produce two of the lightning pictures that are in the exhibition, Sugimoto created a salt water brew intended to replicate the chemical character of primordial oceans. Submerging electrically charged film into the water, the artist was amazed to see light particles move across the surface like microorganisms. The resulting photographs are some of the uncanniest images ever recorded on film – one of them distinctly suggesting a new kind of luminescent deep-sea creature. ♦

All images courtesy of the artist, Marian Goodman Gallery and the Hayward Gallery © Hiroshi Sugimoto

Hiroshi Sugimoto: Time Machine runs at the Hayward Gallery from 11 October 2023 – 7 January 2024.


Ralph Rugoff has been the Director of the Hayward Gallery, London since 2006. He served as Artistic Director of the 58th Venice Biennale, Italy, in 2019 and curated the 2015 Lyon Biennale, France.

Tim Clark is a writer and curator based in London. He is Editor in Chief at 1000 Words, Artistic Director at Fotografia Europea in Reggio Emilia, Italy, and teaches at The Institute of Photography, Falmouth University

Images:

1-Earliest Human Relatives, 1994. © Hiroshi Sugimoto, courtesy of Marian Goodman Gallery

2-UA Playhouse, New York, 1978. © Hiroshi Sugimoto

3-World Trade Center, 1997. © Hiroshi Sugimoto

4-Lightning Fields 225, 2009. © Hiroshi Sugimoto

5-Bay of Sagami, Atami, 1997. © Hiroshi Sugimoto

6-Sea of Buddha 049 (Triptych), 1995. © Hiroshi Sugimoto

7-Kenosha Theater, Kenosha, 2015. © Hiroshi Sugimoto

8-Manatee, 1994. © Hiroshi Sugimoto

9-Polar Bear, 1976. © Hiroshi Sugimoto

10-Salvador Dali, 1999. © Hiroshi Sugimoto

11-Union City Drive-in, Union City, 1993. © Hiroshi Sugimoto

12-Hiroshi Sugimoto. © Sugimoto Studio

Fotografia Europea 2023

Top three festival highlights

Selected by Tim Clark

1000 Words Editor in Chief Tim Clark reflects on the 18th edition of Fotografia Europea held in the Italian city of Reggio Emilia with a programme anchored in the theme ‘Europe Matters: Visions of a Restless Identity’, confronting the politics of inclusion and exclusion and the presence of history and culture in the present moment. Across 20 exhibitions, the curatorial proposition considers the relationship between conceptions of nationhood and democratic community, as well as the multicultural realities of European countries for the purposes of reconstruction, solidarity and alternative ways of existing together. We profile Mónica de Miranda, Simon Roberts and The Archive of Public Protests (A-P-P) – artists and collectives defined by their commitment to social change.


1. Mónica de Miranda, The Island
Chiostri di San Pietro

Upon entering the first floor at Chiostri di San Pietro, the vast sprawling 16th century monastic complex that serves as the hub for Fotografia Europea, visitors are confronted by an enlarged reproduction of the work from Mónica de Miranda entitled Whistle for the Wind. It figures the central protagonist from The Island series who is seen overlooking a vast expanse of water, sombre and subdued, as if expectant for answers. It leads into an exhibition of work comprising photographs, film and installation from the Portuguese-Angolan artist, known for her metaphysical investigations that unify postcolonial issues of geography, history and subjectivity related to Africa and its diaspora.

Though de Miranda has summoned an imaginary island to enact her fable, the reference is in fact the crudely named “Ilha dos Pretos” (Island of Blacks) – a denomination of oral tradition given in the 18th century to a community of people of African heritage that settled in the riverside area of the Sado River, southern Portugal; a place where the ghosts from Portugal’s colonial past intersect with the geological forces of deep time. Therefore, one might assume that what lies beyond in Whistle for the Wind are the vestiges of the past, those easily forgotten by a hegemonic system.

The creative and philosophical perspectives of alternate gazes, such as the queer gaze, the Black gaze and the female gaze, break with the idea of a white patriarchal heterosexual system – the many social clases that are ‘othered’ and too often treated as inferior – in order to find a new grammar or expression. They offer subversive counterpoints to the violence in the act of looking and consuming gendered imagery and ensuing reductive representations, whilst seeking beauty, empathy and valorisation of less prevalent experiences.

Political rebellion and resistance against the repression of a Black person’s “right to look” is what underscores bell hooks’ notion of the ‘oppositional gaze’. The late feminist, scholar and social activist first coined the term in her 1992 essay collection, Black Lives, to refer to a gaze that denies a spectator pleasure from looking, combating voyeurism and submits itself to a self-determined subject. It is not about scopophilia but defiance; looking as a form of communication, understanding and recognition. Therefore the ‘oppositional gaze’ affirms a right to identity and to see and document the world one knows or lives in. Perception can be a political act, as James Baldwin once ventured in a speech: “In the case of the American Negro, from the moment you are born every stick and stone, every face, is white. Since you have not yet seen a mirror, you suppose you are, too. It comes as a great shock around the age of five, six or seven to discover that the flag to which you have pledged allegiance, along with everybody else, has not pledged allegiance to you.”

Indeed, de Miranda commands a way of storytelling and coherent cultural memory as a means of empowerment. Holding up a mirror to project and reflect her model’s face, the four photographs entitled Mirror Me literally bring this into sharp relief: across the suite of images an assertive Black women is depicted wearing a captain’s cap, a cowboy hat and a horse-riding helmet. Costume and masquerade work together to form a protective mantle and the duality of the mirror allows us to discover a new system of reality. It evolves a possibility to imagine a different past, present and potential future – coalescing the women’s complex and multiple ideas of identity. There’s power, prestige and performance at work for these are portraits to dream in; an image gallery of internal visions and outward views, a ‘manifesting device’, a looking glass of self and otherness, an apparatus for transformation.

2. Simon Roberts, Merrie Albion: Landscape Studies From A Small Island
Chiostri di San Pietro

Simon Roberts’ Merrie Albion: Landscape Studies From A Small Island was first released as a monograph with Dewi Lewis in 2017 in the wake of the nationalist triumph of Brexit. Inside its pages, Roberts takes the temperature of the UK, offering insights into notions of identity, belonging and, specifically, what it means to be British at this significant moment in contemporary history. With his customary elevated perspective and tableaux style, we oversee views of places and the people that populate them to form a survey of a nation: on the one hand of the spaces and evolving patterns of leisure, the consumption and commodification of history, militarisation and to the lines of demarcation and exclusion in the landscape; and, in parallel, of subjects and events that have an immediate and enduring significance to Britain’s drastically changing trajectory of the past decade. As David Chandler has written in the book’s introduction: ‘[there is] an overriding sense of uncertainty and anxiety in Roberts’ national chronicle as it moves slowly towards the referendum and Brexit, and then culminates in the terrible iconic image of social inequality, injustice, and trauma formed by the blackened high-rise tomb of Grenfell Tower.’

Chandler goes on to point out that at its heart, Roberts’ work seeks to quell the visceral drama of events, not through immersing his camera in the drama of a scene but rather by stepping back. That way, the artist encompasses a fuller view of what’s unfolding, creating photographs that resolve into a multi-layered and nuanced array of comparative and linked information – tea parties, Eton College boat races, army recruitment stalls, Stonehenge, the London 2012 opening ceremony, the Royal Wedding, ‘Occupy London’ camps or trading floors of Lloyds Banking Group.

The cumulative effect of Merrie Albion is an offering; a poignant socio-political mood piece, the power and urgency of which never subsides with every year that passes amidst the continual calamities of the current UK government. Leading up to the exhibition installation, England football legend Gary Lineker was forced off BBC’s Match of the Day programme in a row over impartiality after comparing the vile language used to launch a new government asylum policy with 1930s Nazi Germany – the latest debacle in the so called ‘culture wars’, a clear distraction from the actual pressing issues facing the country today, chief among them: the cost of living crisis, wealth hoarding, inflation, energy bills, public health care systems at breaking point, criminalising the right to protest, taking away freedoms, multiple politician scandals and, of course, the failed and immensely costly project that is Brexit.

Roberts’ photograph Beachy Head, Seven Sisters Country Park, East Sussex, 24 March 2017, may serve as a useful coda here. Roberts says it best: ‘Taken in the very same week that the former UK prime minister Theresa May triggered Article 50, the start of the two year negotiation period to take Britain out of the EU, it shows ramblers exploring the chalk cliffs on the country’s south coast. An instantly recognisable symbol of Britain, the cliffs were recently voted one of the top 20 breath-taking views in the UK. But they also represent a boundary, between land and sea, high and low, the known and unknown, Britain and the outside – a potent symbol of Britain’s increasing isolation and political separation from Europe.’

3. The Archive of Public Protests, You’ll never walk alone
Chiostri di San Pietro

The Archive of Public Protests (A-P-P) was founded in 2019 by Rafal Milach, together with other photographers, academics and activists. Its mission is to examine social and political tensions in Poland from 2015 onwards, particularly among the young generation who have taken to the streets in great swathes with increasing regularity to demonstrate against the country’s leadership. A-P-P has now created a significant repository of work via its semi-open online platform and free newspapers centred on particular events or happenings. Dealing with the mounting complexities that define our troubled times, A-P-P’s stated aim is a “duty to archive” matched with a need to study the visual aspects of protest in the struggle against breaches of the law, discrimination and violence of various kinds. Its results articulate various states of ‘unfreedom’. Through a mix of raw footage, slogans used by protestors, bold design, sound and photographs, their exhibition You’ll never walk alone, as a biodimensional experience, is akin to being amongst a protest. It explores issues and inequalities long silenced by the Polish government, ranging from topics including state and police oppression, climate emergency protests, the LGTBQIA+ community, pro-choice Women’s Strike, Belarussian solidarity protests in Poland, the refugee crisis at the Polish-Belarussian border and anti-war and solidarity with Ukraine protests in Poland. The context is the Anthropocene, and histories unfold individually and collectively, at a hyper-local level but, of course, also resonating on the global stage.

Many members of A-P-P are active participants in the demonstrations whilst also observing the events with a critical eye, noting the shifting characteristics particularly around the use of language, which is said to have become more radical, vulgar even, given the levels of frustration and anger. And though the marches are peaceful, the message is always a bold one. The word “Wypierdalac” [Get the fuck out] is routinely shouted from within the crowds. This is combined with a distinct visual spectacle: people marching to the sound of drums and chants, banners hoisted high, flamboyant costumes as well as spontaneous performances throughout city streets and in front of monuments in the heart of Warsaw and beyond. The tools for intervention are both animated and artful. So too is the iconography, such as the symbol of a crimson-coloured lightning bolt that proliferates most notably throughout the Women’s Strike: as both face and body paint, projected onto building and even as fashion accessories. Similarly, red is the colour of choice: red ink, red clothes, red paint – the visual language of solidarity.

As a project dedicated to the relationship between archival practices and publication-making as a site of learning and solidarity (‘solidarity’ being the operative word as it was name of Poland’s first trade union founded in 1980), A-P-P is not interested in representing resistance or “going viral”. Instead, there is a strong desire to correct firmly established and outdated narratives that are propagated from the confines of mainstream media, the latter now almost entirely controlled by the state. Nor is it an attempt at objectivity, especially given the fact that the many far-right marches that frequent Poland’s streets and public spaces are not documented here. It is a partial account – selective and subjective. Yet A-P-P draws us into the efforts of those individuals and groups who are pushing back, those who are laying bare the ideological tactics of control and manipulation through a different kind of massification of images. Milach himself has explained in a recent interview: “By releasing the newspaper and creating this alternative circulation of images, we control the narrative and their usage. This is crucial, especially today – facing all the fake news or half-truths that influence our political and social life more and more. By creating a distribution channel – one of many – we can crystallise the message. It’s a coherent, closed document, which is manifesting certain clear ideas.” ♦

Fotografia Europea 2023 ran from 28 April – 11 June 2023.


Tim Clark is Editor in Chief of 1000 Words and Artistic Director for Fotografia Europea in Reggio Emilia, Italy, together with Walter Guadagnini and Luce Lebart. He also currently serves as a curatorial advisor for Photo London Discovery and teaches at The Institute of Photography, Falmouth University.

Images:

1-Mónica de Miranda, Whistle for the wind, Portugal, 2022. © Mónica de Miranda, Commissioned by Autograph London.

2-Mónica de Miranda, The Lunch on the beach (after Manet), Portugal, 2022, 350 x 230 cm (6 parts of 115 x 116.50 cm) © Mónica de Miranda.

3-Mónica de Miranda, Double force, Portugal, 2022. © Mónica de Miranda.

4-Simon Roberts, Beachy Head, Seven Sisters Country Park, East Sussex, 14 March 2017. © Simon Roberts.

5-Simon Roberts, Equestrian Jumping Individual, Greenwich Park, London, 8 August 2012. © Simon Roberts.

6-Simon Roberts, Broadstairs Dickens Festival, Isle of Thanet, 19 June 2008. © Simon Roberts.

7-Rafal Milach, Women’s Strike Protest against nearly total abortion ban, Warsaw, Poland, 22.10.22. © Rafal Milach, courtesy The Archive of Public Protests.

8-David Zieliński, Protest in defence of free media, Krakow, Poland, 12.08.21. © David Zieliński, courtesy The Archive of Public Protests.

9-Rafal Milach, Women’s Strike Protest against nearly total abortion ban, Warsaw, Poland, 22.10.22. © Rafal Milach, courtesy The Archive of Public Protests.

1000 Words

Writer Conversations

(Still available)

Click here to order your copy of Writer Conversations.

£13.99

Book launch/event
Thursday 23 March 2023
The Photographers’ Gallery, London
Details here

Writer Conversations offers a lively and engaging analysis of the practice of writing on photography. Composed as interviews with highly distinctive writers at the forefront of discourses and debates around visual culture, it provides sustained exploration into the processes and motivations that have given rise to an array of critical commentary and intellectual histories shaping the understanding, appreciation and study of photography today.

Formed of knowledge from culturally diverse worlds, viewpoints and approaches, the book brings together a range of voices from authors such as Tina M. Campt, David Campany and David Levi Strauss to Christopher Pinney, Joanna Zylinska, and Simon Njami. Drawing on relevant historical and contemporary examples, it grapples with bonds between looking and writing, seeing and “entering” images, qualities admired in other writers, professional demands and the frameworks of criticality. The writers also attend to inclusive and representative strategies, white supremacy and structures of inequality and complicity, autobiography and lived experience, synthesising social and environmental justice, and connecting readers to new emotional and critical perspectives beyond dominant and historically established narratives. Writer Conversations sets out models for imagining ways of writing on the currency and status of the photographic image amidst radical global transformations and a medium departing in new directions.

Featuring Taco Hidde Bakker, Daniel C. Blight, David Campany, Tina M. Campt, Taous R. Dahmani, Horacio Fernández, Max Houghton, Tanvi Mishra, Simon Njami, Christopher Pinney, Zoé Samudzi, Olga Smith, David Levi Strauss, Deborah Willis, Wu Hung, Joanna Zylinska 

Editors Duncan Wooldridge
and Lucy Soutter
Series Editor Tim Clark
Copy Editor Alessandro Merola
Art Direction & Design Sarah Boris
Printed and bound in Great Britain
by Clays Ltd, Elcograf S.p.A

Duncan Wooldridge is an artist, writer and curator. He is Course Director for MA Fine Art Photography at Camberwell College of Arts, University of the Arts London, and is the author of John Hilliard: Not Black and White (Ridinghouse, 2014) and To Be Determined: Photography and the Future (SPBH Editions, 2021).

Lucy Soutter is an artist, critic and art historian. She is Course Leader of MA Photography Arts at the University of Westminster, and is the author of Why Art Photography? (Routledge, 2nd ed. 2018)

Publication date February 2023
Format Softcover
Dimensions 198 mm x 129 mm
Pages 144
Publisher 1000 Words (1000 Words Photography Ltd)
ISBN 978-1-3999-3649-1

Distribution
Public Knowledge Books
diane@publicknowledgebooks.com
www.publicknowledgebooks.com

Les Rencontres d’Arles 2022

Top three festival highlights

Selected by Tim Clark

1000 Words Editor in Chief, Tim Clark, reports back from the opening of Les Rencontres d’Arles 2022, the 53rd edition of the bright, bushy-tailed festival set across the evocative Roman town in the south of France. Among the many exhibitions to salute are Norwegian-Nigerian artist Frida Orapabo’s How Fast Shall We Sing at Mécanique Générale in the dazzling new Parc des Ateliers at LUMA Arles, Rahim Fortune’s I can’t stand to see you cry as part of the Louis Roederer Discovery Award curated by Taous R. Dahmani and Sathish Kumar’s Town Boy, resulting from the first Serendipity Arles Grant in 2020. However, three particularly ambitious thematic exhibitions stand out for their complex visual dialogues and multiple vantage points onto the world and world of images.


1. But Still, It Turns
Musée départemental Arles antique 

The wall text that introduces But Still, It Turns, the exhibition Paul Graham has curated at Musée départemental Arles antique – which, among many notable bodies of work, features Emanuele Brutti and Piergiorgio Casotti’s Index-G, Vanessa Winship’s she dances on Jackson and Curran Hatleberg’s Lost Coast – states, brazenly: ‘there is no didactic story here, no theme or artifice. None is asked, none is given.’ Isn’t no story, like when artists claim their work as ‘apolitical’, a story in itself? In this case, the ‘story’ – or rather, quasi-framework or exhibitionary complex – is that of a statement of positions on a mode of photography identified as so-called ‘post-documentary’. Its meta-narrative draws from a shared approach, or attitude, propagated by this judiciously selected group of photographers who, in one way or another, turn their lens on intimacies and small episodes of contemporary social realities in the US. Specifically, working in the observational mode, they opt to summon quiet or unremarkable moments as a means of possessing the weight of the world: a town and its inhabitants gripped by industrial decline, sounds and situations at the fault lines of race, environment and economy and so on. Yet there are no easy narratives – all is posed as fleeting and messy but also empathetic and genuine; what Graham refers to as ‘a consciousness of life, and its song’.

Originally staged at ICP, New York, But Still, It Turns in the context of Les Rencontres d’Arles is ultimately a hymn to traditional yet enduring forms of photography, its serious artistic application allowing ‘a kind of pathway through the cacophony – a way to see and embrace the storm.’ Graham writes: ‘It could guide you through the randomness and grant the simple mercy of recognising life in all its prismatic wonder’. That such complex dialogues emerge across these meaningful articulations from life, demonstrates the artists’ deep levels of understanding of the bonds between looking and caring, perceiving and visualising. And, unsurprisingly, there are echoes of Graham’s own work at every turn, redolent of a mountain towering over a landscape, whose image can only be glimpsed through its reflection in a lake below.

2. Songs of the Sky. Photography & The Cloud
Monoprix

More curatorial (in the sense of thematising a group exhibition around a singular subject) is Songs of the Sky. Photography & The Cloud at Monoprix, the vast and industrial first-floor area above the French supermarket of the same name. As its title suggests, the show takes the motif of the cloud in photography as a starting point as well as the metaphor of ‘the cloud’ as a technological network that enables remote data storage and computing power commonly associated with the Internet. Of course, the empirical mass of photographs, i.e. those that exist on our smartphones and laptops – baby and cat photographs, holiday snaps, selfies, sunsets and pictures of food – or, by a similar token, those which have been generated by surveillance cameras and satellites, exist ‘up there’ in the cloud, finding in cables, screens and hard drives material form as part of the techno-capitalist system. Artists, on the other hand, have attempted to subvert and critique its principles, infrastructure and structures, ergo this exhibition.

Upon entering, one’s eyes don’t know where exactly to look; there are multiple sightlines onto numerous works from different artists but that’s certainly not a bad thing. As such, striking juxtapositions between historical material from the 19th century, such as Charles Nègre or Louis Vignes’ photographs, and contemporary works by Lisa Oppenheim, Trevor Paglen, Andy Sewell and Simon Roberts come to bear. What emerges is a tension between the sky as something sublime, as something which, for centuries, represented a way of ‘divining the future’ as James Bridle has put it, versus the far-from-romantic means we conceive of it today: a digital phenomenon that transfers and commodifies our data, with dramatic consequences for climate emergency and geo-politics. ‘Will the immense carbon footprint of the technical cloud accelerate global warming to such an extent that in the future it will be rare to see many faced cloud creatures floating by in the sky?’, is just one of the powerful research questions driving the exhibition. Organised with skill and clear focus, Songs of the Sky. Photography & The Cloud has been curated by Kathrin Schönegg of C/O Berlin, who was also the recipient of the 2019 Rencontres d’Arles Curatorial Research Fellowship.

3. Ritual Inhabitual, Geometric Forests: Struggles on Mapuche Land
Chapelle Saint-martin Du Méjan

Native to the temperate rainforests in southern Chile are medicinal plants and a rich biodiversity that have bore witness to endless cycles of construction and destruction. Monocultures of pine and eucalyptus have now come to dominate in service to the hugely lucrative paper pulp industry in the region, Chile being the world’s fourth largest producer from its 2.87 million hectares of plantations after all. The Mapuche (“people of the earth”), meanwhile, have lived on this land long before the country was founded and now find themselves at the heart of an ongoing battle: their spiritual relationship with the environment is at odds with an aggressive, global economy based on the exploitation of natural resources, leading to violence between nationalist organisations, industrialists’ private militia and the army’s specialist anti-terror squad. In response to this conflict, Chilean collective Ritual Inhabitual, created by Florencia Grisanti and Tito Gonzalez García, embarked on a five year photographic and ethnobotanical investigation that encompasses delectable Wet Collodian plates as well as large and medium format colour photographs of members of the Mapuche community, plants, trees and cloning laboratories of a forestry company. That this project encompasses a broad range of cohorts is one of its strongest features, for it offers a multi-vantage point perspective onto the subject at hand. Deftly translated by the exhibition’s curator, Sergio Valenzuela-Escobedo, whose careful choreography of the space highlights these competing factions, Geometric Forests: Struggles on Mapuche Land mediates the political desire to open up a debate on the nature of consumption at large.

While aesthetics may write the script in other environmentally-concerned exhibitions, here a form of infrastructural activism that reflects on the actual conditions and implications of its own making is evident. The exhibition is therefore highly commendable for harnessing the possibility of thinking and talking otherwise about making art in a less extractive fashion, allied with the admission that an entirely eco-friendly exhibition of images is an impossibility. One obvious example of mitigating impact has been to reuse existing frames from previous exhibitions. Similarly, printing directly onto material surfaces bypassing the need for paper or gluing the print onto an archival cardboard as opposed to an aluminium substrate in the event the former cannot be achieved. Even some of the temporary exhibition structures are stripped back to show the bare bones utilisation of wood, itself dismountable and reusable. There is also a kind of in-built critique present in the blurb of the accompanying book, published with Actes Sud, with a particularly striking section revealing a consciousness and self-awareness. It reads: ‘3029 kilos of Munken Kristall paper and 814 kilos of Soposeet paper were used for the book, as well as 220 kilos of Munken Kristall paper for the cover. Based on 24 trees for one tonne of paper, 96 trees were needed to transform those 4,063 kg of paper into 2,200 copies of this book.’ Clearly, in Geometric Forests, its participants take up the responsibility to call for new socio-environmental-political forms of collaboration. Maybe, via the propositions and practices contained in this exhibition, there is a way forward together, a sustainable means of co-existence.♦

Les Rencontres d’Arles 2022 runs until 25 September 2022.



Tim Clark is Editor in Chief of 1000 Words and Artistic Director for Fotografia Europea in Reggio Emilia, Italy, together with Walter Guadagnini and Luce Lebart. He also currently serves as a curatorial advisor for Photo London Discovery and teaches at The Institute of Photography, Falmouth University.

Images:

1-Vanessa Winship, from the series She dances on Jackson, 2013, part of But Still, It Turns. Courtesy the artist and MACK.

2-Curran Hatleberg, from the series Lost Coast, 2016, part of But Still, It Turns. Courtesy the artist and MACK.

3-Kristine Potter, Drying Out, from the series Manifest, 2018, part of But Still, it Turns. Courtesy the artist and MACK.

4-Trevor Paglen, CLOUD #865 Hough Circle Transform, 2019, part of Songs of the Sky. Photography & The Cloud. Courtesy the artist and Pace Gallery 

5-Andy Sewell, Known and Strange Things Pass, 2020, part of Songs of the Sky. Photography & The Cloud. Courtesy the artist and Robert Morat Gallery.

6-Noa Jansma, Buycloud, 2020-21, part of Songs of the Sky. Photography & The Cloud. Courtesy the artist.

7-Ritual Inhabitual, Paul Filutraru, Rapper in the group Wechekeche ñi Trawün, Santiago de Chile, 2016, part of Geometric Forests: Struggles on Mapuche Land. Courtesy the artists.

8-Ritual Inhabitual, Biotechnology series, Chile, 2019, part of Geometric Forests: Struggles on Mapuche Land. Courtesy the artists.

9-Ritual Inhabitual, Geometric Forests series, Chile, 2018, part of Geometric Forests: Struggles on Mapuche Land. Courtesy the artists.

Photo London 2022

Top five fair highlights

Selected by Alessandro Merola

Bringing together over 100 exhibitors from around the globe, Photo London has returned to Somerset House for its seventh edition. Brimming with bold impressions on the medium from early trailblazers through to today’s most exceptional talents, it has something for all tastes. Here are five standout displays from the capital’s premier photography fair – selected by 1000 Words Assistant Editor, Alex Merola.


1. Once Upon the War in Kharkiv
Alexandra de Viveiros

Maintaining a robust commitment to the dissident photographers of Ukraine’s Kharkiv School of Photography – borne in the early 1970s out of a city now besieged by Russian troops – Alexandra de Viveiros’ presentation prompts a particularly urgent viewing. Of marked significance here are the pieces by Evgeniy Pavlov, one of the co-founders of the Vremia Group, which set out to create a visual opposition to dominant Soviet narratives and the aesthetic canon of Social Realism. Pavlov’s Archive Series (1965–88) italicises scenes of everyday life with a quiet, personal lyricism through colour retouching, whilst his ragged photo-collage, dated 1985, keeps the mind busy and ambiguity open. Sharing these walls with Pavlov are father and son Victor and Sergey Kochetov, whose wonderfully expressive hand-tinted prints – referencing Boris Mikhailov’s art of luriki – communicate both the backwardness of Soviet technology as well as a nostalgic attachment towards it. With the inclusion of the School’s newest wave of activities – Vladyslav Krasnoshchok’s harrowing hallucinations of the medical emergencies at a Kharkiv hospital, for instance – de Viveiros has staged a small but powerful constellation bringing together three generations of Ukrainian photographers, all united in their upholding of the right to independence and the freedom of artistic gesture.

2. Anastasia Samoylova, Floridas
Galerie—Peter—Sillem 

Concurrent with showing at The Photographers’ Gallery as part of the Deutsche Börse Photography Foundation Prize 2022, Anastasia Samoylova’s solo booth with Frankfurt’s Galerie—Peter—Sillem is an unmissable affair. Hung in handsome, white-wooden frames, the artist’s prints prevail for their technical brio: sleek, delectable renderings of colour which magically transcribe that distinctly brilliant Floridian light. However, what’s alluring is also alarming, for they convey the contradictory lives of a state totally distracted by its own self-image whilst in the throes of ecological implosion. Though these layered photographs contain subtle references to Walker Evans’ extensive but oft-overlooked body of work made in “Sunshine State” – a kinship teased out in Floridas (2022), her exceptional new book which is available to peruse here – Samoyolova is very much her own artist. Her merging of meticulous observation, deceptive aesthetic and sharp socio-environmental concern marks her out as one of the most intelligent and sophisticated photographers working today – and, indeed, one of the most important to reckon with the fallacies of Florida.

3. Christine Elfman, All solid shapes dissolve in light
EUQINOM Gallery

With an eye for experimental and rigorous photo-based practice, San Francisco-based EUQINOM Gallery has delivered a dynamic display as part of this year’s Discovery section – dedicated to emerging galleries and overseen by 1000 Words Editor-in-Chief, Tim Clark. Commanding a particularly slow and conscious appreciation here are the variously violet-hued anthotypes of Christine Elfman, who, with her series All solid shapes dissolve in light (2019–22), has developed an exquisite technique involving light-sensitive dyes harvested from lichen and month-long solar exposures to produce photographs whose chemical properties mean they are constantly fading. Boasting breathtaking degrees of detail, these capricious pieces reveal those infinitesimal shifts in colour, contrast or density to only the most patient and attentive observers. That these studies are at once disappearing and also becoming is perhaps their most confounding and, ultimately, magical quality. Elfman is evidently as curious about philosophical questions as by photographic ones, and how thrilling it is to find an artist employing such an early analogue process whilst, in turn, upending that dusty, medium-old fantasy of ‘fixity’.

4. The Gallery of Everything

Few in the UK have done more to further the integration and celebration of so-called “outsider artists” – historically sideswiped by the mainstream – than James Brett has, and the fine line he has drawn between the professional and the vernacular at The Gallery of Everything’s (debut) outing makes it one of the most stimulating of this year’s fair. There’s a charming amateurism in the air, with some of the superstars of self-taught image-making packing these walls. Miroslav Tichý’s small, weathered objects – stolen glimpses of female forms through cameras constructed from cans and junk – wind up with a melancholic resonance, as do the mise-en-scène of Morton Bartlett, a fascinating figure who, in the 1940s and ’50s, built and photographed a cast of life-sized dolls that sublimated his lack of “real” relatives (there’s a unique opportunity to see one in the flesh, too). In the company of William Mortensen’s beguiling studio shot of a witch flying a broom, Bartlett’s works surprise for their uncanny awareness of the power of light, shadow and composition. Turning it up a notch are Pierre Molinier’s silver gelatin prints: formally-classic yet thoroughly transgressive propositions on gender, fetishism and narcissism. Flailing an impossible number of limbs encased in stockings, he’s seen through a peep hole, like this booth in general.

5. The Countess of Castiglione
James Hyman Gallery

For their rarity alone, the private, performative self-portraits of the Countess of Castiglione are a must-see. Yet, what is most successful about James Hyman Gallery’s tightly-curated booth, comprised of over 50 prints from three periods (1856–57, 1861–67 and 1893–95), is the way in which it offers a complex narrative arc charting the seductress’ mutating identities and inner-realities. However compliant in the eye of the camera the Countess might appear – self-masqueraded with masks, ballgowns and crowns which, as Abigail Solomon-Godeau argued, saw her act as a ‘scribe’ of predetermined and delimited feminine tropes – she is a rare example of a 19th century woman constructing images for her own gaze: a subject tricking us into thinking she is an object. Whilst the cynosure here is a pair of gold-framed, elaborately-painted photographs which have been unveiled for the first time ever, the most poignant pictures are the final ones through which the aristocrat confronts the impermanence of her beauty. This is a very special tribute to a practitioner whose place within the canon, one feels, should be radically reconsidered. After all, before Cindy Sherman and indeed Claude Cahun, there was the Countess, delving into the work images do and the lives they somehow lead us, or free us, to live.♦

Photo London runs at Somerset House until 15 May 2022.


Alessandro Merola is Assistant Editor at 1000 Words.

Images:

1-Evgeniy Pavlov, ‘Untitled’ from Archive Series (1965–88). Courtesy the artist and Alexandra de Viveiros.

2-Viktor and Sergiy Kochetov, ‘Untitled’ (1990). Courtesy the artist and Alexandra de Viveiros.

3-Vladyslav Krasnoshchok, ‘Untitled’ from Bolnichka (2010–18). Courtesy the artist and Alexandra de Viveiros.

4-Anastasia Samoylova, Venus Mirror (2020). Courtesy the artist and Galerie—Peter—Sillem.

5-Anastasia Samoylova, Rust, Hollywood (2019). Courtesy the artist and Galerie—Peter—Sillem.

6-Anastasia Samoylova, Chain Link Fence, Miami (2018). Courtesy the artist and Galerie—Peter—Sillem.

7-Christine Elfman, Cloth Water Stone II (2021) (Variation II). Courtesy the artist and EUQINOM Gallery.

8-Christine Elfman, Reproduction I (2020) (Variation II). Courtesy the artist and EUQINOM Gallery.

9-Christine Elfman, Reproduction III (2021) (Variation III). Courtesy the artist and EUQINOM Gallery.

10-Miroslav Tichý, ‘Untitled’. Courtesy The Gallery of Everything.

11-Morton Bartlett, ‘Untitled’ (c.1950). Courtesy The Gallery of Everything.

12-William Mortensen, Myrdith on Broom (c.1930). Courtesy The Gallery of Everything.

13-Pierre Molinier, ‘Untitled’ (1966). Courtesy The Gallery of Everything.

14-The Countess of Castiglione in collaboration with Pierre-Louis Pierson, L’innocence, variation sur La Reine D’Etrurie (1863). Courtesy James Hyman Gallery.

15-The Countess of Castiglione in collaboration with Pierre-Louis Pierson, La toilette (1861–67). Courtesy James Hyman Gallery.

16-The Countess of Castiglione in collaboration with Pierre-Louis Pierson, La Comtesse de Castiglione (1894). Courtesy James Hyman Gallery.

Writer Conversations #5

David Campany

David Campany is a curator, writer and educator. His books include Indeterminacy: thoughts on Time, the Image and Race(ism), co-authored with Stanley Wolukau-Wanambwa (MACK, 2022); On Photographs (Thames & Hudson, 2020); Walker Evans: The Magazine Work (Steidl, 2013); Photography and Cinema (Reaktion Books, 2008) and Art and Photography (Phaidon, 2003). His curatorial projects include #ICPConcerned: Global Images for Global Crisis (2020), The Lives and Loves of Images (2020) and A Handful of Dust (2015).

At what point did you start to write about photographs?

‘About’ is a complicated word. I first started to write during my undergraduate years. I was on a wildly ambitious 50/50 programme, half image-making, half writing, informed by a number of disciplines: semiotics, psychoanalysis, Marxism, feminism, post-colonial theory, theories of institutions and ideology, aesthetics, phenomenology and film theory. Reading preceded any writing. Lots of it. I was struck early on by the difference between writings that began from the particular – this or that image – and writings that began with a theoretical abstraction, and deployed photographs as illustrations or examples. Both have their merit, of course, and I wrote in both ways at that time. Seven or eight years later, opportunities came my way to write for magazines and books, and I had to figure out if I could do something. By then, I had already been teaching for a few years. I suspect the daily practice of getting complex ideas into sentences comprehensible to students shaped how I began to write. As the years passed, I became somewhat averse to writing ‘about’ photographs, preferring to write around them, off them, in parallel, leaving the image as something for the reader to consider for themself. This came from the realisation of how little words can do in the face of the image, and to pretend otherwise was folly. That ‘little’ is vitally important, but it is little.

What is your writing process?

Everyone has their own creative rhythms and must accept them, because they cannot really be altered. I’m not all that productive but I don’t waste time. I usually work on two texts at once because I get stuck so often, and instead of doing nothing I can switch.

Most often, I write in order to find out what I think about things, and I try to write in a way that will carry me and the reader through that thinking. That means that the form of the writing is always in play, and cannot be taken for granted. I never know if a piece of writing is going to work out.

Occasionally, I’ve written polemics, and polemical writing was certainly the strongest kind I encountered as a student. I still relish reading strident texts, past and present. They do help to clarify. But I discovered I was temperamentally unsuited to that mode, which is premeditated and programmatic. Writing to discover what you think is quite different. It is speculative, risky, uncharted. Against that, I enjoy the parameter of the word count. If there’s no limit, my writing gets baggy. Not always, but often. (Maybe that’s why I’ve never blogged.) Interesting writing can be any length. A hundred words, a thousand, ten thousand.

What opened me up was the realisation that I could include images alongside my words. The richest experiences I’d had as a reader were with writings that included images, mainly in books on cinema. I liked it when the choice and sequence of images threaded through a text seemed almost like a form of writing. My own writing is done this way wherever possible. If I can get the ‘image track’ to feel interesting, to me at least, I can then begin to write. I don’t know of many other writers who do this. My interest in this approach is why I also became a curator and an editor of photographic books. There are parallels. I have often encouraged students to write this way, beginning with the choice of images. I’ve noticed it can work wonders for smart students who thought they had no chance of writing well, or in a way that they might enjoy and benefit from. If you fear the blank page, put an image on it. (Having the image on the page for the reader to look at for themselves is also a great discipline for a writer.)

I rewrite a lot. Partly, this is because my first drafts are lousy, but I’m trying to get my words to work well on the ear. I’m sure that comes from teaching, but also from the fact that I’ve always been impressed by good public speaking. If my words are dead to the ear, I know I need to rewrite. That’s not a rule for all writing. It just works for me.

The invitation plays a key part. I am fortunate in that institutions, publishers and image-makers often ask me to write. That element of surprise is really useful, as is the feeling of confidence one gets when someone likes your work and thinks you could do something worthwhile. I’m as likely to write for a little-known artist as for a major institution. Follow the work, not the reputation.

Sometimes I would rather not produce a text on my own, feeling I have more interesting things to discuss than to write. In these situations, I’m likely to suggest a conversation or written exchange, rather than an essay. Some of my published conversations – with Jeff Wall, Anastasia Samoylova, Stephen Shore, Sophie Rickett, Stanley Wolukau-Wanambwa and Daniel Blaufuks, for example – are among my favourite writings. I should say here that these conversations really are conversations. They are open-ended, speculative, responsive and all about the exchange of ideas. I know this project has the word ‘Conversations’ in its title, but it doesn’t really contain conversations. What I’m writing here is a response to a questionnaire: an efficient way to solicit formatted ‘content’. That’s why the questionnaire is such a dominant form these days. A conversation is the opposite.

What are the questions or problems that motivate your writing? 

Mixed feelings are the best motivation for me as a writer, and as a viewer. If my feelings are too clear to begin with, then there’s little in it for me. As for problems, I think the largest one has been the growing gap between writing that takes place in the academy (universities) and writing that takes place outside. I think this is worrying for a society. When I became a writer, having worked in a university for a while, that gap was already becoming very real, and I could see it had political consequences. The smart stuff wasn’t getting into the world, and when it did, it was not often understood. As neo-liberal capitalism marched its violent way onwards, the academy retreated from the public square, making its critiques and presenting its alternatives to its peer group, in ways its peer group appreciated. I’m exaggerating, but only slightly. As an emerging writer, I had to face that in a very immediate way. I made the decision, for good or bad, to publish outside of the academy. I’ve written very few “peer-reviewed” essays for academic journals, for example. (Seriously, who wants to live in a peer-reviewed culture? Sounds vaguely Stalinist to me. Sure, I want my brain surgeon to have read the right journals. Culture is different.) The essays I have written for academic journals were to see if I could do it on those terms, as an exercise. Once I’d ticked that box, I wanted other challenges, other audiences, which I didn’t know existed but I had a feeling they might. (I’m always fascinated to see how people who write about photography describe themselves. ‘Theorist’. ‘Art historian’. ‘Critic’. ‘Academic’. The aversion to the term ‘Writer’ says a lot.)

There is such anxiety around images. Rightly so, and for a lot of reasons. But there is a tendency for writing, for writers on the visual arts, to step in and overwrite, to attempt to supply the ‘script for looking’, to take away the anxiety the image produces and stabilise things. More often than not, this is prejudice and preference masquerading as reason. One sees this in everything from museum wall texts, to reviews, blogs and critiques. Images get ‘explained’ in terms of authorial intention, biography, strategy, what we ‘ought’ to be thinking, and so forth. This runs the risk of diminishing us all as viewers, patronising us while pretending to enlighten. Moreover, it refuses the essential ambiguity of images. There are forms of writing that don’t do this, that keep the door open, however awkward and painful that can be. Ambiguity, the openness of the image, can be an anxious problem… But it is the only way out, so we ought to embrace it.

The other problems that motivate my writing are self-imposed. They involve finding new relations between image, thought and language. 

What kind of reader are you? 

Pretty voracious and wide-ranging. I am also a re-reader. Texts can be returned to, in order to figure out how they were written, and as a way of measuring one’s own intellectual and emotional development. There are novels and philosophical essays I make an effort to reread every few years. They stay the same. I change.

How significant are theories and histories of photography now that curation is so prominent? 

I had no idea curation was so prominent. Nevertheless, writing is writing and curation is curation. They share some concerns and approaches, of course, but, as a writer and a curator, I’m interested in the differences.

What qualities do you admire in other writers?

Unimprovable sentences. The ability to get paid. (As far as I know, we’re all doing this project for nothing.)

What texts have influenced you the most?

Influence is largely unconscious, so don’t ask me. I am not being flippant. The answers we give about our influences are merely the answers we are able to give. Among my conscious answers, the ones that come readily to mind are the writings of Roland Barthes (on almost anything other than photography), Susan Sontag (same), Jacques Derrida, Fred Moten, Susan Stewart, Fredric Jameson, Raul Ruiz, Clarice Lispector, Marguerite Duras, Julia Kristeva, Gilles Deleuze, Victor Burgin, Frantz Fanon, Adam Phillips, George Orwell, Lydia Davis, Samuel Beckett and Virginia Woolf. I would give a different answer tomorrow, I’m sure. Between what we know and what we don’t, there are hunches and intuitions. I have a hunch that the texts influencing me most profoundly were, and are, song lyrics. Words as sung. I cannot memorise a line of poetry, even if it means the world to me. I remember songs without even trying. I cannot imagine this has not had an effect, but I am not sure I could define it.

What is the place of criticality in photography writing now?

There are many places. It’s good to be mindful of this.

The space of critical refusal interests me. For example, how would discussions about identity take shape if one considered the possibility that the most interesting and profound things about identity do not offer themselves to the camera, to visibility? Or, what do we do about the fact that the narrowly consensual categories of both the mass media and art world demand certain conformities? At what points and in what situations might a commitment to photography be a walking away from it, and a turning towards something else, either as a maker, writer or viewer? There are photographers who face these questions and find other ways. And there are writers who have advocated for this too. The endless ‘commitment’ to photography, the presumption that all things of value can and must be available to its often-crushing and limiting embrace, is a very real issue. This should be faced as a matter of some urgency. (I don’t feel committed to photography at all costs, merely fascinated by it, and life beyond it is rich.) Critical refusal ought to be a vital part of the way photography is thought, discussed, taught and written. It should always be on the table. There are many positive signs that this is happening.♦

Further interviews in the Writer Conversations series can be read here.


Writer Conversations is edited by Lucy Soutter (University of Westminster) and Duncan Wooldridge (Camberwell College of Arts, University of the Arts London), upon the invitation of Tim Clark (1000 Words and The Institute of Photography, Falmouth University). 

Images:

1-David Campany

2-Book cover of David Campany, On Photographs (Thames & Hudson, 2020)

3Book cover of David Campany, The Lives and Loves of Images (Kehrer Verlag, 2020)

4-Book cover of David Campany, Walker Evans: The Magazine Work (Steidl, 2013)

5-Book cover of David Campany, #ICPConcerned: Global Images for Global Crisis (G Editions, 2021)

 

Top 10 (+1)

Photobooks of 2021

Selected by Alessandro Merola and Tim Clark

As the year draws to a close, an annual tribute to some of the exceptional photobook releases from 2021 – selected by Editor in Chief, Tim Clark, with words from Assistant Editor, Alessandro Merola.

1. Gilles Peress, Whatever You Say, Say Nothing
Steidl

What Gilles Peress has achieved with Whatever You Say, Say Nothing – unsurprisingly shortlisted for the Deutsche Börse Photography Foundation Prize 2022 – is astonishing, and surely must rank amongst the highest feats in photobook history. In some 2,000 pages, sprawled across two volumes as well as an almanac entitled Annals of the North, the esteemed French photographer embarks on a visual and philosophical exploration of the ethno-nationalist conflict that engulfed Northern Ireland from the late 1960s to 1998. With no beginning, middle or end, Peress’ tale defies the orthodoxies of linear narrative by orchestrating 22 semi-fictional “days”: days that recycle, over and over, the rituals of violence, protest and grieving; days in which the carnage becomes inseparable from the quotidian. That said, whilst Peress exploits photography’s “reality effect” to register the material specifics of the Troubles, it’s in the work’s accumulation that the strife operates synecdochically. For it expresses – like a photographic Finnegans Wake (1939) – what is elsewhere – or, rather, everywhere: the simultaneity of good and evil; the push and pull of power; the helicoidal unravelling of time. That this work speaks to such profound, ineffable ideas is a testament to the potential of the photobook when it finds its upper limits. And, indeed, few could have executed this unison between content, structure and form so flawlessly as Gerhard Steidl has: a book of all books, unlike anything that has come before.

2. Gregory Eddi Jones, Promise Land
Self Publish, Be Happy Editions

With the mounting complexities which define our times requiring increasingly sophisticated modes of storytelling, it is exciting to witness an artist invent something so utterly imaginative that it makes us see the world anew. Promise Land, by Gregory Eddi Jones, is one such example. In this whirling, poetic mashup, Jones riffs off T. S. Eliot’s apocalyptic epic, The Waste Land (1922), of course penned in the wake of the First World War and influenza pandemic. Aligned with Eliotean tactics of appropriation, Jones’ sequences are comprised of stock photographs: consumerist fantasies which, for the artist, not only bespeak the excesses of contemporary culture, but represent photography in its most hollow, debased and regurgitative state. Through a profusion of détournements – cropping, compositing, inverting, inkjet hacking and digital retouching – Jones makes implicit values explicit, inviting readers to re-evaluate the relationship between photography and truth, or sever their ties altogether. Here is a work that is bold, irreverent and oftentimes chilling, not least for the bookending displays of a composer waving his wand before a spell-bound audience; suggestions that there may be as much method as madness in this heap of broken images.

3. Hoda Afshar, Speak The Wind
MACK

From start to close – and vice versa – Hoda Afshar’s Speak The Wind entrances with its eloquent rendition of zār: the wind spirits which, for millennia, have shaped the topography and traditions of the islanders of the Strait of Hormuz, an oil passageway joining the Arabian Gulf and the Gulf of Oman. They are said to inflict disease, placated only through ritual dialogues conducted with the gusts themselves. Situated somewhere between the sacred and the baleful, Afshar’s incantatory, cinematically-paced photographs do not so much conjure a people but channel their psychic entanglement with place. Punctuating the book are bound pages depicting wind-sculpted mountains; they form pockets that conceal islanders’ drawings and writings describing their experiences of being possessed by zār. Afshar’s dimensional switches cleverly rupture photography’s predispositions for certainties; those which can be clutched, seen. It’s easy to get swept up by these pages, to concede to forces greater than us, yet Afshar also empowers readers like she does her subjects. Setting foot on twinkling black sands, or setting sail through seas as red as blood, we are ultimately met by a crossroads: between reality and fiction; between this world and another.

4. Tarrah Krajnak, El Jardín de Senderos Que Se Bifurcan
Dais Books

The breakthrough of Tarrah Krajnak has been one of the most significant of the year, and the artist’s nuanced handling of archival material is on full view in this precious book. Borrowing the title and parable blueprint of Jorge Luis Borges’ short story, The Garden of Forking Paths (1941), it plays a deep concern with the circumstances surrounding her birth: amidst the terror of Peru’s military dictatorship in the 1970s, Krajnak’s biological mother travelled to Lima to work as a maid; she was raped, and gave birth to Krajnak in 1979, ‘the year of the orphans’. Instead of attempting to resolve these personal and political narratives, Krajnak invents mothers, imagines lineages and initiates what she calls ‘misremembrance’. The asymmetrical sequences pull our attention in fractured ways, moving through re-photographed images from political magazines, oral testimonies of women born in 1979 and the artist’s interactions with projections in which temporalities enmesh like palimpsests. Krajnak’s sharp prose and deliberate mistranslations bestow an added intensity to this book’s reckoning with subjectivity as much as history, all the while collapsing the boundaries between them. With El Jardín de Senderos Que Se Bifurcan, Krajnak shows that affinity can be innate, even historical, persisting in the psyches of those separated by space and time yet linked by collective knowledge, memory and trauma. Theirs is a storied history, seen through a glass, darkly.

5. Catherine Opie
Phaidon

Boasting lavish printing and impeccable production values, Phaidon’s survey of Catherine Opie’s prodigious output is of the highest order and entirely befitting of one of the great chroniclers of this century. There is much to be praised for the ways in which over 300 photographs, spanning 40 years, have been mapped, not chronologically, but thematically across three chapters: People, Place and Politics. Yet, the lines which delineate them are almost non-existent. One spread pairs a headshot of Pig Pen (Opie’s long-time friend and subject) donning a fake moustache with a photograph of a lesbian couple seated in their backyard with arms interlocked; another the iconic ‘Self-Portrait/Cutting’ (1993) with a literal manifestation of the domestic scene carved-out on Opie’s back. They are juxtapositions that steer us towards the central paradox of Opie’s oeuvre: for all its supposed extremity in staging the queer body as a site of self-actualisation, there is, at its heart, a yearning for the fundamental. Because, whether documenting human, ecological or architectural subjects, she never strays far from home, hence the tome’s modest, perfectly-judged cover, which displays the young artist photographing herself in the mirror alongside potted plants and a wood burning stove. Opie’s work feels vital; it always did.

6. Raymond Meeks, Somersault
MACK

Raymond Meeks’ very beautiful and affecting ode to ­his daughter, Abigail, is a charged companion piece to his much admired aubade, ciprian honey cathedral (2020). Through imperceptible yet tenderly convicted narrative shifts, Meeks unveils the inner-world of a young woman on the cusp of adulthood and leaving home. He coaxes out Abigail’s emotional subtleties in a way perhaps only a parent could; she is alternately timid, whimsical, inquisitive and fearless. However, Meeks honours the guarded mysteries of adolescence, too. Abigail becomes, for her father, a horizon where intimacy and loneliness converge, as mirrored by Meeks’ sublime evocation of the wilderness that envelops their home, delicately tethered by train tracks, telephone wires and wilting daisies. His impossibly lucid visions crackle with longing throughout until we reach the parting words of Abigail herself, who recalls the innocent daydream of her younger self: ‘She wants to climb on a train and go where it takes her.’ The grace of Somersault is to measure distance whilst recognising that few distances are ever fixed.

7. Zora J Murff, True Colors (or, Affirmations in a Crisis)
Aperture

Where Zora J Murff ’s previous book, At No Point in Between (2019), takes as its subject the historically Black neighbourhood of North Omaha, Nebraska, his new book is nation-wide in scope. Beneath the swirling surface of True Colors (or, Affirmations in a Crisis) – currently displayed in exhibition form at Webber Gallery, London – lies a provocative meditation on America: its fragile bonds, elective affinities and colonial legacies. From police brutality and lynching to redlining and economic oppression, violence – fast and slow – runs through the veins of this book, so arresting in its dense web of image types: vernacular photography, newspaper clippings, Internet screenshots, video stills, landscapes, portraiture and more. Murff’s dexterous use of juxtaposition – often contextualising his own photographs alongside found and appropriated material – brings into focus the medium’s complicity in creating and maintaining racial hierarchies through the spectacle, commodification or erasure of Black bodies. This book serves as not only a complicated, oft-impenetrable ‘manual’ for coming to terms with the country’s past and navigating its present, but – true to its title – an autobiographical retelling of the epiphanies of a young Black artist finding his voice. And it’s emphatic.

8. Massao Mascaro, Sub Sole
Chose Commune

Sub Sole ­– a classical, richly-layered piece of narrative work which was recently exhibited in an elegant show curated by Fannie Escoulen at Fondation A Stichting, Brussels – follows after Homer’s The Odyssey (c.750 BC), traversing the coasts of the Mediterranean Sea. Its waters have, since time immemorial, been a crucible for voyages: some mythical and heroic; some real and tragic. Against the backdrop of such tense, intersecting contexts, Massao Mascaro furnishes our gaze across relics, architecture and the gestural relations between those who have sought refuge in Europe. These passing impressions are loosely arranged through nine visual poems, each introduced by a literary fragment which rolls along the bottom edges. The clarity of Mascaro’s frames; the lyricism of his sequences; the mesmerising gradations of Mediterranean light: all of them are a function of the casual grandeur of the world he has crafted. Yet, there is also a deeply disturbing cycle to this book, which ultimately feels suspended in time – timeless even – as intimated by the dialless clock that decorates its front cover, or the line from which its title derives: ‘There is nothing new under the sun’ (Ecclesiastes, 1:10).

9. Frida Orupabo
Sternberg Press and Kunsthall Trondheim

Although the subversive strategies of Frida Orupabo are best experienced via her Instagram feed, @nemiepeba, and on the gallery wall, this debut monograph affords a persuasive translation of her work in book form. The opening black pages (preceding incisive essays by Stefanie Hessler, Lola Olufemi and Legacy Russell) showcase Orupabo’s social media images, offering flashes of the artist’s extraordinary online archive – a ‘voluptuous trail of black continuity’, as Arthur Jafa called it – which she uses as a laboratory to make her paper collages. Whilst the inclusion of installation views here attests to the uneasy transitions these physical pieces undergo when they enter the gallery’s white space, it also evinces the manifold ways of seeing Black bodies that Orupabo compels. W. E. B. Du Bois’ notion of ‘double consciousness’ – that is, viewing oneself through the coloniser’s eyes – is undeniable, but so too is bell hooks’ ‘oppositional gaze’. Orupabo’s greatest triumph might be in the transmission of a wholly new consciousness, found in the unforgettable, searing stares of her feminine protagonists. Their pasts are fraught, but, in Orupabo’s curative hands, they embody the spirit of resistance that literally underpins them.

10. Alexis Cordesse, Talashi
Atelier EXB

The catalytic inquiry of Alexis Cordesse’s subtle entry into the vernacular genre is this: how does one evoke a tragedy that is paradoxically made invisible through too many images? The tragedy in question is the Syrian civil war, an ongoing conflict that has displaced over half the country’s population since 2011. Seeking an alternative to the sentimental dramatisations of war all too often circulated by mainstream media, Cordesse performs an act of collective remembrance by collating personal photographs belonging to those living in exile in Turkey, Germany and France; those who entrusted him enough to share the memories they hold dear. These artefacts have, like their owners, survived perilous journeys, for, if they had been seized as pieces of evidence at the borders, they might not have made it – and, indeed, many didn’t. Such is the precarity of Talashi, whose title translates from Arabic to Fragmentation, Erosion or Disappearance. Slowly weaving what ultimately becomes an ever-vanishing tapestry of home, this book quakes with a quiet, mournful energy: a reminder that though all photographs are silent, some are more silent than others.

+1. What They Saw: Historical Photobooks by Women, 1843–1999
10×10 Photobooks

The advent of photobook history – a still relatively new field of study – set in motion the books-on-photobooks. Although doing much to further our understanding of the medium, they have failed to redress the canon’s long-standing male biases. Enter What They Saw: Historical Photobooks by Women, 1843–1999. In the foreword to this important anthology, editors Russet Lederman and Olga Yatskevich stress the issues of access and funding or lack thereof; ergo their necessary expansion of what constitutes a “photobook” via the inclusion of albums, scrapbooks and maquettes. Indeed, marginalised histories are not just a question of gender, but of class and race too, hence the scarcity of, for example, African photobooks as opposed to books-on-Africa. The anthology countervails these factors through its signature turn: an interwoven, parallel timeline that charts publishing, magazine and small press events which might not have realised “photobooks” in the narrow, Western sense, but certainly influenced history. Many of these notations are incomplete, acting more like leads. Of course, one wishes that such a sole dedication to female authors did not have to exist. However, until it doesn’t, it prevails as a critical resource for discovering forgotten parts of photobook history: a history that is longstanding, forever rich yet still being written.♦


Alessandro Merola is Assistant Editor at 1000 Words.

Tim Clark is Editor in Chief at 1000 Words, and a writer, curator and lecturer at The Institute of Photography, Falmouth University. He lives and works in London.

Images:

1-Gilles Peress, Whatever You Say, Say Nothing (Steidl, 2021). Courtesy the artist and Steidl.

2-From the chapter ‘The Last Night’ in Gilles Peress, Whatever You Say, Say Nothing (Steidl, 2021). Courtesy the artist and Gilles Peress Studio.

3-‘Betterland’ (2019) from Gregory Eddi Jones, Promise Land (Self Publish, Be Happy Editions, 2021). Courtesy the artist and Self Publish, Be Happy Editions.

4-‘Untitled’ from Hoda Afshar, Speak The Wind (MACK, 2021). Courtesy the artist and MACK.

­5-‘Dead Ringer/Self-Portrait as Found Photograph (1979 Lima, Peru)’ (2018) from Tarrah Krajnak, El Jardín de Senderos Que Se Bifurcan (Dais Books, 2021). Courtesy the artist and Dais Books.

6-‘Joanne, Betsy & Olivia, Bayside, New York’ (1998) from Catherine Opie (Phaidon, 2021). Courtesy the artist and Regen Projects, Los Angeles; Lehmann Maupin, New York/Hong Kong/Seoul/London; Thomas Dane Gallery, London and Naples and Peder Lund, Oslo.

7-‘Untitled’ from Raymond Meeks, Somersault (MACK, 2021). Courtesy the artist and MACK.

8-‘Stole-On (or, I wanna be a world star)’ (2021) from Zora J. Murff, True Colors (or, Affirmations in a Crisis) (Aperture, 2021). Courtesy the artist and Webber Gallery, London.

9-‘Untitled’ from Massao Mascaro, Sub Sole (Chose Commune, 2021). Courtesy the artist and Chose Commune.

10-‘Untitled’ (2017) from Frida Orupabo (Sternberg Press and Kunsthall Trondheim, 2021). Courtesy the artist, Sternberg Press and Kunsthall Trondheim.

11-‘Untitled’ from Alexis Cordesse, Talashi (Atelier EXB, 2021). Courtesy the artist and Atelier EXB.

12-Spread from Christina Broom and Isabel Marion Seymour, Women’s Social and Political Union Postcards Album (self-published, 1908–14). Courtesy Museum of London.

Writer Conversations #4

Taous R. Dahmani

Taous R. Dahmani is a historian of photography, researcher and writer based between London and Marseille, France. She is currently writing a PhD on the relationship between political actions and photographic gestures. Dahmani is also editor and content advisor at The Eyes, a trustee of the Photo Oxford Festival and on the editorial board of MAI: Visual Culture and Feminism.

Recent writings include “Heeding time: reviewing and rereading Périphérique” in Mohamed Bourouissa, Périphérique (Loose Joints, 2021); “A meeting between the thought of Stuart Hall and the films of John Akomfrah” in Penser avec Stuart Hall (La Dispute, 2021); “Racism and anti-racist struggles in 1970s London: When the walls speak, placards respond!” in Le phototexte engagé – Une culture visuelle du militantisme au XXe siècle (Les Presses du réel, 2021); “From a space of resistance, to the institution’s place: the history of Autograph ABP, between 1988 and 2007” in Marges #33 (2021) and “Bharti Parmar’s True Stories: Against the grain of Sir Benjamin Stone’s Photographic Collection” in PhotoResearcher #30 (2018).

In 2022, Dahmani will contribute a chapter about Polareyes, a magazine by and for Black British women photographers, in Resist, Organize, Build (SUNY Press, 2022), and serve as the curator of the Louis Roederer Discovery Award at Les Rencontres d’Arles, France.

At what point did you start to write about photographs? 

The very first time I wrote about a photograph was eight years ago in a university exam for my history of photography course. We had three hours to write a “dissertation” – a methodology-heavy French way of writing a “paper”. And it was actually the last time I wrote anything with a pen. I only vaguely remember that I wrote about a Bill Owens photograph and its relation to capitalism. But I vividly remember my eagerness and nascent aspiration.

Fast forward slightly less than a decade and I’m now writing up my PhD as the end product of my journey in French academia. Looking back, this education – its numerous rules and regulations – was a process of acculturation. One way of writing, to perpetuate one way of thinking. On scholarly work, Edward Saïd wrote that it is an ‘on-going activity within an already constituted field of discourse.’ It exists only to be perpetuated as it is.

In 2019, when Tim Clark, Editor in Chief of 1000 Words, invited me to write about a photobook, I welcomed the invitation as a breath of fresh air. I also welcomed the proposal as an opportunity to transcribe, for a wider readership – a conscious reasoning – the accumulation of knowledge and experience that has shaped me as a researcher. This experience started my interest in non-academic writing – its forms and meanings – and its potential for accessibility. As such, this experience was another “first time”.

Today, I feel like I’m playing a tug of war with myself: one team trying to follow presiding ways of writing a PhD thesis; the other exploring the freedom of essay writing. At the end of a long and laborious project such as a PhD thesis, I am embracing the feeling of re-starting, re-becoming an apprentice writer. Originating from the French verb “essayer” (to try), “the essay” is a great form for critical thinking, and I will attempt to weave my academic background into this new form in the future – asking myself, as Daniel C. Blight asked himself a few years ago: ‘What is the politics of essay writing on photography?’ Blending disciplinary disregard and acute consideration for this form.

What is your writing process?

[I’ll answer this question for essay writing only.]

On good days:

  1. I place my phone behind my computer screen – on airplane mode – and have a cuppa to hand.
  2. I put on my earphones with the curious “focus music” which populates YouTube and which helps me create a sort of “concentration bubble”.
  3. I read something: either from the digital pile of PDFs under my “research” folder or from an article I have received in one of the many newsletters that arrive every day in my inbox. Reading gets me focused but reading also produces two things: quotations and ideas.
  4. I jot down reflections about a selected quote. In her book In the Wake (2016), Christina Sharpe points out that: ‘thinking needs care.’ I consider quotations a profound demonstration of care for thinkers and their ideas: they are “thank-yous” to the people who produced knowledge before us. They are also invitations for curious readers: footnotes open never-ending “reading pathways”.
  5. The accumulation of quotes and notes – and sometimes interviews with photographers – form my “base”. When I’m not rushed by a deadline I let the reading, the note taking and the “base creation” percolate. The longer the better, the essay will “live” and “evolve” in my mind, creating new possible directions.
  6. When the deadline is approaching, I start a new Word document and write a first draft “from scratch”. The first sentence takes courage, the second trust. I can’t start writing an essay if I don’t have a clear orientation – often found during the “percolating period”. I tend to think that essays need to make a point, be a demonstration not a decoration. But, might not the best one be precisely both?
  7. I go back to my “base” to “feed” the first draft of the essay. I add precision. Because of which kind of photographs/photographers I am writing about, I am wary of ambiguity or obscurity. I make sure any complex ideas mentioned are mobilised in an intelligible way: I want to make sure they are accessible and in accordance with the assumed readership.
  8. I think and write in French and English. Early drafts of most of my texts are written in both languages which ultimately leads to me feeling sorry for myself when something “comes out” fine in one language but doesn’t translate well. Often, this kickstarts a process where I juggle between a French-English dictionary and a Thesaurus. Another challenge of writing in both these languages is having to navigate different levels of “discourse acceptance”: concepts and ideas are not similarly established in different countries; references and words might need to be explained differently (especially in the fields of critical race theory and postcolonial studies).
  9. I remove the earphones to read the paragraph written out loud, I correct and I rectify. I repeat the process as many times as there are paragraphs. This list was read at least five times.

On bad days:

I generally love listening to podcasts or watching interviews of people who talk in detail about their craft and practice. So, on bad days, I turn to writers who have written about writing. I often think of this Marguerite Duras quote: ‘One cannot write without bodily strength. One must be stronger than oneself to approach writing; one must be stronger than what one is writing.’

What are the questions or problems that motivate your writing? 

The last five years of my life have been dedicated to my doctoral research. My thesis is articulated, in a nutshell, around the photographic representation of struggles and the struggle for photographic representation in England from the end of the 1960s to the end of the ’80s. Most of my essays, so far, have been more or less inspired by my ongoing obsession with image-making and political action whether expressed in iconographies or ecosystems (or ‘worlds’ to reference Howard S. Becker).

That said, most of my essays have been dedicated to very contemporary artists/photographers and, as such, most of them have tried to “respond” to image-makers that ‘create dangerously’ to quote Edwidge Danticat, who describes that process as such: ‘[It] is creating as a revolt against silence, creating when both the creation and the reception, the writing and the reading, are dangerous undertakings, disobedience to a directive.’ I’m motivated by disobedient artists-photographers. I’m driven by the problems defiant image-makers highlight. Their insubordination can be found in their craft or form, in their practice or discourse. They are oppositional in their way of behaving with, around or against photography. Their rebellion can be loud or whispered – I’ll listen.

What kind of reader are you? 

As a doctoral researcher, reading is a great part of my day-to-day work. As such, libraries become toolboxes and books instruments towards the completion of a project. The Stakhanovic nature of a PhD means that I rarely re-read books – with the significant exception of bell hooks whom I could read every day. If I re-read an article, it is often in order to “double check” or “make sure”.

However, the first lockdown taught me the power of re-reading and reading several books at the same time: realising that, often, as with a person, you need the “right time” to truly discover a book’s content. To take an example, I had always “used” Roland Barthes’ theories (and taught Camera Lucida (1980) in exactly the same way it had been passed down by my professor), but, with my recent dive into essay writing, I started paying attention to the confidentiality, familiarity and sensitive nature of his work: making him a thousand times more interesting.

So, as I’m trying to become another kind of writer, I’m becoming another kind of reader: trying to find the route towards an embodied strategy of narration that exists at the meeting place of gut (biography) and brain (history/theory). A delicate balance between decency and intelligibility. I have to say that I have come a long way: French academic education forbids expressions of subjectivity or opinion – or more exactly, uses objectivity to hide the dominants’ point of views. The first time I wrote “I” to start a sentence I felt a blast of freedom on my keyboard. In How to Suppress Women’s Writing (1983), Johanna Russ wrote: ‘Although crammed with facts and references, [women’s writing] has the wrong style; it is personal and sounds unscholarly, a charge often levelled at modern feminist writing. That is, the tone is not impersonal, detached, and dry enough – in short, not patriarchal enough – to produce belief.” As you can imagine, reading beacons such as Saidiya V. Hartman, Sharpe and Tina M. Campt for the first time was extremely arresting.

How significant are theories and histories of photography now that curation is so prominent? 

I struggle with this question. For me, one can only compare similar elements and the contrast between the experience of reading and the experience of visiting an exhibition is too dissimilar: providing disparate bodily and intellectual experiences. Being a reader and being a viewer/spectator are two distinct positions. However, I guess we could maybe examine the knowledge produced by catalogues vs. magazines, journals and other sorts of publications. Such an investigation might quickly lead us back to accessibility (price, printed/online, language, themes, etc.). The performative aspect of exhibitions – if the work of going through the doors of a gallery/museum is achieved – makes it probably more approachable. In the age of social media, we face very different ethics of attention and, as a result, disparate receptions/reactions/effects.

That said, if I really have to answer the question, I would say that the “prominent” status of exhibitions over theories/histories that you seem to detect is probably only the result of radical and forward-thinking theorists and historians. Good exhibitions are made by curators (and artists) who read. I have a hard time imagining the act of thinking – or giving shape to ideas – without writing, so I’m guessing curation is another form of writing. Curating can then become a translation and even a visual/embodied comment on theories/histories. Exhibitions can be powerful rhetorical demonstrations. Yet, the limitations of exhibition-making are much more real than the limits of words on paper (publication aside). For me, the main question is who writes and who curates and which platforms these people are given. How we know what we know and who is allowed to share what they know?

What qualities do you admire in other writers?

This is an extremely hard question. But to answer, I would say 1. their politics 2. their attention to detail 3. their humanity.

  1. Marguerite Duras wrote that writing is: ‘Screaming without sound’. When I read Hartman, Hannah Arendt, Ariella Aïcha Azoulay, Etel Adnan and Trinh T. Minh-ha, I hear their screams. If anger is pain with nowhere to go, writing then becomes a sort of socially accepted “place”. Political anger translated into words is definitely something I admire in these writers. I would also like to mention a young generation of badass writers such as Legacy Russell and her Glitch Feminism manifesto (2020) or Durga Chew-Bose’s singular writing in Too Much and Not the Mood (2017).
  2. A focus on a detail, such as a cup of coffee let’s say, can be a powerful rhetorical node, as revealed beautifully by Mahmoud Darwish in Memory for Forgetfulness (1982). I’m not a very patient person, and struggle with the exercise of description, so, recently, when I read A Black Gaze (2021) by Campt, I was quite mesmerised by the attention she seems to give to descriptions of the art works she mobilises (the same consideration/scrutiny can be found in Listening to Images (2017) for example). A detail can also be an anecdote that becomes a compelling argument. In the same book, Campt explains the effect of the weather on her experience of an exhibition: this opened many threads of thought.
  3. I’m a big reader of autobiographies and in-depth interviews because of the possibility of hearing the artists’ voices. But, the ability of writers such as Olivia Laing, for example, to emphasise her own and artists’ human experiences is definitely something I admire. I never thought I would care so much about someone like Andy Warhol until I read The Lonely City (2016). I also love artists such as Coco Fusco who write about other artists – they tend to reveal a very distinctive perspective on the artworks they write about. I like books that are accounts of being and guides for becoming. I also like writers, who are not “writers” as such: recently I read a text written by a photographer, for the first time, wrote about a decade of work. Vasantha Yogananthan’s essay, in his latest photobook Amma (2021), moved me greatly because of his bravery in writing about his journey as a photographer with the most generous vulnerability.

What texts have influenced you the most?

[Influence seems like a big word, but, off the top of my head, here is a non-exhaustive list of names, in no particular order, with endless recognition for carrying me through years of doctoral research.]

Edwidge Danticat Jacques Rancière Gayatri Spivak Marie-José Mondzain Allan Sekula Frantz Fanon W.J.T Mitchell Fred Moten James Baldwin Shawn Michelle Smith John Berger Paul Ricoeur Susan Sontag Sara Ahmed Stuart Hall Judith Burtler Simon de Beauvoir Eric Hazan Julia Kristeva Angela Y. Davis Adrienne Rich Nicholas Mirzoeff Edouard Glissant Christina Sharpe Elsa Tamara Trodd Dorlin Jo Spence Sarah Lewis Victor Burgin Kobena Mercer Laura Mulvey Chris Kraus Steve Edwards Lucy R. Lippard Val Williams Elvan Zabunyan Mieke Bal Jacqueline Bobo Hazel V. Carby Eddie Chambers Patricia Hill Collins Sandra Harding Elizabeth Edwards Anna Backman Rogers Siona Wilson Harriet Riches Paul Gilroy bell hooks Heidi Safia Mirza Griselda Pollock Rozsika Parker Liz Wells Deborah Willis Pratibha Parmar David A. Bailey Roshini Kempadoo Sarat Maharaj Gilane Tawados Ambalavaner Sivanandan Maurice Berger John Tagg Albert Memmi Saul Alinsky Antonio Gramsci Audre Lorde C.L.R. James Edward Saïd Homi K. Bhabha Fatima Mernissi Walter Rodney Achille Mbembe Frieda Ekotto Derek Walcott Patrick Chamoiseau Mahmoud Darwish Paul B. Preciado Tina M. Campt Saidiya Hartman Hannah Arendt Ariella Aïcha Azoulay Etel Adnan Aruna D’Souza Teju Cole Trinh T. Minh-ha and many others that I’ll regret not naming once this interview is published.

What is the place of criticality in photography writing now?

I am tempted to give a somewhat literal answer to this question: addressing geography and platforms. The hegemony of the English language and concomitantly the predominance of the global North in knowledge dissemination (not production) questions “the place of criticality in photography writing now”. Published and widely circulated criticality in photography is not diverse or inclusive enough. However, the recent publication of Dark Mirrors (2021) by Stanley Wolukau-Wanambwa is an inspiring step for critical writing.

Then comes the question of where does one find critical thinking (as opposed to journalism) in photography today? A few online platforms (in English) exist, a couple of publishers defend it – that’s it (in France, outside academia, it’s almost non-existent for example). Critical consciousness certainly exists, the lack of platforms to express it is, for me, an important aspect today. Without sounding boards, it is difficult to develop true debate and exchange or create space for a diversity of equal voices to express themselves.

Lastly, I feel like the place of criticality in photography writing now is in complexifying “recently acknowledged” notions/ideas/struggles. Lately, oppositions around photographer Deana Lawson’s iconography are for me fascinating “places” of criticality, for example. Debate is probably one of the greatest signs of the recognition of a multi-layered artist and a complex body of work.♦

Further interviews in the Writer Conversations series can be read here.


Writer Conversations is edited by Lucy Soutter (University of Westminster) and Duncan Wooldridge (Camberwell College of Arts, University of the Arts London), upon the invitation of Tim Clark (1000 Words and The Institute of Photography, Falmouth University). 

Images:

1-Taous R. Dahmani © Lynn S.K

2-Book cover of Joanna Russ, How To Suppress Women’s Writing (University of Texas Press, 1983)

3-Book cover of Christina Sharpe, In the Wake – On Blackness and Being (Duke University Press, 2016)

Top 10

Photobooks of 2020

Selected by 1000 Words

An annual tribute to some of the exceptional photobook releases from the tumultuous year that was 2020 – selected by 1000 Words.

1. Andy Sewell, Known and Strange Things Pass
Skinnerboox

Readers of 1000 Words will recall last year’s feature on Known and Strange Things Pass. Now published in book form by Skinnerboox, Andy Sewell’s meditation on the complex entanglement between technology and contemporary life seems more apposite than ever given the socially-distanced times in which we exist – not to mention the illusory propinquity of screen-based connection. Within a kinetic, non-linear sequence of images that aptly push and pull, ebb and flow, cables – carries of immeasurable quantities of data – weave across the Atlantic Ocean’s bed, and resurface on either side in alien concrete facilities; so rarely seen, these are the material infrastructures that both literally and metaphorically underpin our hyper-connected world. Ambitious, understated and fleeting, Known and Strange Things Pass explores the ways in which the ocean and the Internet speak to each other and speak to us, whilst probing photography’s ability to render visible such unknowable entities, infinitely vaster than we are.

2. Poulomi Basu, Centralia
Dewi Lewis

It has been quite the year for Poulomi Basu, whose docu-fictional book Centralia has earnt the artist the Rencontres d’Arles Louis Roederer Discovery Award Jury Prize, and a place on the shortlist for the Deutsche Börse Photography Foundation Prize 2021. Beneath its blood-red, sandpaper-rough cover, Basu takes us through the dense jungles of central India, where a brutal war between the Indian state and Maoist insurgents over land and resources has waged for fifty years, in turn casting light on the woefully-underreported horrors of environmental degradation, indigenous and female rights violations and the state’s suppression of voices of resistance. Embracing a disorientating amalgam of staged photography, crime scenes, police records and first-person testimonies – all punctuated by horizontally-cut pages and loose documents – Centralia traces the contours of a conflict in which half-truths reign over facts. Though not for the faint-hearted, this open-ended account of an ongoing war affords us space to reflect on what we have seen, and to choose what we believe.

3. Buck Ellison, Living Trust
Loose Joints

A worthy winner in the First PhotoBook category for the 2020 Paris Photo-Aperture Foundation Awards, Buck Ellison’s Living Trust, published by Loose Joints, requires us to study the visual iconography of privilege as embodied by white, upper-middle class lives – or W.A.S.P. – in the United States. In these carefully constructed and performative photographs, insignia such as wooden cheeseboards, organic vegetables, acupuncture bruises, car stickers, lacrosse gear and even family Christmas card portraits examine how whiteness is exhibited and ultimately sustained through everyday structures, internalised logic and economic prowess. Deftly drawing on the language of advertising and commercial photography, Ellison conjures an uneasy world where the “whiteness project” manifests itself over and over again all the while perpetuating deadly inequality both in material and ideological terms.

4. Antoine d’Agata, VIRUS
Studio Vortex

As the title suggests, this book squares up to our present moment amidst the global health crisis with an unflinching intensity characteristic of the famed Magnum photographer. As soon as Paris entered a lock-down in March, Antoine d’Agata took to the emptied streets with his thermal camera. Here, civilians, medical workers and hospital patients are rendered as spectral, flame-tinged figures that flash across the pages. With temperature the only marker differentiating each pulsating body from the next, d’Agata proffers a haunting yet visceral mood piece laden with an existential dread that is befitting of our times. Beyond the limits of reportage, VIRUS is ultimately borne out of an impulse to get to the heart of things, to make sense of the incomprehensible and to visualise what the naked eye cannot: an invisible enemy, at once everywhere and nowhere. A dystopian masterpiece, these images refuse to be shaken off quickly.

5. Lina Iris Viktor, Some Are Born To Endless Night – Dark Matter
Autograph


Although there is no equivalent experience to witnessing the allure and intricacy of Lina Iris Viktor’s paintings up close, her debut monograph more than makes up for it through its fittingly-regal design. Published to accompany her solo show at Autograph in London earlier in 2020, it takes us into the British-Liberian artist’s singular world, embellished with luminescent golds, ultramarine blues and the deepest of blacks. Drawing from a plethora of representational tropes that range from classical mythology to European portraiture and beyond, Viktor’s practice playfully and provocatively employs her solitary body as a vehicle through which the politics of refusal are staged, and the multivalent notions of blackness – blackness as colour, as material, as socio-political awareness – come to the fore. Some Are Born To Endless Night – Dark Matter is a spelling-binding survey of an artist who is paving the way for new and unruly re-imaginings of black beauty and brilliance.

6. Antoinette de Jong and Robert Knoth, Tree and Soil
Hartmann Books

The intrinsic splendour of the natural world takes centre stage in Antoinette de Jong and Robert Knoth’s first book since their highly-acclaimed Poppy: Trails of Afghan Heroin (2012). Following the Fukushima nuclear disaster of 2011, the Dutch duo set out on a five-year-long project to examine the devastation wrought on the region’s biosphere. Expertly edited by curator Iris Sikking, Tree and Soil combines photographs depicting nature’s reclaiming of the deserted spaces with repurposed material from the archive of German explorer, Philipp Franz von Siebold, which includes a collection of botanical illustrations, animal specimens and woodblock prints amassed during his trips to Dejima, a Dutch trading post, in the early 19th century. The result is an enigmatic yet radical dialogue between two distinct histories – the post-colonial and the post-nuclear, respectively – which speaks of the hubris of humankind and the value of nature, in the process ruminating on the disturbed relationship between the two.

7. Amani Willett, A Parallel Road
Overlapse

Another book of first-rate investment in narrative forms of photography comes from artist Amani Willett. Chronicling the oft-overlooked history of black Americans road-tripping, A Parallel Road deconstructs the time-worn myth of the ‘American road’ as a site in which freedom, self-discovery and, ultimately, whiteness manifests. The book’s direct point of reference is Victor Green’s The Negro Motorist Green Book (1936), a guide which provided newly-roving black road-trippers tips on safe spots to eat, sleep and re-fuel at a time when Jim Crow laws subjected them to heightened oppression, hostility and fear of death. Whilst maintaining the original’s scrapbook details – from hand-held dimensions to sewn binding – Willett has adroitly juxtaposed archival material with photography, media reproductions and Internet screenshots from the present day to lay bare the ongoing realities of systemic racism in the United States. A harrowing yet urgent title in a year in which the dangers posed to black people when out-and-about have been undeniable.

8. Diana Markosian, Santa Barbara
Aperture

In yet another dazzling year for Aperture’s publishing arm, with Justine Kurland’s Girl Pictures and Ming Smith: An Aperture Monograph amongst notable releases, perhaps the standout is Diana Markosian’s Santa Barbara. Here, the Armenian-American photographer reimagines her mother’s leap of faith as she abandoned her husband in post-Soviet Russia to start a new life in the United States with her children. Family snapshots, film stills and re-enactments by actors play out alongside a script written by the original screenwriter of the 1980s soap opera Santa Barbara, which, for a generation of regime-weary Russians tuning in through their television sets, embodied the promises of the American dream. For all its experimental edge – rigorously merging fact and fiction – this book retains its deeply intimate take on the themes of migration, memory and personal sacrifice. With the project slated to show at the SFMOMA in early 2021, Markosian’s work continues to enthral audiences.

9. Yukari Chikura, Zaido
Steidl

Also excavating personal histories is Yukari Chikura in this strong contribution to the year’s offerings. Shortly after his sudden passing, Chikura’s father appeared to her from the afterlife, imparting the words: “Go to the village hidden deep in the snow where I lived a long time ago.” Committed to honouring this wish, Chikura embarked on a voyage to the remote, winter-white terrains of north-eastern Japan. The resulting publication documents what she found: Zaido, a good fortune festival dating back to the 8th century. Printed across an exquisite array of papers under the direction of Gerhard Steidl, images imbued with magical realism reveal costumed villagers gathering before shrines and performing sacred dances. Whilst the accompanying ancient map and folkloric parables lend this book an ethnographic feel, there is something more incisive at work too. Intertwining the villagers’ spiritual quests with Chikura’s own journey through the darkness that pervades mourning, Zaido is a tale of collective soul-searching that seamlessly traverses cultures as well as centuries.

10. Raymond Meeks, ciprian honey cathedral
MACK

No annual ‘best of’ book list seems complete without a monograph from skilled book-maker, Raymond Meeks. Characteristically poetic and perceptive, his new release with MACK invites readers into the domestic world shared between he and his wife, Adrianna, during a period in which they were packing up their home. Opening with a flurry of photographs which depict Adrianna asleep, bathing in the soft, early morning light, both the tone of imagery and its rhythms sets forth an experience that is akin to a waking dream. What follows is an intercourse of image and verse that pairs the quiet, quotidian rituals that populate each passing day with topographical observations of a house laid bare: mounted stacks of dishes, cracked walls and overgrown tendrils. Herein lies the melancholic undercurrent which vibrates throughout ciprian honey cathedral, a bittersweet evocation of the things memories cling to, and the things we leave in our wake. ♦


Alessandro Merola is Assistant Editor at 1000 Words.

Tim Clark is Editor in Chief at 1000 Words, and a writer, curator and lecturer at The Institute of Photography, Falmouth UniversityHe lives and works in London.