Tag Archives: photography

Featured Photographer – Leticia Batty

Leticia Batty is a UK based photographer originally from Worksop, Nottinghamshire and now resides in London. She has a number of London exhibitions and book publications to her credit.

Leticia is a photographic artist who specializes in medium format color photography, with the Worksop and Sheffield area as the biggest influence on her work. Her practice explores themes of identity, landscape, British politics and the self.

Shown here are samples from her project ‘Milano’, featured on her website along with several other projects and publications.


For more information about Leticia Batty, and to see more of her work, please visit https://leticiabatty.co.uk/ or
blog at:  shelanded.tumblr.com

Land – Sea : New Work by UK Photographer Andrew Mellor

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Andrew Mellor is a photographer based in Lancashire in the North West of England. His photography explores natural and man-made environments; and the interaction between the two with concerns over how we use the landscape and the social and political issues surrounding it. His work explores change and human impact.

Land – Sea : Artist Statement

For centuries Blackpool was just a hamlet by the sea. But by the middle of the 18th century, the practice of sea bathing to cure disease became very fashionable amongst the wealthier classes and people were making the journey to Blackpool solely for that purpose. Our current perceptions of the British seaside were formed during this Victorian period – childish innocence, the fun of the fair and the tranquillity of the sea itself; simple ‘old-fashioned’ fun – are all the stronger for having these Victorian roots.
Between the years 1856 and 1870, a Promenade was built along the sea front to prevent continual erosion and potential flooding and over many years the coastline witnessed significant geological and geographical changes.

It was built in several sections, which vary in height and profile, with the first completed stretch of sea defence being erected from Talbot Square to the site of where Blackpool tower was to be later built. All sections were subsequently designed by a succession of Borough Surveyors and landscape architects, which were also built in stages. This has resulted in different architectural compositions of varying construction and design. The visual stimulus created by the differing architecture is a fascinating feat of engineering and can be used to improve society, both socially and environmentally.

The marine frontage is approximately 12 miles long, from Blackpool to Fleetwood, and is in constant need of maintenance, as it is estimated that the average life span of a seawall is 50–100 years. Hard-erosion control methods provide a more permanent solution than soft-erosion control methods and because of their relative permanence, it is assumed that these structures can be a final solution to erosion.

There are many fabled stories, which provide a mythical backdrop to the seafront, with tales of bells tolling from lost villages and the revelry of the patrons from the penny o pint, which superstition says is supposed to signify a stormy night. Maps from before the late 1500’s indicate the North West coastline ventured out possibly a mile or two further than it does presently. Supposedly, several villages stood along this peninsula and were said to have been destroyed during a tidal flood, around 1554 or 1555; some archaeological evidence suggesting the existence of these villages has been found.

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To see more of Andrew Mellor’s work, or connect to him via social media, check out his website and links below:

Email: andy@andrewmellorphotography.com

Website: http://www.andrewmellorphotography.com

Instagram: https://instagram.com/andymellorphoto/

Twitter: https://twitter.com/Andrew_J_Mellor

Also: Read about On the Fringe by Andrew Mellor

Virtual Meetings for Photographers hosted by YIELD Magazine

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YIELD Magazine is hosting a series of online gatherings in anticipation of a virtual conference planned for the coming year. YIELD Magazine is a publication of the Snite Museum of Art at Notre Dame University.

A range of engaging topics have been covered in the online meetings thus far. Artist interviews, portfolio presentations, round table discussions, and an upcoming online gathering to highlight photographers using Instagram. These events are open to photographers who wish to participate or share their work, add to the discussion, and help cultivate appreciation of photography as an art form in the Midwest. Please see the webpage for YIELD Magazine for more information about these meetings and how to become involved; or you can also check their TwitterInstagram, or Facebook accounts.

 

Out of the Ordinary, Vol. 2: A Journey Through Everyday Scotland

A Personal Portrait of Everyday Scotland

The second volume of Out of the Ordinary by Iain Sarjeant is a continuation of the project he has been working on for a number of years. The project, and two books thus far, has developed from the approach of Sarjeant’s spontaneous wandering, exploring, discovering, and observing. “The series explores the kind of places that most of us walk or drive past every day,” says Sarjeant, “without really noticing – places where the infrastructure of human habitation interacts with the natural environment. These are dynamic landscapes, constantly being altered, and part of the fascination for me is the element of chance involved in the photographs – coming across scenes that may look very different the following week or month.”

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As with Volume 1, this new book captures scenes of the land Sarjeant encounters across Scotland. The witty interplay between geometric shapes, colors or textures is a strong part of his work. His body of work includes images that feature vehicles in all manner of use and function (or disfunction), buildings both commercial and residential, markings on pavement, graffiti, shadows and shipping containers. From a visual standpoint, Sarjeant takes advantage of Scottish overcast skies to give extra punch to the color that is either featured or included in the scenes. He compresses the space to heighten the sense of rhythm or repetition of shapes, or knows when to pull back to include more of the scene to set the stage. He has valuable use of line and it draws the viewer through the images, and the layout of the overall book as well. Artful placement of the images in sequencing this book make smart visual connections. Power lines and playground structures are connected visually, as are fence rows and street markings, or old growth hedges and growing saplings. Sarjeant’s use of visual association and interplay are used to their best again in this book. Out of the Ordinary, Vol. 2 is a joy to view and admire the craft of creating a multi-volume series of photography books.

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Over several years, Another Place Press has been quietly building a cache of wonderful photo books dealing with the subject of the land, and peoples’ relationship and interaction with it.  Out of the Ordinary is one of the books that anchors this theme. The third and final volume of Out of the Ordinary will tentatively publish at some time in 2018. 


Iain Sarjeant is the founder and editor of Another Place, and Another Place Press which showcases contemporary landscape photography. He has worked with the photo collective, Documenting Britain, and works as a stock photographer.
To purchase a copy of Out of the Ordinary, Vol. 2 – please visit Another Place Press.

For more information, or to view Sarjeant’s personal work; please visit these sites:

http://iainsarjeant.tumblr.com/
http://www.iainsarjeant.co.uk/
http://www.iainsarjeant.com/


This is an edited version of the piece originally published in F-Stop Magazine in January, 2018.

The Kingdom by Stéphane Levoué

Surreal and mysterious portraits and places in Vermont’s Northeast Kingdom

In 2010, French photographer Stéphane Lavoué discovered a special landscape in the United States, called Northeast Kingdom. It is located along the border to Canada in the northeast corner of Vermont, comprising Essex, Orleans and Caledonia counties. This beautiful, rugged, remote area has a population of roughly 65,000 people. Lavoué’s series and book, The Kingdom is a personal tribute.

When Stéphane Lavoué and his family first came to the Northeast Kingdom, he immediately felt he found a very special place. In the beginning, he wanted to make a body of work like a journalistic investigation. Levoué started his series with this idea in mind, but the project and the resulting book are far more than photo reportage. His images transcend into narrative fiction, even if all the people and places are based on a real place.

I have the habit of browsing through a book from front to back, then working my way back toward the front again. As a result, I came across the accompanying text at the back of the book and read the account right after my first pass through the book. The story is about a woman traveling to the Kingdom. She is searching for her brother who has been absent for many years. Could all the people and places Levoué captured be evidence of this story?

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The French writer and journalist, Judith Perrignon, was asked to write her short piece to accompany the images. Her text was written after the photo series was completed, so her story is a mix of invented memories and fictional events.  With or without knowing this, an entirely new layer of meaning is applied when viewing the book with her text in mind. Before I knew the text was fictional, the portraits and scenes I had first encountered had me retracing my steps; wondering who and where Levoué had chosen to photograph because of their importance in the story. Levoué’s images have a timeless and surreal quality – natural lighting makes a man waring a hairnet and an Army graphic t-shirt look like a renaissance painting, and scenes of The Museum of Everyday Life could easily be mistaken for a setting from Twin Peaks, or a Wes Anderson film.

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In addition to the striking images and text, the book itself feels great to hold. The embossed cover feels like leather, the printed end sheets of the book feature a map of the Northeast Kingdom; which invokes the idea that one is holding a personal journal, or an artifact that is a part of the mystery and the story within. The mystery deepened each time I went back to the images and re-read the text. Levoué’s world in The Kingdom had me revisit the work multiple times; and left me with more wonderful questions than answers.

 

Photos by Stéphane Lavoué, with text by Judith Perrignon
Graphic design by l’atelier 25
French & English
96 pages
40 pictures
170×240 mm
Munken lynx 170 gr & woodstock grigio 110 gr embossed hard cover
ISBN 978-2-9552412-4-0
2017 first edition

The Kingdom is published by éditions 77 – please visit their website to order a copy here. To see more work by Stéphane Levoué, please visit his website.


This is an edited version of the review first published in F-Stop Magazine in January, 2018.

#Mass_Observation – Photo Installation at Filter Space Gallery

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© Krista Wortendyke

Filter Photo is pleased to announce #Mass_Observation, a photographic installation by Krista Wortendyke, at Filter Space gallery.

#Mass_Observation is about the developing space of social media and how we use it not only as a way of collecting our own experiences, but as a way of connecting and consuming the experiences of others. Untrained observers continuously record world events, with the results posted to social media, such as Twitter and Instagram. With the rise of distrust in the major media outlets, we have turned to the non-professional, the Twittersphere, iPhone videos, and Instagram feeds for authentic and truthful windows to reality.

Wortendyke’s installation questions the aestheticization and mediation of violence in our culture by using images of racial riots, cropping them into Instagram-worthy squares, and combining them in a single space. The resulting installation mimics society’s comfort with Instagram while simultaneously calling into question the casualness with which we document and beautify events like riots.

Given the current state of racial politics and clashes in the United States, questioning and attempting to understand the role of mass media and the impact of social media in these conversations is essential. #Mass_Observation seeks to push audiences to consider their own consumption of mass and social media and the way each medium impacts the virtual spaces viewers curate for themselves.

http://filterphoto.org/portfolio/krista-wortendyke-mass_observation/

#Mass_Observation
Krista Wortendyke
Exhibition Dates: January 5 – February 3, 2018
Opening Reception: January 5 | 6pm – 9pm
Location: Filter Space 1821 W. Hubbard St., Ste. 207
Gallery Hours: Monday – Saturday | 11am – 5pm

 

Filter Space is free and open to the public.

 

 


About the Artist:

Krista Wortendyke (b. 1979, Nyack, New York) is a Chicago-based conceptual artist. She received her MFA in Photography from Columbia College in 2007. Her ongoing work examines violence through the lens of photography. Her images are a result of a constant grappling with the mediation of war and brutality both locally and globally. Her work has been exhibited at the Museum of Contemporary Photography, Schneider Gallery and Weinberg/Newton Gallery in Chicago, The Griffin Museum in Winchester, MA, and many other venues across the United States. Her work is also in the permanent collections of both the Museum of Fine Arts Houston and the Museum of Contemporary Photography in Chicago.

Top Photo Books of 2017

I had the good fortune to review a number of great photo books this past year for Wobneb Magazine, F-Stop Magazine, and Vantage… and what would the end of the year be without a ‘Best Of 2017’ list? The past year has been eventful and insightful on many fronts – so my list of top books from my reviews covers a range of projects from the intimately personal to broad society.

My top choices are:

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Cig Harvey – You an Orchestra You a Bomb

Cig Harvey’s third monograph is a vibrant and bold book, capturing moments of awe, icons of the everyday, and life on the threshold between magic and disaster. The breathless moments of beauty in her images propel us to fathom the sacred in the split-seconds of everyday. A raw awareness of fragility permeates this work. Harvey’s moments captured in her camera speak to the temporal nature of life, and her intimate poetry weaves them together in this memoir of symbolism.

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Giles Duley – One Second of Light

Conflicts come and go, but their legacies remain. It takes courage to be an advocate for something greater than ourselves. It requires something more than just the absence of fear. Any fool can be fearless. The essence of courage comes from the best version of ourselves, and the strength to do the right thing, to do hard things for the lasting benefit of others. It takes this type of courage to photograph people caught in the effects of war, in hopes that the quiet pairing of empathetic images and words speaks louder than the bloody spectacle of war. Duley’s personal story is secondary to this subject, and yet it is also intimately intertwined.

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Kathy Shorr – SHOT: 101 Survivors of Gun Violence

Many of the gun-violence survivors in Shorr’s new book SHOT have recovered against odds, put their lives back together and now taking an active role in inviting a public back into the tough dialogue about American gun violence. Kathy Shorr depicts the determination of the human spirit. The survivors are together in themselves and more importantly they are together collectively. Their lives from this point forward are made of a new set of challenges but they know they are not taking on these challenges in isolation. Shorr’s SHOT gives us a chance to listen.

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Al Brydon – Based on a False Story

This psychological evaluation of one’s current self against one’s past self reveals what we know to be true — we are not who we once were. By examining our past self, we change not only who we were, but who we are now. Through the process of creating ‘False Story’, Brydon’s conversation with his past self and destruction of his original images has actually revealed glimpses of his present self. This gem from Another Place Press is one of several I reviewed this past year – keep your eye out for more great books from them in 2018.

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Lauren Greenfield – Generation Wealth

Generation Wealth by Lauren Greenfield is both a retrospective and an investigation into the subject of wealth over the last twenty-five years. Greenfield has traveled the world — from Los Angeles to Moscow, Dubai to China — bearing witness to the global boom-and-bust economy and documenting its complicated consequences. Provoking serious reflection, this book is not about the rich, but about the desire to be wealthy, at any cost.

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Mark Speltz – North of Dixie: Civil Rights Photography Beyond the South

My review for this book gets special consideration for 2017. The review published at the end of December 2016, and set the tone for the coming year. A black man has served as a two-term president. People of color have held some of the highest offices in the government — yet the nation has not seen many issues of race and inequality disappear in the everyday lives of many Americans. But the overall feeling I got from North of Dixie is a combination of hope mixed with disappointment. It is my personal hope that people of different races, color or creed will see there is far more to be gained in life by working together and accepting each other for who we are. North of Dixie brings to light numerous lesser-known historic photographic images and illuminates the story of the civil rights movement in the American North and West. The book reveals the power of photography to preserve historical memory, impact social consciousness, and stimulate critical dialogue among everyone interested in social justice, human rights, American history, the African American civil rights movement, Black studies, and photojournalism. And hopefully, by better understanding the failures of our past we can avoid the pitfalls of repeating it. North of Dixie certainly goes a long way to guide the path.

Cig Harvey – You An Orchestra You A Bomb

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Cig Harvey’s third monograph is a vibrant and bold book, capturing moments of awe, icons of the everyday, and life on the threshold between magic and disaster. The breathless moments of beauty in her images propel us to fathom the sacred in the split-seconds of everyday. A raw awareness of fragility permeates this work.

I cannot fully understand the life events that take a woman through her youth and into middle age. However, I am a parent, a husband, and am squarely in middle age. My wife is a writer, and has introduced me to a number of poets. This expansion of my previously limited knowledge of great writers has made an immense difference – and thus, Harvey’s book spoke to me. The rawness of Harvey’s written passages and relevance to where she finds herself in life struck home. But you don’t need to be a peer of Harvey to get the drift. She photographs and writes with the passion of a Beat poet. To quote, and slightly edit, the poet Neal Cassady, “One should write, as nearly as possible, as if she were the first person on earth and was humbly and sincerely putting on paper that which she saw and experienced and loved and lost; what her passing thoughts were and her sorrows and desires.” Harvey does not hold back – with understated power, she records her broad experiences with the world. Harvey’s moments captured in her camera speak to the temporal nature of life, and her intimate poetry weaves them together in this memoir of symbolism.

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“In my 20s I wear vintage dresses every day. / 1940s ball gowns to get coffee. Fringed flappers to the post office.  / They are itchy and smell of someone else’s transgressions. But I am fearless and my life is a photograph. / When I turn forty, I retire them all in favor of tight jeans and high boots. / I put one thousand dresses in a room upstairs. / A room now a galaxy of velvet, taffeta, crinoline, lavender, silk, fur, cashmere, magenta, chartreuse, and moths like stars in the night sky. / I like the idea of the moths taking back the clothes of these women, slowly making dust of our stories.”

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Cig Harvey’s hugely successful books You Look At Me Like An Emergency (2012) and Gardening At Night (2015) both sold out rapidly. Her photographs have been exhibited widely and are in the permanent collections of major museums, including The Museum of Fine Arts, Houston, and the International Museum of Photography, George Eastman House, Rochester, NY. She has been a nominee for John Gutmann fellowship and the Santa Fe Prize, and a finalist for the BMW Prize at Paris Photo and for the Prix Virginia, an international photography prize for women. You Look At Me Like An Emergency was first exhibited at The Stenersen Museum, Oslo, Norway. Cig’s devotion to visual storytelling has lead to innovative international campaigns and features with New York Magazine, Harper’s Bazaar Japan, Kate Spade, and Bloomingdales.

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Design: Deb Wood
ISBN 978 90 5330 893 6
Format: 22.5 x 22.5 cm
Hardbound with cloth cover
144 pages with 72 photos in full colour
Schilt Publishing, Amsterdam

To order a copy of the book from the publisher, please visit their website here

Once there was there wasn’t: An exhibition of work by Svetlana Bailey

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© Svetlana Bailey

Filter Photo is pleased to announce once there was there wasn’t, a solo exhibition of work by Svetlana Bailey, at Filter Space gallery.

Until the age of eight, Svetlana Bailey’s childhood summers were spent at her grandmother’s house in the Russian countryside. It was an influential period in which she discovered the world on her own and her earliest memories were formed. Sixteen years ago her grandmother passed away and now the house stands empty. For this body of work, once there was there wasn’t, Bailey returned to her grandmother’s empty house to examine those early impressions. Through this journey of returning, she was transported in time, as if opening a time capsule. Here Bailey discovered layers of image fragments captured in stories, old objects, images in albums and magazines. They pointed to the invisible marks, the impressions and mental images that remain, and perhaps for this reason — besides the dust, spider webs and the thicket of birch and cherry trees that had enjungled the outside — the house did not seem abandoned.

Using still life techniques, Bailey constructed installations within and around the house that included the objects that she found on location with photographs that she brought with her of her life after leaving Russia. She followed a similar process with images from her parents home in Germany and her own home in the US, constructing photographs that visualized times and places that are in reality far apart yet exist together psychologically. Similar to the act of carrying pictures in wallets or pendants, on coffee mugs or lock screens, displaying pictures in living rooms or as tattoos — an impulse for continuity, where separate events are rebroadcast into the present through a jumble of images.

http://filterphoto.org/portfolio/once-there-was-there-wasnt/

About the Artist:

Svetlana Bailey was born in St Petersburg in 1984, and after the fall of the Soviet Union emigrated to Germany with her family. Commencing studies at FH Dortmund, Bailey moved to Australia to complete her BFA at the College of Fine Arts in Sydney. In 2011, she undertook a residency in Beijing at the Three Shadows Photography Art Centre, which shifted the focus of her practice to China, and she has, inter alia, been photographing there since. Bailey recently graduated with an MFA in photography from the Rhode Island School of Design, and lives in New York and Sydney.

once there was there wasn’t — Svetlana Bailey

Exhibition Dates: December 1 — December 30, 2017
Opening Reception: December 1 | 6pm — 9pm
Location: Filter Space 1821 W. Hubbard St., Ste. 207
Gallery Hours: Monday — Saturday | 11am — 5pm

Filter Space is free and open to the public.

Deutsche Börse Photography Foundation Prize 2017

Featuring works from Dana Lixenberg, Sophie Calle, Awoiska van der Molen, Taiyo Onorato and Nico Krebs

Exhibition on view: November 16, 2017–January 11, 2018
Opening reception: Wednesday, November 15, 7:00–8:30 p.m.

Aperture Foundation, in collaboration with The Photographers’ Gallery and the Deutsche Börse Photography Foundation, is pleased to present the Deutsche Börse Photography Foundation Prize 2017, featuring works from the shortlisted artists: Sophie Calle, Awoiska van der Molen, duo Taiyo Onorato and Nico Krebs, and this year’s winner, Dana Lixenberg, who was awarded the prize, worth £30,000 GBP, in May of this year. This marks the first exhibition of the prize in the United States.

The twentieth iteration of the prize, one of the most prestigious international arts awards, celebrates established photographic narratives alongside experimental and conceptual approaches to documentary, landscape, and portraiture. The four finalists investigate questions of truth and fiction, doubt and certainty, what constitutes the real and ideal, and the relationship between observer and the observed.

The opening of this exhibition at The Photographers’ Gallery in London, began an international tour of the show that went on to exhibit at the Museum für Moderne Kunst Frankfurt am Main, and subsequently at Aperture Foundation, marking the first exhibition in the United States of this prize. This year’s exhibition is curated by Anna Dannemann, Curator, The Photographer’s Gallery.



Featured Artists

Dana Lixenberg (b. 1964, the Netherlands) won for her publication Imperial Courts (Roma, 2015). In 1992, Dana Lixenberg traveled to South Central Los Angeles for a magazine story on the riots that erupted following the verdict in the Rodney King trial. What she encountered inspired her to revisit the area, and led her to the community of the Imperial Courts housing project in Watts. Returning countless times over the following twenty-two years, Lixenberg gradually created a collaborative portrait of the changing face of this community. Over the years, some in the community were killed, while others disappeared or went to jail, and others, once children in early photographs, grew up and had children of their own. In this way, Imperial Courts constitutes a complex and evocative record of the passage of time in an underserved community.


Sophie Calle (b. 1953, France) was nominated for her publication My All (Actes Sud, 2016), which finds the artist experimenting with yet another medium: the postcard set. Taking stock of her entire oeuvre, this set of postcards functions as a beautiful portfolio of Calle’s work, as well as a new investigation of it, in an appropriately nomadic format. Over the past thirty years, Sophie Calle has invited strangers to sleep in her bed, followed a man through the streets of Paris to Venice, hired a detective to spy on her before providing a report of her day, and asked blind people to tell her about the final image they remember. In her practice, she has orchestrated small moments of life, establishing a game, then setting its rules for herself and for others.

Calle’s Exquisite Pain is an installation in two parts that unfolds stories of devastating personal experiences as a means of reexamining and, ultimately, exorcising grief. The first part of the project presents Calle’s journey preceding “the unhappiest moment of [her] whole life,” told through collected photos and ephemera of ninety-two days that the artist saw as a countdown to romantic rejection. Each photograph or document is stamped with a number indicating the remaining amount of “days until unhappiness.” The second part of the exhibition pairs Calle’s story, told repeatedly from several different angles, with others’ recollections of their own pain and heartache. Through recursive recitation and empathy, the project explores the universality of pain and resilience.


Awoiska van der Molen (b. 1972, the Netherlands) was nominated for her exhibition Blanco at Foam, Amsterdam (January 22–April 3, 2016). Van der Molen creates black-and-white, abstracted images that revitalize the genre of landscape photography. Spending long periods of time in solitude and silence in foreign landscapes, from Japan to Norway to Crete, she explores the identity of the place, allowing it to impress upon her its specific emotional and physical qualities and her personal experience within it. With this intuitive approach, Van der Molen aims to find a pure form of representing her surroundings, by focusing on the essential elements in and around her. Her work questions how natural and man-made environments are commonly represented and interacted with.


Taiyo Onorato and Nico Krebs (both b. 1979, Switzerland) were nominated for their exhibition EURASIA at Fotomuseum Winterthur (October 24, 2015–March 14, 2016). EURASIA playfully draws on the iconography of the road trip, constructing experiences drawn from memory and imagination. Onorato and Krebs’s journey begins in Switzerland, continues through the Ukraine, Georgia, Azerbaijan, Turkmenistan, Uzbekistan, Kazakhstan, and Russia, and ends in Mongolia. Throughout their travels the duo encounters landscapes and people in a state of ongoing transition from ancient traditions and post-Communist structures to modernity and the formation of an independent identity. Using a mix of analogue media and techniques including 16 mm films, large-format plate cameras, and installation-based interventions, Onorato and Krebs compose a narrative that is as much fiction as documentation.

 


About the Deutsche Börse Photography Foundation Prize

Founded in 1997 by The Photographers’ Gallery, and now in its twentieth year, the Prize has become one of the most prestigious international arts awards and has launched and established the careers of many photographers over the years. The Gallery has been collaborating with Deutsche Börse Group as title sponsors since 2005. In 2015 the Prize was retitled as the Deutsche Börse Photography Foundation Prize following the establishment of the foundation as a non- profit organization dedicated to the collection, exhibition and promotion of contemporary photography. Past winners include Trevor Paglen, Paul Graham, Juergen Teller, Rineke Dijkstra, Richard Billingham, John Stezaker, and Adam Broomberg and Oliver Chanarin. A jury including Susan Bright, curator; Pieter Hugo, artist; Karolina Ziębińska-Lewandowska, curator of photography at Centre Pompidou, Paris; Anne-Marie Beckmann, director, Deutsche Börse Photography Foundation; and Brett Rogers, director, The Photographers’ Gallery, as the non-voting chair, selected the four finalists featured in 2017.

The Deutsche Börse Photography Foundation is a Frankfurt-based non-profit organization. The foundation’s activities focus on collecting, exhibiting and promoting contemporary photography.
For more information, please visit www.deutscheboersephotographyfoundation.org.


The Photographers’ Gallery opened in 1971 in Great Newport Street, London, as the UK’s first independent gallery devoted to photography. It was the first public gallery in the UK to exhibit many key names in international photography.
For more information, please visit www.thephotographersgallery.org.uk 


Aperture Foundation was created in 1952 by photographers and writers. The not-for-profit foundation, connects the photo community and its audiences with the most inspiring work, the sharpest ideas, and with each other — in print, in person, and online.
For more information, please visit aperture.org.


This story was also published on Medium