Wednesday, 18 December 2013

I wrote about Photofusion's member show, SALON/13.

Read the full review on Brixton Blog.


Tuesday, 15 October 2013

I reviewed the Melanie Friend exhibition at Impressions Gallery, Bradford.

Read the full review on Photomonitor.


Tuesday, 24 September 2013

I reviewed the Tim Hetherington exhibition at Open Eye Gallery in Liverpool.

Read the full review on Photomonitor. 


Thursday, 5 September 2013

I interviewed photographer Samuel James for British Journal of Photography. Read it in full on the BJP site.


I interviewed photographer Marco Gualazzini for British Journal of Photography. Read it in full on the BJP site.


I interviewed photographer Eugene Richards for British Journal of Photography. Read it in full on the BJP site.


I interviewed photographer Matt Eich for British Journal of Photography. Read it in full on the BJP site.


I interviewed photographer Tomas Van Houtryve for British Journal of Photography. Read it in full on the BJP site.


Thursday, 15 August 2013

One-off publication I edited in which IdeasTap members interview Magnum photographers.


Saturday, 4 May 2013

What’s the question you most dread being asked by your parents? Let me guess. “When are you going to get a proper job?” Some of us are fortunate to have supportive families, who “get” our creative career. Some of us aren’t. Next time you find yourself fending off enquiries about whether a better-paid and more reliable profession mightn’t have been a better choice, try the following retorts.

“There’s no such thing as a proper job” 

Time was, you’d go to school, maybe university, then bag yourself a job and stay with that company for the next 40 years, growing greyer and more portly, until you retired with a decent pension and a bottle of single Malt. How times have changed! Of course there are still jobs with a clear career path, but fewer people’s working lives conform to the job-for-life formula your folks probably have in mind. They might not realise that these days less conventional working practices – portfolio careers, self-employment and the like – are becoming increasingly commonplace.

“That’s not how the creative industries work – let me explain...” 

Here’s a thought. Maybe your parents don’t actually understand what you do. You can’t really blame them. Who really knows what other people’s jobs involve day-to-day? Not me. Most of the time when people tell me their job titles, I smile, nod and ask for clarification. There are exceptions – police officers, teachers – although most of what I know about them is gleaned from watching The Wire. If your dad’s an accountant, why should he know what a creative producer does?

Not understanding creative work makes it seem more precarious. But, according to a report by the think tank DEMOS, there’s little evidence to back up the perception that starting a creative business is higher risk then other types of business. In fact, half of new creative businesses survive past five years, compared to just a third of new restaurants. I'd like to see them tell Gordon Ramsey to go get a “proper” job.

Read the full article on IdeasTap.

Image by Richard Rhee, on a Creative Commons license.


Sunday, 21 April 2013

Photography isn’t traditionally considered a team sport. But, taking their cue from established member-run agencies such as Magnum, VII and Noor, emerging photographers and curators are exploring new modes of cooperative working. Photographic partnerships, artist-run spaces and, overwhelmingly, photo collectives are on the rise.

The two young photographers behind Fourteen Nineteen met aged 16, when Lewis Chaplin featured some images by Alex F. Webb in an online magazine he was working on. “We came together because there was a lack of a platform for younger photographers and artists to have their work displayed,” says Alex. “We were doing similar things and had similar concerns about representing our generation of photographers but once we did it it together, it worked out much better,” Lewis adds. They now run an online gallery, a publishing imprint and an annual photography book market, among other projects.

Often collectives grow organically from student friendships – as in the case of documentary photography and film collective Aletheia Photos. “At first it was a case of us wanting to keep in touch with each other and carry on the community aspect you get at university where you get feedback on your work,” recalls Aletheia's Dan Giannopoulos. Having a forum to swap constructive criticism helps ensure you don't stagnate creatively after leaving formal education. Aletheia has recruited two further members but the spirit of the university 'crit' endures, albeit with a professional flavour. “I’m able to say, ‘I don’t like this image’ or, ‘You need to go back and shoot it this way’ and we all appreciate that we’re not doing that to be negative,” says Dan. “It’s because we want the work on our site to be the best possible quality.”

Image by James M. Turley, on a Creative Commons license.


Sunday, 14 April 2013

One Mile Away, easily one of the best films I've seen this year, is now showing on 4OD. The documentary follows efforts to establish a truce between two opposing Birmingham gangs locked in a bloody 'postcode war' - the Burger Bar Boys (B21)  and the Johnson Crew (B6). Director Penny Woolcock met people from both sides while researching her 2009 Hip Hop musical 1 Day. One of them, Matthias "Shabba" Thompson, would go on to be the catalyst for this film.

After escaping unscathed from an encounter in which he thought he might be stabbed or shot, Shabba, a Johnson, began to consider initiating a peace process. "He called me simply because I was the only person he knew who knew people on the other side," Penny told me when I interviewed her last month for IdeasTap. Shabba asked Penny to introduce him to Burger affiliate and star of 1 Day, Dylan Duffus. He also suggested she document the process so that if they did achieve something substantial, the film would prove they had been the ones to initiate the process, and would hopefully encourage others to do the same. Penny "immediately said yes" and took Shabba's proposal to Dylan. "There was a silence at the end of the phone," she recalls. "He said, 'Well I’ve got to do it,' but I think he had a sense of how difficult it would be."

"Difficult" is something of an understatement. During the two years of making the film, there were long stretches, recorded in detail in the film, in which the men's attempts to reconcile the two sides, and Penny's attempts to film them, seemed doomed to failure. "For months we weren’t allowed to pull out a camera. People were going, 'I’ll smash it on your head and kill you if you start filming.'" The truce, the film, and Penny especially, were viewed with intense suspicion. "Some people even thought I'd made 1 Day as some elaborate ruse to get back in there because I was working for the police."

The power of One Mile Away is that it shows a peace process as you imagine it must feel from the inside - arduous, precarious and painful. It wasn't just paranoia that Shabba and Dylan had to contend with, but also their peers' emotional investment in the conflict. "People would say [to them], 'You’re a traitor, my friend's doing life in jail for this thing and now you’re saying that it’s all got to stop, that it's pointless?'" Where there times when they seriously considered calling it off? "We all, at various points, wanted to give up but never all three of us at the same time. There would always be one saying, 'I think we should keep going' and then the other two wouldn't want to let that person down."

And ultimately, their has perseverance paid off. "It’s still not a full truce but there’s a group of people from both sides in the same office working together and going into schools and youth clubs and mentoring kids," says Penny. One Mile Away's educational tour kicks off on 15 April, taking the film's message of peace to young people at risk of gang involvement across the UK. I've already donated to the Road to Freedom tour. You should too!

Watch One Mile Away now on 40D.

Read my IdeasTap Q&A with Penny Woolcock.

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