"Coming back to photojournalism after a couple years of academic hiatus, I wanted to invest my time in projects that could affect change. Simply telling a story in an editorial doesn’t accomplish that,” says Anastasia Taylor-Lind about her determination to cover the Rohingya crisis in Myanmar for Human Rights Watch. The organisation’s mandate is to gather evidence of crimes against humanity and share those records with governments, international agencies and the public. Doing so means relying on collaborations between a diverse group of professionals, including visual storytellers.
Arunà Canevascini was nominated by Erik Kessels for the richness of her projects, which merge femininity, domesticity and migration. In Villa Argentina, Canevascini examines these themes through elaborately-designed images in which the domestic settings she photographs are disrupted by intrusions from both the history of art and her own family past.
“To look ahead we first need to look back in time,” write Kim Knoppers and Ann-Christin Bertrand, curators of Back to the Future: The 19th Century in the 21st Century – an exhibition that presents contemporary artists whose experimental approach to photography echoes that of the 19th century pioneers of the medium.
“Holding Time is sort of a play on words,” says Brighton-based artist Lisa Creagh of the title of her latest work, which revolves around themes of motherhood, photography and time. “Motherhood is a very unique kind of work that sits outside of the normal systems of economic activity that have determined our methods of measuring and representing time. I think motherhood requires a new way of thinking about time, if we are thinking about motherhood as having validity and status in a modern society.”
In 1981 Paul Graham published A1 – The Great North Road, a book of photographs taken along Britain’s longest road. Connecting London with Edinburgh, the road passes through North London, Peterborough, Doncaster, Leeds, York, Durham and Newcastle upon Tyne; Graham chose to photograph it in colour, at a time when black-and-white dominated, and his work made a big impression on Peter Dench. “Since viewing Graham’s book, I knew it was a journey I would make one day," says the British photographer. "36 years after he made it, Brexit seemed a good time and reason. Plus I only live one mile from the A1; it’s a convenient tendril to the nation, a road that connects as much as it divides, through a nation on the verge. It is towards Britain that I consistently point my lens - it’s my home and my passion, and the people are the ones I want to understand most. Brexit is the next significant chapter, and I was inspired to get out as soon as possible to explore the mood of the nation.”