Forward Thinking: Hotshoe Looks Ahead to 2013
- By Miranda Gavin from Hotshoe Blog
Hotshoe Covers 1980s till present
To mark the end of the year and the start of a new one, I asked the team at Hotshoe magazine to look ahead to 2013, rather than back at 2012, to comment on any trends in the world of photography and to pick out some up-coming events, photographers and works to look out for.
Editor-in-chief Melissa Dewitt
I see more artists using photography, not as a document or a narrative, but playing with its intrinsic nature to make well considered new work. For example, Asger Carlsen who photographs the human form to create his own morphed forms, and Daniel Gordon who uses collage to create assemblages out of magazines then photographs the colourful results.
Right Image: Untitled from the series Hester, 2012 © Asger Carlsen
International editor, aka the Flying Critic, Bill Kouwenhoven
There’s one trend I would like to see die out peacefully: the use of garish hipstamatic imagery purporting to be photojournalism, or documentary photography. I’d like to see less staged documentary that recreates or recapitulates the life or death of a loved one. Graduate students do way too much of this; even if the work is good and heartfelt, and it often is, the sheer volume of it makes it redundant.
I further fear more cutting of arts budgets as well as budgets for journalists in general, but see it as inescapable. As a result, I see the use of more Kickstarter-like projects a la David Chancellor and Bruno Quinquet coming to fruition. Obviously, I see more citizen journalism and social media-based photography, but I also see more photographers and photojournalists, not to mention their print and other media cousins, getting killed in the unstable regions of the world...
As for photographers, I saw work by Malik Njami, shot at night during last year's Photo Phnom Penh at the famous Olympic stadium, where young Cambodians enacted scenes from April 1975 and the violent coming to power of the Khmer Rouge. Incredible imagery.
Deputy editor and Hotshoe Blog editor, Miranda Gavin
As photography widens its net to include everything from mobile images that never materialise as physical objects to one-off object-based works destined for the art gallery, I think that we will also continue to see photographers exploring and using early photographic techniques, such as gum bichromate and wet-plate collodion, as well as alternative processes. Image taking and making will continue to speed up at one end of the photographic spectrum, aided by the use of mobile devices and new technologies, and slow down at the other, with the use of large-format cameras and a revival of older, more time-consuming processes. Crowd-funding platforms are proving viable as a way of financing some types of photography projects and this trend seems set to continue.
I’m looking forward to Derby’s Format International Photography Festival (8 March- 7 April) which is fast establishing itself as a must-visit festival on the international photo circuit. For the sixth year, the festival will be curated around the theme, FACTORY: Mass Production, and will include a specially-commissioned body of work, Still Waters, by the inimitable Brian Griffin. British photography can get short shrift in the international world of photography and I’m hoping that next year sees photographic gems, such as Griffin, Tom Wood (whose work was shown at the inaugural Format festival in 2005) and John Bulmer, get the wider recognition they so deserve.
Right image: Still Waters, © Brian Griffin
To bring in the new year, I’ve got an in-conversation talk by international photographic artist Susan Derges at Purdy Hicks gallery (9 January) in my diary, and I’m also looking forward to the publication of photographer and filmmaker Jane Hilton’s second book Precious of portraits of prostitutes working in the brothels of Nevada, which will be published by Schilt Publishing in February. The work will be on show at the Jerwood Gallery (1 Feb-17 April) in a show called Knock Knock, at Eleven Fine Art, London in April and Nailya Alexander Gallery, New York in June.
Left image: Alder Wood, © Susan Derges
Precious, © Jane Hilton
I’m also keen to see the continued development of the new body of work No Tail No Scale by Russian photographer Daria Tuminas who was previously featured in Hotshoe with Ivan and the Moon in 2010 and is a highly original emerging image maker. Finally, there is one photo competition that I always like to celebrate and support and that’s the Renaissance Photography Prize 2013, which was set up by Fiona Treharne (herself a survivor of breast cancer). Now in its fifth year, this is art with a heart at its best. All the entry money goes to the Lavender Trust at Breast Cancer Care, an organisation that supports younger women with breast cancer, and last year they raised £50,000. The competition continues to go from strength to strength and will be calling for entries in January for April judging and a September exhibition.
Right Image: No Tail No Scale, © Daria Tuminas
Commissioning editor, Gregory Barker
Trying to predict what the new year will bring, is like stringing up your personal Sword of Damocles, so I’d rather talk about the possibilities of the year to come in generalities.
Certainly, there are things that I would like bring into the new year, and those that I dearly wish we could pack away with the tinsel, such as the seemingly, ever-present, vapid, florescent still life images, that currently fill my inbox. Yes, there are a number of photographers who can pull this off, Lucas Blalock, Jessica Eaton (Hotshoe June-July 2012), Sam Falls , and Fleur van Dodewaard (Hotshoe Oct-Nov 2012) , but the vast majority, I would imagine, will end up in the discount bin of the internet in the very near future.
Right Image: Study for Black Nude, 2011 © Fleur van Dodewaard
Untitled from the series Dawn, 2012 © Yu Yamauchi
As to what I’d like to see more of, the other evening I was at a talk where a phrase was used that, for me, perfectly summed up what I search for in a photographer’s body of work - 'the disquiet that propels them'. That’s to say, something that has truly obsessed the photographer, not just an assignment, or a project that was completed in a few weeks, or even weekends, but a project or idea that the photographer has a true need to photograph; for want of a better word, one that they are in love with. This is the case in a few of the photographers’ work I'm eager to see; new work from Yu Yamauchi who, for his last project Dawn (Hotshoe Jun-Jul 2012), spent 500 nights in the same spot atop Mount Fuji; Dutch photographer, Paul Kookier’s next project after the retrospective Heaven (Hotshoe Dec-Jan 2013), and finally, the release of Christopher Anderson's, Son (to be published by Kehrer Verlag in the spring), which is an extremely beautiful, personal project that we were lucky enough to feature in the Oct-Nov issue of Hotshoe.
Marion and Atlas at bath time, 2009 from the series Son © Christopher Anderson
ABOUT HOTSHOE MAGAZINE
Hotshoe International magazine was first published in 1979 since when it has gone through a number of changes under different editors, including shifts in format from broadsheet to A4, and then to A5 around 2000. The bimonthly magazine returned to A4 in 2010, under the editorship of Melissa Dewitt (2003-).
The bimonthly magazine is available in selected bookshops, galleries and outlets as well as by subscription. A Hotshoe iPad/iPhone App and Windows 8 are now available and there will soon be a release of a Kindle version of the App.
Once again, in the lead up to Christmas, we’re offering one person a year’s subscription to the magazine, plus a free copy of the Oct/Nov 2012 edition of the magazine sent to your home. All you have to do is go to the Hotshoe International Facebook page and LIKE the magazine by the end of this week.. That’s it. The team at Hotshoe will select a winner at random from those ‘liking’ the page and the winners will be announced on the Hotshoe Blog in early January.
Happy Christmas from all of us at Hotshoe.