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(showing articles 41 to 42 of 42)
(showing articles 41 to 42 of 42)

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The latest photography news and features, since 1854.

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    “Where are ‘we’ going as a collective society?” That’s the question posed by this year’s Getxophoto Festival, back for its 11th edition under the stewardship of new artistic director, Bilbao-born Monica Allende. The festival, which opens on 31 August and runs until 01 October 2017, comprises 20 main exhibitions, many of them outdoors, and a lively programme of activity and events unfurling around the coastal town of Getxo in the Basque country. “‘Transitions’, the theme for the next three instalments of the festival, starts from the idea that we are entering “a period of post-globalisation”, says Allende, a former photo editor at The Sunday Times. “This concept has been on the fringes of debate for some time but is gathering momentum in mainstream discourse. “We see its effects through increased polarisation of political debate around the threats of climate change, the refugee crisis and the rise of nationalist populism. This is a moment of major uncertainties, where the status quo of the state and global free-market agreements are being questioned as solutions for a balanced …

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    On the face of it, Thomas Ruff has radically altered course since his first major series brought him to international fame in the mid-1980s. He followed his portraits of fellow students at the Düsseldorf Art Academy (where he was studying photography with the legendary Bernd and Hilla Becher) with photographs of modern architecture in the 1987-1991 series Hauser, and then began working with appropriated images. His 1989 series, Sterne, used astronomical panoramas from the European Southern Observatory, for example, while his Zeitungsfotos made during the 1990s took images culled from newspapers. Over the following decade he has continued working with the vernacular, incorporating source material such as manga comics which he manipulated into colourful abstractions (Substrat), highly pixellated images he downloaded from the internet (Jpegs), and an archive of glass negatives found in a factory archive from the 1930s and 40s (Machines). But while Ruff is happy to admit his techniques change from series to series, the concept behind his work has remained consistent. In an interview for his latest catalogue he told Hans Ulrich …

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