Issue 34 - Contents

Callum Beaney argues that Sayuri Ichida’s medium-centric presentation of negative inversions, repetition and silver ink return readers not to photography as the main subject, but towards a physical body amidst the distress of its representation.

Lebohang Kganye speaks with Sarah Allen about investigating her own family history, merging photography and theatre as a means to perform the constructed nature of memory, and siting new work in the context of a Bristol sugar plantation and slave owner’s home from the 18th century.

On the occasion of Stephen Gill’s retrospective at Arnolfini, Jesse Alexander highlights how the artist’s varied and prodigious output from the last 30 years has been underpinned by restless experimentation and a rich sense of place.

Sergio Valenzuela Escobedo investigates the Cao Fei’s incorporation of science-fiction narratives and exploration of technology’s role in shaping our collective futures against the backdrop of China’s conquest of space.??

What will be left for us to probe? What ‘aesthetic entrances’ will be used? Alex Merola on Brea Souders’ weaving of pixels and pigments that offers intricate yet epic articulations of the natural world, continuing long traditions of American landscape photography.

Taco Hidde Bakker reflects on his recent curation of Hard Copies at Camera Austria, Graz, a parallel book and exhibition project characterised by the entanglement of the material appearance of (things in) cities, ways of picture-making and arrangements of images and found objects.

Book Review

Top 10 (+1)

Photobooks of 2021

Selected by Alex Merola and Tim Clark

Features

1000 Words

Writer Conversations

#6 Daniel C. Blight