Source is the magazine for contemporary photography in Britain and Ireland. It presents a forum for independent critical debate and the publication of the best new contemporary photography.
Each issue includes portfolios of previously unpublished photographic work, newly commissioned essays and comprehensive reviews of exhibitions and publications.
Source covers a wide range of photography from documentary and photojournalism to the work if contemporary artists. This has included police photography, advertising, pornography family photographs and design.
In keeping with the tenor of this issue the four artists featured have almost nothing in common. As Mari Mahr explains in her extended interview with Duncan Forbes, her work involves the layering of different photographed objects that relate to her memories of people and places. Anthony Haughey has been photographing abandoned building sites left behind by the collapsed Irish property market, a symptom of the wider crisis in the Irish economy. Meanwhile, Adam Broomberg and Oliver Chanarin have been commissioned by Belfast Exposed to make work in response to their community photographic archive. They examine evidence of how it has been handled: recovering from contact sheets the marks and scribbles of previous users, and behind stickers a collection of latent, round ‘dot’ images. Together this work shows the vitality and diversity of contemporary photographic practice and its capacity to approach any subject, be it the political, the personal or the way photographic meaning itself is constructed.
In 2007 we published an article about clichés in contemporary photography. This struck a chord with a number of readers but also begged the question, if these are the hackneyed styles or subjects what should photographs focus on? So for this issue we have asked a number of editors, writers and curators, what they would like to see photographed, and they have given us a number of different answers.
Not everyone we asked was from the world of photography so some have related our question to their own disciplines (astronomy and geography). Others have taken it as a philosophical question (photograph ‘nothing’) or a question of ethos (be ‘personal and emotional’). David Campany offers an exercise he conducted with students that involves a kind of random subject generator and Martin Parr wards us off more clichés (the ‘bent lamppost’). Only Mary Warner Marien has given us a list of concrete examples, so from her cue we look forward in the future to seeing more pictures of offices, shopping malls and ‘restaurant ladies rooms’.
Artforum is the USA’s premier contemporary arts magazine. Each month, Artforum, presents the latest ideas in international visual arts, fashion, film and the performing arts. Artforum aims to make contemporary art accessible and understandable, and to give its readers a clear picture of the cultural landscape.
Each issue has around 168 pages and includes high-quality colour reproductions of the artists’ work.
Issue 26 looks at questions of pedagogy, such as gallery education, Godard’s didacticism, Lina Bo Bardi’s exhibition displays, and through the artists Catherine Sullivan, Isidoro Valcárcel Medina and Group Material. Accompanying texts look at Hans Eijkelboom, theorisations of the event and the current Moscow art scene.
Lynsey Addario: At War By Elizabeth Rubin
A photojournalist looks at war up close, most recently focusing on women soldiers in Afghanistan.
Cameras for a Dark Time By Ariella Azoulay
Custom-built cameras reflect upon the medium and the ongoing conflict in Israel and the Palestinian territories.
Lucia Nimcova: On Sleeping and Waking By Clare Butcher
Nimcova investigates the role of the image in private and official life in Socialist Czechoslovakia.
Interview with Carole Naggar
The famed Parisian photographer discusses his life and career.
Fastnacht By Magdalene Keaney
An age-old Lenten tradition continues—in full regalia—in Germany’s southern villages.