Your Sunday Inspiration ✨

Launching our latest print issue and more ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ © Tarrah Krajnak We interview hundreds of artists each year at BJP, and every so often it’s worth reflecting on why. On the one hand, there is no more authentic representation of an artist’s work than their own – whether they’re recounting a complicated [darkroom process]( or revealing a [personal memory]( that has informed a photo series. On the other hand, it can seem counterintuitive to expect language to explain a visual medium, especially when one of the reasons people make art is because they communicate most effectively in images, paint, textile or sculpture – not necessarily words. And that’s before we even get to the reliability of artists’ intentions. In the end, the interviewer’s job is to balance information offered by the artist with their own insights and art historical contexts. The best writing does this while straddling two categories – writing about the photography in question; and writing with it. We published an example of this on Friday, an extended [profile of Tarrah Krajnak]( by curator and academic Max Houghton. Through rephotographing, collaging family albums, and performance-based studio presentations, Krajnak “transports its viewer through a labyrinthine search for origins – a journey which she knows is, from the outset, impossible,” Houghton writes. The aim of her piece is not to ‘explain’ or ‘solve’ Krajnak’s practice. Instead it seeks to reveal its motion and meaning while bringing us into her world. “In the rhythm of her speech, Krajnak repeats the word ‘attention’ three times, creating an unconscious spell,” Houghton reveals. See below for the whole piece. Speaking of collaborative questions, a new show at London School of Economics has caught our attention. [Why are things this way?]( is a new participatory research project in which six east London residents worked with artist Andy Sewell to respond to a series of open-ended prompts around the UK’s cost-of-living crisis. The resulting images are presented alongside text fragments from group conversations. Kirsty Mackay’s [The Magic Money Tree]( explores similar issues through portraits, transcripts and workshop-made photographs from communities across the Black Country, South Shields and south Bristol. An exhibition of the project opened yesterday at New Art Gallery Walsall, and runs until mid-July. Finally, thank you to everyone who came down to 10 14 Gallery in London on Thursday evening to celebrate our [Virtual Reality issue]( launch. If you couldn’t make it then the magazine is available to purchase here. We hope you enjoy it. Virtual Reality | Issue #7917 Our Virtual Reality issue considers how technological shifts are disrupting photographic perspectives, from video games to AI, glitch messaging and print warping. In major profiles of Robert Zhao Renhui, Zed Nelson, Farah Al Qasimi and Jean-Vincent Simonet, our writers consider photography’s unique incompleteness. Up front, exhibition previews take readers from Nottingham Contemporary to Kyotographie, and we’ve dedicated our Intelligence essays to the SWANA region, spotlighting initiatives in Egypt, Lebanon and reporting on Palestinian photographers. [Get your copy]( [Build the way you want]( OnePlus Photography Awards 2024: ‘People underestimate how amazing photographs taken with mobile phones can be’ Now in its fourth year, the international competition champions smartphone photography. Judge Mati Machner reflects on how the practice has democratised image-making [Read more]( [Build the way you want]( Tarrah Krajnak’s marginal, meandering histories Informed by her own history and the established canon of photography, Tarrah Krajnak’s work is a complex exploration of presence and place [Read more]( [Build the way you want]( In a time of global conflict, photo quilts offer unlikely solace Jenny Matthews’ work is proof that a camera is a weapon in the hands of women, empowering them to dismantle societal norms and document untold stories [Read more]( [Facebook]( [Twitter]( [Instagram]( [1854 Media Ltd, 244-254 Cambridge Heath Rd, Cambridge Heath, London, E2 9DA, United Kingdom Click here to update your email preferences]( [Click here to unsubscribe from all emails](