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Fanny Robin: “The Most Powerful Projects Arise From a Form of Shared Trust” – On Curating Art and Fondation Bullukian

In this interview, Fanny Robin traces her curatorial path from a formative visit to the Fondation Maeght through art historical and business training, her fifteen years directing Fondation Bullukian, founding Campagne Première, and her BMW ART MAKERS

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Art & Culture

Fanny Robin: “The Most Powerful Projects Arise From a Form of Shared Trust” – On Curating Art and Fondation Bullukian

In this interview, Fanny Robin traces her curatorial path from a formative visit to the Fondation Maeght through art historical ...

Showing Slide 1 of 2

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INTERVIEWS

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Edward Middleditch: The Pencil of Nature

Call For Applications: 7th Edition of the Carmignac Photojournalism Award

Support Anastasia Taylor-Lind’s “Welcome to Donetsk” – Postcards from the war front

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The history of Japanese photography is quite distinct from what we usually think of it, particularly post-war photography, because so much work was in black & white.I think Japan is something that we underestimated for many reasons, some of them cultural, some of them to do with language, but I think it’s important to fully understand the significance of Japanese photography.

I don't see myself as photographer. I am just seeing myself as someone who has skills and is using photography. When it comes to the actual idea of being a photographer and a physical image, I would say my images are not good images, they are not good pictures. They are not amazing photographs in that sense. I would say, I am more of a sculptor now.

I have a responsibility to reflect the breadth of photography that’s happening in the world today, as also to reposition some historical figures who I feel are important for the younger generation to know and appreciate and understand.

Last Interview

Thana Faroq: “A Photograph Is Never Innocent” – On Migration, Memory and What Images Cannot Hold

Photography

In this interview, photographer Thana Faroq discusses her Yemeni roots, unconventional academic path blending politics with photography, and acclaimed book 'I Don't Recognize Me in the Shadows'. She reflects on exile, identity, and long-term relationships with subjects in asylum centers, her use of text as image, mentorship of women photographers, and her debut film 'Imagine Me Like a Country of Love'.

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Thana Faroq: “A Photograph Is Never Innocent” – On Migration, Memory and What Images Cannot Hold

Photography

In this interview, photographer Thana Faroq discusses her Yemeni roots, unconventional academic path blending politics with photography, and acclaimed book ...

Showing Slide 1 of 2