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BBC News
By Caroline Gall
image copyrightEdgar Martins
image captionEdgar Martins had started his research at the prison when a 12-hour riot broke out there in 2016
Portuguese photographer Edgar Martins has captured more than 100 images for his project on incarceration and confinement at HMP Birmingham.
He deliberately shot abstract pictures after spending three years getting to know inmates and their families during a tumultuous time at the jail before the pandemic hit.
His exhibition What Photography and Incarceration Has in Common with an Empty Vase is at Herbert Art Gallery and Museum, in Coventry, until 18 April. In the same way that an empty vase contains an absence, an emptiness, photography at its heart also contains an absence - in the sense that there is something always missing from a photograph, he said.
Last December, culture360 has launched a new series of articles on
how the arts are adapting to the New Normal . One year into the global pandemic, this series will present
experiences and stories of resilience, adaptation, and success from the arts sector to the Covid-19 pandemic, with particular focus on differently disabled artists and arts organisations, artists residencies and arts funding.
This article by Veerangana Solanki looks at various art funding models that emerged in three South Asian ASEM countries – Bangladesh, India, Pakistan – to support artists and art practices during the Covid-19 pandemic.
The year 2020 has probably been the strangest year that the world’s current generation has lived through collectively. Care has manifested itself in various forms, with health workers at the forefront and support systems looking at the immediacy of requirements in their own regions. Almost every individual and sector, including the arts has dealt with various
A place of refuge, Lydia Goldblatt’s new series is a gentle contemplation on loss and uncertainty
Unequivocally relevant, Fugue is an empathetic lockdown project that lenses themes of family and motherhood.
Words
“Photographing felt liberating and intuitive,” says Lydia Goldblatt of the moment she first picked up a camera. It was while visiting her father’s birthplace with her family that she initially laid her hands on one, before being completely taken aback by the medium’s immediacy in documenting “things newly seen, even if the picture itself turned out to be rubbish.”
At the time, the now-London-based photographer was studying languages at university, thinking that she’d later pursue a career in journalism. Writing was a “hard-won and extremely slow’ and “torturous affair” though and so she shortly steered away from that goal. It’s no wonder she, therefore, jumped to the device of a camera for its fast-paced ability to capture the world around her.
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