Meet our independent panel of judges, which reviewed the submissions and assigned the Main and New Generation Prizes:
Senior Photo Editor at The New Yorker
Genevieve Fussell is a Senior Photo Editor at The New Yorker, where she commissions and produces a range of photography for the magazine as well as contributing to the curation of Photo Booth, The New Yorker's photography blog. Before joining The New Yorker, Genevieve worked as the archivist for VII Photo, the international collective of photojournalists based in New York and Paris.
Photographer and Artist
Roger Ballen is one of the most important photographers of his generation. He was born in New York in 1950 but has been living and working in South Africa for over 30 years.
Over the past thirty years his distinctive style of photography has evolved using a simple square format in stark and beautiful black and white. In his earlier works his connection to the tradition of documentary photography is clear but through the 1990s he developed a style he describes as ‘ballenesque’.
In his recent series he has employed drawings, painting, collage and sculptural techniques to create elaborate sets. Ballen has invented a new hybrid aesthetic in these works but one still rooted firmly in photography.
His previous release is The Theatre of Apparitions. In a departure from his existing oeuvre, intricately layered images occupy a space between painting, drawing and photography linking image-making and theatrical performance.
In September 2017 Thames & Hudson released Ballenesque, Roger Ballen: A Retrospective, a major retrospective of his collected works.
Artistic Director, Unseen
Emilia van Lynden is Artistic Director of Unseen, the leading platform for contemporary photography. Exclusively focusing on what’s new in the photography world, Unseen provides a channel for up-and-coming talent to showcase their work, as well as presenting the newest work by established artists. Unseen is an all year round platform with physical events throughout the year and with the main event, Unseen Amsterdam, returning for its seventh edition in September 2018. Additionally Emilia is also Editor-in-Chief of the annual publication, Unseen Magazine founded in 2014. Van Lynden among other things is sourcing artistic talent as well as galleries, collectives and projects that have a rich programme committed to supporting young artists. https://unseenamsterdam.com/
Independent Photo Editor and Cultural Producer
Monica Allende is an independent photo editor and cultural producer, she collaborates with screenprojects.org team and is the co-founder of Offspring Photo Meet in London. Previously she was the Photo Editor at the Sunday Times Magazine, where she launched the award-winning photography section Spectrum. She is visiting lecturer at the London College of Communication in London, has conducted photography workshops worldwide among others: Festival di Internazionale a Ferrara, Getxo Photo, and Visa pour L’Image and has served on juries worldwide including the World Press Photo, Visa Pour L’image, the National Portrait Gallery’s Taylor Wessing photographic Portrait Prize, The Royal Photographic Society Awards , Getty Grant , Reinaissance Photography Prize, Sony World Photography Awards. She is nominator for several photography awards including Prix Pictet and Deutsche Borse Photography Prize. She produced and curated Dafur: images against impunity, and exhibition and book by Stanley Greene, Lynsey Addario and Alvaro Ybarra Zavala.
Her work at the Sunday Times Magazine was recipient of the Amnesty International Media Photojournalism Award, the Picture Editor’s Award, the Online Press Award and Magazine Design Award for Best Use of Photography.
She lectures, writes, nominates and consults on photography.
In "Centralia", a project about a little known 50-year-old Maoist conflict in Central India, Basu continues to focus her gaze on the interrelation between violence, state power, and gender. By intertwining multilayered fictional narratives she aims to challenge viewer's perception of reality, as well as established neocolonial histories. In an era of post-truth and fake news, where we battle for control of “official” narratives, Basu’s work forces us to reflect on our own prejudices and educated preconceptions. Despite addressing such complex issues, the work is both illuminating and engaging - a testament to her innate ability as a documentarian. The result is a beautifully executed story which is thoroughly deserving of the winning grant.