“…To be a human being may be a…

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artphotocollector:

“…To be a human being may be a very messy thing, but to be an artist is something else entirely, because art is religion, art is sex, art is society. Art is everything.”  Lucas Samaras 

Lucas Samaras’s art has always mystified me. Although I am a late convert to his work, I recognize the passion and energy when I see it. The constant striving. The ongoing pursuit of beauty. The relentless creation.

Along with his drive, there’s a psychological depth to his work and an intense self-awareness that I find irresistibly disturbing, and often scary. Lucas Samaras is playing for keeps. 

His latest (and thirty-third) exhibitXYZ, opened today at Pace gallery. For the uninitiated, here’s a fascinating trailer from a forthcoming documentary about his life, along with an excellent interview by his longtime friend and dealer, Arne Glimcher. –Lane Nevares

Lucas Samaras, (1936-2024), RIP.

“…Art is everything.”

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Britain should seek Donald Trump’s respect, not his affection

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THE urgency with which Britain’s Brexiteer elite has scrambled to cosy up to Donald Trump in the weeks building up to today’s inauguration has been something to behold. Leading the way was Nigel Farage, the former UKIP leader, flashing a mile-wide grin as he posed for souvenir snaps with the president-elect. Last week Michael Gove made the same pilgrimage. The former justice secretary, now writing for the Times, could barely conceal how impressed he was by America’s macho new helmsman: beaming for a goofy, thumbs-up photo and writing up the encounter in excruciating terms: “Mr Trump’s conversation flows like a river in spate, overwhelming interruptions and objections, reflecting the force of nature that is the man.”

The reflex goes all the way to the top: Theresa May greeting the November election result without the reserved language of, say, Angela Merkel. On January 15th her government infuriated other EU members by boycotting the Middle East peace conference in Paris to curry Mr Trump’s favour. In her big Brexit speech on Tuesday the prime minister hailed the president-elect’s talk of a prompt trade deal as an early triumph for her “Global Britain” agenda. After a week in which the tone of British-European relations has greatly soured, Mr Trump’s enthusiasm for Brexit and hostility to the EU is touted as a great boost for Britain in its coming exit talks. Perhaps, it is suggested, America’s new president will open the door to a new golden age of Anglo-Saxon friendship.

These instincts are understandable. The leader of the world’s only superpower cannot just be ignored or spurned, whatever his politics. Britain’s close cultural, defence and security ties with the United States mean London can play a special role in binding the voluble and suggestible new inhabitant of the White House into the rules-based global order. It can steer him towards sensible positions on subjects like NATO and Russia. Perhaps, to invoke the old dictum, it can be Greece to his Rome.

The thing is, Britain’s leaders risk going beyond engagement and realpolitik to something more craven, something closer to knee-jerk sycophancy. They risk overestimating the advantages and underestimating the risks of proximity to him.

Mr Trump’s priorities are not complicated. Brexiteers should expect his talk of admiring Brexit and revering the Queen to melt on first contact with the realities: Britain is not America’s most important trade partner and for four of the past five years has sold more to America than it has bought from it; including lots of stuff that could theoretically be made within America’s borders by American workers. So far Mr Trump has concentrated his protectionist rabble-rousing on Germany (which he thinks should buy more American cars) and most of all China. Even if Britain has been spared the verbal barbs, its surplus relationship with the United States puts it in a similar practical position as those countries. An early sign of the disparity between Mr Trump's words and priorities came during his chat with Mr Gove. His interviewer presented an unambiguous invitation to pronounce Britain “front of the queue” for a trade deal. The president-elect flanneled: “I think you're doing great”. It was later reported that he wants his trade negotiators to focus on NAFTA. When he says “America First”, he means it.

There is a broader point here. Mr Trump’s world is one of muscular conflicts of interest; brute, zero-sum tests of leverage, self-confidence and guile. Sycophancy and flattery may buy one a place in his court but the evidence suggests it comes at the cost of real influence. If he is solicitous towards Vladimir Putin it is not because the Russian president sucks up to him (in fact his public pronouncements have been cooly non-committal) but because he is a strongman who seems to get his way. Mr Trump admires that. If he is angry about China, he also commends its leaders’ canny policies. In other words, he respects those who stand up for their interests. This is the main message of “The Art of the Deal”: “The worst thing you can possibly do in a deal is seem desperate to make it. That makes the other guy smell blood, and then you're dead”; “You have to believe in yourself or no one else will”; “When somebody challenges you, fight back. Be brutal, be tough.” All of which begs the question: could the new president’s early encounters with Britain’s fawning establishment turn out to have made him a less, not more, accommodating partner in the long term? Why ever cede ground to a government that instinctively gives it up for free?

While the potential advantages of clinging to Mr Trump may be smaller than they first appear, the possible disadvantages are probably greater. Unchallenged, he seems minded to threaten many of the hardest-won achievements of recent British foreign policy: welcoming the disintegration of the EU (Steve Bannon, his adviser, reportedly wants to build closer links with continental parties promoting that), weakening NATO, applauding Mr Putin’s adventurism, ripping up climate-change accords and the nuclear deal with Iran. Britain has shed blood and treasure in pursuit of these goals. Its exports to the rest of the EU are worth £171bn, compared with the £45bn value of those to America. To cheer on or turn a blind eye to such vandalism in the spirit of continental one-upmanship would be utterly short-sighted, doing diplomatic and economic damage that would far outlast the four- or eight-year span of Mr Trump’s presidency. Let Britain not become Europe’s answer to Chris Christie.

This is not to say Mrs May should seek conflict with Mr Trump. Far from it. The prime minister was right to send two chiefs of staff to New York last month to meet the transition team. She is also right to visit Washington, D.C. early in his presidency (the dates will be made public soon after today’s inauguration). But she should do so while clarifying and sticking to certain red lines; principles by which she intends to conduct the partnership and ensure it serves Britain’s interests. Mrs Merkel’s response to the election result—looking forward to cooperation “on the basis” of “common values”—points to the conditional sort of friendship London should seek. If we know one thing about America’s colourful new president, it is that he does not do long-term alliances or sentimental friendships. He does case-by-case deals. This transactional world, his world, will now circumscribe the transatlantic relationship. And in this world it is better to be respected than liked.

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Canine hopefuls on the first day of Crufts – in pictures | Life and style

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More than 24,000 dogs from 220 different breeds take part in Crufts 2024 with hundreds of the most agile and athletic dogs competing in different categories including agility and flyball and, new for this year, hoopers – a low-impact and inclusive activity for dogs and owners. The event culminates in the Best in Show trophy, awarded on Sunday night.

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Searching For The Couple In This Proposal Photograph

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If there’s one thing a cold, gray, post-holiday January in New York City demands, it’s an escape to a warmer climate (should you be lucky enough to be able to afford it and make it work).

After close to 20 years in the city, I’d never been to Puerto Rico — even though it’s just a few hours away by plane — and neither had my boyfriend, Alex, so we decided on San Juan for our first vacation together.

On January 8, we took a walk along the Paseo del Morro. It’s a scenic and historic path along the walls of Old San Juan, offering incredible views of the seaside and encounters with the many cats that hide from the sun among the rocks along the water. The path eventually leads up to the Castillo San Felipe del Morro, a large fortress constructed between 1539 and 1790. Desperate to find some relief from the near 90-degree heat, we stopped at the top of a grassy hill overlooking the Atlantic Ocean to let the breeze cool us off.

I’m a photographer by trade, and when I travel, I like to use film, so on this particular trip I had only brought my grandmother’s old Pentax K1000. Using film instead of digital is a way for me to slow down, pay attention to what I’m seeing and take the pressure off the need to shoot a high volume of images.

I had just brought my camera up to my face to shoot a large ship that was passing by when Alex noticed two people standing at the end of the pier far below us.

“Are those people getting engaged? They’re getting engaged!” he said, pointing.

I snapped maybe six or eight images in a row as he recorded the moment on his phone. We looked around to see if anyone else was witnessing this serendipitous occasion, but we were the only ones.

We let the couple take their time, not wanting to impose on such an intimate moment. When the proposal appeared to be done, we made our way over to them, introduced ourselves, and I told them I had captured their engagement with my camera. They were delighted, so I asked for one of their emails and told them I would send the photos after they’d been developed. I wasn’t entirely sure if the images would even come out, as we had been a fair distance away and my light meter had stopped working, but I assured them if I had gotten anything good, I’d be in touch. We chatted a bit longer and then we congratulated the couple again and parted ways.

The author and her boyfriend, Alex, In San Juan, Puerto Rico (January 2024)

Courtesy of Kathryn Sheldon

As Alex and I continued walking, we remarked how thrilling it was to have just witnessed this random couple’s proposal. It made me wonder exactly what it was about seeing two strangers get engaged that felt so exciting. We didn’t have any investment in their lives — knew hardly anything about them, and likely never would. Regardless, it was an incredibly significant moment for them, and to see something that rare and meaningful and unexpected happen right in front of us felt a bit like seeing a shooting star.

Extraordinary moments like these feel like a gift, especially in a world where so much is currently going wrong. Seeing two people making a commitment to each other — whatever that looks like for them and however they choose to honor it going forward — is a beautiful thing. It felt like I had been given a little reminder from the universe that despite how bad things can seem, love is real and we should do whatever we can to encourage and respect and celebrate it.

Alex and I returned back to New York City and last week, almost two months after our trip, I finally got my film back. Not only did the images of the engagement turn out, but I had one of every part of the proposal: getting down on one knee, their embrace after, all of it. Although the couple was far from where I was shooting, their beautiful experience was perfectly documented in my photos.

I couldn’t wait to share what I’d shot with the couple. I opened up my Notes app on my phone to retrieve the email they had given me but it wasn’t there. Somehow their contact info had gotten deleted. I was devastated.

“What do we do now?” I asked Alex.

We weren’t sure. How could we find two strangers with only a scant amount of information? We didn’t know, but we wanted to try.

So... this is us trying. Maybe someone reading this essay might know this couple and can help me get in touch with them so I can share my photos of their special day.

One of the photos the author took of the mystery couple during their proposal in San Juan, Puerto Rico (January 2024)
One of the photos the author took of the mystery couple during their proposal in San Juan, Puerto Rico (January 2024)

Courtesy of Kathryn Sheldon

The couple (we believe they were two women but we didn’t ask about their gender identities, so we can’t be sure) got engaged on the afternoon of January 8, 2024 at the Castillo San Felipe del Morro in Old San Juan, Puerto Rico. I think they were from Baltimore, or, if not, somewhere else in the Maryland or D.C. area. One of them was named Melissa.

I feel lucky to have been in the right place at the right time to witness this couple’s proposal and I’m hoping a little more luck — and a bit of help from one of you — might finally get my photos to them.

If you know these individuals (or you’re the couple featured in the photos), email Noah.Michelson@HuffPost.com and we’ll get you in touch with Kathryn.

Kathryn Sheldon is a freelance still photographer and director of photography based in Brooklyn with a specialty in the culinary and hospitality realm. She previously worked at MTV and NBC Networks in New York. Follow her film photography on Instagram @sometimesitgrains.

Do you have a compelling personal story you’d like to see published on HuffPost? Find out what we’re looking for here and send us a pitch at pitch@huffpost.com.



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A court ruling on Article 50 hints at Britain’s coming constitutional storm

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ON THE morning of January 24th the Supreme Court ruled that Britain’s government has to put Article 50 (the formal two-year process by which Britain will leave the European Union) to a vote in parliament. It should never have come to this. Last summer Brexiteers won the EU referendum by pledging to return sovereignty to Westminster. It was shabby of Theresa May to try to bypass legislators—and a strategic misjudgment to waste time by appealing December’s ruling by the High Court, which the Supreme Court has now straightforwardly upheld.

Some detect an establishment stitch-up: Iain Duncan Smith accuses the judges of telling parliament what it should do. On this (like so much else) the welfare secretary is wrong. Sensible Brexiteers are tellingly welcoming the judgment, the essence of which is that the executive’s “royal prerogative” does not empower it to overrule the 1972 act taking Britain into the EU. The result is a victory for parliamentary democracy and a credit to Gina Miller (pictured above), the businesswoman who bravely brought the case in the first place (she has been showered with death threats for her troubles).

The ruling is unlikely to prevent Mrs May from triggering Article 50 by her self-imposed deadline: the end of March. She is expected to put a narrow, single-clause (and thus fairly amendment-proof) bill to parliament imminently. Scottish National Party MPs and a handful of Labour ones are expected to vote against it but there is no question of it not clearing the House of Commons. There is a higher (but still sub-50%) chance that the Lords will attempt to frustrate the bill, but at most they will delay its progress. Crucially, the court’s judgment does not give governments in Scotland, Wales or Northern Ireland a veto.

What the ruling will do is make Britain’s constitutional tensions creak and groan like never before. The very fact that it was necessary spoke to the ambiguities created by the absence of a written constitution. The prospect of even a minority of Lords voting against the result of the referendum will highlight the arbitrary character of the unelected upper house. Whether MPs vote as their constituents did (some Labour MPs with seats that strongly voted Leave have already indicated they will vote against the bill) will probe the limits of representative principles. The debates may force MPs to stipulate what sort of final Brexit deal they would (and would not) vote for at the end of the Article 50 process, when the outcome of Mrs May’s efforts in Brussels will go before both houses.

Most of all the ruling illustrates the peril facing the union. The response from Nicola Sturgeon was ominous: “it’s becoming clearer by the day that Scotland’s voice is simply not being heard or listened to within the UK.” It is “becoming ever clearer” that a new independence referendum is needed, she added. In Wales, too, it could stoke demands for more autonomy. Then there is Northern Ireland, where EU membership is integral to the already-fragile peace settlement and where Mrs May’s “hard Brexit” threatens to impose a hard border. That this should now go ahead with the say-so of Westminster, but not Stormont, will surely aggravate the sectarian divide further.

All of which means it is increasingly hard to imagine Britain holding together without a new, more federal model involving some degree of political reform. As I wrote in my column in December:

Britain’s unwritten constitution runs on deference to steadily accumulated precedent. Brexit will create rifts and ambiguities for which no clear precedent exists, and such a volume and tangle of them that attempting to “muddle through”—that is, botch together case-by-case settlements—could result in paralysis or disintegration. Better, surely, to confront all the interlocking quandaries in one big public discussion leading to reforms and perhaps a written constitution. They say Britain avoided the “constitutional moments” of continental Europe and America because it experienced no post-Enlightenment revolution (Charles I lost his head in 1649). But Britain may now be approaching such a moment whether it likes it or not.

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‘This was their home too’: Frankie Mills’s intimate portraits of Ukrainian refugees in the UK | Photography

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The remote village of Moorhaven, 15 miles east of Plymouth, is a place far removed from war. With open, barren moorland on one side and rolling countryside on the other, the surrounding landscape is scattered with wandering sheep and horses. So when a dozen Ukrainian refugees arrived there two years ago, Frankie Mills, a photojournalist at the local paper, found it hard not to pay attention. “It’s a small, tight-knit British community. The people that came were very visible.”

When Mills posted on a village Facebook forum asking to photograph some of the refugees, there was some resistance. “People thought it was really insensitive. They were very wary and sponsors saw it as their responsibility to protect their guests.”

But one person messaged to say “let’s chat”. That was Valentyna Romanchuk, who had just arrived from Kharkiv, in eastern Ukraine, a frequent target of Russian assaults. Over the space of a year and a half, Romanchuk introduced Mills to her fellow Ukrainians in the village and the nearby town of Ivybridge, communicating through translation apps. What came next was Good Evening, We Are From Ukraine, a photographic project which follows the small community of women and children as they rebuild their lives. The title, taken from the words Mills had seen printed on a young boy’s T-shirt, was a wartime slogan used across the country. She has now been shortlisted for a Sony world photography award for the series.

Olga Maria Toms at her English language school in Plymouth on Ukrainian Independence Day.

More than 200,000 Ukrainians have arrived in the UK since March 2022, the first time since the second world war that the British public have welcomed refugees into their homes en masse. When the scheme was first announced, the UK was considered slow to act and there was a complex application process, but the people in Moorhaven wanted to get involved in any way they could. “It felt like a domino effect,” says Mills. “One person was up for it and suddenly everyone wanted to help.”

In many ways, this wasn’t unusual in a place like Moorhaven, which has a history of communal living. Once a hospital and now divided into individual homes set in 65 acres of landscaped grounds, it has about 440 inhabitants. “It’s a close community and there’s a feeling of people being connected there,” says Mills, who describes the old, imposing architecture as if it’s “just sticking out of Dartmoor”. Yet the project wasn’t about the landscape or the history of the area. It was the personalities and how they related to each other that made the images strong. “The better ones show people’s personal experience and their character.”

‘Tender moment’: mother and daughter Paulina Zherdieva and Olena Bilokrenytska, and their pet dog, in their sponsors’ kitchen in Ivybridge, near Moorhaven.

A favourite, she says, is the tender moment between mother and daughter, Paulina and Olena. It captures Paulina as she comes out of the pantry holding two aubergines. Olena then beckons her over and wipes something from her face and their dog, who had travelled over with them, pops up from under the table. “I like that connection between them. It showed how important those gestures can be when you’re going through something as big as this.”

Paulina Bilokrenytska behind Tania Drobot at the front of the queue for ice-cream by Paignton Pier, Devon.

For Romanchuk, being part of the series felt like an escape. There were countless day trips, walks on the moors and ice-cream stops. “We spent many wonderful hours surrounded by nature in the reserve,” she says. “I often remember funny incidents and conversations, and think that this project was like a small, new and happy life, which helped us forget about all the horrors that we left in Ukraine.” For Tetyana Volodymyrivna Drobot (Tania), a maths teacher, who was suffering from long Covid and had left behind her husband and two sons, it was a reminder of her old life. She’d always loved taking pictures and being in them.

Artem Kovstun, centre, and his English school friends in the playground in Ivybridge.

The group shot of Olena, Paulina, Valentyna and Valeria sitting on the moor, with Tania kneeling standing to take a selfie, makes her laugh. “I love it,” says Mills. “It was at the end of their first summer in the UK. Tania’s sense of humour has been unwavering throughout.”

For nearly two years, Ukrainian could be heard from playgrounds, blue and yellow flags hung from homes in the village, and Ukrainian Independence Day was celebrated annually. Drobot’s hosts, Fiona and David, introduced her to their friends, family and grandchildren. Romanchuk speaks fondly of barbecues and parties, which reminded her of picnics at home. Many in the community helped with shopping, doctor’s appointments and lifts. “I made true friends,” she says. “I understood that I needed to change my old habits and start getting used to life in England. I wanted people to accept me as a person.”

Matvi Popko celebrates his sixth birthday three weeks after arriving in the UK, in Bittaford, the neighbouring village to Moorhaven.

There were, of course, tensions at times. Some relationships turned sour and broke down, others ended abruptly. While many people are rebuilding their lives to remain in the UK, others, especially the younger ones, are considering returning home. Two years on, Romanchuk lives in Plymouth. Her English is improving, she is working as a volunteer and singing in a Ukrainian choir. For now, only Drobot remains living in Moorhaven. With no end in sight and national interest fading, she thinks the world is tired of what is happening in Ukraine. She doesn’t know what the future has in store, but she’s learning the language and feeling positive. “I think I can handle it. The main thing is that there is no war.”

Whatever the outcome, the project highlights the universal need to feel like you’re at home somewhere and have a sense of purpose. “Even when both sides don’t share a language and have wildly different histories, there was still that sense of relatability,” says Mills. “This was their home too.”

Frankie Mills is shortlisted in the Sony world photography awards 2024. An exhibition of all the shortlisted work will be at Somerset House, London WC2R, 19 April-6 May

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What Brexit and Donald Trump have in common

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COMPARISONS between Donald Trump’s presidential win and Britain’s vote to leave the European Union have often been overdone. Though during the campaign Mr Trump called himself “Mr Brexit” and promised “Brexit plus, plus, plus” for America, many Britons voted for Leave who would not dream of supporting him. The debates and issues involved were often different. The racial dimension was much less pronounced in Britain. Yet there are affinities, as a successful British petition shows.

Launched on January 29th it urges the British government to cancel Mr Trump’s summer state visit to Britain. Such trips are considered an honour. They are not afforded to all presidents and involve staying with the monarch. The petition says the “embarrassment to Her Majesty the Queen” would be unacceptable. At the time of writing, it had attracted 1.4m signatories and climbing, far above the 100,000 needed for Members of Parliament to consider debating the issue in Parliament. Nonetheless, the government says it will not change its plans.

Enthusiasm for the petition is not uniform, the proportions having signed it ranging from around 1% to 10% from place to place. Here the overlap with Brexit becomes clear. The Economist has charted petition “turnout” by constituency with support for Remain in the EU referendum. The resulting graphic shows the stark correlation between the two sets of figures: it seems places that didn’t like Brexit don’t like Mr Trump. Proportions of petition signatories are highest in cosmopolitan and heavily Remain-voting cities like Brighton, Bristol and Cambridge, all with unusually large populations of university-educated, white-collar residents. And they are lowest in older, post-industrial, pro-Brexit bastions where skills are relatively low: Wolverhampton, Redcar and Doncaster, for example.

This tells us several things. First, geographical patterns of opposition to Mr Trump in America may well be reflected in other countries too. Second, the demographics of his support and support for Brexit speak to similarities between the two phenomena (their “pull up the drawbridge” character in particular). Third, Britain’s divide over Brexit was not a one-off: the political behaviour of cosmopolitan places and nativist ones remains quite distinct. And fourth: there are many thousands of British people, many of them living in or near the capital, who may be minded to line the streets, protest and generally cause disruption when Mr Trump comes to London. He should not expect a warm welcome.

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‘It creates a community’: one photographer’s intimate portraits of more than 500 redheads | Photography

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Keith Barraclough, a former photographer for National Geographic, admits that the project he and his wife Kate Lorenz created in 2013 was born by chance. They are not redheads; they have no redheaded children. “It was happenstance,” he tells me over a Zoom call from New York. “I was doing a corporate shoot and a guy came in wearing a white shirt. He was a redhead and had this presence about him. He looked as if he’d just stepped off a boat from Ireland at Ellis Island in 1880. I turned to my assistant and said: ‘I would love to get that guy in the studio and have some fun with him.’”

More than 10 years on, Barraclough has photographed more than 500 people for The Redhead Project. The main criterion is simple: the subjects must be natural redheads (although he does sometimes photograph an older person, who is no longer ginger, holding a photo of themselves from the past). Most of their subjects are found via social media, particularly Instagram, where the project has a strong footprint. “It isn’t enough for them to simply say: ‘I’m a redhead and I’d like to be part of the project,’” says Barraclough. “You have to be willing to share your story,” adds Lorenz, who does much of the organisation and social media. “We ask them which part of the project resonated. Then we have a back and forth to come up with possible ideas for the shoot.”

The photo shoots take place at Barraclough’s studio on Spring Street, in SoHo, New York, and usually last three hours or more. He asks his subjects to bring props to illustrate their personalities. Full disclosure here: as a now white-haired, but natural redhead, I took part in a shoot five years ago, with my wife, the writer Heather Macadam, and my niece. I had taken along a miniature globe, to highlight my love of travel, and Barraclough had me strike various poses with it (including balanced on my head). Heather and I were working on a book together at the time, and to illustrate the tensions Heather grabbed a knife off a magnetic strip in the kitchen and, roaring with laughter, held it to my throat as Barraclough snapped away.

“I like to push the limits,” he says. “So, if you like peanut butter, I might make you slather it on a piece of bread, then eat it, and even smoosh it all over your face. We’ve had bakers, so I’ll pour flour over them. We had a little girl from Chicago, who loved ranch dressing. So, we had her pour a bottle of it over her head.” He laughs. “I try to capture people’s personalities – peel back the layers to see who they are.”

When Covid struck, Barraclough found himself stranded at home like many photographers. Luckily, a developer created an app called CLOS, which allows remote shoots. “The first I did was with a lady in LA and I was in NYC. I shot it on my iPad. The subject has the app on their phone and we connect through the app, like on a FaceTime call. I had someone hold the camera in LA and I gave directions, like: ‘Hold the phone a bit lower or move back a bit.’ So, I was remotely directing the shoot. And this means we can now shoot subjects from all over the world. So far, we have done 52 remotely.”

I am curious as to how they monetise the project. “We don’t,” says Barraclough, with a grin. “It is just a personal shoot. We don’t charge for it and have not made any money on it. And I’d like to stress that we are not independently wealthy! I have got some advertising jobs because of it, but it is basically funded through my corporate and commercial work.” The photo archive can be seen at Barraclough’s website and on his Instagram feed.

In my day, redheads were teased. They were called “carrots”. These days supporters of the Italian tennis star Jannik Sinner come to his games brandishing bunches of carrots. “I think it has changed,” says Lorenz. “We see a lot more pride. But it depends on the person’s age. Older people seem to have more stories of prejudice. And I like to think our project creates a kind of community.”

Ginger snaps: portraits from the Redhead Project

Photograph: Keith Barraclough Photography

Savannah (Barbie)
“To say Savanah loves Barbie is an understatement. So, when it came time for the shoot in Atlanta, she brought her whole Barbie collection and dressed up as a Barbie with overdone hair and makeup. With the help of masking tape, she then made the Barbies even more ‘part’ of her.

Photograph: Keith Barraclough Photography

Ellen (True crime)
“Some of Ellen’s favourite books are human behaviour, psychology and true crime. To represent this, she brought Truman Capote’s In Cold Blood to the shoot. The props of magnifying glass, caution tape and fake blood were improvised, and not easy to combine!”

Photograph: Keith Barraclough Photography

David (Patton)
“Ten-year-old David has an encyclopedic knowledge of General Patton so this was a no-brainer. Emerging from the dressing room, he planted his feet with military precision and stared into the camera.”

Molly (Music) – main image
“Lugging a piano up the stairs to the SoHo studio would have been impossible,” says Barraclough. “So, Molly’s friends Genny and Jonny created this collar on the fly on set. This last-minute idea ended up perfectly fitting Molly, who has performed in a madrigal ensemble with Renaissance costumes.

The Redhead Project can be seen at keithbarraclough.com

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Tony Blair is right on Brexit. Now he should get into the trenches or back off

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TONY BLAIR’S speech on Brexit on the morning of February 17th attracted a predictable storm of derision. Today the former prime minister serves as a sort of Rorschach test for whatever irks the viewer: to the left he stands for free-market capitalism and war, to the right he stands for a hyper-metropolitan internationalism, to some of his former acolytes he stands for how not to secure one’s political legacy after leaving politics. In parts of Westminster and Fleet Street voicing nuanced opinions about Mr Blair meets with a mix of bafflement and distaste, like ordering veal at a vegan restaurant.

To be sure, some of the criticism is valid. Mr Blair presided over the build-up to Britain’s financial and economic crisis and the failure of the post-invasion period in Iraq. His globe-trotting, pro-globalisation breeziness clashes with the prevailing mood among electorates in much of the West. His business activities since leaving Downing Street (ten years ago this June, believe it or not) have done his domestic reputation significant harm.

Yet the shame of all this is that it detracts from the many things Mr Blair says that are worth heeding. He may have been out of British politics for a while—that mid-Atlantic accent does not lie—but he remains the most successful British politician of the past two decades. To read some of his critics you would think his record, leading a previously unelectable party to three strong election victories, was achieved by pure fluke or by casting some sort of spell on an electorate that would never ordinarily vote for him. Whisper it softly, but perhaps the former prime minister is a better strategist, a more expansive thinker and operator, than these infantile interpretations allow.

That came across in his speech this morning. You would not know it from the spasms of pearl-clutching Brexiteer apoplexy (“how DARE he?!”), but Mr Blair’s message was not anti-democratic. Quite the opposite. “Yes, the British people voted to leave Europe,” he acknowledged. “And I agree the will of the people should prevail. I accept that there is no widespread appetite to re-think.” To read this as denial or a call for the summary dismissal of the referendum result is strange indeed. Instead Mr Blair set out frankly, accurately and crisply the realities and contradictions that today’s political leaders prefer to sweep under the carpet, or refer to only opaquely: people did vote on Brexit “without knowledge of the full terms”; its execution will starve other public priorities, like the health service, of government capacity and cash; it will imperil the union. Voters may change their views; it is their right to do so; it is up to politicians, if they think the country is making a terrible mistake, to make that case.

Implicit in the fury these points have generated is the dismal notion, beloved of autocrats, that to try to change the electorate’s opinions through reasoned argument is to disregard its previous electoral judgments. “Erdogan was elected by the people, so to criticise him is to patronise and disrespect the people” say the Turkish president’s propagandists in Ankara; “Brexit was voted for by the people, so to criticise it is to patronise and disrespect the people” say the Brexit purists in London (funnily enough, the apposite vote-share in both cases was 52%). The correct response to the fallacy is always this: “If you really trust your arguments and the electorate’s judgment, why fume and fret when your opponents try to change minds?” This would have been just as true had the result of the referendum been different, which is why I argued before June 23rd that, if the Remain campaign won, it should live on to keep making and remaking its case to respond to fresh challenges. After all, referendums often intensify the debates they purport to settle.

The fairest opposition to Mr Blair’s gambit comes from keen Remainers who fear that such polarising interventions make it harder for them to win a hearing. It is easy enough to sympathise: if you want to be in a position to reverse or soften Brexit when, in a year or so, the public mood changes, you do not admit as much now; instead you align with voter opinion and let your public positions evolve in lockstep with it.

But the logic behind this—pro-European arguments must be modest, self-effacing and most of all passive to succeed—does not have a great record. It governed the backdrop to the referendum, the failed Remain campaign and subsequent efforts to nudge Britain towards a soft Brexit. David Cameron felt the only way to contain the Europe issue was to make semi-regular, stepwise concessions to Euroscepticism, rather than confronting it. That approach culminated in his referendum commitment in 2013 and begot a Remain campaign too timid to make the positive case for British engagement in Europe: the label “Project Fear” stuck for a reason. Since their defeat many pro-Europeans have kept conceding ground: no second referendum, an end to freedom of movement, prosperity and the future of the union as secondary priorities. The result has been not a Brexit that balances the views of the 48% and the 52% but the hardest of hard Brexits: “Brexit at all costs”, as Mr Blair rightly put it. After ten years in which this endlessly compromising, ground-giving brand of British pro-Europeanism has piled failure upon failure, it is hardly unreasonable of the former prime minister to suggest a change of strategy.

The question is: is Mr Blair the right figurehead? Here the despairing Remainers have a point. Fairly or not, he is a divisive figure. Moreover, he is a distant one. His speech was given in the slick, controlled environment of Bloomberg’s European headquarters; a strange backdrop for the launch of a campaign of persuasion aimed at voters far from the City of London, many of whom resent its glittering wealth. Mr Blair’s other recent interventions in British politics have been similar: speeches delivered in Britain between trips to far-flung parts of the globe, seemingly written at 40,000 feet and thus hampered, despite their perspicacious arguments, by an aura of detachment.

Which puts the former prime minister at a fork in the road. Either he can step back out of the political limelight, and let fresher, less freighted public figures take forward his call for voters to “rise up” against the costs and dislocations of Brexit. Or, if he really wants to bring his formidable experience and skill to the task, he can clamber into the trenches and become a full participant in Britain’s domestic political contest once more: joining the melee in such a way that he gradually remakes his public image, wins credit (however grudging) for re-engaging and builds the case for a change of course on Brexit, week-by-week, battle-by-battle. In practice that means going head to head with his critics: appearing on Question Time, hosting radio phone-ins, shooting from the hip in television interviews and on social media, appearing at town-hall events, travelling around the country meeting people who voted for Brexit. Resetting his relationship with the British public, in other words. Let’s be frank: he would take a tsunami of personal abuse and media scorn in the process. His approval ratings are subterranean and it is treated as a fact in Westminster that his reputation is unsalvageable. But some political “facts” are eroded by time and events: the unelectability of the Tories, the Liberal Democrats’ post-coalition doom, the impossibility of a vote for Brexit. Perhaps Mr Blair’s ostracism can go the same way.

I fear, however, that he will pick the third-best option: opting decisively for neither of these two approaches and instead trying to compromise between them. He will put lots of money into a glossy but slightly otherworldly political institute, give occasional speeches at stage-managed venues, write op-eds for broadsheet papers, perhaps even endorse political candidates. He will be sufficiently involved in politics to be a liability for other pro-Europeans and liberals, but will float too far above the fray to change public perceptions and perhaps become an asset to them. He can step back or step forward. But the old master of triangulation will have no luck in the middle.

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‘Russia’s Cartier-Bresson’: how Dmitry Markov captured beauty amidst the brutality of Putin’s regime | Photography

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Waiting in a Russian police station after being arrested at an opposition protest in 2021, photographer Dmitry Markov surreptitiously raised his iPhone, snapped a photo, and posted it to Instagram.

The image, of a burly police officer in body armour and a black balaclava sitting below a photograph of president Vladimir Putin, quickly went viral. For many, it became a symbol of the brutality of the Russian regime, its crackdown on dissent and – because the police officer was hiding his face – the Kremlin’s fear of its own people.

Haircut of 18-year-old, before his release from an orphanage in Idritsa. Photograph: © Dmitry Markov - Courtesy Galerie du Jour agnès b/La Fab

It was characteristic of Markov’s ability to capture a zeitgeist moment, and his brand of photography that took the viewer deep inside modern Russia.

Since his death earlier this month, 41, Markov has been hailed as one of Russia’s best photographers. Although his passing was announced just a few hours after that of opposition leader Alexei Navalny, there was no suggestion of foul play.

Kuzaranda, Kareliya Republits, 2018. Photograph: © Dmitry Markov – Courtesy agnès b

He was a “Russian Cartier-Bresson”, said Kirill Serebrennikov, a leading Russian theatre director who collaborated with Markov. “He was able to capture the soul of the people, their DNA. If you want to understand Russians, you should look at Dima Markov’s photos.”

With no university degree, and little in the way of formal training, Markov began taking photos in Moscow in the mid-2000s. From the beginning, he had no interest in historic buildings or celebrities. Instead, he was drawn to places such as train stations, markets, and the edges of Russian cities that are a maze of crumbling Soviet-era blocks of flats.

His subjects were always the most vulnerable in society: orphans, alcoholics, addicts, homeless people, the very old and dying, conscripts and children. It was a side of Russia absent from bombastic official narratives under Putin, but one that was instantly recognisable to most Russians.

Pskov, 2016. Photograph: © Dmitry Markov - Courtesy Galerie du Jour agnès b/La Fab

“A lot of people live in the Russia that Dima Markov photographed. But they don’t see it like he saw it. They see it as something terrible, something shameful, and something that should be forgotten,” said Serebrennikov. “Dima looked at it and was able to see beauty, eroticism and some sort of glamour.”

I first met Markov in 2007 when we were volunteering at a state-run orphanage for mentally and physically disabled children in a village in western Russia. He was intense and enjoyed arguing, but he was also kind and generous – and his empathy for the kids trapped in Russia’s orphanage system was obvious.

Eventually, Markov abandoned traditional cameras, and switched exclusively to an iPhone. He set up an Instagram account that went on to attract almost a million followers.

A pupil at a Raifa special school in Chistopol, Republic of Tatarstan, Russia. Photograph: © Dmitry Markov - Courtesy Galerie du Jour agnès b/La Fab

Not the sort of artist who maintained a distance from his subjects, Markov mixed photography and philanthropy, and used his prodigious talent to support charitable causes from orphan integration schemes, to human rights groups and drug rehabilitation programmes. “Justice is the realm of the devil; the realm of God is charity and forgiveness,” he told one interviewer in 2020.

Perhaps one of the reasons Markov was drawn to those on the margins of society was his own history. He first started using heroin at 18 when growing up in the Moscow commuter town of Pushkino, and in recent years had been very public about his two-decade struggle with addiction – just as he was about his childhood traumas, including an alcoholic father.

“He wasn’t shy about talking about his demons,” said Aleksei Pivovarov, a Russian journalist and friend of Markov.

Creativity was one of the ways he tried to deal with his past, and he said on many occasions that, without photography, would have been dead long ago. “Viewers see some of my subjects as bleak, if not, let’s be honest, depressing. But I feel the opposite: peace,” he wrote in his 2018 book Draft. “When I manage to express this bleakness in a text or photograph, I feel as if it becomes a little less inside me.”

Dmitry Markov Vyshegorod, Pskov region. Photograph: © Dmitry Markov - Courtesy Galerie du Jour agnès b/La Fab

After Russia launched its full-scale invasion of Ukraine in February 2022, Markov remained in the country – a decision that he agonised over, and which sparked much online criticism. While he opposed the war, he was unable to see an artistic future for himself outside Russia, and he felt bound to the people and places he knew.

“I can’t just stop loving those who are close to me and start hating them,” he wrote in one of his last posts on social media. “I don’t know how to act correctly in this situation and be a good person for everyone, or whether, indeed, that is even possible.”

In the days after his death, there has been an outpouring of appreciation for his photography, with some critics placing him in a tradition of socially oriented Russian artists that includes 19th-century painter Ilya Repin.

Pivovarov compared him to Renaissance masters such as Caravaggio. “People will judge what the early 2000s were like by Dima’s photographs,” he said. “He saw the light inside nondescript people, and shone his love on them. And they become the centre of the universe.”



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