{"product_id":"source-issue-122","title":"Source Issue 122","description":"\u003cp class=\"intro_para_standard00\"\u003eThe photography magazine that has stood the test of time, Source has found a great format now and displays new work and news just how we like it. \u003c\/p\u003e\n\u003cp class=\"intro_para_standard00\"\u003e\u003cspan class=\"intro_para_standard01\"\u003e\"Part of the appeal of making a photobook is to arrive at a permanent version of a project, to decide which are the relevant images, how they should be sequenced and what text should introduce them. When the book is published the nature of the work is settled. In the case of well known book like Martin Parr’s\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"intro_mid_para_italic00\"\u003eThe Last Resort\u003c\/span\u003e\u003cspan class=\"intro_para_standard01\"\u003e, it may assume a mythic status, define a new style of photography and become em- blematic for the period. Or maybe not. As Ian Walker found revisiting\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"intro_mid_para_italic00\"\u003eThe Last Resort\u003c\/span\u003e\u003cspan class=\"intro_para_standard01\"\u003e, many of the components of the first edition of the book like the design and the commissioned text look quite different today and represent priorities that have been forgotten in subsequent presentations of the work. In fact, as Walker describes, the subject of\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"intro_mid_para_italic00\"\u003eThe Last Resort\u003c\/span\u003e\u003cspan class=\"intro_para_standard01\"\u003e, New Brighton, appears in the essay and Martin Parr’s photographs, as\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"intro_mid_para_quote00\"\u003e\"deliberately different and parallel depictions of this place\"\u003c\/span\u003e\u003cspan class=\"intro_para_standard01\"\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"intro_para_standard00\"\u003e\u003cspan class=\"intro_para_standard01\"\u003eDragana Jurišić’s\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"intro_mid_para_italic00\"\u003eThe Last Balkan Cowboy\u003c\/span\u003e\u003cspan class=\"intro_para_standard01\"\u003e\u003cspan\u003e \u003c\/span\u003efollows in the footsteps of cult pre-war Yugoslavian spaghetti western director Hari Džekson. Jurišić retraces his story and reenacts one of his films using the local population as actors from both sides of the ethnic divide.\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"intro_mid_para_quote00\"\u003e\"Returning to the home which she fled, she follows a ghost through a country that has long since disappeared\"\u003c\/span\u003e\u003cspan class=\"intro_para_standard01\"\u003eThe resulting images are effectively production stills: locations and actors be- tween takes. The new work precedes a feature-length documentary on Džekson directed by Jurišić, which will premiere at Sarajevo Film Festival in August 2026.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"intro_para_standard00\"\u003e\u003cspan class=\"intro_para_standard01\"\u003eLucie Armstrong’s new work\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"intro_mid_para_italic00\"\u003eRepossessed\u003c\/span\u003e\u003cspan class=\"intro_para_standard01\"\u003e\u003cspan\u003e \u003c\/span\u003econfronts lost futures and inertia in the present day by re-visiting various stages from her life. Re-thinking experiences and people, now invisible but ever- present as spectral entities, made her contemplate their effect on the way her life has turned out. Meanwhile,\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"intro_mid_para_italic00\"\u003eTrance so far!\u003c\/span\u003e\u003cspan class=\"intro_para_standard01\"\u003e\u003cspan\u003e \u003c\/span\u003eis a work-in- progress exploring a small-town Cumbrian nightclub as a portal to Armstrong’s teenage years and the lost futures she imagined on the dancefloor.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"intro_para_standard00\"\u003e\u003cspan class=\"intro_para_standard01\"\u003eAnthony Haughey’s new work\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"intro_mid_para_italic00\"\u003eEastern Front\u003c\/span\u003e\u003cspan class=\"intro_para_standard01\"\u003e\u003cspan\u003e \u003c\/span\u003efocuses on landscapes and communities along the Russian border in Estonia, Latvia, and Lithuania. Haughey photographs the spaces and communities shaped by their proximity to borders, histories of occupation and the renewed anxieties of war. Krasimira Butseva introduces the work and notes that\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"intro_mid_para_quote00\"\u003e\"what repeats in each image is, in fact, a trace of silence: a quietness whose frequencies rise if the eye stays long enough with the image\"\u003c\/span\u003e\u003cspan class=\"intro_para_standard01\"\u003e\u003cspan\u003e \u003c\/span\u003eFor Haughey the past remains active\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"intro_mid_para_quote00\"\u003e\"not as distant history, but as a persistent force moving through the present, shaping visible landscapes, institutional frameworks, and lived experience\"\u003c\/span\u003e\u003cspan class=\"intro_para_standard01\"\u003e.\u003c\/span\u003e\u003c\/p\u003e","brand":"Source","offers":[{"title":"Default Title","offer_id":57233718739322,"sku":null,"price":10.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/6778\/8068\/files\/CD5A2892-5399-4299-8BEF-9C383349718F.jpg?v=1788624554","url":"https:\/\/raremags.co.uk\/products\/source-issue-122","provider":"Rare Mags","version":"1.0","type":"link"}