When Kenneth Jarecke photographed an Iraqi man burned alive, he thought it would change the way Americans saw the Gulf War. But the media wouldn’t run the picture.
Link: The Last Sentimentalist: a Q. & A. with Duane Michals | The New Yorker
The photographer Duane Michals is perhaps best known for his “fictionettes”: dream-like stagings in which Marcel Duchamp, René Magritte, and Andy Warhol have all appeared. These enchanting photo sequences and montages, which are often accompanied by Michals’s handwritten prose, make innovative use of the medium’s ability to suggest what cannot be seen
Link: Christine Osinski: Shoppers, Chicago, and Swimmers 1980-1996 | LENSCRATCH
I believe that good work will eventually find a place in the world, regardless of how long it takes to find its way. It’s most important for photographers to continue to take pictures, regardless of the attention or lack of attention that the work initially receives. I get great pleasure from being a working artist, day in and day out. By continuing to work consistently, I feel I will be ready should opportunity knock.
Link: Q&A: Robert Nickelsberg on a Distant War | PROOF
In his new book, Afghanistan: A Distant War, veteran photojournalist Robert Nickelsberg offers a vivid close-up of the past quarter-century of Afghan history. As a photographer for Time Magazine, Nickelsberg first observed Afghanistan emerge from an eight-year war against the Soviet Union and then descend into a brutal civil war followed by a Taliban takeover. Since 2001, he’s continued going back to chronicle what he calls America’s War. He has documented things many Afghans themselves never experienced firsthand, and earned an unusually deep understanding of this complex country.
Client: ”Want to spend five hours in a helicopter for us over Tampa?” Me: ”Sure, what do you want me to shoot?” Client: “Whatever you want.” Me: Big smile.