Threading together mysteries from her own family history with collective memories, this enigmatic patchwork of documentary and fiction explores the idea of ‘historical truth’ in the transitional period of post-Franco Spain
An initiative has been launched to digitize Russia's photographic archive. Russiainphoto.ru has more than 80,000 images ranging from the 1860s up to 1999. RFE/RL's Amos Chapple had a look through the archive's 1990s collection and found 18 gems. From "Pas
The trek from Central America to U.S. soil has always been perilous, but a massacre with many victims from one corner of Guatemala has shaken that country.
A group of 13 migrants who left Comitancillo in January didn’t even get the chance. Their bodies were found, along with those of six other victims, shot and burned; the corpses were piled in the back of a pickup truck that had been set on fire and abandoned in the Mexican state of Tamaulipas, just shy of the U.S. border. A dozen state police officers have been arrested in connection with the massacre.
When photographer Tish Murtha died suddenly in 2013, she left behind a largely forgotten archive of extraordinary images of working-class communities in the North East. Now, her daughter Ella is seeking to revive her mother’s legacy with a documentary fil
The photographer Yael Martínez conjures a world of despair not through what he depicts but through what the viewer senses to be looming right outside the frame.
In September of 2013, the photographer Yael Martínez received a distressing phone call from his wife, Luz. “They killed Beto—they hanged him,” Luz cried. Beto was one of Luz’s nine younger siblings. He had been imprisoned for more than a year on drug charges in the Mexican state of Guerrero, an area plagued by cartel violence. Beto’s death was one of several losses for her family that year. David and Nacho, two other siblings, had vanished three months earlier; they were among the thousands of missing persons in Mexico. On the night that he learned of his brother-in-law’s death, Martínez saw his own lifeless body in a dream, abandoned in the middle of a desolate landscape.
Ever since experiencing the solar eclipse in 2015, Luca Bottazzi is captivated by the indefinable space between day and night. With his Eclipse series, he creates a narrative that reveals the darkening of the sun as a magical moment of everyday life.
Embarking on a visual journey through the make-shift world of refugee camps, Sebastian Wells explores the tension between impermanence and permanence that exists in these environments
Though each camp had its own complex histories, Wells encountered certain recurring structural qualities. On all of the sites he visited, he found similar architectural structures in how the camps were set up and therefore organized. “Basically, I have been looking for patterns that repeat themselves. Especially when it refers to the structure of containers or tents, the same constellation of people and spaces,” Wells says of his photographic approach. “I have tried to echo this visually or to trace it again at the different sites, no matter whether it was in Germany, in Turkey or in Kenya.”
Photographer Per-Olof Stolz has photographed the suburbia of his hometown Rydebäck, in southern Sweden, where his family bought a house in the 1960s. A simple documentation of the middle-class life, which tells about both prosperity and isolation.
“At the time, a lot of newspapers in California were writing stories about the ‘Brown Invasion’ because the immigration numbers were incredible. I realized this is one of the great stories of the twentieth century. The massive immigration would change the demographics of America.”
There have been some dramatic images coming out of the coronavirus battle around the world and stateside as well. However, when a doctor attending on the
Dr. Kobner is an amateur photographer, and when the pandemic struck, he started using his Leica M6 and M10 cameras to record the goings-on in the ER. These photos were published by the Los Angeles Times this week. When one thinks of Leica, historical images of wars, pandemics, and other tragedies come to mind. The coronavirus is indeed the greatest modern-day tragedy that still refuses to go away quietly.
I had the great pleasure of meeting Billy Hickey at the ICP Virtual Portfolio Reviews in 2020. During the reviews, he shared a personal project, How We Were, born of events created by the pandemic when he returned home to Massachusetts for an appointment
During the 2020 pandemic, when life was out of our control, restricted and confined, when we had to cope with shifted realities, many photographic artists found whole new ways to create work. We mined our personal lives, walked empty streets and photograp
Photographer Jennifer Timmer Trail considered the importance of this moment in time and realized there was an opportunity to create a historical archive of work created in during the pandemic. So she created Covid Pictures. She describes her intentions:
In memory of a child that I never knew. This reflection is dedicated to Carol Jenkins-Davis
I find myself combatively trying to embed myself in the images, memories and families of others. My initial hesitancy in this pursuit comes from ack
The sycamores I understand, each scale of their weathered bark is fit for a peelin’ from childish hands. Perhaps here and there a jackknife scratches into the tree skin an overture of young love. A rusted nail once precariously an iron protuberance is now enveloped by the same bark and it is sinking into the torso of the green and brown sycamore. The nail’s head now reminds me of an awkward bellybutton as the skin of the tree stretches to accommodate its mass before the tree’s invisible maw can work its iron victim from sight. It is a slow process and the casual observation of the sinking nail will give little up to the viewer, but over time and over repeat returns, the nail’s “progress” can be seen as a testament to the march of all things.