Enayat Asadi’s searing black and white photographs bear witness to the brutal trafficking of Afghan refugees crossing Iran’s eastern border
via LensCulture: https://www.lensculture.com/articles/enayat-asadi-rising-from-the-ashes-of-war
Enayat Asadi’s searing black and white photographs bear witness to the brutal trafficking of Afghan refugees crossing Iran’s eastern border.
What the Rain Brought at LAUNCH F18 features a selection of fifteen recent photographs from photographer Dylan Hausthor, presenting a beautiful a…
Link: https://www.juxtapoz.com/news/photography/what-the-rain-brought-by-dylan-hausthor/
What the Rain Brought at LAUNCH F18 features a selection of fifteen recent photographs from photographer Dylan Hausthor, presenting a beautiful and haunting display of black and white photography. Gliding between what seems like captured moments, and staged compositions, these works create a story of intimate human connection.
With the discovery of human remains on the grounds of residential schools, this history is now dominating the conversation in the country.
Link: https://www.nytimes.com/2021/07/05/world/canada/Indigenous-residential-schools-photos.html
With the discovery of human remains on the grounds of residential schools, this history is now dominating the conversation in the country.
In this second iteration of “Focus on South Africa” I wanted to include features on photography platforms, collectives, and teaching organizations in addition to artist profiles. In South Africa many photographers do not begin or advance their careers in
Tshepiso Mazibuko’s empathetic series “Ho tshepa ntshepedi ya bontshepe” puts forward a voice that is often underrepresented in the photographic community: a young black woman reflecting on her community, its promise, and the reality of the crippling economic situation for young people of color in South Africa. Mazibuko’s series explores the experience of “Born Frees” in her township of Thokoza and the structural inequities that continue to limit a generation that grew up with the promise of equal opportunity. The name “Born Frees” refers to those born after 1994. This generation never experienced life under the confines of apartheid, but has grown up impacted by situations that limit social and economic mobility.
The French photographer treats audiences at the Rencontres d’Arles to a rare close look at the daily life in North Korea in his captivating series, “Democratic People’s Republic of Korea: Portraits”, featured in an open-air exhibition.
via Blind Magazine: https://www.blind-magazine.com/en/news/stephan-gladieu-portraits-under-control-in-north-korea/
The French photographer treats audiences at the Rencontres d’Arles to a rare close look at the daily life in North Korea in his captivating series, “Democratic People’s Republic of Korea: Portraits”, featured in an open-air exhibition.
https://www.leica-camera.blog/2021/07/05/taking-pictures-making-pictures/
The Zurich Museum of Design is currently hosting the largest retrospective of the Swiss photographer’s work to date.
In this second iteration of “South Africa Week” I wanted to include features on photography platforms, collectives, and teaching organizations in addition to artist profiles. In South Africa many photographers do not begin or advance their careers in seco
In this second iteration of “South Africa Week” I wanted to include features on photography platforms, collectives, and teaching organizations in addition to artist profiles. In South Africa many photographers do not begin or advance their careers in secondary institutions, but rather through organized workshops, short courses, and extended mentorships. And while many Americans may be familiar with groups such as the Johannesburg-based Market Photo Workshop, a number of others have been established in recent years that are impacting the photography landscape in South Africa. These groups–and the networks of educators and mentors that work with them–are representative of a long-standing pattern of investing in and committing time to future generations of image makers that extends back to the Struggle era of the 1980s and 1990s and an “each one, teach one” practice among photography professionals. By learning more about the work of these groups we gain insight into the interests and concerns animating early-career photographers in South Africa, many of whom come from disadvantaged backgrounds that are traditionally underrepresented in the field, and who could not pursue the medium absent the support of the groups such as those profiled here. Two of the artists featured this week — Tshepiso Mazibuko and Jansen van Staden — have developed their work with support of Of Soul and Joy and Photo:, respectively. – Meghan Kirkwood
Since 2009, photographer Tim Smith has been documenting a small Christian sect in the hope of addressing the stigma and stereotypes which surrounds this community.
via Huck Magazine: https://www.huckmag.com/art-and-culture/photos-giving-a-rare-glimpse-inside-hutterite-colonies/
Since 2009, photographer Tim Smith has been documenting a small Christian sect in the hope of addressing the stigma and stereotypes which surrounds this community.
An avant-garde photographer and a documentary filmmaker at Walt Disney’s, Ernst A. Heiniger has fallen into obscurity. Mounting a major retrospective, the Swiss Photo Foundation in Winterthur is paying tribute to the artist.
Link: https://www.blind-magazine.com/en/news/1379/Ernst-A-Heiniger-A-Pioneer-Of-Swiss-Photography
An avant-garde photographer and a documentary filmmaker at Walt Disney’s, Ernst A. Heiniger has fallen into obscurity. Mounting a major retrospective, the Swiss Photo Foundation in Winterthur is paying tribute to the artist.
Photographer Elliot Verdier recalls documenting the lasting psychological toll of the brutal civil war which ravaged the West African state, and yet remains little spoken about.
via Huck Magazine: https://www.huckmag.com/art-and-culture/photos-capturing-the-invisible-scars-of-liberias-civil-war/
Photographer Elliot Verdier recalls documenting the lasting psychological toll of the brutal civil war which ravaged the West African state, and yet remains little spoken about.
I think about the notion of the Circus’ place on the fringe of culture, while also being at its historical core. The performers passing through ‘the backdoor’ in and out of the ring, taps into notions of performing identities and is one of my favorite el
For the past 25 years, photographer Lacey Terrell has had a ring side seat at the Big Top, in particular, the Culpepper & Merriweather Great Combined Circus. This year will be her last foray to follow and document the circus in order to complete her long term project, The Passing Ring, a project that not only reflects an extensive portrait of one of the last nomadic tribes in America, but also echoes the evolution of taking pictures. The series includes images made with a Hasselblad, Holga, Mamiya 645, Pentax 6×7, Nikon 35mm film, Leica film point and shoot, and a Nikon Digital. Photographed through much of California, Montana, Iowa, Colorado, Oklahoma, Texas, New Mexico, Minnesota, Arizona, Nebraska, Washington, Idaho and Kansas, Terrell has created a massive archive of this very vulnerable, slice of Americana. “I have seen the Big Top both packed and almost empty, looking brand new and tattered and patched.” Her visits have ranged from a few days to 5 weeks at a time, always depending on where they were, and how much time and money she had. “Typically I would drive my car and stay either in a tent on the lot (known to some as the Little Top) or in the car, and occasionally at a motel nearby. Many of the towns don’t have motels, or don’t have motels that I would feel safe in by myself, so I prefer to stay on the lot. When I was on the road for 5 weeks, through Texas and the Southwest, I stayed in the home of one of the women on the show, and then would drive the then owner and founder of the Circus, Red Johnson’s, pick-up truck and trailer each day to the next town. More recently, I have flown to locations and rented cars large enough to sleep in while on the road. I still dream of getting myself a small trailer and traveling a full season- that would be ideal for finishing up the project… but I would need some serious funding!”
Over the past thirty-five years, photographer Dan Lenchner has taught comparative literature, ran a catering business in New York, built an expansive collection of vernacular photographs, and made thousands of pictures around the globe. Today, Dan finally
Over the past thirty-five years, photographer Dan Lenchner has taught comparative literature, ran a catering business in New York, built an expansive collection of vernacular photographs, and made thousands of pictures around the globe. Today, Dan finally finds time to think about what to do with his photos created during his decades of international travels. Part of me was envious that Dan had years of religiously making pictures without the worry and time-consuming effort of marketing himself and entering every call for entry. I immediately thought about Vivian Maier and Gary Winogrand, who left thousands of pictures and undeveloped rolls of film behind after their passing. The joy photographers like these and like Dan Lenchner experience is obviously in picture-making and not the act of hanging photographs on gallery walls.
Evgenia Arbugaeva’s pictures of isolated figures in harsh terrain look recovered from the deep past or icebound legend.
via The New Yorker: https://www.newyorker.com/culture/photo-booth/four-stories-from-the-russian-arctic
Evgenia Arbugaeva’s pictures of isolated figures in harsh terrain look recovered from the deep past or icebound legend.
Kiana Hayeri first travelled to the capital of Bosnia and Herzegovina in 2013, and has since documented the city’s youth navigating the complex social landscape.
via Huck Magazine: https://www.huckmag.com/art-and-culture/the-photographer-capturing-the-resilience-of-sarajevo/
Kiana Hayeri first travelled to the capital of Bosnia and Herzegovina in 2013, and has since documented the city’s youth as they navigate the complex social landscape.
For the past 13 years, Jamie Hawkesworth has been trekking the length of the British Isles documenting just how surreal reality can be.
For the past 13 years, Jamie Hawkesworth has been trekking the length of the British Isles documenting just how surreal reality can be.
The exhibition entitled “Island Life” is a collection of photographs by some of Britain’s great post-war photographers. Does it make sense? Does it have to?
Link: https://www.blind-magazine.com/en/news/1368/Islands-Of-Milk-And-Honey-Bingo-Blood-And-Protest
At Bristol Photo Festival, the exhibition entitled “Island Life” is a collection of photographs by some of Britain’s great post-war photographers. Does it make sense? Does it have to?
Ethnic cleansing in Ethiopia began with murder, rape and pillage, and now moves to mass starvation.
Link: https://www.nytimes.com/2021/06/16/opinion/ethiopia-tigray-crisis.html
These photos were taken by Lynsey Addario, a conflict photographer and old friend who happened to be in Ethiopia to shoot photos for National Geographic, a visit approved long before the latest attacks. She interviewed nine women who had been raped as part of the ethnic cleansing.
On one Sunday evening in January 2020, while visiting Mexico City, the photographer Chiara Bonetti entered Salon Los Angeles, a ballroom dating back to 1937, at the invitation of a…
via Feature Shoot: https://www.featureshoot.com/2021/06/step-inside-mexico-citys-historic-danzon-ballrooms/
On one Sunday evening in January 2020, while visiting Mexico City, the photographer Chiara Bonetti entered Salon Los Angeles, a ballroom dating back to 1937, at the invitation of a friend. The moment she walked onto the black-and-white checkered floor, elegant Danzón melodies filling her ears, she knew she’d found something special. “At the time, I had no clue about Danzòn music and the Cuban scene in the city, but it was like love at first sight,” she remembers.
May 2021 was the turning point, and we chronicled it, moment by moment, through the eyes of 15 photographers 25 and under.
Link: https://www.nytimes.com/interactive/2021/06/09/magazine/nyc-reopening.html
During the pandemic, one of New York City’s greatest qualities — its delirious density — became a liability. New Yorkers had to adjust to a strange new reality, in which avoiding one another was the safe and responsible choice. But last month, with the vaccination rate soaring and hospitalizations plummeting, the lockdown mind-set evaporated, and the city surged back to life. The New York Times Magazine documented this reawakening through the eyes of 15 photographers, all of them age 25 or younger. For all 31 days of May, they fanned out around the city to capture the hope and excitement, the release of pent-up social energy — but also the anxiety and uncertainty about what might happen next.
Maki’s images in Japan Somewhere (Zen Foto Gallery), produced over a fourteen-year period feel anxious and compressed. Though specific to one country, the Frenchman’s images feel anything but declarative. They feel ambulatory, intrepid, and often chaotic as if shot in a constant state of momentum a
via AMERICAN SUBURB X: https://americansuburbx.com/2021/06/maki-a-japan-somewhere.html
Maki’s images in Japan Somewhere (Zen Foto Gallery), produced over a fourteen-year period feel anxious and compressed. Though specific to one country, the Frenchman’s images feel anything but declarative. They feel ambulatory, intrepid, and often chaotic as if shot in a constant state of momentum and high velocity. The frames are heavily compressed with the comings and goings of Janese street life cum theater. Occasionally you catch a grainy view of the sky overhead as birds pass in a state of flight, compressed into the frame like a vinyl decal on a store window-they almost feel as unreal as the street from which Maki makes his photographs.