Catherine Panebianco gives life to pictures from the past by photographing them in new settings, refreshing the ritual and recycling her family’s memories
Catherine Panebianco gives life to pictures from the past by photographing them in new settings, refreshing the ritual and recycling her family’s memories.
In honor of the International Day of Peace and Peace Week, Lenscratch has partnered with the National Center for Civil and Human Rights to feature photographic projects highlighting the lasting impacts of war, conflict, and displacement. Lauren Tate Baeza
Wars are fought by soldiers and rebels, but they spare no one. The compounding fallout often spans for generations. This week’s selections examine burdens inherited by families and other bystanders. The Guatemalan Civil War lasted from 1960 to 1996, when peace accords were signed between guerillas and the military dictatorship. The war left hundreds of thousands of civilians dead or disappeared, a disproportionate amount of which were indigenous Mayan groups and rural poor the military considered supportive of guerillas. Rodrigo Abd’s series, Exhumations, includes emotive depictions of the retrieval of remains found at mass gravesites and, more than a decade after the war, the ongoing process of reconciliation as forensics aid in trial proceedings and family members provide proper burials for their loved ones in accordance with cultural and ancestral tradition.
By photographing the spaces left dormant during the pandemic, Tom hopes to emphasise the emptiness (and tentative hope) he feels about our current state.
By photographing the spaces left dormant during the pandemic, Tom hopes to emphasise the emptiness (and tentative hope) he feels about our current state.
It is easy to walk through a city not making eye contact, but for Khalik Allah this contact is essential. He sees each individual he photographs. And his photographs in turn allow us to see them, to acknowledge who we might ignore, to look through Allah’s eye and into theirs, and to recognize them as individuals. This is the power of Allah’s work: to give us a deeper sense of people as people, to share and enlighten, even when the message may not be clean or easy.
During the COVID-19 pandemic, I worked in Mexico City with a Holga camera, a plastic camera first made in the ’80s whose plastic lens and imperfect seams made the film blurred in sections and unpredictably streaked with light. Before the quarantine started, I bought 17 rolls of film. They would have to last for months until businesses reopened.
This week, I am excited to introduce five new Lenscratch Content Editors who will be providing expanded perspectives on a variety of topics. Today we feature Madrid-based, Portugal-born photographer Carlos Barradas, a talented artist and writer who is par
This week, I am excited to introduce five new Lenscratch Content Editors who will be providing expanded perspectives on a variety of topics. Today we feature Madrid-based, Portugal-born photographer Carlos Barradas, a talented artist and writer who is particularly interested in ideas of confinement. Carlos will also share international events and artists with the Lenscratch audience. An interview with Carlos follows.
DISKO, Miksys’ decade-long series exploring discos in Lithuania, is currently on show in Open Eye Gallery’s The Time We Call Our Own, an exhibition about the power and importance of nightlife
This Time We Are Young is an ongoing documentation of the changing demographics on the world’s youngest continent, with 60 percent of the African population being under 25. The story reflects on what it means to be young in Africa, following the lives of both the youth who live on the continent and those who migrated to other parts of the world. The project is divided into different chapters, each of them documenting a different theme affecting African youth so far in countries like Uganda, South Sudan, South Africa, Germany, Belgium.
A shadow of hunger looms over the United States. In the pandemic economy, nearly one in eight households doesn’t have enough to eat. The lockdown, with its epic lines at food banks, has revealed what was hidden in plain sight: that the struggle to make food last long enough, and to get food that’s healthful — what experts call ‘food insecurity’ — is a persistent one for millions of Americans.
The photographer Brenda Ann Kenneally traveled across the country to highlight the prevalence of food insecurity among families. To her, the images only begin to tell the story of struggle.
This weekend, the entire issue of The New York Times Magazine is devoted to the topic of families and food insecurity, the lack of consistent access to healthy meals that affects millions in America. The issue features 18 images by the photographer Brenda Ann Kenneally, who, in the spirit of Dorothea Lange’s Dust Bowl journeys, took a 92-day trip from New York to California in a camper to document those who were struggling. The pictures are part of a collaboration between the magazine and the National desk that includes an online multimedia package.
“The Road Not Taken,” a 1916 poem by Robert Frost is not merely a call for following one’s own destiny as many would like to believe, but the knowledge that…
Arnaud Montagard, a French photographer living in Brooklyn, traversed the continent, making a series of exquisite photographs just published in the sumptuous new book The Road Not Taken (Setanta Books). Here, the search for signs of this fantastical realm continues with the fervor of a true believer, cataloguing the iconography of the self-made man whose rugged individualism built a nation from scratch.
Toni Privat Agricultura. Raíces ‘El pla de grau’ text by Clara Privat “Avi”* used to go to the field every day, with his R18*, ‘The car of the year’ said the sticker on the back of the car.…
“Avi”* used to go to the field every day, with his R18*, ‘The car of the year’ said the sticker on the back of the car. Many years had passed, so many that he was now old along with the car too. Every day he got up and religiously followed his usual routine. He ate almond milk with cereal, dressed and went to the garage, where before, there had been pigs and horses, and now was his son’s field van and his R18 that he had used so much.
I have always thought it would be great to be with someone who understood what an artist feels like, and how we see life. I was lucky enough to marry an artist, but more importantly, I married a good friend of mine. Paccarik Orue and I met about 8 years a
I have always thought it would be great to be with someone who understood what an artist feels like, and how we see life. I was lucky enough to marry an artist, but more importantly, I married a good friend of mine.
