‘No Home from War: Tales of Survival and Loss’ is the first Italian exhibition by Irish photojournalist Ivor Prickett. Supported and staged by fashion house Max Mara founder Achille Maramotti’s Collezione Maramotti, he describes trying to capture the fall
‘No Home from War: Tales of Survival and Loss’ is the first Italian exhibition by Irish photojournalist Ivor Prickett. Supported and staged by fashion house Max Mara founder Achille Maramotti’s Collezione Maramotti, he describes trying to capture the fallout of conflict and displacement
In a year of war, New York Times photographers have reported from the front line, from cities and villages and in the footsteps of refugees. These pictures stayed with them.
Here, instead, 14 photographers who have worked in Ukraine for The Times each answer the same two questions: What image has stayed with you from your coverage of the first year of the war, and why?
What is left in the wake of conflict? Drawing on his time on the ground in Iraq and Syria, Ivor Prickett’s book is an enduring record of the people and places caught up in the battle to defeat ISIS
What is left in the wake of conflict? Drawing on his time on the ground in Iraq and Syria, Ivor Prickett’s book is an enduring record of the people and places caught up in the battle to defeat ISIS.
Guy Martin and Ivor Prickett were at Foto8 on 13 February to speak in conversation with Jon Levy. They discuss past work, their time in Tahrir Square and how that led to them covering events in Libya.
Focusing on human struggle in the battle to defeat Isis, Ivor Prickett spent months on the frontline in Iraq and Syria, documenting the end of the caliphate, and the daunting return home for thousands of displaced citizens
In September 2017, Ivor Prickett met Nadhira Aziz, sat in a plastic chair 15 feet from where an excavator was digging through the ruins of her home in Mosul, Iraq. “At times, she was engulfed in dust as the driver dumped mounds of stone and parts of her house beside her,” Prickett writes in his remarkable new book, End of the Caliphate, published by Steidl. “But she refused to move.” He stayed there with her, until eventually they found the remains of two women – Mrs Aziz’s sister and niece, who had been killed by an airstrike that hit the home in June, three months prior.
Ivor Prickett’s book End of the Caliphate is the result of months spent on the ground in Iraq and Syria between 2016 and 2018 photographing the battle to defeat ISIS. Working exclusively for the New York Times, Prickett was often embedded with Iraqi and Syrian Kurdish forces as he documented both the fighting and its toll on the civilian population and urban landscape. The battle to defeat ISIS in the region, resulted in thousands of civilian deaths and ruined vast tracts of cities such as Mosul and Raqqa. Involving some of most brutal urban combat since World War II, the fall of Mosul was key to the downfall of the Islamic State: soon after the remains of the so-called “Caliphate” began to crumble.
Over the last six weeks, five photographers—Maria Turchenkova, Laurent Van der Stockt, Jan Grarup, Ivor Prickett and Emin Ozmen—have documented Iraq’s push against ISIS and the resulting flow of refugees. They speak to TIME LightBox.
Six photographers – Ivor Prickett, Guy Martin, Chloe Dewe Mathews, Shiho Fukada, Kacper Kowalski and Mads Nissen – have been selected to become part of the Panos Pictures agency
A little while ago, Benjamin of duckrabbit fame sent me an email, telling me about Ivor Prickett and his story about Abkhazia. I like Ivor’s work very much, and since there currently is so much talk about how photojournalism is presumably dead (or maybe not) and about the relationship between photojournalism, documentary photography and what we call “fine art” photography (for a lack of a better term), I approached him to talk about his work.
