Plague time: Simon Schama on what history tells us. Samuel Pepys was always better at social than distancing.
At the end of 1665, after bubonic plague had taken off a quarter of London’s population, he wrote in his diary: “I have never lived so merrily . . . as I have done this plague time.” By December the great tide of death had abated but even as it had swept in months earlier, Pepys wrote of “the greatest glut of content that ever I had”, adding, almost as an afterthought, “only under some difficulty because of the plague”. He was a prosperous government official, member of the Navy Board during a maritime war with the Dutch; treasurer of the English colony at Tangier.
While Pepys had sent his wife downriver to Woolwich to escape the disease, he remained in London and continued to visit taverns and flirt his way through the evenings. Eric Pickersgill photo series removes phones to show lonely world. Are you reading this on a handheld device?
There’s a good chance you are. Now imagine how’d you look if that device suddenly disappeared. Lonely? Slightly crazy? Perhaps next to a person being ignored? US photographer Eric Pickersgill has created “Removed,” a series of photos to remind us of how strange that pose actually is. Photos courtesy of Eric Pickersgill. Clarification: This story has been updated, and the headline has been changed to make clear the phones were removed before each photo, not edited out later. Fotografiile lui Zaharia Cusnir expuse la Muzeul Taranului Roman din Bucuresti - FotoStefan.
Photo Archive Pierre Bourdieu. Ausstellung: Alexandre Estrela + João Maria Gusmão & Pedro Paiva Lua Cão Kunstverein München, 17.
Februar – 15. April 2018 Curated by Natxo Checa and Kunstverein München 17 February–15 April 2018 Open Thursday–Sunday, 5–9pm Opening: 16 February 2018, 7–11pm Chinese New Year’s Afterparty at Goldene Bar From 17 February until 15 April 2018, Kunstverein München presents Lua Cão – a large-scale exhibition that tests the intersection of […]
Milton Rogovin. Wendy Ewald. Fine Art Photography Daily. Exposición fotográfica. Del 21 al 27 de Abril: “Exposición IDAS Y VENIDAS” Imágenes de los almerienses que tuvieron que irse y de los que acaban de llegar.
Carpa del Puerto (Junto al edificio de la Autoridad Portuaria) Fotos de: Las Idas La Asociación Almeriense de Inmigrantes Retornados (ASADER) se mostró entusiasmada con la idea desde el primer momento. Las fotografías, tomadas y cedidas por los propios emigrantes almerienses, nos muestran la vida cotidiana de esos cientos de miles de paisanos que tuvieron que vivir a miles de kilómetros la experiencia que hoy viven otros tantos al lado de nuestras casas. Las Venidas Hace ahora medio año, el Foro Social de Almería abrió un espacio en Flickr llamado “Revelados de Almería“, en él invitábamos a utilizar la fotografía como “arma cargada de futuro”. Allí descubrimos las fotos de John Perivolaris un excelente fotógrafo y una persona comprometida con los que sufren la globalización de la sobreexplotación y la miseria. Maribel Martinez, es otra asidua de “Rebelados”. Aspect:Ratio Magazine of Photography.
Coyas - Descendents of the Incas. Luis Martin started his photography career in 1970.
He is dedicated to documentary photography in his country. He lives in Buenos Aires, Argentina.
Suzanne Ruta: Photographing Algeria. Slide Show: Otsuchi, Japan, Three Years After the Tsunami. Three years ago this week, Japan was ravaged by a 9.0 earthquake, the largest on record in the country’s history.
The earthquake, centered under the seabed off Japan’s eastern coast, lasted for five minutes and launched a tsunami that was, in places, nearly thirty feet tall. The waves overtopped a seawall in Otsuchi, a small beach community near the northern tip of Honshu, Japan’s main island, flattening much of the town and causing its residents to seek refuge among the cemeteries in the nearby hills. Some sixteen hundred of the more than fifteen thousand people who died in the earthquake and tsunami were residents of Otsuchi, about ten per cent of the town’s population.
The president of Japan’s Red Cross, who visited the town a few days after the earthquake, said at the time, “Everything is destroyed and flattened. BEFORE THEY PASS AWAY. So it Goes. Documentary Photography in the Age of Anxiety: Fred Ritchin’s “Bending the Frame”
The Casino as Lifeline. Discarded Books, Recovered Nostalgia. A Daughter's Search for an Invisible Presence. We recommend viewing this slide show in full-screen mode.
William E Jones. Documentary Photographer. Into The Fire Trailer. This is England. George Steinmetz's Aerial Photos of Deserts Around the World. Dorothea Lange. An exhibition of photographer Zoe Strauss in Philadelphia. By Clare Hurley 10 April 2012 Zoe Strauss: Ten Years—An exhibition of photographs at the Philadelphia Museum of Art and The Billboard Project, January 14-April 22, 2012 American photographer Zoe Strauss (b. 1970) is an unusual figure in today’s art world.
My Africa Is interviews Photographer Hector Mediavilla / My Africa Is. In the fall of 2012, we connected with Hector Mediavilla, a photographer from Spain, who caught our attention through his haunting images of the Grande Hotel in Beira Mozambique.
His pictures captured a once decadent hotel, turned neighborhood squat that had served as a home to its inhabitants since the Mozambican civil war. They told the stories of everyday life, small wins, and resourcefulness of individuals living in the hotels, which strayed from other angles that would usually accompany such a story. With his recent documentary on the Sapeurs of Congo Brazzaville for Guiness, we decided to reformat the video, and revisit Hector’s subjects. We reached out to Hector to hear about his experience shooting the Grande Hotel, and soon uncovered his work with the Sapeurs. Hector established his relationship with them while seeking to get to know the continent, from a different perspective than the western one he had become accustomed to.
Photographs From Prisons in Russia and Ukraine. What does prison look like?
In her latest body of work, Sailboats and Swans, Israeli photographer Michal Chelbin challenges viewers to re-imagine the answer to this question. Working with her husband and co-producer, Oded Plotnizki, Chelbin spent three years photographing prisons in Ukraine and Russia from 2008 to 2010. The pair used a network of connections, built over the 10 years they have worked in the region, to gain incredibly rare access to these facilities.