Exposición fotográfica | Almeria Idas y Venidas 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”.
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. Luis Martin's project chronicles the lives of the Coyas, people of the Andes mountains of South America, chiefly known for their oral tradition that has been preserved through the generations. Luis Martin began his project about the Coyas in 1990. "Many years later, I am returning to finish what I had started. "The life in these small villages, which are spread along the creek (hence the name "quebradeños"), is one of true cultural inheritance. "My first impression of this region was one of awe as, before this, I had never encountered a place with such richness of customs," says Martin. This first experience led Martin to visit Tilcara and its surrounding areas at least nine more times.
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. The Argentine photographer Alejandro Chaskielberg visited Otsuchi earlier this year to photograph the wreckage that remains. Chaskielberg also shot photographs of a family album that had been severely waterlogged.
So it Goes I was seventeen when I first came across the work of Bruce Davidson. I had inherited my father’s weather-beaten Leica M6 and possessed all but a passing interest in photography. Accustomed as I already was to the immediacy of digital photography, I spent close to a year getting to grips with the rigours of 35mm rangefinder cameras. Encouraged by the incremental progress, however, the passing interest in film photography and Leicas developed into a fixation. The change can be attributed almost entirely to the work of Magnum photographer Bruce Davidson and in particular his timelessly cool and graphically evocative series Brooklyn Gang. Davidson met ‘The Jokers’ when he was twenty-five and they were sixteen. Much as with the subjects in his other series East 100th Street or The Dwarf, Davidson remains unparalleled in his bringing the world of his subjects (in this case working-class, Catholic teens) to life with brutal cinematic immediacy.
Documentary Photography in the Age of Anxiety: Fred Ritchin’s “Bending the Frame” We live in a period of anxiety, a time of deep uncertainty about the foundations and frameworks through which we make sense of life. It may have always been like this, but various faiths and philosophies work to convince us that there are guideposts and touch points around which we can orient our purpose and values. The philosopher Richard J. Bernstein, in his seminal 1983 book Beyond Objectivism and Relativism, coined the term “Cartesian Anxiety” for the generalised belief that we have lost even the pretence of secure reference points. As Bernstein argues (p. 19), we face “the growing apprehension that there may be nothing – not God, reason, philosophy, science, or poetry…that answers to and satisfies our longing for ultimate constraints, for a stable and reliable rock upon which we can secure our thought and action.” This Cartesian Anxiety manifests itself in multiple forms and different ways.
A Daughter's Search for an Invisible Presence We recommend viewing this slide show in full-screen mode. When Diana Markosian was 7, she would stand outside her strange new home in Southern California and look toward the sky as each airplane passed overhead, wondering if her father would be on that plane. Or the next one. But he never came at all. Ms. Markosian, now 24, arrived in the United States from Russia in 1996 with her older brother. Showcase Diana Markosian Diana Markosian’s photos of a post-Chernobyl village in Ukraine were featured on Lens in 2011. Read more » For many years, Ms. “For so long, I thought my father wasn’t there because of me,” she said. She became an accomplished photographer at a young age. Though she knew very little about her father, she set out to find him. “My brother remembered where he lived because my brother grew up in that home until he was about 4,” she said. Diana MarkosianMs. But their father didn’t recognize them. “I couldn’t believe that I had to convince my father that I was his child,” Ms.
Photo Archive Pierre Bourdieu | Camera Austria 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 […] DGPh-Bildungspreis 2018 Neue Impulse für die Photographie in der Bildungsarbeit – das ist das Ziel des Bildungspreises, der von der Deutschen Gesellschaft für Photographie (DGPh) vergeben wird. Open Letter on the Future of Documenta Statement on documenta gGmbH’s separation from Annette Kulenkampff To the members of the board of documenta and Museum Fridericianum gGmbH: Oberbürgermeister Christian Geselle (Vorsitzender) Staatsminister Boris Rhein (stellv. Exhibition: Dorothée Elisa Baumann / Adrian Sauer Exhibition: Shirin Neshat. Exhibition: Marianne Wex.
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. In 2001, she put 30 photographs of working class people up on the support columns under I-95—the elevated interstate highway that bisects her south Philadelphia neighborhood—for a one-afternoon exhibit. Strauss says the idea came to her before she even owned a camera, but from the outset she conceived of “I-95” as a 10-year endeavor to tell an “epic narrative about the beauty and struggle of everyday life.” Now, 10 years on, Strauss’s “I-95” project has culminated in a solo exhibition at the Philadelphia Museum of Art, which ends April 22. Her portraits of the people upon whose faces and bodies this epic narrative is written—often quite literally in wrinkles and make-up, scars and tattoos—are unsparing, yet empathetic. Notes:
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. We reached out to Hector to hear about his experience shooting the Grande Hotel, and soon uncovered his work with the Sapeurs. “The Sape Movement is also very complex, there are many Sapeurs with different visions of things, the approach of some of these photographers who have worked this subject, doesn’t interest me, some people just try to show them as freaks, and that is not my interest.” In the era of Mobutu’s Zaire, the Sape movement was largely banned.