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A Global Alliance for Open Society
INTRODUCTION A Global Alliance for Open Society The goal of the Soros foundations network throughout the world is to transform closed societies into open ones and to protect and expand the values of existing open societies. In pursuit of this mission, the Open Society Institute (OSI) and the foundations established and supported by George Soros seek to strengthen open society principles and practices against authoritarian regimes and the negative consequences of globalization. The Soros network supports efforts in civil society, education, media, public health, and human and women’s rights, as well as social, legal, and economic reform. 6 SOROS FOUNDATIONS NETWORK | 2001 REPORT Our foundations and programs operate in more than national government aid agencies, including the 50 countries in Central and Eastern Europe, the former United States Agency for International Soviet Union, Africa, Southeast Asia, Latin America, and Development (USAID), Britain’s Department for the United States. International Development (DFID), the Swedish The Soros foundations network supports the concept International Development Cooperation Agency of open society, which, at its most fundamental level, is (SIDA), the Canadian International Development based on the recognition that people act on imperfect Agency (CIDA), the Dutch MATRA program, the knowledge and that no one is in possession of the ultimate Swiss Agency for Development and Cooperation truth. In practice, an open society is characterized by the (SDC), the German Foreign Ministry, and a num- rule of law; respect for human rights, minorities, and ber of Austrian government agencies, including minority opinions; democratically elected governments; a the ministries of education and foreign affairs, market economy in which business and government are that operate bilaterally; separate; and a thriving civil society. -
Downloaded from the Internet and Distributed Inflammatory Speeches and Images Including Beheadings Carried out by Iraqi Insurgents
HUMAN RIGHTS WATCH WORLD REPORT 2006 EVENTS OF 2005 Copyright © 2006 Human Rights Watch All rights reserved. Co-published by Human Rights Watch and Seven Stories Press Printed in the United States of America ISBN-10: 1-58322-715-6 · ISBN-13: 978-1-58322-715-2 Front cover photo: Oiparcha Mirzamatova and her daughter-in-law hold photographs of family members imprisoned on religion-related charges. Fergana Valley, Uzbekistan. © 2003 Jason Eskenazi Back cover photo: A child soldier rides back to his base in Ituri Province, northeastern Congo. © 2003 Marcus Bleasdale Cover design by Rafael Jiménez Human Rights Watch 350 Fifth Avenue, 34th floor New York, NY 10118-3299 USA Tel: +1 212 290 4700, Fax: +1 212 736 1300 [email protected] 1630 Connecticut Avenue, N.W., Suite 500 Washington, DC 20009 USA Tel: +1 202 612 4321, Fax: +1 202 612 4333 [email protected] 2-12 Pentonville Road, 2nd Floor London N1 9HF, UK Tel: +44 20 7713 1995, Fax: +44 20 7713 1800 [email protected] Rue Van Campenhout 15, 1000 Brussels, Belgium Tel: +32 2 732 2009, Fax: +32 2 732 0471 [email protected] 9 rue Cornavin 1201 Geneva Tel: +41 22 738 0481, Fax: +41 22 738 1791 [email protected] Markgrafenstrasse 15 D-10969 Berlin, Germany Tel.:+49 30 259 3060, Fax: +49 30 259 30629 [email protected] www.hrw.org Human Rights Watch is dedicated to protecting the human rights of people around the world. We stand with victims and activists to prevent discrimination, to uphold political freedom, to protect people from inhumane conduct in wartime, and to bring offenders to justice. -
Open Society TIME Open Society Foundations
OPEN SOCIETY TIME Open Society Foundations George Soros, Chair Aryeh Neier, President 400 West 59th Street New York, NY 10019 USA (212) 548 0600 www.soros.org Open Society Institute–Brussels (32 2) 505 4646 Open Society Institute–Budapest (36 1) 882 3100 Open Society Foundation (London) (44) 207 031 0200 Open Society Institute–Washington, D.C. (202) 721 5600 Laura Silber, Director of Public Affairs DESIGN Jeanne Criscola | Criscola Design PRINTING GHP Media, Inc. COVER PHOTOGRAPHY TOP Fall of the Berlin Wall, East Germany, 1989 © Regis Bossu/Sygma/Corbis BOTTOM Preparing an injection for multidrug-resistant TB, Lesotho, 2007 © Open Society Foundations, photograph by Pep Bonet ••••••••••••••••••••••••••••••••••••••••••••• The Open Society Foundations are a family of more than 30 foundations created by philanthropist and financier George Soros. Active in more than 70 countries around the world, the Open Society Foundations support justice and human rights, freedom of expression, and access to public health and education. The Foundations work to build vibrant and tolerant democracies whose governments are accountable to their citizens. ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••▶ OPEN SOCIETY FOUNDATIONS ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••▶ 1979 – 2010 EXPENDITURES | OVER $8 BILLION ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••▶ OPEN SOCIETY TIME SOME OF THE MOST IMPORTANT achievements of the Open Society Foundations took place in the early years. Foundations established by George Soros in Hungary, Poland, and the Soviet Union in the 1980s, when communist regimes still ruled those countries, and support that he provided to a few groups in the West working in the Soviet bloc countries contributed to the transformation of the region. In 1989–1991 with the collapse of communism, Soros moved rapidly to help develop civil society in places where it had been silenced or stunted. -
Our Choice of New and Emerging Photographers to Watch
OUR CHOICE OF NEW AND EMERGING PHOTOGRAPHERS TO WATCH TASNEEM ALSULTAN SASHA ARUTYUNOVA XYZA BACANI IAN BATES CLARE BENSON ADAM BIRKAN KAI CAEMMERER NICHOLAS CALCOTT SOUVID DATTA RONAN DONOVAN BENEDICT EVANS PETER GARRITANO SALWAN GEORGES JUAN GIRALDO ERIC HELGAS CHRISTINA HOLMES JUSTIN KANEPS YUYANG LIU YAEL MARTINEZ PETER MATHER JAKE NAUGHTON ADRIANE OHANESIAN CAIT OPPERMANN KATYA REZVAYA AMANDA RINGSTAD ANASTASIIA SAPON ANDY J. SCOTT VICTORIA STEVENS CAROLYN VAN HOUTEN DANIELLA ZALCMAN © JUSTIN KANEPS APRIL 2017 pdnonline.com 25 OUR CHOICE OF NEW AND EMERGING PHOTOGRAPHERS TO WATCH EZVAYA R © KATYA © KATYA EDITor’s NoTE Reading about the burgeoning careers of these 30 Interning helped Carolyn Van Houten learn about working photographers, a few themes emerge: Personal, self- as a photographer; the Missouri Photo Workshop helped assigned work remains vital for photographers; workshops, Ronan Donovan expand his storytelling skills; Souvid fellowships, competitions and other opportunities to engage Datta gained recognition through the IdeasTap/Magnum with peers and mentors in the photo community are often International Photography Award, and Daniella Zalcman’s pivotal in building knowledge and confidence; and demeanor grants from the Pulitzer Center on Crisis Reporting altered and creative problem solving ability keep clients calling back. the course of her career. Many of the 2017 PDN’s 30 gained recognition by In their assignment work, these photographers deliver pursuing projects that reflect their own experiences and for their clients without fuss. Benedict Evans, a client interests. Salwan Georges explored the Iraqi immigrant says, “set himself apart” because people like to work with community of which he’s a part. Xyza Bacani, a one- him. -
Street Photography Project Guide
The Street Photography Project Manual by Eric Kim When I first started shooting street photography, I was very much focused on “single images”. Meaning– I wanted to make these beautiful images (like pearls) that would get a lot of favorites/likes on social media. I wanted each photograph to be perfect, and stand on its own. However after a while shooting these single-images became a bit boring. I felt photography became a way for me to produce “one-hit-wonders” – which didn’t have that much meaning, soul, and personal significance. In trying to find more “meaning” in my photography– I started to study photography books, learning from the masters, and how they were able to craft stories that had a narrative and personal significance. Soon I discovered that I was much more interested in pursuing photography projects– projects that would often take a long time (several years), would require meticulous editing (choosing images) and sequencing, and were personal to me. I wanted to create this book to be a starting guide and a primer in terms of starting your own street photography project. I will try to make this as comprehensive as possible, while still being practical. Here is an overview of some of the chapters I will like to cover: Chapter 1: Why pursue a street photography project? Chapter 2: What makes a great photography project? Chapter 3: How to come up with a street photography project idea? Chapter 4: How to stay motivated when pursuing your photography project Chapter 5: How to edit/sequence your photography project Chapter 6: How to publish your photography project Chapter 7: Conclusion Chapter 1: Why pursue a photography project? Of course we are dealing with street photography– but there are many different reasons to pursue a photography project in general: Reason 1: Photography projects are more personal First of all, one of the main reasons you should pursue a photography project is that you can make it more personal. -
100 GREAT STREET PHOTOGRAPHS David Gibson PRESTEL Munich • London • New York
100SP-24_rl.indd 2 24.02.17 16:36 100 GREAT STREET PHOTOGRAPHS David Gibson PRESTEL Munich • London • New York 100SP-24_rl.indd 3 24.02.17 16:36 © 2017 Prestel Verlag, Munich · Editorial direction: Lincoln Dexter London · New York, a member of Copy-editing: Malcolm Imrie Verlagsgruppe Random House Design and layout: Hoop Design GmbH, Neumarkter Straße 28, Production management: Friederike 81673 Munich Schirge Separations: Reproline Mediateam, © for the texts, David Gibson, 2017 Munich © for the works reproduced is held Printing and binding: DZS Grafik, by the individual photographers, their d.o.o., Ljubljana heirs or assigns, with the exception Paper: Profisilk of the following images: p. 31, © Alex Webb/Magnum Photos; p. 35, © Martin Parr/Magnum Photos; p. 61, © Harry Gruyaert/ Magnum Photos; p.91, © Nikos Verlagsgruppe Random House FSC® Economopoulos/Magnum Photos; N001967 and p. 137, © Trent Parke/Magnum Photos ISBN 978-3-7913-8313-2 In respect to links in the book the www.prestel.com Publisher expressly notes that no illegal content was discernible on the linked sites at the time the links were created. The Publisher has no influence at all over the current and future design, content or authorship of the linked sites. For this reason the Publisher expressly disassociates itself from all content on linked sites that has been altered since the link was created and assumes no liability for such content. Front cover: detail of photograph by Marcin Ryczek, see pp. 161 Frontispiece: detail of photograph by Dan Szpara, Shinjuku, Tokyo, July 2016, see p. 181 Back cover: detail of photograph by Shin Noguchi, see pp. -
Diane Cook Carolyn Drake Lynn Johnson Erika Larsen
DIANE COOK ERIKA LARSEN LYNN JOHNSON Diane Cook is a leading landscape photographer Erika Larsen studies cultures with strong ties A Knight Fellow and passionate advocate for whose work is in numerous collections, including to nature. She published a 2009 story in NGM visual arts education, Lynn Johnson has covered the Museum of Fine Arts, Houston; the San on the Sami reindeer herders of Scandinavia, a wide range of assignments for NGM, producing Francisco Museum of Modern Art; the Museum an assignment which grew out of her own images for 21 stories on subjects including of Photographic Arts in San Diego; and the L.A. documentary work for which she lived and vanishing languages and challenges facing County Museum in Los Angeles. Cook often works worked within the culture for over four years. human populations in Africa and Asia. Johnson collaboratively with her husband, Len Jenshel. Their Larsen received a B.F.A. and an M.F.A. from has also participated in photo camps in Chad, NGM stories have covered New York’s elevated Rochester Institute of Technology and is the Botswana and the Pine Ridge reservation. She park, the High Line; Mount St. Helens; Green recipient of a Fulbright Fellowship and a New has received several awards, including the Roofs; the Na’Pali Coast of Hawaii; the U.S.- Jersey State Arts Council Fellowship. Larsen’s Robert F. Kennedy Journalism Award for Coverage Mexico border; and Grand Staircase-Escalante photography has been exhibited at the National of the Disadvantaged. National Monument. Portrait Gallery and the Sami Ájtte Museum in Sweden. -
Sunday Night with a 6 P.M
Volume 56, No. 1 109 Lee Hills Hall • Columbia • Missouri • 65211 Viola Edom - 1906 - 2004 The 56th MPW is dedicated to Vi Edom, pictured here with her husband Cliff Edom. Together the two founded the MPW Photo Workshop in 1949 and ran or attended every workshop through the 50th. Cliff also started the photojour- nalism program at the Missouri School of Journalism, Pictures of the Year and the College Photographer of the Year. Cliff and Vi made outstanding contribu- tions to photojournalism education. Hermann, Mo. Prepares for Workshoppers The folks in Hermann, Mo. are used to seeing new faces. After all, their town touts its German heritage and attracts thousands of visitors with Spring and Fall festivals and the annual Kristkindl Market each December. And then there are the wineries, a half-dozen of them in and around Hermann, which also bring many thirsty patrons. The newcomers are a little different this September 19-25 as 40 photographers, a dozen fac- ulty, a score of student workers and photography industry representatives converge in Hermann for the 56th Missouri Photo Workshop. Hermann hosted the third MPW in 1951 and will again be the subject of attention as this band of photojournalists tries to capture the essence of this community in a series of storytelling still images. Once described as “a rollicking river port with a tavern on every corner and he largest gen- eral store between St. Louis and Kansas City,” Hermann has weathered Prohibition and the Great Depression and found a way for its nearly 3,000 citizens to survive. -
Sfmoma Presents Diane Arbus: in the Beginning in the New Pritzker Center for Photography January 21–April 30, 2017
SFMOMA PRESENTS DIANE ARBUS: IN THE BEGINNING IN THE NEW PRITZKER CENTER FOR PHOTOGRAPHY JANUARY 21–APRIL 30, 2017 SAN FRANCISCO, CA (October 27, 2016)—The San Francisco Museum of Modern Art (SFMOMA) will present the West Coast debut of the acclaimed exhibition diane arbus: in the beginning, on view January 21 through April 30, 2017. Organized by The Metropolitan Museum of Art, diane arbus: in the beginning considers the first seven years of the photographer’s career, from 1956 to 1962. Bringing together over 100 photographs from this formative period, many on display for the first time, the exhibition offers fresh insights into the distinctive vision of this iconic American photographer. The exhibition will be on view in the museum’s new Pritzker Center for Photography, made possible by the Lisa and John Pritzker Family Fund. SFMOMA is the only American venue other than The Metropolitan Museum of Art to present this exhibition. A lifelong New Yorker, Diane Arbus (1923–1971) found the city and its citizens an endlessly rich subject for her art. Working in Times Square, the Lower East Side and Coney Island, she made some of the most powerful portraits of the 20th century, training her lens on the pedestrians and performers she encountered there. This exhibition highlights her early and enduring interest in the subject matter that would come to define her as an artist. It also reveals the artist’s evolution from a 35mm format to the now instantly recognizable and widely imitated look of the square format she adopted in 1962. Although this period was exceptionally fruitful—nearly half the photographs that Arbus printed during her lifetime were produced during these years—the work has remained little known. -
Gruppo Fotografico Antenore
ANNO XIII NUMERO 6 GIUGNO 2020 Sommario: FORMA/INFORME. La fase non soggettiva della fotografia italiana 1935-1958 . pag. 2 Fotografare con lentezza. Intervista a Akinbode Akinbiyi .............................. pag. 3 Cesare Colombo. Fotografie/Photographs| 1952-2012 .................................. pag. 6 La trappola del paesaggio fotografato ......................................................... pag. 9 La fotografia ribelle di Ren Hang in mostra a Prato ....................................... pag.13 Inge Morath. La vita. La fotografia ............................................................. pag.14 Piergiorgio Branzi, Il giro dell’occhio. Fotografie 1950-2010 .......................... pag.15 Mostra di fotografie di Mattia Morelli ........................................................... pag.18 Maurizio Gabbana – Dynamiche infinite ...................................................... pag.20 Un angelo sopra Manhattan ..................................................................... pag.21 Torino Photo Tales, progetto online dedicato ai grai maestri e giovani emergenti .. pag.24 Antonio Lovison. Strutture di emozioni ....................................................... pag.25 Giovanni Gastel, etica ed estetica nella fotografia ....................................... pag.27 Paolo Ventura. Carousel… ......................................................................... pag.30 Questa Non È Una Fotografia Di Moda. Fabio Ponzo ..................................... pag.32 Dillo al custode. Ovvero, un istogramma spiega -
Press Release
Contact: Education Department 212.857.0001 media release Moment of Recognition On view from January 15, 2011 through March 20, 2011 Rita K. Hillman Education Gallery at the School of the International Center of Photography 1114 Avenue of the Americas Opening Reception Friday, January 21, 6–8 pm © Susann Nuernberger (diptych) Moment of Recognition, on view from January 15 through March 20, 2011 in the Rita K. Hillman Education Gallery of the School of the International Center of Photography (1114 Avenue of the Americas at 43rd street), is an exploration of portraiture in the new millennium. Intrigued by what is revealed when a split-second in time is captured, curator Amy Arbus asked her former students and teaching assistants to submit images of subjects that were in motion, either physically or emotionally. Included in the hundred or so prints on view are images of reality TV star wannabes, male escorts, survivors of genocide, Hasidic Jews in Williamsburg, self-portraits, and functional as well as dysfunctional families. This new generation of photographers combine various genres like reportage, fashion, lifestyle, and sports to reinvent portraiture and create pictures uniquely their own. Each of the portraits implies a narrative or inspires the viewer to create one. Arbus writes in her statement, “In curating this exhibition I chose photographs that were strangely familiar despite the fact that I had never seen them before. It was as though I was meeting an old friend for the first time.” Photographer Amy Arbus has published four books. The New Yorker called her most recent, The Fourth Wall, her masterpiece. -
Coming Home Again and Again: Caregiver. Memory, Personal Narrative, Documentary Photography, and the Importance of the Image in Storytelling
Lesley University DigitalCommons@Lesley Lesley University College of Art and Design MFA in Visual Arts Theses (LA+D) Summer 6-2021 Coming Home Again and Again: Caregiver. Memory, Personal Narrative, Documentary Photography, and the Importance of the Image in Storytelling. Nicholas Costopoulos [email protected] Follow this and additional works at: https://digitalcommons.lesley.edu/mfa_visual_theses Part of the Photography Commons Recommended Citation Costopoulos, Nicholas, "Coming Home Again and Again: Caregiver. Memory, Personal Narrative, Documentary Photography, and the Importance of the Image in Storytelling." (2021). MFA in Visual Arts Theses. 13. https://digitalcommons.lesley.edu/mfa_visual_theses/13 This Thesis is brought to you for free and open access by the Lesley University College of Art and Design (LA+D) at DigitalCommons@Lesley. It has been accepted for inclusion in MFA in Visual Arts Theses by an authorized administrator of DigitalCommons@Lesley. For more information, please contact [email protected], [email protected]. Coming Home Again and Again: Caregiver Memory, Personal Narrative, Documentary Photography, and the Importance of the Image in Storytelling. Nicholas Costopoulos MASTER OF FINE ARTS, VISUAL ARTS LESLEY UNIVERSITY, COLLEGE OF ART AND DESIGN CAMBRIDGE, MASSACHUSETTS, USA JUNE, 2021 ABSTRACT Coming Home Again and Again is an ongoing documentary project researching cultural, religious, societal and familial identity. Caregiver, the initial volume, examines my becoming caregiver to my mother after her diagnosis with vascular dementia. The photographs look into our reversal of roles along with changing family dynamics. This undertaking is the beginning my inquiry into my own identity by means of observing my personal relationships, life and death, what is private and public, and a spiritual reawakening.