On July 11th, 1995, in Srebrenica, Bosnia, 8,000 Muslim Bosniaks, mostly men, and boys, were killed by units of the Bosnian Serb Army of Republika Srpska. This event is considered the greatest massacre in Europe since the end of the Second World War. It has been repeatedly ruled by different international institutions that it constituted genocide, a crime under international law. Between 25,000 and 30,000 Bosniak women, children and elderly were deported.
Twenty years later, relatives are still waiting for unburied bodies to be identified. Most of the deported people never came back. Michel Slomka, a French freelance photographer, went to Srebrenica on several trips between 2010 and 2015. “Retour à la terre” (“The Way Back to Srebrenica”) is a series about Sadmir, 24, who decided to move back to Srebrenica in 2006. His father’s body was never found.
LensCulture contributor Laure Andrillon spoke with Slomka to learn more about this powerfully executed photo-documentary report. Continue reading.
An intimate and delicate photographic series about growing up in the backwoods of rural New Zealand. The series was named a finalist in the LensCulture Exposure Awards 2015. Discover more inspiring work from all 31 of the winners and finalists.
We live a simple life in rural New Zealand on a 10-acre property surrounded by rivers, coastline, bush and hills.
My children are unschooled and live without TV or modern electronic devices—a lifestyle that may seem unconventional to some. But I am here to celebrate the magical place I choose to live with my family.
I document their days, together, in an environment full of nature and uninhibited play. I photograph as a physical record of their childhood, life as it is: the real. But also as a reflection of a childhood rooted deep in my own past, a most sincere place of freedom. A childhood I now pass on to my own children.
Although this work is deeply personal, I believe that viewers will also be able to connect to some aspect of their own childhood through these photographs.
I believe my children are right where they belong: covered in mud, running and living within nature. They belong here, wild and free, earth-connected in a way where the landscape begins, and their little souls end. View more images.
by Juliette Aristides
I am working on a six-part series of articles for Artist & Illustrator UK on Atelier training. We focus on a different painting project each month. The first three months are attached. Congratulations to Renee Simard for having her painting of plums chosen for reproduction by the editors. I am also proud of so many of my students for their outstanding work which contributed to these articles. www.artistsandillustrators.co.uk
Rammy Narula is a Bangkok-based photographer with a deep passion for traveling and exploring the streets with his camera. His most recent work, Platform 10, a personal project shot on a single platform at Bangkok Central Train Station, has been published as a photo book by Peanut Press, New York. One of his photographs is also featured in 100 Great Street Photographs, a photo book published by Prestel Publishing in May 2017. Continue reading.
The Behind the Image series uncovers untold stories that lie behind some of the most-well known images by Magnum photographers. Here, we speak to Magnum photographer Bruce Davidson about one of his most famous images, from the seminal body of work Brooklyn Gang.
In spring and summer of 1959, Davidson met a loose group of teenagers, the self-named ‘Jokers’, and followed them through New York’s Brooklyn, from Coney Island to the subways traversing the city, from cafés and bars to beaches and candy stores, capturing the raw edges and sensuality of their teenage years.
Images of kids showing off new tattoos, smoking, couples embracing, hanging out bored or showing off their cool boardwalk attitude, form an intensely intimate depiction of a group of young adults whose lives were being monitored by youth workers, at a time when an estimated thousand gang members roamed the streets of New York City.
Along the way, Davidson “found [himself] involved with a group of unpredictable youths who were mostly indifferent to me. In time they allowed me to witness their fear, depression, and anger. I soon realized that I, too, was feeling some of their pain. In staying close to them, I uncovered my own feelings of failure, frustration, and rage.” Continue reading.
From the series “16th-Century Tube Passengers” A personal project of creating 16th-century-like portraits of tube commuters. All taken on my phone, retouched on my phone and then sent from my phone, all while on the underground journey. ©Matt Crabtree. Finalist, LensCulture Street Photography Awards 2017. See more images.
Street photography, like the medium in general, has witnessed an explosion of popularity over the past decade. What drives us to produce so many pictures, to make such endless piles (or files) of photographs? Scroll through your feed and notice how in many of these photographs the lens is pointed outward—the frame becomes the beholder’s attempt to capture a moment or make sense of the world. Nowhere is this more evident than in street photography, in which the camera is used to find some order, impose a structure, or simply recognize the joyous chaos of the world’s ever-growing cities and built environments.
We began these awards with the idea of recognizing fresh approaches to the venerable genre, hoping to support and encourage this invaluable manner of helping us visualize and understand the surrounding world. With this 3rd successful edition, our confidence in the vibrancy of street photography has been rewarded: we believe the 37 winners, jurors’ picks and finalists chosen here represent some of the most interesting approaches to street photography today. Quietly observed beauty, in-your-face confrontation, deeply personal narratives and idiosyncratic, even humorous perspectives—across all of these varied works, the language of the street is being used to tell all kinds of stories in original and innovative ways. We hope you appreciate these discoveries; we encourage you to spend time exploring all of them and then going on to learn more about your favorites. Congratulations to all! Continue reading.
Annually, on the occasion of Rosh Hashanah – the first of the of the Jewish high holy days – tens of thousands of Hasidic Jews, and others, journey from around the world to Uman in central Ukraine. They are making a pilgrimage to the burial site of Rebbe Nachman of Breslov, located on the former site of the Jewish cemetery in a rebuilt synagogue.
Rebbe Nachman spent the last five months of his life in Uman and specifically requested to be buried there. As believed by the Breslov Hassidim, before his death he promised to intercede on behalf of anyone who would come to pray on his grave on Rosh Hashanah. The first Rosh Hashanah pilgrimage took place in 1811, organized by Rebbe’s foremost disciple, Nathan of Breslov.
Now, every year, pilgrims flock to the small city of Uman. Having spent much of his esteemed career documenting religious traditions, Abbas has photographed the pilgrimage to Uman. Fellow Magnum photographer Patrick Zachmann, whose interest in the Jewish rite came from a more personal motivation, has also documented it. Here, the pair of Magnum photographers present their “regards croisés” (crossed gazes). Continue reading.
The Booth Western Art Museum in Cartersville, Georgia, is set to present the fifth installment of its signature triennial exhibition series, “Western American Art South of the Sweet Tea Line,” which opens in just a few days.
On September 16, the Booth Western Art Museum will open the fifth installment of its signature triennial exhibition series, which will run through December 31. Titled “Western American Art South of the Sweet Tea Line V,” the show allows visitors to experience art that will transport them to the most beautiful locations in the West while witnessing both the joys and hardships of life in the region. More than 90 paintings, sculptures, photographs, and other objects compose the show, representing over 150 years of art history and 80 artists. Continue reading.
By Andrew Webster
The Georgia Museum of Art in Athens is proud to be showcasing selected works from the significant collection of Giuliano Ceseri.
Born in Italy and the son of a tenant farmer, Giuliano Ceseri was exposed to a range of great artworks from a young age, purchasing his first engraving at the age of 11. That engraving was only the beginning of what would become a massive private collection of prints and drawings that today numbers in the thousands. In 1995, the collector placed about 1,500 of those works on long-term loan to the Georgia Museum of Art in Athens, and selections from among them compose a current exhibition titled “Modern Masters from the Giuliano Ceseri Collection,” on view through November 12.
“Previous exhibitions of Ceseri’s collection have focused more often on the Renaissance-era drawings that make up a large portion of the works he owns,” the museum suggests. “This exhibition, on the other hand, consists of drawings by 19th- and 20th-century artists, both American and European, including one of the earliest Ceseri bought, at the age of 14. That drawing is by Pierre Puvis de Chavannes, a highly regarded 19th-century French muralist. Although it is unsigned, the sketch of a washerwoman has writing on it that resembles that on other studies by the artist.
“While still a child, Ceseri worked in a factory that made nightlights, then as a waiter, buying drawings and prints as he was able to in antique shops. He eventually parlayed his sharp eye into a career as a gallerist and moved to the United States in the 1970s.
“The works on display, selected by former Pierre Daura Curator of European Art Lynn Boland, show a wide range of styles, subjects, and purposes. Some are studies for finished works, some come from sketchbooks, and others appear to have been made as more finished works. Media are equally varied. Peggy Bacon’s caricature of her fellow artists uses lithographic crayon, a drawing by Giorgio de Chirico uses red chalk and watercolor, and Robert Henri’s two works in the show both make use of charcoal.
“Even as they differ, each work has an immediacy that sets it apart from paintings or prints by the same artists. Collectively, they offer an opportunity to study widely disparate approaches to making marks on paper. They also serve as an inspiration. Often, we think of collecting art as only for the wealthy, but Ceseri’s story shows that persistence and education are just as important as financial means.”
To learn more, visit the Georgia Museum of Art.
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