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This major work presents a remarkable sequence of photo-stories from pioneering photo agency VII, documenting world history as we have experienced it since the end of the Cold War. The 11 extraordinarily talented photographers who are part of this agency work at the cutting edge of digital photojournalism, committed to recording social and cultural change as it happens around the world. Each brings an individual vision to the agency - some choosing to tackle dramatic events head-on, others pursuing more idiosyncratic, personal projects - but all share a commitment to their individual subjects and to their belief that the act of communication provides hope even in the most extreme situations. Questions Without Answers is an ambitious book featuring a strikingly broad selection of photo stories. Photos documenting Barack Obama giving a speech on Afghanistan to American troops sit alongside a collection of portraits featuring famous cultural figures such as David Bowie and Bernardo Bertolucci. We move from an exploration of the spread and impact of AIDS in Asia to dispatches from the current economic crisis and its effect on those working in finance. The crucial work done by VII in documenting conflict - environmental, social and political, both violent and non-violent - is also represented, including stories from the war in Iraq, the crisis in Darfur and the terrible events of 9/11.
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Comparative religion --- Documentary photography --- Religion --- Spirituality --- Documentary photography. --- Religion. --- Spirituality. --- Locus, Jan,
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Photography --- documentary photography --- Jackson, William Henry --- anno 1800-1899 --- Mexico
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Working class --- Documentary photography --- Killip, Christopher --- Great Britain --- Social conditions
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Fotograaf Gert Jochems heeft de laatste drie jaar intensief gewerkt aan een reeks beelden over seksualiteit in Vlaanderen. Zijn vorige projecten (onder meer RUS) werden erg goed onthaald. Expo in het Antwerpse FotoMuseum van 19/10/2012 tot januari 2013. “Hoe kijken naar deze beelden? Met wellust of met walging? Met wanhoop of ontroering? Met heimwee of met hunkering? Alles kan. Maar misschien nog het meest met die zeldzame, archaïsche en in tijden van hyperconsumptie nagenoeg vergeten grote emotie: met dankbaarheid. Fotograaf Gert Jochems heeft het onmogelijke mogelijk gemaakt. In tijden van pornoficatie en overbelichting van het volmaakte lijf heeft hij seks weer duister, geheimzinnig, koortsig, troebel, vettig en verwarrend gemaakt. Dat is een geschenk voor het leven.” David Van Reybrouck
Jochems, Gert --- Exhibitions --- Photography [Erotic ] --- Photography, Artistic --- Photography, Erotic --- Jochems, Gert, --- fotoboeken --- seksualiteit --- documentary photography
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'The Bitter Years' was a seminal exhibition curated by Edward Steichen in 1962 at the Museum of Modern Art, New York. The show featured 208 images by photographers who worked under the aegis of the US Farm Security Administration (FSA) in 1935-41 as part of Franklin Roosevelt's New Deal. The Great Depression of the 1930s defined a generation in modern American history and was still a vivid memory in 1962. The FSA, set up to combat rural poverty, included an ambitious photography project that launched many photographic careers, most notably those of Walker Evans and Dorothea Lange. The exhibition featured their work as well as that of ten other FSA photographers, including Ben Shahn, Carl Mydans, and Arthur Rothstein. Their images are among the most remarkable in documentary photography - testimonies of a people in crisis, hit by the full force of the economic turmoil and the effects of drought and dust storms. 'The Bitter Years' was the last exhibition curated by Steichen, who was not only a distinguished photographer in his own right, but also a celebrated director of the photography department at MoMa, in which role he had won international acclaim in 1955 for 'The Family of Man' exhibition. This book is published in association with the Centre National de l'Audiovisuel and the Ministry of Culture in Luxembourg. It accompanies a permanent display at the Château d'Eau in Dudelange of the original exhibition, given by Steichen, who was born in Luxembourg. No proper catalogue was produced of the exhibition in 1962 so this book provides a unique opportunity to see all the photographs in a structure and sequence that reflect those devised by Steichen for the original show. Jean Back, Director of the Centre National de l'Audiovisuel, contributes an introduction to the book and the four essays by international writers and teachers on photography discuss the FSA, its place in the history of 20th-century photography and the continuing role of its archive, Steichen and the origins, impact and legacy of the exhibition, and its new location in Luxembourg. The Bitter Years celebrates some of the most iconic photographs of the 20th century and provides a whole new insight into Steichen's impact on the history of documentary photography.
Photography --- poverty --- documentary photography --- farmers [people in agriculture] --- United States of America
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Photography --- Documentary photography --- Ethnology --- Photographie --- Photographie documentaire --- Anthropologie sociale et culturelle --- Social aspects --- Aspect social
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"Coauthored by the literary scholar Sara Blair and the art historian Eric Rosenberg, this volume of the Defining Moments in American Photography series offers new ways to understand the work of the famous Farm Security Administration photographers by exploring an expanded and much more variable idea of the documentary than what New Dealers proposed. The coauthors follow in the line of scholars who have, on the one hand, looked critically at the FSA photography project and identified its goals, biases, contradictions, and ambivalences and, on the other hand, discerned strikingly independent directions among its photographers. But what distinguishes their work from that of others is their wrestling with a specific term often applied to the Depression era: trauma. If it was the case that documentary, as a genre, and FSA photographs, as an umbrella project, came to prominence during a time of trauma and in the hands of socially minded photographers was meant to address and publicize trauma, the coauthors of this volume seek to understand how trauma and photography mixed and how, in the volatility of that mixture, the competing ideas for documentary took shape. Among the key figures they study are some of the most beloved in American photography, including Walker Evans, Ben Shahn, and Aaron Siskind"--Provided by publisher.
Documentary photography --- History --- United States. --- United States --- Economic conditions --- Social conditions
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Documentary photography --- Photography, Artistic --- Parr, Martin, --- Atlanta (Ga.) --- Peachtree Street (Atlanta, Ga.) --- Social life and customs
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