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For more than a decade, the United States has been fighting wars so far from the public eye as to risk being forgotten, the struggles and sacrifices of its volunteer soldiers almost ignored. Photographer and writer Ashley Gilbertson has been working to prevent that. His dramatic photographs of the Iraq war for the *New York Times* and his book *Whiskey Tango Foxtrot* took readers into the mayhem of Baghdad, Ramadi, Samarra, and Fallujah. But with *Bedrooms of the Fallen*, Gilbertson reminds us that the wars in Afghanistan and Iraq have also reached deep into homes far from the noise of battle, down quiet streets and country roadsthe homes of family and friends who bear their grief out of view.


The books wide-format black-and-white images depict the bedrooms of forty fallen soldiersthe equivalent of a single platoonfrom the United States, Canada, and several European nations. Left intact by families of the deceased, the bedrooms are a heartbreaking reminder of lives cut short: we see high school diplomas and pictures from prom, sports medals and souvenirs, and markers of the idealism that carried them to war, like images of the Twin Towers and Osama Bin Laden. A moving essay by Gilbertson describes his encounters with the families who preserve these private memorials to their loved ones, and shares what he has learned from them about war and loss.


*Bedrooms of the Fallen* is a masterpiece of documentary photography, and an unforgettable reckoning with the human cost of war.


Photography --- war photography --- black-and-white photography --- zwart-witfotografie --- oorlogsfotografie

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*Disco Night Sept. 11* is a chronicle of America's wars from 2006-2013. The photographs shift back and forth from the wars in Iraq and Afghanistan to the USA, unsparingly capturing the violent, ceaseless cost, but also the mystery and the madness, the beauty and absurdity at the core of each conflict. The narrative is complemented by nineteen gatefolds which elaborate on places and individuals.

Photographs are fragments, sometimes only loosely tied to important experiences. An extensive text records some of the missing pieces. The stories that precede and follow the moment of the photograph, conversations with soldiers, anonymous graffiti that's part confession, part boast.


Photography --- journalistic photography --- war photography --- fotojournalistiek --- oorlogsjournalistiek --- oorlogsfotografie --- Iran --- Iraq --- United States of America

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From the seconds after a bomb is detonated to a former scene of battle years after a war has ended, this moving exhibition focuses on the passing of time, tracing a diverse and poignant journey through over 150 years of conflict around the world, since the invention of photography. In an innovative move, the works are ordered according to how long after the event they were created from moments, days and weeks to decades later. Photographs taken seven months after the fire bombing of Dresden are shown alongside those taken seven months after the end of the First Gulf War. Images made in Vietnam 25 years after the fall of Saigon are shown alongside those made in Nakasaki 25 years after the atomic bomb. The result is the chance to make never-before-made connections while viewing the legacy of war as artists and photographers have captured it in retrospect. The immediate trauma of war can be seen in the eyes of Don McCullin's Shell-shocked US Marine 1968, while the destruction of buildings and landscapes are documented by Simon Norfolk's Afghanistan: Chronotopia 2001. Different conflicts will also reappear from multiple points in time throughout the exhibition. The Second World War for example is addressed in Jerzy Lewczynski's 1960 photographs of the Wolf's Lair / Adolf Hitler's War Headquarters, Shomei Tomatsu's images of objects found in Nagasaki, Kikuji Kawada's epic project The Map made in Hiroshima in the 1960s, Michael Schmidt's Berlin streetscapes from 1980 and Nick Waplington's 1993 close-ups of cell walls from a Prisoner of War camp in Wales. The exhibition is staged to coincide with the 2014 centenary and concludes with new and recent projects by British, German, Polish and Syrian photographers which reflect on the First World War a century after it began.--Tate website.

fotografie --- documentaire fotografie --- reportagefotografie --- oorlogsfotografie --- landschapsfotografie --- twintigste eeuw --- eenentwintigste eeuw --- negentiende eeuw --- Delahaye Luc --- Broomberg Adam --- Chanarin Oliver --- McCullin Don --- Fukada Toshio --- Norfolk Simon --- Eiichi Matsumoto --- Andrieu Jules --- Antony-Thouret Pierre --- Fenton Roger --- Ristelhueber Sophie --- Peter Richard --- Matar Diana --- Lhuisset Emeric --- Barnard George N. --- Ractliffe Jo --- Goldberg Jim --- Khelif Kamel --- Friedrich Ernst --- Raad Walid --- Vaux Marc --- Domon Ken --- Lewczynski Jerzy --- Simon Taryn --- Tomatsu Shohei --- Lê An-My --- Shunk-Kender --- Shunk Harry --- Kender Janos --- Kawada Kikuji --- Virilio Paul --- Schulz-Dornburg Ursula --- Meiselas Susan --- Ishiguro Kenji --- Schmidt Michael --- Tsuchida Hiromi --- Waplington Nick --- Rosefeldt Julian --- Penalva Joao --- Wilson Jane --- Wilson Louise --- Serpytytè Indrè --- Araki Nobuyoshi --- Shore Stephen --- Madejska Agata --- Sarkissian Hrair --- Dewe Mathews Chloe --- 766.6 --- reportagefotografie (documentaire fotografie) --- Oorlogsfotografie --- 77.044 --- persfotografie en fotoreportage --- Barnard George N