Opening at Jaffa Theatre on Thursday as part of Tel Aviv’s Solidarity Festival, an exhibition will feature the work of Activestills, including Gaza photographer Basel Yazouri. Having joined Activestills a few months before last summer’s offensive, his work…
Marcus Bleasdale, winner of the Robert Capa Gold Medal from the Overseas Press Club, has worked with nongovernmental organizations that have used his images to get the attention of policy-makers and power brokers.
A Short Film about War is a narrative documentary artwork made entirely from information found on the worldwide web. In ten minutes this two screen movie takes viewers around the world to a variety of war zones as seen through the collective eyes of the online photo sharing community Flickr, and as witnessed by a variety of existing military and civilian bloggers. As the ostensibly documentary 'film' plays itself out on one screen, a second screen logs the provenance of images, blog fragments and GPS locations of each element comprising the work, so that the same information is simultaneously communicated to the viewer in two parallel formats -on one hand as a dramatised reportage and on the other hand as a text log. The artists offer this tautology in an attempt to explore and reveal the way in which information changes as it is gathered, edited and then mediated through networked communications technologies or broadcast media, and how that changes and distorts meaning -especially for the world's users of high speed broadband networks, who have become used to the treacherously persuasive panoptic view that Google Earth (and the worldwide web) appears to give us.
After nearly 20 years of award-winning reporting around the world, Ami Vitale came to the brink of leaving photojournalism over a tweet. Through her experience corralling a misappropriated image gone viral, Ami reminds us that today's photographer must be business savvy, ethical and legally informed.
“A Short Term Memory Of Atrocity” is an attempt at experiencing history; a nostalgia, an archive of moments of a war, structural violence and the persistence of an invisible conflict. It isn’t specific to a particular district or an issue, or a clearly defined political or economical conflict, yet is an attempted comprehensiveness of a [...]
"This conflict isn’t democracy versus radical jihad. The real conflict is imperial capitalism versus anything in its path. The path leads to “one of the greatest material prizes in history,” the treasure of oil and natural gas that lay beneath Middle Eastern soil. Just think of the margins to be had. No shale to frack. No tar sands to purify. No seas to plunge. Just desert soil to ply."
Consider two tragic events that took place last week. A small cell of Islamic terrorists attacked cartoonists at the satirical magazine Charlie Hebdo and shoppers in a Paris supermarket, killing 17 people…
Scholar and activist Glen Coulthard on the connection between indigenous and anticapitalist struggles.
Demonstrations against the police murders of Eric Garner and Mike Brown in recent months have adopted tactics that, to me at least, seem reminiscent of some indigenous practices in Canada: the seizing and blocking, if only temporarily, of major public infrastructure, for instance.Do you see connections in these struggles?
The blocking tactic, the impeding of critical infrastructure and flows of capital through that tactic is an important one, but more so, I think the expressions of anger and outrage and resentment towards a state that is profoundly violent, colonial and racist is really where I see the relationship.
For 70 years, John Morris, former London Picture Editor ofLIFE magazine, has worked tirelessly at the self-assigned task of persuading the world that on June 7, 1944, in the darkroom of LIFE‘s London office, the brief shutting of the doors of a heated makeshift film-drying cabinet by one Dennis Banks, an overzealous teenage la bassistant, destroyed all but eleven frames of Robert Capa’s D-Day films from Omaha Beach.
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