• /the-shot-blog/warphotography-exhibit-catalogue-wins-award

    Congratulations to WAR/PHOTOGRAPHY curators Anne Wilkes Tucker, Will Michels and Natalie Zelt winners of the 2013 Kraszna-Krausz Foundation's Best Photography Book Award for WAR/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath. The awards are the UK’s leading prizes for books published in the fields of photography and the moving image.

    The other award announced by the Foundation is in The Best Moving Image Book ategory. The winner of that award is Hollywood Costume by Deborah Nadoolman Landis. For more information about the Kraszna-Krausz Foundation, click here.

    The 600-page catalogue covers conflicts spanning two centuries and six continents. Pick up your own copy, autographed by Anne and Will along with featured photographers Carolyn Cole, Ashley Gilbertson, Edouard H.R. Glück and David Hume Kennerly when you visit the WAR/PHOTOGRAPHY exhibition at the Photography Space now through June 2, 2013.

  • /the-shot-blog/ron-havivs-photos-documented-yugoslav-wars
    © Ron Haviv/VII

    By Ron Haviv

    In 1991, I covered the beginning of the end of Yugoslavia. By 1992 with new fighting brewing in Bosnia between everyday citizens both Muslim and Serb: I arrived in the town of Bijeljina where the restaurant owner was fighting the candlestick maker and so on and so on. After a few days of fighting the feared Serbian paramilitary leader known as Arkan arrived with his unit, the Tigers. He told me he had arrived to liberate the town from Muslim fundamentalists. I had taken a portrait of him that he liked during the previous war, so he allowed me to accompany one of his paramilitary units as they fought through the town.

    After a few hours we arrived at a mosque. The Serb militia quickly tore down the Islamic flag and replaced it with a Serbian one. They then took one man prisoner almost immediately. I heard some shouting when I was inside and went out to the front of the mosque.

    Across the street an unarmed middle-aged couple were standing against the wall. The woman began screaming and some shots rang out. Her husband fell to the ground. The soldiers were yelling at me not to photograph anything. It was chaotic, dangerous and obvious there was nothing I could do to change things. I had been in a similar situation before, and at that time had promised myself that if I wasn't able to stop an execution, I needed to make sure there was a photograph to document what was happening. I slowly backed away from the soldiers and tried to blend into the background near a crashed truck on the other side of the street. I was able to photograph several frames as the wife tried to help her husband, who lay dying. As I moved back towards the soldiers, more shots rang out and the woman fell to the ground too. Moments later, another woman was brought out and she too was shot.

    Things quieted down for a bit until another prisoner was brought to the soldiers. A young boy in his teens: he was confused and terrified. He managed to break away from the soldiers and to the back of the mosque to escape but was unable to jump over the wall. He had no choice but to return and when he did they shot him. I knew I needed an image with the paramilitaries and the victims in the same frame. That way, there would be no doubt of what had happened.

    The soldiers decided to bring the remaining prisoner back to their temporary headquarters. As most of them left, I stood in the middle of street, framed the shot and as I did one of the soldiers came from my left, cigarette in hand; sunglasses on his head and moved towards the Bosnians as they lay dying on the sidewalk

    After we had arrived at the headquarters, I needed Arkan’s permission to leave. I waited along with a Serbian colleague who had been with another unit. I heard a great crash and looked up to see the first prisoner of that day coming out of a second story window. He crashed at my feet. Miraculously he survived the fall but was quickly beaten by the soldiers, doused with water and brought back into the house.

    Arkan arrived and immediately asked for my film. I had managed to hide some of the film and than proceeded to argue with him for the rest. He said he would process the film and give me back what he liked. I said the labs were terrible and I would process the film and let him edit. In the end, I lost the argument but managed to keep my film.

    The images were published all over the world but to little reaction. The war began officially the following week, killing thousands and creating millions of refugees. In the end I spent more than five years on the ground during the ten years of wars that dissolved the country known as Yugoslavia.

    WAR/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath will show at the Annenberg Space for Photography through June 2, 2013. Learn more about Ron Haviv and his work on his official website.

  • /the-shot-blog/photographer-michael-coyne-his-image-iranian-rehab-center-symbol-futility-and-waste
    © Michael Coyne, Rehabilitation Centre, Iran (1985)

    By Michael Coyne

    Photographer Michael Coyne

    Over a period of eight years, I documented life in Iran at a time when the country was mostly closed to international media. I was there after the Islamic revolution when the religious leaders were at the height of their power, and during the Iran/Iraq war.

    I travelled with a film crew and on one occasion was invited to visit a rehabilitation center for people wounded in the war with Iraq, to see injured men lying in bed or sitting nearby, their limbs swathed in bandages. Because everyone was focused on the film crew, I was able to wander away from the ward, unnoticed, until I came across a room with callipers and artificial limbs piled on the floor and leaning against the wall. On the wall above there was an elaborately framed painting of Khomeini and a verse in Persian, which I later learned was a poem by a Shiite mystic urging dedication to Allah.

    I immediately realized what a powerful image this could be as a symbol of the futility and waste of war. To me, also, it showed what became of the many young men who at, Khomeini’s urging, ran across minefields to clear the way for the advancing Iranian army. It made me angry then, as it still does, to think that the Basij, as they were called, some of them as young as twelve, were persuaded to commit, as I saw it, suicide. Because I was shooting with Kodachrome 11 (ISO 64) in very low lighting, I used a tripod with a cable release but, due to nervousness, bungled the first shots. I then managed to take a number of frames before a medical person came in and angrily asked me to leave.

    Later on, this was one of the 35 photographs published in National Geographic magazine as a photographic essay entitled "Iran Under the Ayatollah."

    WAR/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath will show at the Annenberg Space for Photography through June 2, 2013. Learn more about Michael Coyne on his official website.

  • /the-shot-blog/spotted-space-bill-fagerbakke

    Coach and Spongebob Squarepants star Bill Fagerbakke stopped by the Photography Space to take in WAR/PHOTOGRAPHY during its very first week. Hope you enjoyed this powerful exhibit, Bill. Thanks for stopping by!

  • /the-shot-blog/louie-palu-behind-photograph

    © Louie Palu; U.S. Marine Gysgt. Carlos “OJ” Orjuela, age 31, Garmsir District, Helmand Province, Afghanistan, from Project: Home Front (2008)

    By Louie Palu

    Louie Palu, Kandahar, Afghanistan in 2010

    In the summer of 2008, I spent several months covering frontline fighting around the volatile districts west of the city of Kandahar in Afghanistan. By August I was preparing to move from an area under Canadian Army command in Kandahar to one in neighbouring Helmand Province where the United States Marines had been fighting. When I arrived at the Marine’s headquarters the public affairs officer asked me what I wanted to do. I asked her to send me to the combat outpost located in the worst area with the most austere conditions. I was told to meet a Marine at a tent on the flight path at Kandahar Airfield around midnight and they would take me on a C-130 military aircraft, then a helicopter followed by a heavily armed convoy (a journey totaling several days) and finally arriving in Garmsir District at Forward Operating Base (FOB) Apache North. As expected from my 2+ years covering the war, it was 120 degrees Farenheit everyday, 4-6 patrols per day, no running water or toilet and sand fleas biting me all night.

    At 31, U.S. Marine Gunnery Sergeant Carlos Orjuela was one of the oldest Marine’s in the unit at the FOB. Most of the Marines in the unit were just 21-years-old. The conditions were so rough there that for me what said the most about this place was the faces of these young men. Everyday I spent several hours talking to each Marine and getting to know them, sometimes it took several days to build a connection. When we returned to the FOB at the end of each patrol I took a Marine into an empty bunker where there was natural light and took some portraits of them for about 5-10 minutes. Carlos was the very first Marine I photographed for this body of work.

    WAR/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath will show at the Annenberg Space for Photography through June 2, 2013. Learn more about Louie Palu on his official website.

  • /the-shot-blog/photos-warphotography-opening-gala

    Last night was the opening party for our 11th exhibit, WAR/PHOTOGRAPHY. The show opens to the public on Saturday, March 23, 2013.

    As you might expect, The show is very powerful and quite moving. It is a difficult yet very important subject matter.

    It was also a great opportunity to see photographers whose images are featured in the exhibit get together with photographers from our past shows. Seen here are Barbara Davidson (2010 Pictures of the Year), Kirk McKoy (Los Angeles) and Nick Ut (WAR/PHOTOGRAPHY).

    Two Pulitzer Prize winners whose work is in WAR/PHOTOGRAPHY: David Hume Kennerly and Nick Ut.

    Here is Beauty Culture featured photographer Lauren Greenfield with (and another Pulitzer Prize winner!) Barbara Davidson.

     Also in the crowd was actor and SHFT co-founder Adrian Grenier.

    Around halfway through the event, attendees gathered in the Digital Gallery of the Space to view the original short documentary film. At the conlusion of the film, there were more than a few guests who were moved to tears.

    Here's a shot of some of the photographers whose work is in WAR/PHOTOGRAPHY: (From left to right) Carolyn Cole, Ashley Gilbertson, Nick Ut, Luis Sinco, Hayne Palmour IV and Edouard H.R. Glück.

    The show opens to the public tomorrow, March 23 and runs through June 2, 2013.

    Photos by Unique Nicole for the Space

    Blog Tags: War/Photography, Exhibit
  • /the-shot-blog/who-shot-rock-roll-film-goes-tribeca

    We're very excited and proud to announce that The Annenberg Space for Photography’s original exhibition documentary, WHO SHOT ROCK & ROLL: The Film, has been selected as an official entry in the 2013 Tribeca Film Festival. The short film will be in the category of "Shorts in Competition: Documentary." You may recall the film was part of last summer's record-breaking show, WHO SHOT ROCK & ROLL and features photographs, interviews and behind the scenes footage with acclaimed photographers Ed Colver, Henry Diltz, Jill Furmanovsky, Lynn Goldsmith, Bob Gruen, Norman Seeff, Mark Seliger and Guy Webster. as well as musicians Henry Rollins, Debbie Harry, Noel Gallagher and several others.

    WHO SHOT ROCK & ROLL: THE FILM will screen for the public over several days at the Tribeca Film Festival.

    For more information about tickets for press or the general public click here.

    Public Screening Schedule    Date       Time     Venue
    Premiere Screening 4/20/2013 12:00 PM         AV71
    2nd Screening 4/23/2013 9:30 PM         CCC9
    3rd Screening 4/26/2013 7:00 PM           CCC5
    4th Screening 4/28/2013 5:00 PM           TC2
           
    Press & Industry Screening Schedule    Date Time    Venue
    Press Screening 4/23/2013 10:30 AM     CCC9

    Screening Venues

    Chelsea Clearview Cinemas (CCC5 & 9)
    260 West 23rd Street
    (between 7th and 8th Avenues)
    New York, NY 10011

    AMC Village 7 (AV7-1)

    66 Third Avenue @ 11th Street
    New York, NY 10003

    Tribeca Cinemas (TC2)
    54 Varick Street
    (Below Canal Street, at Laight Street)
    New York, NY 10013

    Last year, our short film Beauty Culture screened at Tribeca.

    Watch the trailer for WHO SHOT ROCK & ROLL: The FIlm here.

  • /the-shot-blog/learn-more-about-photo-warphotography
    Private First Class Wayne C. Weidner, assumed American, dates not known
    Personnel of Battery B, 937th Field Artillery Battalion, US 8th Army, Attached to the IX US Corps, Fire Their Long Toms on Communist Targets in Support of Elements of the 25th US Infantry Division on the West Central Front, Near the Village of Nunema, Korea, 1951

    This powerful photo from our upcoming War/Photography exhibit was taken by Private First Class Wayne Weidner during the Korean War. Want to know how the image was photographed? An excerpt from the accompanying 600-page exhibit catalogue, soon to be on sale the day the show opens on March 23, explains:

    Another artillery photograph in this section was taken during the Korean War of personnel in Battery B, 937th Field Artillery Battalion, U.S. 8th Army, firing on Communist targets in support of the 25th U.S. Infantry Division near the village of Nunema, Korea (1951). The self-propelled guns seen in this photograph are artillery placed on a motorized chassis capable of rapid maneuver. “Fast-moving forces of armored infantry and tanks needed their artillery to keep pace with the advance,” wrote Jeffrey Hunt. “Weapons of this type could be brought into action very quickly and with devastating consequences for an enemy caught unprepared or above ground. And, as in this picture, the firing of heavy guns, whether on land or aboard ship, is a visually stunning spectacle.” Taken at night, the camera’s lens was held open until both guns had fired, illuminating the scene with explosions and the reflected light from the snow.

    Click here to watch a preview of the exhibit.

  • /the-shot-blog/presenting-warphotography-video-trailer

    Our next exhibit, WAR/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath, debuts next month. The show, organized by The Museum of Fine Arts, Houston, will include over 150 images that present both the military and civilian point of view of war. Mark your calendars - WAR/PHOTOGRAPHY opens Saturday, March 23, 2013 Watch the video teaser for the exhibit above.

  • /the-shot-blog/exclusive-interview-photographer-steve-mccurry

    Famed Steve McCurry talks about his photography in this video produced for our current exhibit, no strangers.

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