Historia, Memoria y Silencios

Vaschetti, Lorena Guillén

Schilt Publishing

Smoking youths have traditionally had an air of rebelliusness about them. In the ten years that he has been following and recording youth culture, the Dutch documentary photographer Martijn van de Griendt has attempted to capture this phenomenon. He shows the role smoking plays today in a time when smoking is increasingly  being banned from daily life. Since the 1990s van de Griendt has been fascinated by the Western society he lives in, especially youth culture. His style is characterized by crisp, bright colors, but his photos have a raw element and a 'close to the skin' feeling. Smokin' Boys Smokin' Girls is a selection from Martijn van de Griendt's youth work. Marcel vanRoosmalen contributes a touching story about being young, smoking, and getting old.

Smokin' Boys Smokin' Girls

Arts & Photography

Photography & Video

'The continuing human tragedy of Congo is not a statistic. It is a continuing human tragedy. It is fourteen hundred and fifty tragedies every day. It is countless more than that if you includ the orphaned, the bereaved, the widowed, and all the riples of truncated lives that spread from a single death. It is you and me and our children and our parent, if we had the bad luck to be born into the world this book portrays. But Congo has one secret that is hard to pass on if you haven't learned it at first hand. Look carefully and you will find it in these pages: a gaiety of spirit and a love of life that, even in the worst of times, leave the pampered Westerner moved and humbled beyond words." Excerpt from the foreword.

The Rape of a Nation

This book provides an unusual loook at cultural and political life in the U.S. over nearly three decades of change and stability. It combines the individual projects of photographers Fredrick Baldwin and Wendy Watriss as well as their combined 13 year documentary collaboration on three different cultural frontiers in Texas. What connects all of these projects is the artists' commitment to exploring social history beyond the cliches of class and race. In Wendy Watriss's Vietnam work, the images emerge from a sense of outrage at the injustice perpetrated on U.S. veterans of the Vietnam War by their own government. In Frederick Baldwin's Civil Rights work in Georgia and the lives of poor whites, the images provide an intimate glimpse of people's survival in their struggle for dignity and justice. These works honor the strength and beauty of these struggles. The photographs shown in Looking at the U.S. reveal the human face of a complex and fascinating history that has particular relevance to the values and political philosophy of the momentous political changes in the U.S.

Looking at the U.S.: 1957-1986

A stifling and exceptional book that displays all the superlatives that describe China: huge, unstoppable, terrifying, incomprehensible, fascinating, beautiful....

Chongqing -- City of Ambition

Jane Hilton's first visit to North America was to Arizona in 1988. The enormous wide-open spaces, desert highways, and vast skies were the biggest contrast she had ever experienced to growing up in suburban England. This, combined with the warm memories of spending Sunday afternoons watching westerns with her father has contributed to Hilton's affection for the wild west. There is definitely a romanticism that is associated with the gun-slinging cowboy, defending his land his moral code. These displays of heroism have been reinforced in novels such as Owen Wister's The Virginian (1902), and films such as John Ford's Stagecoach (1939), with the iconic John Wayne. American culture has been defined by the west, and the 'American Dream' evolved from it. The pioneering days of the gold rush and the evolution of towns such as Las Vegas illustrate the mantra of the people; anything is possible in America. Dead Eagle Trail is a culmination of numerous road trips Jane Hilton has taken across the States while documenting the American culture. This book is a celebration of the west, from the buckaroos of Nevada to the cow punchers of Arizona. Cowboys are photographed in their own homes, surrounded by western artifacts. The need to hold onto their heritage is clearly visible. As the price of petrol and animal feed rises, the ranches struggle to survive and the cowboy of the twenty-first century could become extinct.

Dead Eagle Trail: America's Twenty-First Century Cowboys

Quentin Bajac, world recognized photo curator and Head of the Photography Department at the Museum of Modern Art, Centre Georges Pomidou in Paris had a conversation with photographer Martin Parr, which set the chapter outline for this book.
Martin Parr was born in Epsom, Surrey, UK in 1952. When he was a boy, his budding interest in the medium of photography was encouraged by his granfather Geroge Parr, himself a keen amateur photographer.
Parr studied photography at Manchester Polytechnic, from 1970-1973. Since that time, Martin Parr has worked on numerous photographic projects. He has developed an international reputation for his innovative imagery, his oblique approach to social documentary, and his input to photographic culture within the UK and abroad.
In 1994 he became a full member of Magnum Photographic Corporation. In recent years, he has developed an interest in filmmaking, and has started to use his photography within different conventions, such as fashion and advertising.
In 2002 the Barbican Art Gallery and the National Media Museum initiated a large retrospective of Parr's work. This show toured Europe for the next 5 years.
Parr was appointed Professor of Photography in 2004 at The University of Wales Newport campus. He was Guest Artistic Director for Rencontres D'Arles in 2004. In 2006 he was awarded the Erich Salomon Prize and the resulting Assorted Cocktail show opened at Photokina. In 2008 he was guest curator at the New York Photo Festival, curating the New Typologies exhibition. At PhotoEspana, 2008, he won the Baume et Mercier award in recognition of his professional career and contributions to contemporary photography.

Parr by Parr: Discussions with a promiscuous photographer

Bajac, Quentin

On January 1st, 2001, shortly after midnight, a fire broke out in cafe De Hemel (Heven cafe) in Volendam, where several hundred young people were celebrating New Year's Eve. The highly inflammable Christmas decorations caught fire and in no time the cafe packed with revellers was transformed into a living hell. Some sixty young people suffered severe burns. In the ensuing panic, several of them lost their lives, either being trampled to death or suffocated, or as a result of fatal burns. This total would ultimately rise to forty. Hundreds of others were injured, many severely. Young people were disfigured for life and became disabled as a result of the terrible burns over the whole of their bodies.In 2003 photographer Suzan van de Roemer made portraits of the fire victims. Without a trace of sensationalism, just as they were. She also talked with them about their hopes for the future. The exhibition of this work in the Melweg Galarie in Amsterdam in January 2004 left an indelible impression on both those portrayed and on the visitors.In 2010, seven years later and ten years after the fire, she photographed the group again. The youths have now become young adults and have demonstrated more resilience than has been expected.

The Power of Resilience: Survivors of the Volendam Blaze

At the age of 23, immediately following the Twin Tower attacks, Kate Brooks moved to Pakistan to photograph the impact of the U.S. foreign policy in the region. It was the start of a 10 year odyssey covering world changing events, from the hunt for Osama bin Laden in the mountains of Tora Bora and the American invasion of Iraq, to Lebanon's disenfranchised Palestinian population and the country's power struggles with Syria and Israel, the protests in Egypt's Tahrir Square and the beginning of the war in Libya. 
In the LIght of Darkness interweaves a selection of those images with a series of personal essays chronicling Brooks' own journey as a young woman, from 9-11 to the Arab Spring uprisings of early 2011. Her images capture the harsh beauty and poignant pain of a region mired in conflict while her words trace a personal narrative of loss--of friends, of colleagues and of innocence. 
Kate Brooks' photographs have been published in TIME, Newsweek, The New Yorker, Smithsonian, The Atlantic, The Wall Street Journal and The New York Times. A retrospective of her work was on exhibit at the Southeast Museum of Photography in 2011 -- www.smponline.org or www.katebrooks.com. Ms. Brooks has been the recipient of numerous awards and her photographs have been exhibited in the U.S., Europe, and the Middle East.

In The Light Of Darkness: A Photographer's Journey After 9/11

Brooks, Kate

Individual Artists

Chilikov's photography career began in 1976 in the FACT group (S. Chilikov, Y. Evlampiev, V. Voetsky, E. Likhosherst, V. Mikhaylov). Very soon he became a leader of non-conformist photography in his region. Together with a group of like-minded individuals, he managed to organize exhibitions and festivals and to deal quite peacefully with official Photosoyuses. In 1980-1989 Chilikov organized the Analytical Photo Exhibitions ( Yoshkar-Ola biennale) and the annual open-air  photo festival on Kudysh River. In 1988 he participated in the finial exhibition of the FACT group at the Na Kashirke exhibition hall (Moscow).Since 1989 Chilikov has been working on a travel series about cities in the Soviet Union. His series, entitled ' Photo Provocations', 'The Countryside Glam', The Beach', 'The Gambling', 'The Philosophy of a Journey'  and others, depict the hidden eroticism of people of the countryside that appears even more vital when contrasts with depressing surroundings.

Selected Works 1978- : Sergey Chilikov

Chilikov, Sergey

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