Wednesday, September 21, 2011

The Faces of Famine
BY TYLER HICKS




A malnourished child at Banadir Hospital in Mogadishu, Somalia. More than 500,000 Somali children are verging on starvation.
Photo by Tyler Hicks
Famine is sweeping across southern Somalia and sending a stream of desperate people into Mogadishu. Tens of thousands of children are said to be dying there, and there's not enough help to meet the demand for food and medical care. The Shabab, the Islamic militant group with ties to Al-Qaeda, has made delivery of aid to remote areas, and even to the capital Mogadishu, not only difficult but also unreasonably slow, further reinforcing the crisis.

I was recently on assignment to photograph the crisis in Mogadishu. Just a few miles from where our plane landed I was taken to a refugee camp where hundreds of new arrivals, those who walked there with their belongings – and children – on their backs, waited for help and a place to settle. The sight of foreigners, and their hope that help had arrived, created a steady appeal for help. A bundle under a woman's arm revealed an emaciated child, then another in the same state carried by someone else. I motioned to my camera in an attempt to show I was with the news media and couldn't help them with what they needed: food, clean water, medicine, mosquito nets, shelter.

The worst cases were at the crowded hospital. That's where I found the hardest hit, mostly children, some unable to walk or even sit up, others vomiting and all suffering from dysentery. In the hallway every available surface was used for another sick child. I've seen bad conditions in hospitals, but this was one of the worst. Swarms of flies infested the mouths and eyes of children too weak to move. Their parents spent the day swatting the flies away from them and doing whatever else they could to keep them alive. I photographed a father carrying his lifeless daughter, wrapped in cloth, out of the hospital for burial.

Mogadishu is unsafe for foreigners, and journalists rely on local fixers and security to help do our job. Time on the street is very limited, and you're never left in one place for long before moving. This means you're forced to work quickly, even inside the hospital. I found this frustrating, but I reminded myself to trust our guides and allow them to make those decisions.

In early August, The New York Times ran a front-page photograph of a child who was reduced to the frail framework of a starved body. The image showed the child in a fetal position, arms wrapped around the head, almost in a protective gesture. I could see that this image, however disturbing to view, would give proof of how desperate the situation had become.

I enthusiastically support the image chosen for Page 1. The public reaction was overwhelmingly positive, and a reminder of the impact The Times can generate – not only among our readers, but also among other news media organizations and humanitarian aid groups. This is an example of the raw, unfiltered definition of news photography. It doesn't happen every day, and it might not come your way in the course of a year. But sometimes you land on a story, a cause, something that has meaning to you, and the resulting photographs have an impact. They are seen and spur reaction. In a digital age, that's when you're reminded of the impact that a still, motionless photograph can have.

Professor Ray in NY Magazine

Check me out:
http://nymag.com/guides/everything/urban-surfing/teachers-2011-9/

Looked better in print, was a nice full page bleed!

OPENINGS THIS WEEK

The DART Board: 09.20.2011
By Peggy Roalf   Tuesday, Sept. 20, 2011

Thursday, September 22

Opening reception, 6-8 pm: Milton Resnick: The Elephant in the Room. Cheim & Read, 547 West 25th Street, NY, NY.

Opening reception, 6-8 pm: Nicholas Krushenick: A Survey. Gary Snyder Gallery, 529 West 20th Street, NY, NY.

Opening reception, 6-8 pm: Firooz Zahedi: Elizabeth Taylor in Iran. Leila Heller Gallery, 568 West 25th Street, NY, NY.

Opening reception, 6-8 pm: Into the Abyss. Witzenhausen Gallery, 547 West 27th Street, #508, NY, NY. RSVP.

Aperture and the School of Visual Arts presents An Evening with Diane Arbus and Marvin Israel, featuring a slide show and talk by Diane Arbus (1970)and a screening of Who is Marvin Israel (2005). SVA Theater, 333 West 23rd Street, NY, NY. Free. Coinciding with the release of Diane Arbus: A Chronology
and newly reissued Diane Arbus: An Aperture Monograph and Untitled: Diane Arbus.

Opening reception, 6-9 pm: New York Portraits and Poetry: Photographs by Benjamin Fractenberg; Poetry by Lucas Hunt. Mark Miller Gallery, 92 Orchard Street, NY, NY.

Book signing, 7 pm, with Adrian Tomine for Optic Nerve #12 (Drawn & Quarterly 2011). Desert Island, 540 Metropolitan Avenue, Brooklyn, NY.

Center for Photography at Woodstock 33rd Annual Benefit Preview Events
Friday, 6-9 pm: Opening reception
Saturday, 11am-8pm: preview. Saturday, 5-7 pm: Collecting Photographs 101 with Alice S. Zimet, followed by a panel discussion with Howard Greenberg, Wm. Hunt and guests.
Sunday, September 25, 11am-5 pm: preview. 111 Front Street, Suite 200, DUMBO, Brooklyn, NY. Information. Preview the 2011 auction.

Friday-Sunday, September 23-25: The DUMBO Arts Festival, which attracts 200,000 visitors over 3 days with the participation of over 500 artists from a variety of disciplines, 100 studios, 50 galleries and stages and 100 programming partners. The official Festival hours are Friday 6pm to 9pm, Saturday 12pm to 8pm, Sunday 12pm to 6pm and 6pm to midnight all three nights for all outdoor projections. Information.

Friday, September 23

Opening reception, 6-8 pm: Walking Forward, Running Past | 30th Annual Exhibition at Art In General. 79 Walker Street, NY, NY.

The Cullman Center at NYPL presents: Stacy Schiff discussing her acclaimed biography, Cleopatra. New York Public Library, Fifth Avenue at 42nd Street, NY, NY. Tickets.

Opening Day for David, Delacroix, and Revolutionary France: Drawings from the Louvre. Morgan Library and Museum, 225 Madison Avenue at 36th Street, NY, NY.

Saturday, September 24

Creative Time presents Living as Form, featuring work by over 100 artists and projects, 25 curators, and 9 new commissions highlighting 20 years of socially engaged art. The Historic Essex Street Market, corner of Essex and Delancey Streets, NY, NY. Information. Free and open to the public.

Monday, September 26

Panel discussion, 6:30 pm: The Architectural League presents | Irish Architecture Now,  with Merritt Bucholz and Karen McEvoy; Niall McCullough; and Shih-Fu Peng, with an introduction by Raymund Ryan and a response by Kazys Varnelis. The Great Hall, Cooper Union, 7 East 7th Street, NY, NY. Information.

Discussion, 6:30-8 pm: Rock the Casbah | The New Social Order of the Middle East. with Robin Wright Journalist and Foreign Affairs Analyst and author. NYU Abu Dhabi, 19 Wasington Square North, NY, NY. RSVP.

Tuesday, September 27, 6:30 pm: The Interrupters | Screening and Q+A with Director, Steve James (Hoop Dreams, The New Americans). Miller Theatre, 2960 Broadway, at 116th Street, NY, NY. Information.

This week’s DART Picks:

Wednesday, September 21, 6-9 pm: Book signing with Gary Taxali for I Love you, OK? and Mono Taxali. Art Gallery of Ontario, 317 Dundas Street West Toronto, Ontario Canada M5T 1G4. Call 1-877-225-4246 or 416-979-6648. Information.

Saturday, September 24, 8pm: Andrea Modica on portraiture. Center for Photography at Woodstock, NY. 59 Tinker Street, Woodstock, NY. Information.

Volunteer Lawyers for the Arts solicits applications from professional visual artists, arts writers, and curators for its Art & Law Residency Program 2012. Program dates: January 2012 through August 2012. Application deadline: Monday October 17, 2011. Information.

Thursday, September 8, 2011

Andrew Moore's Detroit Disassembled at the Queens Museum of Art


The Queens Museum of Art is pleased to host Detroit Disassembled: Photographs by Andrew Moore, organized by the Akron Art Museum. The exhibition of thirty large scale photographs will be on view August 28th 2011 - January 15th 2012, with an opening celebration on September 18th.
During 2008 and 2009, Moore spent 3 months in Detroit. Once the epitome of American industrial wealth and might, the Motor City has faced declining population and economic distress for half a century. From an abandoned chemistry lab at Cass Technical High School to a house on the East Side’s Walden Street entirely covered with ivy to the bright green moss covering the floor of Ford Motor Company’s former headquarters, Moore’s photographs depict the remains of an eroding US industrial base amidst a strangely beautiful sense of decay. These highly detailed color photographs of the city, some of which are as large as 62 x 78 inches, belong to an artistic tradition of depicting ruins that began in the 17th century. Moore’s exquisitely realized visions of architecture overtaken by vegetation remind contemporary viewers that our own, familiar culture is subject to the forces of entropy and the eternal strength of nature.
In order to contextualize Detroit Disassembled within Moore’s career, selections from his earlier series on Russia and Cuba have been brought together in a small ancillary exhibition on the second floor. In these works, as in Detroit Disassembled, time and nature have reasserted themselves over architecture and domestic space.
Detroit Disassembled: Photographs by Andrew Moore will be accompanied by extensive public programming, with talks and workshops on photography, beauty, and urbanism inspired by the past and future of Detroit.
This exhibition is organized by the Akron Art Museum and made possible by a major gift from Fred and Laura Ruth Bidwell with additional support from the John A. McAlonan Fund of Akron Community Foundation. The accompanying publication is underwritten by Fred and Laura Ruth Bidwell with additional funding from the Elizabeth Firestone Graham Foundation.
The presentation of this exhibition at the Queens Museum of Art is made possible through the generosity of the Charina Endowment Fund and The Robert Mapplethorpe Foundation

Pieter Hugo at Yossi Milo, from Design Arts Daily

Pieter Hugo at Yossi Milo Gallery
By Peggy Roalf   Thursday, Sept. 8, 2011

The Fall art season that launches tonight in Chelsea is poised for a sensational moment, judging from the preview visits I made to a number of galleries yesterday afternoon. Perhaps the most compelling, from a human perspective, is Pieter Hugo’s recent view of isolated societies in Africa, at Yossi Milo Gallery.

Untitled, Agbogbloshie Market, Accra, Ghana, 2010. From the series Permanent Error. Copyright Pieter Hugo, courtesy Yossi Milo Gallery.

Permanent Error, the title of this body of work, depicts the people who work in Agbogbloshie, a massive dump-site for technological waste on the outskirts of Ghana’s capital city. Their job is to dismantle and burn the components to extract bits of copper, brass, aluminum and zinc for resale.

While it is illegal, globally, to traffic in the resale of this type of toxic refuse, the sheer amounts of material that threatens to consume the consumers who originally purchased the items has resulted in a black market revenue stream that threatens to destroy the most vulnerable societies in Africa and elsewhere.

According to the press release, tons of outdated and broken computers, computer games, mobile phones and other e-waste are shipped to the area as “donations” from the West, under the guise of providing technology to developing countries. Rather than helping to bridge the digital divide, however, the equipment is transformed into noxious trash threatening the health of the area’s inhabitants and contaminating the water and soil.

In the large-scale prints on view, Hugo’a style in coloration, which involves an almost monochrome tonality that capitalize on a cool, purple cast, has never better emphasized the cruel conditions in which these young men and women from impoverished families toil. The subjects are clearly engaged with the photographer’s mission, or perhaps more plainly, with his empathy. When Hugo asked the inhabitants what they called the pit where the burning takes place, they repeatedly responded: 'For this place, we have no name'. One after another seeks Hugo’s gaze; in their eyes, we observe something we most likely have never – or will ever – experience for ourselves.

Hugo never goes for shock value in the conditions he finds in Agbogbloshie, and in Permanent Error, his restraint is underscored through his depictions of farm animals who have become fatally enmeshed by this toxic landscape. Their inevitable peril is perhaps more evident than that of their human minders. Signed copies of the book, Permanent Error (Prestel 2011) are available at the gallery, and also at a book signing at Dashwood Books on Friday from 6 to 8 pm.

Opening reception for the artist, Thursday, September 8, 6-8 pm. Yossi Milo Gallery, 525 West 25th Street, NY, NY.

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