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Though he was initially optimistic about the United States’ society and culture, Frank’s perspective quickly changed as he confronted the fast pace of American life and what he saw as an overemphasis on money. He now saw America as an often bleak and lonely place, a perspective that became evident in his later photography. Frank’s own dissatisfaction with the control that editors exercised over his work also undoubtedly colored his experience. He continued to travel, moving his family briefly to Paris. In 1953, he returned to New York and continued to work as a freelance photojournalist for magazines including McCall’s, Vogue, and Fortune. Associating with other contemporary photographers such as Saul Leiter and Diane Arbus, he helped form what Jane Livingston has termed The New York School of photographers (not to be confused with the New York School of art) during the 1940s and 1950s.
Portraits of Britain is a new contest created by the British Journal of Photography. Here is the final shortlist, and the winners will be announced very soon. All the best images will be published in a book.
Gavin Li, Portrait of Britain 2018
David Cummings, Portrait of Britain 2018
Dan Wood, Portrait of Britain 2018
Paul Wenham-Clark, Portrait of Britain 2018
Greg Woodward, Portrait of Britain 2018
Greg Funnell, Portrait of Britain 2018
Sarah Lee, Portrait of Britain 2018
Inzajeano Latif, Portrait of Britain 2018
Stephen Iliffe, Portrait of Britain 2018
Conducted in close collaboration with James Nachtwey and Roberto Koch, this exhibition is the largest ever retrospective dedicated to the work of the photographer. Through his look, it proposes a remarkable reflection on the theme of war, the scope of which is necessarily collective.
Ten-seven different sections constitute the route of exposure, forming a set of nearly two hundred photographs. They offer a broad panorama of the reports the most significant James Nachtwey: El Salvador, the Palestinian Territories, Indonesia, Japan, Romania, Somalia, the Sudan, Rwanda, Iraq, Afghanistan, Nepal, the United States with among others a singular testimony of the attacks of 11 September, as well as of many other countries. The exhibition ends on a news story dealing with immigration in Europe, today more than ever a topical.
It brings together as well the photographs of the one that can be considered as the photojournalist the most prolific of these last decades, an observer exceptional of our contemporary world and probably one of its witnesses the most perceptive.
James Nachtwey, whose career is marked by numerous prizes and awards in a variety of areas, is globally recognized as the heir of Robert Capa. Its moral force and its social commitments and civilians were led to devote his entire life to the Photograph. Sudan, Darfur, 2003 © James Nachtwey Archive, the Hood Museum of Art, Dartmouth
It captures the most extreme conditions of human life – which do not take that too often the forms of hell on earth – thus the witness epic in the cruelty of the war. It has continuously been to photograph the pain, injustice, violence, and death. But for that it never is forgotten the suffering and loneliness human, it creates images of a dizzying beauty, spotlessly framed and informed, and to the effects quasi-film. The extraordinary beauty and infinite tenderness which emanate from are all means to fight and resist.
In a posture always compassion, it captures scenes and contexts: in Bosnia, in Mostar where a sniper aims through a window, famine in Darfur, the sick of tuberculosis or even the terrible effects of Agent Orange in Vietnam. Among its images the most emblematic, we think immediately to which represents a young boy of Rwanda, a survivor of a concentration camp Hutu, the face Scarface. Also Come in mind the photographs of the second intifada in the West Bank, where Nachtwey was then in the first line. It depicts the war since 40 years, showing without detour the fate of the populations that are the terrible experience. As of September 11, 2001, when the war reached “at home,” on American soil, during the attack on the twin towers, followed by the war in Iraq and Afghanistan. The images of James Nachtwey reveal humanity mutilated by the violence, devastated by disease and hunger, a tolerance which, by nature, seems to go astray.
“I wanted to become a photographer to enter the war. But I was pushed by the natural feeling that an image that would expose without detour the true face of a conflict would be, by definition, a photograph anti-war”.
Bosnia and Herzegovina, Mostar, 1993 © James Nachtwey Archive, the Hood Museum of Art, Dartmouth
“The memory is an essential thing that we have to imagine the future and prevent the errors of the past. Through his photographs and his words, James Nachtwey reminds us that if we are unable to the remembrance of the past, we will be condemned to perpetual its repetition.
For nearly forty years, James Nachtwey photograph the pain, injustice, violence, and death. This death if particular which knows neither the fullness of old age or the heat of the loved ones, but who has the eyes of a child, the emaciated hands of a woman or a man’s face that poverty has ravaged. What the fact Hold, costs that, within this “grieving community” that form our human condition. In this maelstrom of “eternal pain,” it is this belief infallible that the photojournalism, in what he has led, can still influence public opinion, as the first milestones in a history book that would remain to write.
Born in Syracuse in the State of New York in 1948, James Nachtwey grew up in the 1960s. Its eyes are a flood of images of the Vietnam War and marches for the civil rights. Quickly, he feels how vital it is to testify and, through its work, it, therefore, commits to combat the hypocrisy, which if we often, in fact, divert our gaze, as much as our conscience. The reportage in Romania, which follows the fall of the Berlin Wall and the collapse of the USSR, marks a point of no return. The doors are starting to open. As those of a hell on earth, an orphanage where a dramatic crime against humanity had to be committed. The painful reality the spoiled up to the marrow: “I wanted to flee, I did not want to watch later. But it had become a test. Had to do I steal or well assume full responsibility to be there, with my photographic camera?”.
These glances panicked, seized in a massive plan, occur as infernal circles. For example, the famine in Somalia, “where the deprivation of food is used as a weapon of mass destruction and, where, since the middle of the year 1992, epidemics and hunger have caused the death of more than 200 000 people”. Sudan also, devastated by war and famine, as well as the Bosnia in 1993, Rwanda in 1994, Zaire or even the Chechnya. The objective of James Nachtwey also aims poverty in India and Indonesia, the scourge of AIDS, the drug or tuberculosis, but also the acts of love of the relatives who remain at the bedside of patients.
Then comes September 11, 2001. The war, which had not affected the more prosperous part of the globe since sixty years, returns to the West. This history to mark a new turning point. Nachtwey documents the wars that ensue in Afghanistan, Iraq, and that recall the errors of the past bitterly. His compassion inspired him an unfailing sense of empathy toward those who suffer, populations traumatized by the earthquakes, like in Nepal, in Haiti or Japan, and by the tsunami that struck Indonesia. Then it coexists with the terrible contemporary tragedy of migrants in Europe, among us, where hundreds of thousands of people are forced to flee to try to survive in an elsewhere that they imagine a land of hope and the home.
Nachtwey writes: “My photographic work is linked to the human instinct, the one who wins when the rules of the Civilization and the socialization fly in brilliance. At this time, the law of the jungle takes over. Violence and land claims are then needed, spoofing with them their batch of cruelty, terror, and suffering, but also a spirit of ancestral survival. It is a dark mechanism and frightening, and I am trying through my work to make a share of spirituality. Essentially the compassion.”
A COMPASSIONATE GAZE is a look of knowledge, conscience, and memory: the only possible antidote against this obscure scope, this heart of darkness that takes its horrific load by the yardstick of what the whole man is capable. We look at the images of Nachtwey, and we know now: we cannot forget ever again. ” Roberto Koch Co-Commissioner of the exhibition New York, 2001
© James Nachtwey Archive, the Hood Museum of Art, Dartmouth
James Nachtwey is born in 1948 in Syracuse in the State of New York (USA). He studied the history of art and political science at Dartmouth College from 1966 to 1970. In 1976, he worked as a photojournalist for a newspaper in New Mexico and then, in 1980, he moved to New York as a freelance photographer for various magazines. It is from 1981 that James Nachtwey will devote themselves entirely to photograph the war and social unrest Major. It covers the conflicts in the world, convinced that the awareness of the public remains essential to cause the change, and the photographs of war disseminated by the media can trigger a real consciousness to act in favor of peace.
In Europe, it documents the breakup of the former Yugoslavia, the war in Chechnya and the civil unrest in Northern Ireland. In Africa, it photography the genocide in Rwanda, the famine which becomes a “weapon of mass destruction” in Somalia and Sudan and the struggle for the Emancipation in South Africa. It documents the civil wars which gobble up Central America in the years 1980, El Salvador in Nicaragua in passing by Guatemala, as well as the invasion of Panama by the United States. In the Middle East, it covers the conflict Israeli-Palestinian since more than twenty years as well as the civil wars in Lebanon and, more recently, the war in Iraq, where a grenade explosion wounded him. It begins to work in Afghanistan during the years 1980, photographing the resistance in the face of the Soviet occupation, then the Afghan civil war and the offensive against the Taliban in 2001. In 2010, he shot military fighting Americans in the Helmand, Province in the south of Afghanistan. Elsewhere in Asia, it documents the guerrillas in combat in Sri Lanka and the Philippines as well as the bloody repression military against demonstrators in Bangkok in 2010. It has recently testified to the refugee crisis in Europe, the earthquake in Nepal and the “war against drugs” to the extrajudicial Philippines.
James Nachtwey covers the social subjects throughout the world with dedication always equal. The homeless, drug addiction, poverty or even the crime and industrial pollution are among the main subjects that it has widely photographed. Since the beginning of the years 2000, he has a great interest in health issues across the world, in particular in the developing countries, attesting to the ravages of diseases which the devastating effects affect a more significant number of people than the war. In 2007, he received the price ted for its global campaign to raise awareness of tuberculosis, based on its belief that the collective consciousness can encourage research, facilitate the financing, mobilize donors and motivate the political will. Many distinctions have been the crowning glory of his career as a photojournalist, but also to reward its contributions to the art and humanitarian causes. In 2001, he received the Common Wealth Award. In 2003, he got the price Dan David and, in 2007, the Heinz Family Foundation Award. In 2012, he is a laureate of the cost of peace of the city of Dresden for the whole of its reportage carried out for more than 30 years on all the conflicts of the world. In 2016, James Nachtwey obtains the price Princess of the Asturias.
He won five times the Robert Capa Gold Medal, for his courage and his exceptional work. It receives the title of the photographer of the year on eight occasions; the first price of the World Press Photo Foundation on two events; the Infinity Award in photojournalism three times; the price Bayeux-Calvados of war correspondents on two occasions and the price Leica on two occasions. Rewarded by the Overseas Press Club, by the time Inc., and by the American Society of Magazine Editors, it also receives the Henry Luce Award, the price of the foundation of Leipzig for the freedom and the future of the media and the cost of world citizenship Dr. Jean Mayer. In 2001, war photographer, a feature-length film documenting the life and work of James Nachtwey, is nominated for the Oscar for the best documentary. His books include deeds of war and hell.
The photographs of James Nachtwey are included in the permanent collections of the Museum of Modern Art and the Whitney Museum of American Art in New York, the San Francisco Museum of Modern Art, the Getty Museum in Los Angeles, the Boston Museum of Fine Arts, the National Library of France or even of the Center Pompidou. Its images have been the subject of numerous personal exhibitions in the world. It has been invited to present his work at several international events, including the TED Talks, the Conference Bill and Melinda Gates Grand Challenges, the Pacific Health Summit, the World Conference on Tuberculosis in Rio de Janeiro, the annual meeting of the Young President’s Organization in Sydney and, on the occasion of the World Day of Peace in 2011, before the International Olympic Committee. The title of Doctor Honoris Causa is awarded by four American universities, including the Dartmouth College, which has recently acquired the whole of the archives of his work.
The girls were strapped with explosives, and ordered to blow themselves up in crowded areas, but managed to escape and find help instead of detonating the bombs. Boko Haram—a Nigeria-based militant Islamist group whose name translates roughly to ‘Western education is forbidden’—expressly targets schools and has abducted more than 2,000 women and girls since 2014. Female suicide bombers are seen by the militants as a new weapon of war. In 2016, The New York Times reported at least one in every five suicide bombers deployed by Boko Haram over the previous two years had been a child, usually a girl. The group used 27 children in suicide attacks in the first quarter of 2017, compared to nine during the same period the previous year.
To see all the nominees please visit the 2018 Photo Contest gallery: http://www.worldpressphoto.org/collection/photo/2018
Here are some of the very best in Black & White. For more information on the World Press Photo competition and exhibition, visit http://www.worldpressphoto.org/collection/photo/2018
John Thompson is embraced in St Anthony Village, Minnesota, USA, after speaking out at a memorial rally for his close friend Philando Castile, two days after police officer Jeronimo Yanez was acquitted of all charges in the shooting of Castile. In July 2016, Officer Yanez had pulled over Castile’s car in Falcon Heights Minnesota as it had a broken brake light. Castile, an African American man, handed over proof of insurance when asked, and informed the officer that he had a gun in the car. Police dashboard camera footage reveals that Yanez shouted, “Don’t pull it out,” and fired seven shots into the vehicle, fatally wounding Castile. Yanez was found not guilty of second degree manslaughter on 16 June 2017. Thompson was a high-profile presence at rallies following his friend’s death.
20 September 2017 A young refugee cries as he climbs on a truck distributing aid near the Balukhali refugee camp, Cox’s Bazar, Bangladesh.
2 October 2017 Minara Hassan and her husband Ekramul lie exhausted on the ground on the Bangladesh side of the Naf River, after fleeing their home in Maungdaw, Myanmar.