Tag Archives: Gap

Generation of Orphans: South Africa’s Children of AIDS

One night in 2003, Agnes Dlamini woke to the sound of her infant grandson crying. His mother — Dlamini’s daughter-in-law — had died after a long illness. The baby was left on top of her emaciated body, sucking helplessly at his mother’s lifeless breast.

That tragedy, Dlamini now knows, is the result of South Africa’s failure to address the spread of HIV. But back then, she had no idea. At the time, the country’s President Thabo Mbeki was sympathetic to AIDS denialists. His Minister of Health was nicknamed Dr. Beetroot for championing the plant as a treatment for HIV/AIDS. Anti­retroviral drugs weren’t available until 2004 and were difficult to obtain for many years after that.

The legacy of that denial is 3.37 million South African children under 17 without one or both parents, according to a 2011 census. Most are orphans, and some 64% are in the care of grandmothers, who bear the responsibility of a second motherhood.

The age gap makes it challenging for grand­mothers to connect with these kids and warn them about HIV. “I don’t have the right words for it,” says Dlamini, 81. “My granddaughter laughs at me when I try.” High urban unemployment, poverty and crime add to the difficulty of their task. Still, many of the gogos, the Zulu word for grandmothers, say they are hopeful they can break the cycle that claimed their children’s lives.

Elles van Gelder and Jonathan Torgovnik are based in South Africa.

In Lima Peru, introducing contemporary photography to a broader public

Since its inception in August 2011, FOLi or Museo de la Fotografa Lima has undertaken several initiatives in support and promotion of contemporary photography in South America, especially bridging the gap between photographers and their audience.

In a low-cost, experimental approach at the first Photography Biennale of Lima, FOLi launched a new community project: FOLiLAB.

Four shipping containers placed in the iconic Kennedy Park in the Miraflores district provide a unique platform to introduce contemporary photography to a broader public. The four containers offer different spaces and ways of approaching photography each box reveals a personalized identity, with different functionalities. carrera de fotografia . It’s cool.

For more info: bienalfotolima.com and foli.org.pe.

Alex Webb Opens Last Week-Join Saturday for an Exhibition Tour

Last Thursday night, Aperture Gallery hosted an Opening Reception to celebrate Alex Webb‘s exhibition The Suffering of Light. Corresponding to the monograph of the same name, The Suffering of Light is a comprehensive look at over 30 years of Webb’s vibrant color photographs. Taken in international locales from India to Haiti, Webb’s photographs bridge the gap between street photography, photojournalism and fine art photography genres. The exhibition will be on view at Aperture Gallery through January 19, 2012.

Alex Webb will give a walkthrough of the exhibition this Saturday, December 17, from 4:00 – 5:00 pm at Aperture Gallery. The tour is FREE and open to the public.

In the Gallery Bookstore, Aperture is also presenting work by David Favrod, winner of our 2010 Portfolio Prize. in his first New York solo show. In his series Gaijin—which means foreign or alien—Favrod imagines his own personal Japan within Switzerland, playing on visual clichés of Japanese culture and recreating scenes from his childhood memories of Japan.

Photographer Alex Webb with Rebecca Norris Webb

Alex Webb signs his monograph The Suffering of Light.

Aperture’s Executive Director Chris Boot on right

A guest reads a copy of The Photobook Review, Aperture Foundation’s brand new bi-annual publication. Stop by the bookstore to pick up your copy before they run out! Stay tuned to find out when the digital version becomes available.


Dear visitors of 500 Photographers,

As you probably noticed the website has notposted new photographers in the past few weeks. In May of this year I signed acontract with a non-photographic job (working at a residential youth crisiscentre, ages 12-18) as my financial situation was alarming. Once I signed thecontract several clients came and offered smaller photographic jobs as wellwhich I kindly accepted. I was able to creatively fill my shifts and do all thephotographic work, as well as working on 500 Photographers. The result howeverwas that I created a gap between my actual working hours and my contract. Thisproblem had to be resolved in the months October and November. This meant doingdouble to triple shifts while still meeting deadlines with my photographicclients. Suddenly there were not enough hours in a week.

Up to the last photographer posted on thiswebsite I was able to feature photographers that met 100% of my requirements.Every single image-maker on 500 Photographers absolutely deserves to be on thiswebsite according to me. I guess I could have continued to post photographersin the few spare minutes I had left in the last few weeks, but it would haveresulted in lowering my standards. If I would have done so, 500 Photographers wouldnot have the same value to me as it has today. self storage berkeley . Thats why I decided not to postnew photographers until there was enough time to thoroughly do the researchthat is required for this website.
My contract ends on the 1st ofDecember, Ill only have a few shifts left to complete the hours of mycontract. The company has asked me to sign a new temporary contract, but I havekindly declined. Financially unwise, but 500 Photographers means this much to me.There are no photographic jobs currently on my path, only a few that needfinishing touches, meaning a few days of photoshop sessions. Soon time will be on myside once again. In the upcoming days I will start to post new photographers.The good news is that I will catch up, meaning that I will post 1 to 3photographers each day until everything is back to normal. There will be moreviewing pleasure in a shorter amount of time. I have initiated a newcompetition so that you can help me out and win prizes at the same time.(check competition above)
Quality is more important to me than quantity, however I’d like to apologize that your daily dose ofinspiration was not available this past month. I hope you will enjoy the photographers that will be posted in thefuture and thank you for your patience and support. casino online .
Pieter Wisse
(This message will be online for 1 week,new photographers will be posted underneath this message)

Thanksgiving Tradition: Gillian Laub’s Turkey Day

For as long as she can remember, Thanksgiving has been photographer Gillian Laub’s favorite holiday. “So many of my memories from childhood are around Thanksgiving because I have a huge family, and that was when everyone from all sides came together.” Ten years ago, Laub began photographing her family’s annual gatherings—which take place at Laub’s childhood home or her sister’s house in upstate New York—an experience she says has allowed her to watch her family grow up and record the process for posterity. “I really started photographing Thanksgiving because there’s something incredible about the time of the year,” Laub says. “The changing and transitioning of the seasons and the aging of my family members—there was something symbolic that I wanted to mark and document.” Beyond the photos, Laub also created a poignant video of her family titled “Four Generations”, which premiered at LOOK 3 photo festival this June.

There’s one gap in the decade-long series. In the summer of 2007, Laub’s grandfather Irving passed away, and that November, she found herself unable to take any pictures. “Everyone felt a marked change that Thanksgiving,” she says. “It was my grandfather’s favorite holiday, and he was the patriarch of the family. I just remember it was almost like a religious ceremony—his carving of the turkey—and the whole family just felt an incredible sense of loss that year.” Since then, her grandmother’s health has also deteriorated, which Laub says has made looking through the photographs painful at times. “The photographs mark the aging process, which can be beautiful and difficult at the same time,” she says. “But that’s why I have this annual tradition of documenting the holiday. It allows me to really reflect on the year—what has changed, what has been lost, what has been learned, and what we have to be thankful for.”

Gillian Laub is a photographer based in New York and a frequent contributor to TIME. She is currently working on a project about the American South. See more of her work here

Return to Libya: Reflections on a Photographer’s Personal Conflict

Libya didn’t simply fall at the end; it rather slid from the hands that had gripped onto it for far too long. It was taken back and returned to its rightful owners.

In the six months before my second return to Libya this September, after the fall of Tripoli, I had seen the way things would finally end through a romantic kaleidoscope. I wanted to celebrate in the square after finding my family in the crowd. I wanted to be my father’s son. I wanted that gap I have felt from Libya my entire life to at once close. With this uprooting of the regime in Libya, I felt whatever huge hole was left was now filled with a complex melody of emotions. I had not expected anything short of jubilation, and never had the impulse of reflection been a part of this plan for me. Before I had a chance to acknowledge the transition, it was already complete and it gave way to an incredible sense of pride. The rebels had brought the regime to the ledge, but it was the people who would be the final push.

At the time, the city celebrated but the country seemed exhausted. I had been afraid of the capital spiraling into chaos following the fall, but instead everything seemed to have taken its place. People went to work and took up positions to help attend to the city’s wounds—as if all Libyans had been rehearsing for this moment their entire lives. People grasped their roles at this moment and took hold of the importance of civility. During a visit to a hospital one day, a man explained to me simply, “We all have our jobs now. As a Libyan, you have your job here, and it is important. You do your job and I’ll do mine.”

I felt as though I needed that clear point of departure to help finally tether together these loose ends I had felt my entire life. In the end, all those emotions I had reserved for that anticipated moment were nowhere to be found. A kind of paralysis took hold instead. The previous expectations would pale in comparison to how this unexpected state would leave me. Joy was replaced with anger and clarity with haze. What became clear was that this hadn’t been my war as much as it had been for the rest of Libya.

To me, the regime was like an ominous vapor. While their fighters were not visible on the streets any longer, evidence of their lethal effect was very present, and as they fled, they left in their tracks a deep gash in the country and its people.

The personal conflict I felt during this time brought me to a point where my relation to breaking news played less an immediate role in my work than trying to restore my connection during a period when so much was unclear and surreal. Memories near and far rushed forward and I felt I needed to step back before the whole thing engulfed me. I had a clear reason for being there. More than one, in fact, and I wanted to get a hold of whatever I was experiencing and work towards a clearer picture. That image only became focused once I paused and allowed that nostalgia to catch up with me. It was an unconscious choice to proceed forward only when something made sense to me and I felt it somehow fit into this puzzle I was building. I realized that a middle distance was missing. The gap between me and what I was here to see was gone and I felt pushed up against this giant shift. I was able to see everything clearly. I needed that minor space to objectify this moment just enough to try and grasp it but I was immediately enveloped instead. As if all the oxygen in that needed breathing room was extinguished and a vacuum pulled everything from inside of me.

Much of what I became transfixed with might otherwise have seemed banal to some though it had a relevant place in processing this event. Whether it was the discarded green flags of the regime being slowly devoured by the elements, or the simplest gesture that suggested a great relief within this new absence in the country.

While the experience of this past return lent little to fully realizing how I had expected things to play out, everything in fact eventually did play out. The insignificance of those dreams had never been so clear once seeing and feeling the collective sigh of relief the country let out.

Jehad Nga is a Libyan photographer who lives in New York. See more of his work here.

To read Nga’s piece about his father’s life in 1960′s Libya, before the Gaddafi regime, click here

Photographer #288: Anna Skladmann

Anna Skladmann, 1986, Germany, is a young documentary photographer who lives and works between New York and Moscow. She focused on several projects in Russia. Recently her book Little Adults was released, a collection of portraits of priviliged children in Russia. These Russian kids belong to the “nouveau riche” and grow up surrounded by money. They are considered to become the next elite class of the post-communist country, putting pressure on them to become achievers. In a country where the gap between rich and poor is so large, it starts to raise questions about the notion of normality. Anna photographed the children that behave like little adults in their own surroundings and clothes. The following images come from her personal series Little Adults, Sochi and Portraits.

Website: www.annaskladmann.com

Kiss the Past Hello by Larry Clark

The idea is to put all these fucking teenage boys in one place and just finish it there. just put the whole obsession with going back in one book and maybe it will be finished, maybe I can do something else. – Larry Clark interviewed by Mike Kelly

Larry Clark’s latest is a book titled Kiss the Past Hello which was published on the occasion of his show at the Musee d’Art Moderne de la Ville de Paris and it has one promising quality, if you missed out on Tulsa, Teenage Lust, Punk Picasso or the Los Angeles 2003-2006 Volume 1 then this would be a book to fill a gap on your shelf. If you have any of those aforementioned books then this will seem nothing more than a reshuffling of the same deck of cards. Seems putting the past away is much harder for Mr. Clark since he spoke to Kelly in the late 1980s.

No doubt Clark has produced a few great books over his lifetime and this is no small task as most suffer a sophomore slump and fade quickly. Clark obsession with youth and specifically boys comes from, in his words – a desire of wanting to “go back” and “be them” and not possess them – has remained the motivating factor in making new work in both still images, collage and films. An honest and sad confession that has made his work worth following.

As he shifted from the drug scene into describing narcissism the pictures became looser and less edited (reminding Kelly of action painting), the next logical step for Clark was to move into film. The difficulty is, with exception of his first film Kids, the way Clark approached film has sucked some of the spontaneity out of his process with contrived plot lines and action.

So in a way, Kiss the Past Hello is the return to his youthful, confessionary truth that he seems to partake in every few years but no matter how many times work can be recycled, the need to republish it in a book turns him into a franchise.

Kiss the Past Hello will be hard for fans of Clark to resist. It comes in a box, has a nice design, a poster and a supplement booklet with several essays and the interview with Kelly. The book is fairly cheaply printed and seems like it is the quality of on-demand production even though it was printed in Antwerp. It was produced in an edition of 2500.

If you haven’t had enough of kissing the past hello you will no doubt also hear about Clark’s Tulsa Reader 1971-2010 which is an ‘artist book’ of interviews, articles, press releases, gallery memos, letters to the editors – surrounding Larry Clark’s controversial photo series, Tulsa. coral calcium powder .

I thought at first this would be something worthwhile and it might be for someone, but the content looked much less interesting than it sounds. The presentation is a thick xerox book perfect bound (basic unsewn glue binding) with floppy materials. The ‘collage’ aspect that seems to be touting an artist book flavor seems a stretch but I guess that is cutting it too close to defining what an ‘artist book’ can be. Past or present this seems like shelf filler to me.