2Dana Lixenberg wins Deutsche Börse Photography Prize
She won the £30,000 prize for her project Imperial Courts (1993-2015), the name of the social housing project Lixenberg first visited after LA’s race riots of 1992. Lixenberg kept visiting, photographing, filming and recording the mostly African-American residents as their lives panned out.
Brett Rogers, the director of the Photographers’ Gallery in London and chair of the judges, said they had been impressed by the artist’s “comprehensive and measured” series of photographs: “Lixenberg’s work is simultaneously understated and emphatic, reflecting a cool sobriety, which allows her subjects to own the gaze and their contexts without sentimentality or grandiosity.”
Some 130 photographers from Thailand, Malaysia, Singapore, Indonesia, Hong Kong, Philippines, the UK and the USA gathered in Bangkok for the two-day inaugural workshop “Monogram Asia’s 8×8 Street Photography” to learn how to develop their individual style via photogenic storytelling.
“We are thrilled with the energy and dynamism of the workshop’s participants and guest artists,” said Victor Chen, marketing manager of Monogram Asia. “A much-discussed topic during the workshop was the social role street photography plays in a country’s future and the need for street photographers to document life today for tomorrow’s generations. The picture stories that were told by participants through their pictures during the photo walk were incredible.”
“The event was a huge success and the work doesn’t stop here. We are already planning for the next instalment for 8×8 and our lenses are focused on Jakarta.”
Stanley Greene wasn’t just a war photographer—a label he both embraced and despised. He was also a poet who always searched for dignity, justice and larger truths in every one of his photographs. A passionate lover of life, he defied death across the years, whether on the front lines or at home. But, after a long fight with cancer, one of America’s greatest photographers died Friday morning surrounded by his closest friends and colleagues. He was 68.
While he worked for many of America’s top titles—from The New York Times Magazine to Newsweek—he truly found a captivated audience in Europe, a continent that embraced his poetic ways, where documentary photography isn’t always just about communicating facts but also about conveying emotions and feelings—embodying life itself.
In an exclusive event; the first of it’s kind, theprintspace in partnership with Magnum Photos, are inviting the global photography community to participate in Magnum’s 70th anniversary celebrations, by swapping prints with each other and the photographers of Magnum Photos. The project is inspired by the exhibition David Hurn’s Swaps, drawn from Hurn’s extensive photo collection, exhibited as part of Magnum’s official 70th programme during Photo London. Curated by Martin Parr, the 70-piece exhibition explores both photographers’ commitment to and interaction with the wider global photographic community. This free-to-enter event is open to international submissions between 17 May and 12 June. The selected images will then be exhibited at theprintspace gallery (74 Kingsland Rd, London E2 8DL) from 29 June – 11 July 2017.
theprintspace Press Release
Swap Shop; a global photographic project with David Hurn & Martin Parr
Nine thousand years ago, during the Neolithic period, the Chinese were making wine from rice, honey, and fruit. Wine made with grapes is thought to have originated 7,000 years ago, in the Caucasus Mountains–what is now modern-day Georgia and parts of Iran–where grapes were among the first fruits to be domesticated.
As a recent article in National Geographic points out, while alcohol is typically thought to be a by-product of civilization, evidence that it has been around since prehistoric times suggests it’s much more central to our culture. In a photo series that accompanied the piece, New York-based photographer Brian Finke traveled to the places where alcohol was born thousands of years ago–capturing them through a contemporary lens.
Libya has become a modern-day slave market, with migrants caught in a complex trafficking web largely ignored by the outside world, a Pulitzer Prize-winning photographer said on Wednesday.
Narciso Contreras, who spoke to migrants turned Libyan slaves, said most attention focused on the North African country as a gateway for migrants attempting to reach Europe by sea.
“What I found is that it’s a slave market, it’s like an industry but the world is looking at Libya as a transit country,” he told the Thomson Reuters Foundation.
Six years after the fall of Muammar Gaddafi, Libya is still a lawless state where armed groups compete for land and resources and large weapons and people-smuggling networks operate with impunity.
Frustrated by official bureaucracy, Contreras, winner of the 2016 Carmignac Photojournalism Award, forged his own contacts with migrants, people smugglers and tribes people as he traveled through Libya last year for a documentary photography project.