I knew some of his photos without knowing who it was that took them. Here’s a quote in the BBC gallery, linked from the article:
Pictures can and do make a difference. Strong images of historical events do have an impact on society.
This photo from the Abramović opening is kind of touching. Her performance in the MoMA atrium is not supposed to include any interaction with those who sit across from her.
The caption from the Facebook album reads:
Ulay, Marina Abramović’s partner from 1975-1988, sits with her during her performance. This was the first time they “performed” together since The Great Wall Walk (1988), when they each walked over 1,200 miles (2,000 km) along the Great Wall of China starting at opposite ends and meeting in the middle to say their goodbye.
Somebody in the comments asks the obvious: “I thought there was to be no interaction with the art.” To which the moderator responds: “Correct, no interaction, but this was her partner in life and art for 12 years who she has had almost no contact with since 1988…”
George Lois on the first cover he art directed for Esquire:
Hayes mentioned that we were going to have a spread of Floyd Patterson, the boxing champion of the world, and Sonny Liston, the challenger, and Patterson was an 8–1 favorite. I knew right away what I was going to do, because I knew that Liston was going to kill him. So I called the photographer, and I said, “We’re going to get a guy with the same body as Patterson, we’re going to lay him flat on the ring, and we’re going to show him killed, knocked out by Liston. Leave him for dead.” I wanted to show a metaphor for boxing — if you’re a loser, you’re left for dead, which is also a metaphor for life. So we get the shot and I sent it to Hayes.
“George, I never saw a cover like this in my life! You’re calling the fight — suppose you’re wrong? Everybody says you’re wrong.” I told him we had a 50/50 chance of it working, but if it does, it shows we have balls. It hit the newsstand a week before the fight, and it was roundly laughed at in the sports crowd. But a week later, of course Liston kills Patterson, just like I thought. And Esquire got tons of publicity and the best sales since the start of the magazine. And Harold said to me, “You gotta keep doing my covers.”
He went on to create 92 iconic covers during the 1960s that were exhibited at MoMA and added to the permanent collection. Unfortunately only five of the covers have their image rights cleared to display online. Not many people realize that even if a work is “owned” by the museum, having the right to display it online is another matter. This is an issue the Brooklyn Museum has addressed nicely on their blog. This is why photography is usually not allowed in museums, except within the older permanent collections.
Link via Jason Kottke
David Chancellor got 3rd place in the People in the News category from the World Press Photo awards.
Local villagers fall upon the body of a dead elephant, starved of meat they reduce the huge carcass to bones in under 2 hours.
24 hours later the bones have also gone, all that’s visible are the fresh tracks from the remaining elephants returning to Mozambique under cover of darkness.
I admit it, I’m only linking this so you get to see Snoop Dogg get the Wall Street Journal stipple portrait treatment.
This story from Financial Times in November seems to have swapped in a new photo, so it’s fortunate that I saved a copy of this one to my hard drive. I was reminded of it after hearing this morning that the Dutch coalition government has collapsed over its Afghanistan withdrawal.
The Dutch have gone to considerable lengths to gain the confidence of locals with carefully calibrated patrolling of the province. “We recently started doing patrols on bicycles in Tarin Kowt,” said a senior Dutch official. “The population was surprised but they reacted positively. It is much easier to come into contact with people on a bicycle than sitting on a Bushmaster [protected mobility vehicle].”
The 1980 Olympics were kind of crazy:
After setting a new world record on July 30th, Polish pole vaulter Wladyslaw Kozakiewicz made a rude gesture (bras d’honneur) to the hostile, jeering Moscow crowd. The crowd was rooting for Soviet jumper Konstantin Volkov. The image was seen around the world except ironically in the Soviet Union and its satellite states. To many, it signified Polish resentment of Russia’s control over Eastern Europe; in Poland, the gesture became immediately known as Kozakiewicz’s gesture. (gest Kozakiewicza).
After the Olympics, the Soviet ambassador to Poland demanded that Kozakiewicz be stripped of his medal over his “insult to the Soviet people”. The official response of the Polish government was that the gesture had been an involuntary muscle spasm caused by his exertion. Kozakiewicz for his part promptly defected to West Germany.