Archive for the ‘Τέχνη’ Category

beloyannis

Το διάσημο σκίτσο του Πικάσο για τον Νίκο Μπελογιάννη στην άκρη του μένει ανοιχτό. Όταν τον ρώτησαν γιατί δεν το έκλεισε, απάντησε «Έναν τόσο μεγάλο άνθρωπο δεν μπορείς να τον κλείσεις σε ένα πορτρέτο»

Οδηγητής

surCh

Thousands online have shared an image of a Syrian child with her hands raised in surrender – but what is the story behind it?

Those sharing it were moved by the fear in the child’s eyes, as she seems to staring into the barrel of a gun. It wasn’t a gun, of course, but a camera, and the moment was captured for all to see. But who took the picture and what is the story behind it? BBC Trending have tracked down the original photographer – Osman Sağırlı – and asked him how the image came to be.

It began to go viral Tuesday last week, when it was tweeted by Nadia Abu Shaban, a photojournalist based in Gaza. The image quickly spread across the social network. “I’m actually weeping”, “unbelievably sad”, and “humanity failed”, the comments read. The original post has been retweeted more than 11,000 times. On Friday the image was shared on Reddit, prompting another outpouring of emotion. It’s received more than 5,000 upvotes, and 1,600 comments.

Accusations that the photo was fake, or staged, soon followed on both networks. Many on Twitter asked who had taken the photo, and why it had been posted without credit. Abu Shaban confirmed she had not taken the photo herself, but could not explain who had. On Imgur, an image sharing website, one user traced the photograph back to a newspaper clipping, claiming it was real, but taken “around 2012”, and that the child was actually a boy. The post also named a Turkish photojournalist, Osman Sağırlı, as the man who took the picture.

BBC Trending spoke to Sağırlı – now working in Tanzania – to confirm the origins of the picture. The child is in fact not a boy, but a four-year-old girl, Hudea. The image was taken at the Atmeh refugee camp in Syria, in December last year. She travelled to the camp – around 10 km from the Turkish border – with her mother and two siblings. It is some 150 km from their home in Hama.

“I was using a telephoto lens, and she thought it was a weapon,” says Sağırlı. “İ realised she was terrified after I took it, and looked at the picture, because she bit her lips and raised her hands. Normally kids run away, hide their faces or smile when they see a camera.” He says he finds pictures of children in the camps particularly revealing. “You know there are displaced people in the camps. It makes more sense to see what they have suffered not through adults, but through children. It is the children who reflect the feelings with their innocence.”

The image was first published in the Türkiye newspaper in January, where Sağırlı has worked for 25 years, covering war and natural disasters outside the country. It was widely shared by Turkish speaking social media users at the time. But it took a few months before it went viral in the English-speaking world, finding an audience in the West over the last week.

source: BBC

Candy Cigarette,1989

Posted: March 5, 2014 in Τέχνη

Candy Cigarette,1989

Sold for $266,500 at the Photographs sale, 4 April 2012, New York, achieving an auction record for the artist.

Sally Mann’s famed body of work Immediate Family, documents her three children, Emmett, Jessie and Virginia in an array of scenes at their home in the foothills of the Blue Ridge Mountains in Virginia. Capturing themas they sleep, interact, dress up and role play, Mann’s photographs highlight a heightened maturity that defies their age, creating a tension between the push of childhood and the pull of adulthood. Even when the scenes themselves are innocent, there is a knowing gaze from the subject that charges the image. In Candy Cigarette, 1989, Mann’s eldest daughter Jessie stares defiantly at the camera, at her mother, with tousled hair and a cigarette made of bubblegum. She poses almost identically alongside her sister in The New Mothers, 1989. In both photographs, Jessie is exhibiting a self-awareness as both a female and subject of her mother’s lens. While Mann’s work has consistently come under public scrutiny for its intimate subject matter, at the root of the work is a family album filled with the stories, memories and moments that define Mann as a mother and photographer.

source