tag:blogger.com,1999:blog-33254720664245314352024-03-14T02:55:33.538+00:00In TransitPhotography in search of a homeInTransithttp://www.blogger.com/profile/11186622180535738183noreply@blogger.comBlogger130125tag:blogger.com,1999:blog-3325472066424531435.post-53233552620040713862013-07-23T19:57:00.001+01:002013-07-23T19:57:57.969+01:00Leaving Home, Coming Home: A Portrait of Robert Frank (2005)<iframe allowfullscreen="" frameborder="0" height="344" src="//www.youtube.com/embed/bt97Jomj5nw" width="459"></iframe>InTransithttp://www.blogger.com/profile/11186622180535738183noreply@blogger.com1tag:blogger.com,1999:blog-3325472066424531435.post-8647037862459516082013-04-15T11:05:00.001+01:002013-04-15T11:05:25.217+01:00Review of Fault Lines in Atlanta Journal-Constitution<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background-color: white; color: #333333; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 12px; line-height: 20px; text-transform: uppercase;">BY FELICIA FEASTER - FOR THE AJC</span></div>
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<span style="background-color: white;"><span style="color: #333333; font-family: Helvetica Neue, Helvetica, Arial, sans-serif;"><span style="font-size: 12px; line-height: 20px; text-transform: uppercase;"><br /></span></span></span>British photographer George Georgiou documents a world of dramatic contrasts. In his images old churches are set against the metal cafe tables of an al fresco restaurant. His photographs of modern Turkey juxtapose ancient mountains against Lego-housing blocks the color of Lifesavers — old and spanking new clashing at every turn.<span style="background-color: white; font-family: Publico, Georgia, 'Times New Roman', Times, serif; line-height: 22px;">As he says in text accompanying his show “Fault Lines/Turkey/East/West” at Jackson Fine Art, “a struggle is taking place between modernity and tradition.” He records the unusual circumstance of Turkey, not only geographically set between Europe and the Middle East, but also spiritually, as it navigates tradition and progress. Georgiou spent five years living in the country and collected his images of Turkey in the book “Fault Lines/Turkey/East/West,” a portion of which are on view at the Buckhead gallery.</span></div>
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In “Hakkari” (2007), a cosmopolitan-looking man in a suit hoses off his building’s balcony, a contemporary hero far above the fray. Below him lies the frantic, timeless pulse of the city’s street life, flanked in the distance by the ever-present mountains that factor into so many of Georgiou’s photographs. You get the sense of one world defined by iPhones and the latest Beyonce track coexisting with a landscape that will outlive this and many other generations.</div>
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Urbanity seems like a facade that could be easily swept aside in a dust storm. At a seaside war memorial in “Mersin” (2007), a fighter jet has been defaced with graffiti, and an array of ordinary Turks pass by the monument, caught up in their own realities. There is a desolation in many of these city images — you realize how attuned the Western eye is to advertisements and embellishment and how absent that visual clutter is from these images.</div>
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There is very little in the way of decoration or ornamentation in the Turkey Georgiou documents. Even the clean new apartment buildings that have been built to accommodate the rapid influx of villagers into the city are surrounded by dirt roads and newly planted saplings that attest to the rapidity of change here. The way he shoots the landscape is dramatic — the mountains, sky and sea surround the land, giving an impression of something eternal coexisting with the transient.</div>
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Photographers are of course drawn to such moments of conflict and paradox. They make for thrillingly alive and rich images. And there is something undeniably arresting, even magical in Georgiou’s images. He certainly understands the power of those sorts of juxtapositions, as when he sets a ramshackle three-wheeled vehicle with a canvas roof flapping against the wind, against a development further down the dirt road of towering housing blocks. It looks like a Terry Gilliam futurescape — some fantastic vision of what could be, though in the case of Turkey, it is also a portrait of what is.</div>
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The photographer’s portraits are just as arresting. He captures people on crowded city streets and seen at a low angle, against vast grey sky. With this dramatic perspective, his figures become almost sculptural, like the iconic statuary in a Communist country’s city squares. The people themselves are emblematic of Turkey’s stark contrasts of old and new, East and West. Older men in ill-fitting suits and out-of-date haircuts coexist alongside the international hipster set decked out in the facial hair and red lips of a Benetton ad. But all of that diversity unfolds against a backdrop of silt skies and dirt roads, which gives the whole endeavor the attitude of an old Hollywood Western town on the cusp of some massive change.</div>
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Whether in his landscapes or portraits, Georgiou has a way of wrapping his subjects with devouring expanses of space — lots of sky, mountain ranges and long dusty roads that emphasize a feeling of loneliness that weighs heavily in his photographs.</div>
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InTransithttp://www.blogger.com/profile/11186622180535738183noreply@blogger.com0tag:blogger.com,1999:blog-3325472066424531435.post-76617252348066143742013-03-04T13:08:00.000+00:002013-03-04T13:08:07.847+00:00Jackson Fine Art Gallery<div dir="ltr" style="text-align: left;" trbidi="on">
I will be exhibiting at Jackson Fine Art in Atlanta, GA<br />
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InTransithttp://www.blogger.com/profile/11186622180535738183noreply@blogger.com0tag:blogger.com,1999:blog-3325472066424531435.post-89749772976341997082012-10-17T18:25:00.000+01:002012-10-17T18:25:14.852+01:00Invisible..mp4<div dir="ltr" style="text-align: left;" trbidi="on">
This is a first draft hand made book dummy of my London project "Invisible"<br />
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InTransithttp://www.blogger.com/profile/11186622180535738183noreply@blogger.com0tag:blogger.com,1999:blog-3325472066424531435.post-48011806550671743182012-05-29T11:29:00.002+01:002012-05-29T11:29:37.010+01:00Tbilisi Photo Festival<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I am exhibiting 13 large prints from Turkey in a group show on the Black Sea in Tbilisi, </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">alongside Vanessa Winship, Rafal Milach, Gueorgui Pinkhassov, Yuri kozyrev, Boris milhailov, Thomas Dworzak and Justyna Mielnikiewicz.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="background-color: white; line-height: 14px;">The <a href="http://www.tbilisiphotofestival.com/index.php">Tbilisi Photo festival</a> </span></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; line-height: 14px;">also has a lot of other exhibitions.</span></div>
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</div>InTransithttp://www.blogger.com/profile/11186622180535738183noreply@blogger.com1tag:blogger.com,1999:blog-3325472066424531435.post-54182823785870067762012-03-27T17:41:00.002+01:002012-03-27T17:41:52.981+01:00Yeni Yol. A commission for the "Time in Turkey" book.<div dir="ltr" style="text-align: left;" trbidi="on">
<a href="http://www.blogger.com/%3Ciframe%20src=%22http://player.vimeo.com/video/38973939?title=0&byline=0&portrait=0%22%20width=%22400%22%20height=%22225%22%20frameborder=%220%22%20webkitAllowFullScreen%20mozallowfullscreen%20allowFullScreen%3E%3C/iframe%3E%3Cp%3E%3Ca%20href=%22http://vimeo.com/38973939%22%3EGeorge%20Georgiou%3C/a%3E%20from%20%3Ca%20href=%22http://vimeo.com/user9148738%22%3ET%C3%BCrkiye'de%20Zaman/Time%20in%20Turkey%3C/a%3E%20on%20%3Ca%20href=%22http://vimeo.com%22%3EVimeo%3C/a%3E.%3C/p%3E"><iframe allowfullscreen="" frameborder="0" height="225" mozallowfullscreen="" src="http://player.vimeo.com/video/38973939?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe></a><br />
<a href="http://vimeo.com/38973939">George Georgiou</a> from <a href="http://vimeo.com/user9148738">Türkiye'de Zaman/Time in Turkey</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
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Last Summer I was commissioned by <a href="http://www.todayszaman.com/mainAction.action">Zaman newspaper</a> in Turkey to take part in a book project to celebrate their 25th year. They invited 25 photographers to spend a week photographing Turkey.<br />
The whole project can be seen on the <a href="http://www.turkiyedezaman.org/?lang=en">Zaman "Time in Turkey" page</a>.<br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 21px;">For this work, I chose the idea of following up on “Fault Lines” by making a road trip on the New Roads. The title in Turkish, “Yeni Yol,” has multiple meanings: New Way, New Aim or New Ideology. From my experience of Turkey, I use the New Roads as a metaphor of the change that is taking place and question what that vision is.</span><br />
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</div>InTransithttp://www.blogger.com/profile/11186622180535738183noreply@blogger.com5tag:blogger.com,1999:blog-3325472066424531435.post-88439047194075634812011-10-22T07:31:00.000+01:002011-10-22T07:31:07.100+01:00Hereford Photography Festival<div dir="ltr" style="text-align: left;" trbidi="on">
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<h1>
<strong><span class="Apple-style-span" style="font-size: x-small;">Time & Motion Studies: New documentary photography beyond the decisive moment</span></strong></h1>
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<span class="Apple-style-span" style="font-size: x-small;"><br /><strong>Curated by Simon Bainbridge</strong></span></div>
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<span class="Apple-style-span" style="font-size: x-small;">Saturday 22nd October – Saturday 26th November</span></div>
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<span class="Apple-style-span" style="font-size: x-small;">Tuesday to Friday 10am – 5pm; Saturday 10am – 4pm</span></div>
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<span class="Apple-style-span" style="font-size: x-small;">Hereford Museum & Art Gallery, Broad Street, Hereford, HR4 9AU</span></div>
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<span class="Apple-style-span" style="font-size: x-small;"><em>Time & Motion Studies</em> presents the works of five photographers, each the result of deliberate and sustained observation. But more than that, each employs a carefully thought-out strategy for their study, a methodology by which to transcribe and communicate ideas about the world, tackling subjects that aren’t always obviously photogenic. For the photographers in the exhibition, the ideas they are trying to communicate take prescience over aesthetic concerns, although these remain important, both in terms of engaging viewers and in contributing to the development of a wider photographic language.</span></div>
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<span class="Apple-style-span" style="font-size: x-small;">The festival gives me an opportunity to show these works, five excellent examples of the diversity of contemporary documentary practice, and all of which have appeared in<em>British Journal of Photograph</em>, some in the recent past, which I hope the photography crowd will enjoy seeing in the flesh, some of it exhibited for the first time anywhere. But the festival attracts a wider public than just the photography crowd, particularly at the Hereford Museum & Art Gallery, and for these visitors I hope to give a flavour of what photography can be and what it can say, beyond the traditional idea of the artist photographer as someone wandering the earth communing with nature. And by showing five very different approaches, I hope to expose the photographers behind the images, to get viewers thinking about how they position themselves – both physically, embedding themselves into situations, and in terms of negotiating themselves into spaces – to make their pictures.</span></div>
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<span class="Apple-style-span" style="font-size: x-small;">In the case of Donald Weber, that’s a very uncomfortable space. Having befriended a Ukrainian policeman whose career was on the rise, he spent years negotiating access to the interrogation room the officer spent much of his time, gaining confessions from mostly petty criminals. Waiting for the moment of confession, the results are a terrifying insight into the justice system, but also, a defining point of departure for the subjects – a cathartic experience sometimes – after which life may never be the same again.</span></div>
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<span class="Apple-style-span" style="font-size: x-small;">Robbie Cooper exemplifies the increasing convergence between still and moving images, using the first digital camera that truly delivers both, in high resolution. Technology is also at the heart of his subject matter, which is concerned with how our identities are becoming wrapped up in new virtual territories – in this case, capturing animated faces close up through as his subjects engage with computer games and other screen-based worlds. Manuel Vasquez also touches on technology, particularly surveillance culture, in his montages that splice together different moments in time. Captured in largely anonymous public places, they capture the anxiety as well as a sense of spectacle within the spotlight of this constant observation.</span></div>
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<span class="Apple-style-span" style="font-size: x-small;">George Georgiou is also working with sequential imagery. He is interested in the continued influence Russia plays on its former Soviet neighbours, and how this is manifested in the daily lives of ordinary people, capturing them in sequences shot from the same vantage point. His installation at this year’s festival is his most ambitious realisation of this approach, and is the first time he has presented a work on such a scale. His partner and travelling companion Vanessa Winship takes an altogether different approach. Where as Georgiou remains largely hidden to his subjects, she places her camera in such a way as to invite her subjects to present themselves. She seeks a direct connection, and somehow manages to capture the complexity of this dialogue in the directness and vulnerability of their gazes. Putting them together in the same show, I aim to demonstrate that a photograph is not so much the result of what’s in front of the camera, rather than the motives, instincts and ideas of the person behind it.</span></div>
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<span class="Apple-style-span" style="font-size: x-small;"><em>Time & Motion Studies </em>also refers to this year’s festival theme of motion, a concept I struggled with at first (after all, photography is all about distilling moments into single frames), until I thought about this idea of the photographer waiting, quiet and still, capturing what before his or her camera. It also got me thinking about one of the most enduring concepts in photography, now nearly 60 years old – “The Decisive Moment”, as termed by Henri Cartier-Bresson. In it’s most simple form, the idea was that every image of a “stolen moment” had it’s own decisive moment, a split-second capture in which “simultaneously and instantaneously the recognition of a fact and the rigorous organisation of visually perceived forms [expressed and signified] that fact”.</span></div>
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<span class="Apple-style-span" style="font-size: x-small;">It’s not a very fashionable concept anymore (especially when you think about the Becher School photographers who have dominated in the past 25 years, with their monumental images, largely of scenes that denote no single important moment of time). But a sense of the right moment pervades in photography nonetheless, along with photography’s pictorial visual language. Cooper has to decide where to pull the stills from his motion, Weber looks for a moment of confession, and even Georgiou, who presents multiple takes on a time and place, edits from hundreds more moments.</span></div>
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<span class="Apple-style-span" style="font-size: x-small;">The Decisive Moment was a product of a particular time, when newspapers and magazines were the primary outlet for photographers’ work, a medium through which they could speak to hundreds of thousands of readers. And up until relatively recently that remained the case for anyone with documentary concerns; photographers making their names on smaller titles before hopefully working their way up to bigger commissions on bigger and more prestigious publications.</span></div>
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<span class="Apple-style-span" style="font-size: x-small;">But there are no big commissions these days, and few photographers can earn a proper living making interesting work for newspapers and magazines anymore. There simply isn’t the budget; a situation that would seem to point to more straightened times, were it for the fact that they are still prepared to pay huge sums for images of celebrity. You can blame it on dumbing down, or the deep conservatism of publishers, or the internet, which has helped drive down the price of professional photography to unsustainable levels through the digital distribution of cheap images.</span></div>
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<span class="Apple-style-span" style="font-size: x-small;">For photographers the end of print is a reality, at least regards to newspapers and magazines. (On the festival’s opening weekend, Self Publish Be Happy will present a flourishing counter-trend, showcasing the work of independent book publishers who still find vital express in printed matter.) But these publications never really gave them real freedoms to express their points of view, and in their absence, photographers are searching for news ways to communicate with audiences, free from the editorial confines of newspaper dictat.</span></div>
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<span class="Apple-style-span" style="font-size: x-small;">Although they operate in uncertain times, these five photographers present us with clear and articulate takes on the world. And if such different voices and approaches can sit side-by-side so easily, isn’t that a sign that photography is maturing, rather than a medium in peril?</span></div>
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<span class="Apple-style-span" style="font-size: x-small;">Simon Bainbridge</span></div>
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Vanessa Winship: Georgia, 2009-10</div>
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Donald Weber Interrogations: Big Zone, Small Zone</div>
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Manuel Vasquez: Traces</div>
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<img height="163" src="http://www.photofest.org/2011_new/graphics_2011/images/museum/Robbie-Cooper--Alexander.jpg" width="326" /></div>
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Robbie Cooper Immersion</div>
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George Georgiou The Shadow of The Bear, 2009-10</div>
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George Georgiou The Shadow of The Bear, 2009-10: installation detail</div>
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</div>InTransithttp://www.blogger.com/profile/11186622180535738183noreply@blogger.com0tag:blogger.com,1999:blog-3325472066424531435.post-29455141405103582952011-10-12T07:21:00.001+01:002011-10-12T07:21:57.724+01:00New Blog site for the next year<div dir="ltr" style="text-align: left;" trbidi="on">
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I will not be posting very often on this blog site over the next year as I will be going a new blog with Vanessa on our travels through the USA.</div>
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We are going to attempt to keep a daily stream of posts of our encounters, through text, photos and video.</div>
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A brief intro to the blog below and the link</div>
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<span class="Apple-style-span" style="font-size: small;"> <a href="http://themapisnottheterritoryus.blogspot.com/2011/10/map-is-not-territory.html">The Map is Not the Territory </a></span></h3>
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<dt class="profile-data" style="text-align: center;">Vanessa Winship & George Georgiou
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<dd class="profile-textblock" style="text-align: center;"> An Exploration of the USA by car, by plane, by train, by bus by foot ....</dd></div>
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The title for the blog came from an
email conversion I had with a friend as we were preparing for this
extended project into the USA.</div>
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ME: So I try to prepare for this big trip to the States, it seems like a strange thing to be doing now...<br />
I have a huge wall map to make it feel more physical ..but I don't have a
free wall to put it on so I must grapple with it on my desk, I'm partly
trying not to spoil it, but at the same time I want to spread it out on
the floor and tread on it and get it over with...<br />
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C: I understand, it is a weird feeling for you to prepare your travel, a big movement when everything already moves around.<br />
I like so much the way you talk about your huge wall map. Do you know this expression "The map is not the territory" ?<br />
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The father of general semantics, Alford Korzybski stated, "A map is not
the territory it represents, but if correct, it has a similar structure
to the territory, which accounts for its usefulness". What this means is
that our perception of reality is not reality itself but our own
version of it, or our "map".<br />
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No two people can have exactly the same map.<br />
So here we are, 2 photographers, 1 car, same journey, 2 visions. </div>InTransithttp://www.blogger.com/profile/11186622180535738183noreply@blogger.com1tag:blogger.com,1999:blog-3325472066424531435.post-54665010119838311472011-10-10T08:31:00.000+01:002011-10-10T08:31:23.320+01:00Leicester in Caravan magazine, India<div dir="ltr" style="text-align: left;" trbidi="on">
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InTransithttp://www.blogger.com/profile/11186622180535738183noreply@blogger.com1tag:blogger.com,1999:blog-3325472066424531435.post-31585313815452426132011-10-10T08:09:00.000+01:002011-10-10T08:21:09.849+01:00Installation photos from New Photography 2011 show at MoMA<div dir="ltr" style="text-align: left;" trbidi="on">
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InTransithttp://www.blogger.com/profile/11186622180535738183noreply@blogger.com3tag:blogger.com,1999:blog-3325472066424531435.post-88558793649647994172011-09-17T22:32:00.000+01:002011-09-17T22:32:54.682+01:00AFAR assignment<div dir="ltr" style="text-align: left;" trbidi="on">Last March I was assigned by <a href="http://www.afar.com/">AFAR</a>, a San Francisco travel magazine to go to Jerusalem to do a story on Jerusalem stone. The assignment was a mix of portraits of architects, architectural landscapes and travel. <br />
I did a small interview for the website <a href="http://www.aphotoeditor.com/">A Photo editor</a>, reproduced below or <a href="http://www.aphotoeditor.com/2011/08/08/the-daily-edit-monday-8-8-11/">here</a>.<br />
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<b>A Photo Editor</b><br />
<b>The Daily Edit – Monday 8.8.11</b><br />
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Afar<br />
Design Director: Jane Palacek.<br />
Art Director: Steven Powell<br />
Director of Photography: Tara Guertin<br />
Photographer: George Georgiou<br />
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Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted. <br />
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<b>Heidi: Are you shooting a lot of travel now?</b><br />
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George: I don’t often shoot travel assignments, the last time I was in Jerusalem was during the beginning of
the 2nd intifada, when the City was very tense with a lot of clashes. So it was great to see the city relaxed,
with all the tourist returning and Arabs and Jews moving in each others areas without fear.<br />
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<b>I know this was shot during Purim, how much of a gathering collected to listen and watch?
Where the streets bustling and were people responsive to you taking photos?</b><br />
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I had arrived in Jerusalem around 5 in the morning and was staying in East Jerusalem, the Arabic side.
I got up around noon and decide to walk around the City to get a feel of the place, I had no idea it was Purim until
I started to notice a few people dressed up. I headed towards the city center in West Jerusalem, which was full of people
dressed up and generally partying and having fun. Shooting was easy, as is usually the case when people are celebrating.<br />
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Where were you to take this opening image?</b><br />
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I knew fairly early on that an image of the Western Wall and the Dome of the Rock would be perfect as both
are unmistakably symbols of Jerusalem and illustrated the main theme of the feature, Jerusalem stone through the ages.
I walk around trying to get onto as many rooftops as possible to find the right angle and light, in the end I took this image
from a spot that is accessible and popular with tourists. The photograph was taken at the beginning of the Sabbath on the Friday evening, just as the sun is starting to set and the floodlights are switched on. During the Sabbath, photography is not permitted by the western wall, so it was a perfect time to step back and make a landscape. I managed to get to this vantage point just before the tourists, by the time I left there were rows of people waiting to get to a glimpse of this view.<br />
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by HEIDI VOLPE</div>InTransithttp://www.blogger.com/profile/11186622180535738183noreply@blogger.com0tag:blogger.com,1999:blog-3325472066424531435.post-39364437534999584022011-09-10T08:14:00.000+01:002011-09-10T08:14:36.977+01:00David Goldblatt<div dir="ltr" style="text-align: left;" trbidi="on">
A truly inspirational photographer who has consistently made great work throughout his life, that in his own words is "lovingly critical"<br />
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<iframe allowfullscreen="" frameborder="0" height="320" src="http://player.vimeo.com/video/18918888?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe><br />
<a href="http://vimeo.com/18918888">Conversations with Goldblatt</a> from <a href="http://vimeo.com/storytaxi">Leonie Marinovich</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
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InTransithttp://www.blogger.com/profile/11186622180535738183noreply@blogger.com0tag:blogger.com,1999:blog-3325472066424531435.post-11853949144261262712011-08-18T12:04:00.000+01:002011-08-18T12:04:44.171+01:00MoMA's Annual Photography Series Highlights Six Emerging Contemporary Artists<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-e9UerUeLM7E/Tkztuj3bB_I/AAAAAAAAA8w/WzApDUvPPSU/s1600/momany-2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="266" src="http://3.bp.blogspot.com/-e9UerUeLM7E/Tkztuj3bB_I/AAAAAAAAA8w/WzApDUvPPSU/s400/momany-2.jpg" width="400" /></a></div><br />
George Georgiou (British, born 1961). Mersin, 2007. Pigmented inkjet print, 27 3/4 x 40 15/16" (70.5 x 104 cm) Courtesy of the artist © 2011 George Georgiou.<br />
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I am delighted to have been chosen to exhibit at this years <a href="http://moma.org/visit/calendar/exhibitions/1199">New Photography 2011 show at MoMA.</a><br />
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<b>NEW YORK, NY.- The Museum of Modern Art</b> announces the 26th annual New Photography exhibition, running September 27, 2011, through January 16, 2012, in The Robert and Joyce Menschel Gallery. This year, the exhibition expands to feature six artists—Zhang Dali, Moyra Davey, George Georgiou, Deana Lawson, Doug Rickard, and Viviane Sassen. These artists, hailing from Canada, China, England, Holland, and the United States, exemplify the diversity and international scope of contemporary photographic work. New Photography 2011 is organized by Dan Leers, The Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography, The Museum of Modern Art.<br />
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"Whether using an appropriative practice like Zhang Dali, analog forms of communication like Moyra Davey, the documentary approach of George Georgiou, conventions of portraiture like Deana Lawson, web-based images like Doug Rickard, or Viviane Sassen's self-reflective analysis, each of the artists in New Photography 2011 has his or her own individual means of addressing issues relevant to the world today," says Mr. Leers.<br />
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<tr><td class="tr-caption" style="text-align: center;"><b> ©Zhang Dali</b></td></tr>
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<b>Zhang Dali </b>(Chinese, b. 1963) began his project, A Second History, in 2003 and continues it into the present. For this work, Dali analyzes photographs that were manipulated for use as propaganda under Mao Tse Tung’s Communist regime. Acting as an archivist, he juxtaposes original source materials from Chinese archives and periodicals with the altered images used to spur the Communist revolution. Seen side by side, the images reveal the meticulousness of Maoist censors who retouched, colored, and drastically changed the photographs, often adding or removing entire figures from the frame.<br />
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<tr><td class="tr-caption" style="text-align: center;"><b>© Doug Rickard</b></td></tr>
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In his most recent series A New American Picture, <b>Doug Rickard </b>(American, b. 1968) explores the ground-level geography of urban areas across the country using Google Street View, taking photographs of the Street View images on his home computer that he finds the most captivating. He focuses on geographic areas where unemployment, crime, drug use, and lack of educational opportunities are prevalent. The resulting photographs document the blurred faces of people and crumbling cities as captured by the Google lens, and explore issues of poverty, raceequity, and personal privacy.<br />
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<tr><td class="tr-caption" style="text-align: center;">©<b>Viviane Sassen</b></td></tr>
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<b>Viviane Sassen </b>(Dutch, b. 1972) was born in Amsterdam, but spent formative childhood years living in Kenya, which has influenced her work as a photographer. Upon her family’s return to the Netherlands, Sassen felt like a foreigner in her homeland, but knew that she had been an outsider in Africa as well. Her latest series, Parasomnia, animates these feelings, and was made in intentionally unidentified African countries with anonymous, faceless subjects. Sassen’s surreal pictures provide a glimpse into her psyche, and invite viewers to follow her journey through the mysterious remnants of her dreams and memories.<br />
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<tr><td class="tr-caption" style="text-align: center;">©<b>Moyra Davey</b></td></tr>
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<b>Moyra Davey </b>(Canadian, b. 1958) often uses the postal service as part of her artistic practice. She creates photographs with analog materials that are increasingly rare in today’s digital era, and then folds those photographs into an envelope shape to be mailed to friends. Davey later recoups the photographs and exhibits them in pinned-up grids, complete with the stamps and addresses obtained en route. For New Photography 2011, Davey has created a new mailer piece: The Coffee Shop, The Library. Photographing at The Museum of Modern Art and incorporating images of New York Public Library branches and iconic coffee shop images by Bruce Davidson and Saul Leiter, Davey meditates on creativity and the places in which it occurs.<br />
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<tr><td class="tr-caption" style="text-align: center;">©<b>Deana Lawson </b></td></tr>
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<b>Deana Lawson </b>(American, b. 1979) explores issues of intimacy, sexuality, and community in her portraits of people made in their homes and personal environments. Lawson refers to her subjects, nearly all of whom are strangers, as “her family.” Although she is not related to them by blood, her connection to them is palpable. Her large-scale portraits featured in New Photography 2011 are both intimate and confrontational; museum visitors are invited into Lawson’s world, but strictly as spectators.<br />
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<b>George Georgiou </b>(British, b. 1961) has photographed extensively in Eastern Europe and Turkey over the course of a decade, having lived and worked in Istanbul for the past five years. Georgiou’s series Fault Lines looks at modern-day Turkey as it negotiates its traditions and landscape amid the oncoming wave of development and Westernization and the notion of East/West. Following recent elections and the country’s ongoing talks of joining the European Union, Turkey now finds itself at a political and social crossroads. Georgiou follows the path this former imperial empire is forging in its search for a 21st-century identity.</div>InTransithttp://www.blogger.com/profile/11186622180535738183noreply@blogger.com1tag:blogger.com,1999:blog-3325472066424531435.post-89494359996570769282011-08-04T23:37:00.000+01:002011-10-10T08:37:55.440+01:00Installation photos of Invisible exhibition on bus shelters<div dir="ltr" style="text-align: left;" trbidi="on">
The bus shelters run from Mornington Cresent, through Camden Town to Chalk Farm station in London.<br />
There was also a 6 screen installation in the Collective gallery, showing alongside work by Mimi Molica.<br />
The screens were pretty much a try out, to see how they worked together. The photos changed to quickly, and I now have a much better idea of how I will present this work in the future.<br />
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InTransithttp://www.blogger.com/profile/11186622180535738183noreply@blogger.com0tag:blogger.com,1999:blog-3325472066424531435.post-91909728231287316052011-06-30T14:06:00.000+01:002011-06-30T14:06:59.176+01:00Invisible London exhibition in London<div dir="ltr" style="text-align: left;" trbidi="on">I will be showing Invisible London in a joint show with <a href="http://www.mimimollica.com/">Mimi Mollica</a> called <a href="http://londonstreetphotographyfestival.org/diary/seenunseen-george-georgiou-and-mimi-mollica">Seen/Unseen</a>, as part of the <a href="http://londonstreetphotographyfestival.org/">London Street Photography festival.</a><br />
I will also be showing 8 photographs from the project on bus shelters running from Mornington Crescent station to Chalk Farm station. If you are in London on the 7th July you are invited to the opening.<br />
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Here is the blurb from the press release:<br />
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<span class="Apple-style-span" style="color: #58595b; font-family: Georgia, Palatino, 'Palatino Linotype', Times, 'Times New Roman', serif; font-size: 13px; line-height: 20px;">This joint show by award-winning photographers Mimi Mollica and George Georgiou, takes a look at Londoner's journeys and public and private lives from two very different perspectives. Both artists use the London bus as a vehicle to penetrate the private spheres people create for themselves while navigating public spaces. In each case the subjects are unaware of the image makers so their thoughts and interactions are undisturbed at the moment of making the picture. It is only in later viewing that the audience has a glimpse of their private world.<br />
Mimi Mollica's brand new work <em style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-size: 13px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Bus Stories </em>focuses on a hidden view of London’s bus passengers and questions the ethics of public surveillance. His photographs have a dark, almost eerie quality although they are strikingly familiar.<br />
George Georgiou's ongoing project <em style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-size: 13px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Invisible:London</em> surveys the diverse topography and migration in London through the windows of buses. The work explore the increasing diversity of a major Western metropolis as the movement and migration of people continues to change both the urban landscape and the community within it.</span><br />
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<span class="Apple-style-span" style="line-height: 20px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">There are still a couple of places left for the 5 day shooting workshop I am teaching in London to coincide with the London Street photography festival: Details <a href="http://londonstreetphotographyfestival.org/diary/the-global-street-and-the-long-term-project-workshop-with-george-georgiou">here.</a></span></span><br />
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</div>InTransithttp://www.blogger.com/profile/11186622180535738183noreply@blogger.com3tag:blogger.com,1999:blog-3325472066424531435.post-31925403696009723232011-06-07T14:49:00.000+01:002011-06-07T14:49:47.054+01:00Review of the Format festival<div dir="ltr" style="text-align: left;" trbidi="on">A good article on this years <a href="http://www.formatfestival.com/">Format festival</a>, <a href="http://georgegeorgiou-intransit.blogspot.com/2011/03/format-international-photography.html">Right Here, Right Now</a> in <a href="http://www.frieze.com/comment/article/format-11/">Frieze magazine</a> by Mark Durden.</div>InTransithttp://www.blogger.com/profile/11186622180535738183noreply@blogger.com0tag:blogger.com,1999:blog-3325472066424531435.post-27854570020350170622011-05-24T17:39:00.000+01:002011-05-24T17:39:19.125+01:00Kosova images in L'Europeo magazine , Italy<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-Z1oW2OU8exU/Tdveq0IK6DI/AAAAAAAAA6M/lMbdW3m8P1o/s1600/L%2527Europeo+cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="http://1.bp.blogspot.com/-Z1oW2OU8exU/Tdveq0IK6DI/AAAAAAAAA6M/lMbdW3m8P1o/s400/L%2527Europeo+cover.jpg" width="332" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-1eqqWW3kkmw/Tdvem2tP12I/AAAAAAAAA6E/0NWDxa9QPQc/s1600/L%2527Europeo+01.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="236" src="http://3.bp.blogspot.com/-1eqqWW3kkmw/Tdvem2tP12I/AAAAAAAAA6E/0NWDxa9QPQc/s400/L%2527Europeo+01.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-PvsT8FRp1a4/TdveoVmsZxI/AAAAAAAAA6I/5hAN_iCDcng/s1600/L%2527Europeo+02.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="236" src="http://1.bp.blogspot.com/-PvsT8FRp1a4/TdveoVmsZxI/AAAAAAAAA6I/5hAN_iCDcng/s400/L%2527Europeo+02.jpg" width="400" /></a></div><br />
</div>InTransithttp://www.blogger.com/profile/11186622180535738183noreply@blogger.com0tag:blogger.com,1999:blog-3325472066424531435.post-42123785372371147022011-05-17T10:20:00.002+01:002011-05-17T10:20:42.471+01:00Workshop in London<div dir="ltr" style="text-align: left;" trbidi="on">I will be taking a 5 day shooting <a href="http://londonstreetphotographyfestival.org/diary/the-global-street-and-the-long-term-project-workshop-with-george-georgiou">workshop in London</a> in July as part of the <a href="http://londonstreetphotographyfestival.org/">London Street photography Festival. </a><br />
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</div>InTransithttp://www.blogger.com/profile/11186622180535738183noreply@blogger.com1tag:blogger.com,1999:blog-3325472066424531435.post-49356433408623108332011-05-15T22:55:00.001+01:002011-05-15T22:59:37.751+01:00Side Gallery<div dir="ltr" style="text-align: left;" trbidi="on"><span class="Apple-style-span" style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px;"></span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-MHNyW4V9zyg/TdBFuj8RJ1I/AAAAAAAAA5k/z0GsOJtomek/s1600/giro_corner_south_bank_600_large.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a></div><div style="text-align: left;"><a href="http://4.bp.blogspot.com/-MHNyW4V9zyg/TdBFuj8RJ1I/AAAAAAAAA5k/z0GsOJtomek/s1600/giro_corner_south_bank_600_large.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-left: 1em;"></a><span class="Apple-style-span" style="font-family: Verdana, sans-serif;">I am shocked to hear that the <a href="http://www.amber-online.com/sections/side-gallery">Side Gallery</a> in Newcastle has lost all it's Arts</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif;">Council funding. As the </span><span class="Apple-style-span" style="font-family: Verdana, sans-serif;">only gallery in the UK that has supported and shown documentary photography for over 35 years, the gallery needs as many people to write in, offering support of their unique and valuable role in British documentary photography.</span></div><div style="text-align: left;"><span class="Apple-style-span" style="color: #333333;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><span class="Apple-style-span" style="font-size: small;">All the info about the Art councils reasons and Sides counter arguments can be found on the <a href="http://www.amber-online.com/sections/side-gallery">Side website</a><br />
There is a <a href="http://www.gopetition.com/petition/44355.html">petition</a> that I encourage everyone to sign. The local MP's in the North East of England have join the campaign to try to save the galleries funding by questioning it in the House of Commons.<br />
I have a strong affection for the gallery and the cooperative, <a href="http://www.amber-online.com/sections/about-us/pages/introduction">Amber</a>, that run it. They are the only gallery in the UK to have given me a solo show, and not only once but twice.<br />
I showed Between the Lines in 2002 and <a href="http://georgegeorgiou-intransit.blogspot.com/2010/05/installing-fault-lines-at-side-gallery.html">Fault Lines in 2010</a>.<br />
Today I was at the <a href="http://www.vam.ac.uk/">Victoria and Albert Museum</a> to see the <a href="http://www.vam.ac.uk/channel/search/south%20african/">Figures and Fiction, Contemporary South African Photography</a>, and also went to the permanent gallery space, where they were showing a collection of photographs by the truely amazing, <a href="http://www.goodman-gallery.com/artists/davidgoldblatt">David Goldbaltt</a> from their collection. The work was originally organised and shown in the UK by the Side Gallery, who then toured the exhibition around the UK. When the exhibition ended David donated the prints to the V&A.<br />
This is one of many cases of both photographers and their work that they have supported over the years, I made a previous post about the great posters they have from previous exhibition that can be viewed <a href="http://georgegeorgiou-intransit.blogspot.com/2009/11/side-gallery-exhibition-posters.html">here</a>.</span></span></span><span class="Apple-style-span" style="color: #333333;"><a href="http://4.bp.blogspot.com/-MHNyW4V9zyg/TdBFuj8RJ1I/AAAAAAAAA5k/z0GsOJtomek/s1600/giro_corner_south_bank_600_large.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="312" src="http://4.bp.blogspot.com/-MHNyW4V9zyg/TdBFuj8RJ1I/AAAAAAAAA5k/z0GsOJtomek/s400/giro_corner_south_bank_600_large.jpg" width="400" /></a></span></div><span class="Apple-style-span" style="color: #857c7c; font-family: georgia, serif; font-size: 14px; line-height: 16px;"><i>©Graham Smith</i></span><br />
<div><span class="Apple-style-span" style="line-height: 16px;"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><span class="Apple-style-span" style="font-size: small;">In the </span></span></span></span><span class="Apple-style-span" style="color: #aaaaaa; font-family: verdana, sans-serif; font-size: 12px; line-height: 21px;"> </span><span class="Apple-style-span" style="font-family: verdana, sans-serif; line-height: 21px;">spring of 2010, they exhibited <a href="http://www.timhetherington.com/mentalpicture/home/176">Tim Hetherington</a>'s striking photographs of the civil war in Liberia, taken from his first book Long Story Bit by Bit – Liberia Retold.</span></div><div><span class="Apple-style-span" style="font-family: verdana, sans-serif; line-height: 21px;">As a tribute to <a href="http://www.timhetherington.com/mentalpicture/home/176">Tim</a>, I would like to post this link to the <a href="http://www.sidetv.net/channel1/">talk</a> he did at Side at the time of the opening.</span></div><div><div class="mvm uiStreamAttachments clearfix" data-ft="{"type":"attach"}" style="display: block; margin-bottom: 10px; margin-top: 10px; zoom: 1;"><div class="UIImageBlock clearfix" style="display: block; zoom: 1;"></div></div></div></div>InTransithttp://www.blogger.com/profile/11186622180535738183noreply@blogger.com1tag:blogger.com,1999:blog-3325472066424531435.post-77155240257920341512011-05-09T11:40:00.000+01:002011-05-09T11:40:02.757+01:00Leicester feature for Russian Reporter<div dir="ltr" style="text-align: left;" trbidi="on">A few weeks ago I shot a feature for Russian Reporter on Leicester, the 10th largest city in the UK.<br />
The story was based on the prediction that Leicester will become the first city in the UK with a non-white majority. I was free to explore and interpret this story as I saw it.<br />
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I've never been to Leicester before and apart from my London project, "Invisible", I haven't shot a story in the UK for years.<br />
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One of the first things that you realise is that Leicester is not London. Statistics are interesting but can also be misleading.<br />
London is a truly multicultural city, and I soon realised that the population of Leicester is roughly similar to individual boroughs in London and there are a number of London boroughs that are less than 50% white.<br />
So, if I move around my area of London, I see pretty much every corner of the world represented, not only that, but people are living almost on top of each other. My "Invisible" project addresses some of the issues of how we occupy and share a space. More on this in a couple of months, I am in the process of finishing this work and have a preview exhibition/installation lined up for July in London.<br />
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What I found in Leicester, is a city that is very proud of it's status as a successful multicultural city. It has become an official and unofficial line, with almost everyone singing to the same tune. The psychology of this is interesting, in the same way that negative stories repeated start to reinforce believes and behaviour, in Leicester the spin is one of pride of it's multicultural status.<br />
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What I observed in Leicester was that although the workplace, business and the city centre were multicultural, the residential areas were fairly segregated, the East and North mainly non white and the South and West mostly white. Also on a social level people seemed to keep to their own kind or tribe, giving you two different levels of interaction, the private and the public.<br />
In many ways, maybe this is one of the ways multiculturalism works. We recognize and respect difference, people live in peace with each other and overlap as and when. In the end we all live in our own tribes, be it by income, age, ethnicity, subcultures.<br />
So I decide to photograph the different ethnic groups in there tribes, time didn't permit me to explore the mixed space of work and the city centre.<br />
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Later this year the 2011 census data will come out, so it will be interesting to see if Leicester is the first Non White City in the UK.<br />
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All Photographs ©George Georgiou 2011</div>InTransithttp://www.blogger.com/profile/11186622180535738183noreply@blogger.com2tag:blogger.com,1999:blog-3325472066424531435.post-30213396505565590452011-05-08T10:43:00.002+01:002011-05-08T10:49:10.669+01:00Antonio Olmos and Simon Norfolk<div dir="ltr" style="text-align: left;" trbidi="on">A beautifully shot video by an old friend, <a href="http://www.antonioolmos.com/">Antonio Olmos</a>, on <a href="http://www.simonnorfolk.com/">Simon Norfolk</a> photographing and speaking from Afghanistan.<br />
I love the sense you get of Afghanistan through this video.<br />
It contrasts really well with the very precise and intelligent way that Simon selects and photographs his project.<br />
The work from this video, <span class="Apple-style-span" style="font-family: Times,'Times New Roman',serif;"><a href="http://www.simonnorfolk.com/burkenorfolk/">Burke + Norfolk: Photographs From The War In Afghanistan</a></span> is on show at the <a href="http://www.tate.org.uk/modern/exhibitions/burkeandnorfolk/default.shtm">Tate Modern</a> until 10/07/11.<br />
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</div>InTransithttp://www.blogger.com/profile/11186622180535738183noreply@blogger.com0tag:blogger.com,1999:blog-3325472066424531435.post-11224442671455027992011-04-24T11:07:00.000+01:002011-04-24T11:07:58.148+01:00"Visual narratives: European Borderlines" applications<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-oM6XJSXJ0LU/TbPqGpG4lDI/AAAAAAAAA4U/ePaaf_3YrMo/s1600/A3_17.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://3.bp.blogspot.com/-oM6XJSXJ0LU/TbPqGpG4lDI/AAAAAAAAA4U/ePaaf_3YrMo/s400/A3_17.jpg" width="281" /></a></div>Young photographers (18-35) from Latvia, Turkey, Iceland and Portugal are invited to apply<br />
for a long-term project workshop called <a href="http://www.europeanborderlines.net/">"Visual narratives: European Borderlines"</a><br />
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The workshop will involve 12 photographers, 3 from each country, working in their own country and one other. The workshop will be taken my <a href="http://www.vanessawinship.com/projects.php">Vanessa Winship</a> and myself, with help from the project partners in the 4 countries.<br />
The project will begin with a one week workshop in Latvia this August during the <a href="http://www.issp.lv/en/summer-school/2011/workshops-and-teachers">ISSP workshops</a> and conclude with an editing workshop next spring in Turkey. In between participants will undertake a short residency in one of the partner countries as well as produce work in their own. During this time they will be guided online.<br />
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The workshops and flights are funded and there is some money towards shooting costs, approx €1200.<br />
Workshop partners will make a shortlist of 12 people from each country and Vanessa and I will select the final 12.<br />
Please consider the portfolio you put together, we are more interested in seeing a well thought out long project than a selection of single images or small sets.<br />
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<div>Application deadline: 20 May 2011. <a href="http://www.europeanborderlines.net/applicants.html">Applications here</a><br />
Good luck</div></div>InTransithttp://www.blogger.com/profile/11186622180535738183noreply@blogger.com0tag:blogger.com,1999:blog-3325472066424531435.post-47250444430970394992011-04-19T20:43:00.009+01:002011-04-20T00:32:28.934+01:00International Summer School of Photography 2011<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-2osfrzvfu6s/Ta4TcOdvDjI/AAAAAAAAA4Q/UMosmqo-zBU/s1600/logo-2011.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="http://1.bp.blogspot.com/-2osfrzvfu6s/Ta4TcOdvDjI/AAAAAAAAA4Q/UMosmqo-zBU/s200/logo-2011.jpg" width="200" /></a></div><span class="Apple-style-span" style="font-family: Arial,Helvetica,sans-serif;">Applications are now open for the </span><a href="http://www.issp.lv/en/summer-school/2011/workshops-and-teachers"><span class="Apple-style-span" style="font-family: Arial,Helvetica,sans-serif;">ISSP workshops</span></a><span class="Apple-style-span" style="font-family: Arial,Helvetica,sans-serif;"> in Latvia this August. Last year more than 200 people applied from 42 countries for the 60 places. In the end 22 different countries were represented and looking on facebook, a lot of these people have continue to keep in touch.</span><br />
<span class="Apple-style-span" style="font-family: Arial,Helvetica,sans-serif;">I was teaching last year and I must admit that I had a great time, both with the students and relaxing at the end of the night with the other teachers. The intense but fun atmosphere and everyone living together in the middle of nowhere, really does create an amazing bond. Application will close 8th MAY.</span><br />
<div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-sYQWa7D8B7Q/Ta4SJP1cVGI/AAAAAAAAA4M/N2NQq7rWFD8/s1600/Arno-Rafael-Minkkinen-Freshwater-Isle-of-Wight-2002.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="303" src="http://3.bp.blogspot.com/-sYQWa7D8B7Q/Ta4SJP1cVGI/AAAAAAAAA4M/N2NQq7rWFD8/s400/Arno-Rafael-Minkkinen-Freshwater-Isle-of-Wight-2002.jpg" width="400" /></a></div></div><div>© Arno Rafael Minkkinen</div><br />
The teachers this year are:<br />
<div><b>Workshop 1: Personal documentary: Interior</b><br />
Teacher: Michael Ackerman<br />
<b>Workshop 2: Kuldīga in Pop Latino</b><br />
<div><span class="Apple-style-span" style="font-family: Arial,Helvetica,sans-serif;">Teacher: </span><a href="http://www.marcoslopez.com/"><span class="Apple-style-span" style="font-family: Arial,Helvetica,sans-serif;">Marcos Lopez</span></a><br />
<b>Workshop 3: Creative documentary: Using reality to create personal fiction</b><br />
<span class="Apple-style-span" style="font-family: Arial,Helvetica,sans-serif;">Teacher: </span><a href="http://www.claudinedoury.com/"><span class="Apple-style-span" style="font-family: Arial,Helvetica,sans-serif;">Claudine Doury</span></a><br />
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<b>Workshop 4: Who else am I </b></div><div><span class="Apple-style-span" style="font-family: Arial,Helvetica,sans-serif;">Teacher: </span><a href="http://www.arno-rafael-minkkinen.com/"><span class="Apple-style-span" style="font-family: Arial,Helvetica,sans-serif;">Arno Rafael Minkkinen</span></a></div><div><span class="Apple-style-span" style="font-family: Arial,Helvetica,sans-serif;"> </span><b>Workshop 5: Still Life as Critical Aesthetics</b><br />
<span class="Apple-style-span" style="font-family: Arial,Helvetica,sans-serif;">Teacher: </span><span class="Apple-style-span" style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.davidbate.net/">David Bate</a></span></div><br />
This year I will be teaching a workshop with Vanessa Winship during ISSP, but it will be outside the normal applications. More news to follow in the next couple of days.</div></div>InTransithttp://www.blogger.com/profile/11186622180535738183noreply@blogger.com0tag:blogger.com,1999:blog-3325472066424531435.post-32431280011528443942011-04-17T18:35:00.000+01:002011-04-17T18:35:42.224+01:00Installation images from Athens house of Photography<div dir="ltr" style="text-align: left;" trbidi="on">Installation images from Athens house of Photography exhibition. The exhibition will come down on the 22nd April.<br />
I was really happy with the presentation in this gallery. The tall wall was perfect for the Taksim grid and worked very nicely with the Title text.<br />
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</div>InTransithttp://www.blogger.com/profile/11186622180535738183noreply@blogger.com0tag:blogger.com,1999:blog-3325472066424531435.post-17971572525326758712011-03-25T21:51:00.000+00:002011-03-25T21:51:03.780+00:00Russian Reporter assignment<div dir="ltr" style="text-align: left;" trbidi="on">Three weeks ago I did an assignment for Russian Reporter on Leicester, in the UK.<br />
Leicester is due to become the first City in the UK with a non white majority in the UK.<br />
Below is the feature in RR. In the next week I will post some more images and explain my<br />
interpretation of the story.<br />
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</div>InTransithttp://www.blogger.com/profile/11186622180535738183noreply@blogger.com3