Guillem Valle shot this photo during the 2006 Lebanon war.
I don’t often post conflict shots because I’m wary of all the things that Susan Sontag said but I find myself coming back to this one regularly.
I think it’s the lack of obvious specific markers about this conflict along with the inclusion of a few universal ones about conflict in general —  the swift destruction of the built environment, the abandoned vehicles, above all the suitcase in the fleeing woman’s hand.
It could have been taken during so many different wars in so many different countries over the past 60 years.

Guillem Valle shot this photo during the 2006 Lebanon war.

I don’t often post conflict shots because I’m wary of all the things that Susan Sontag said but I find myself coming back to this one regularly.

I think it’s the lack of obvious specific markers about this conflict along with the inclusion of a few universal ones about conflict in general — the swift destruction of the built environment, the abandoned vehicles, above all the suitcase in the fleeing woman’s hand.

It could have been taken during so many different wars in so many different countries over the past 60 years.



Gouache on paper by Julia Steiner, 2012

Gouache on paper by Julia Steiner, 2012



natgeofound:

New Mexico, 1941.Photograph by B. Anthony Stewart, National Geographic Creative

natgeofound:

New Mexico, 1941.Photograph by B. Anthony Stewart, National Geographic Creative



"Boy Walking on Grass" (2012)
Copyright Greg Sand

"Boy Walking on Grass" (2012)

Copyright Greg Sand



From Die Kinder des King-Cotton (The Children of King Cotton)

More here.

Copyright Henning Bode



"Clothes line, Glencaple, Scotland, 1954"
Copyright Edwin Smith

"Clothes line, Glencaple, Scotland, 1954"

Copyright Edwin Smith



From Daufuskie Island
Copyright Jeanne Moutoussamy-Ashe

From Daufuskie Island

Copyright Jeanne Moutoussamy-Ashe



"Apartment" 
Copyright Miyako Ishiuchi

"Apartment"

Copyright Miyako Ishiuchi



kadist:

Eleanor Antin, The Angel of Mercy, 1976.
We’re excited to dive into this interview between artist Rachel Mason and Eleanor Antin for BOMB Magazine. In the interview, Mason and Antin speak about their influences, the role of history in Antin’s work, performance, and feminism. 

As for young women artists, the scene is very difficult now because it’s so contaminated by money. But nevertheless it is really so much more open. We had to fight for our place in the sun. You still have to fight, probably because there are so many more artists around. Somehow, there didn’t seem to be that many in the old days. Hey, I’m partially responsible. I was a professor of art at UCSD for almost thirty years. I had a lot of students. Some of them were terrific and are doing very well now. Some were terrific and aren’t doing well. Luck, character, there are so many circumstances that play a role in this.

To read the whole interview, click here. 

Antin is fantastic.

kadist:

Eleanor Antin, The Angel of Mercy, 1976.

We’re excited to dive into this interview between artist Rachel Mason and Eleanor Antin for BOMB Magazine. In the interview, Mason and Antin speak about their influences, the role of history in Antin’s work, performance, and feminism. 

As for young women artists, the scene is very difficult now because it’s so contaminated by money. But nevertheless it is really so much more open. We had to fight for our place in the sun. You still have to fight, probably because there are so many more artists around. Somehow, there didn’t seem to be that many in the old days. Hey, I’m partially responsible. I was a professor of art at UCSD for almost thirty years. I had a lot of students. Some of them were terrific and are doing very well now. Some were terrific and aren’t doing well. Luck, character, there are so many circumstances that play a role in this.

To read the whole interview, click here. 

Antin is fantastic.



Photo by Annelies Strba

Photo by Annelies Strba



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