Posts Tagged ‘Cuban Missile Crisis

10
Apr
13

Exhibition: ‘Don McCullin: A Retrospective’ at the National Gallery of Canada, Ottawa

Exhibition dates: 1st February – 14th April 2013

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“Photography for me is not looking, it’s feeling. If you can’t feel what you’re looking at, then you’re never going to get others to feel anything when they look at your pictures”

“You do not go away from here without carrying a huge burden, if you are a decent human being and you have a conscience.”

“I photograph the humble, the anonymous, who are spontaneous and mirror all of us.”

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Don McCullin, Sleeping With Ghosts: A Life’s Work in Photography

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Many thankx to the National Gallery of Canada for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

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Don McCullin. 'Catholic youth escaping a CS gas assault in the Bogside, Londonderry, Northern Ireland' 1971

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Don McCullin
Catholic youth escaping a CS gas assault in the Bogside, Londonderry, Northern Ireland
1971
Gelatin silver print
© Don McCullin / Contact Press Images

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Don McCullin. 'US marine throwing grenade, Tet Offensive, Hué, South Vietnam' February 1968

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Don McCullin
US marine throwing grenade, Tet Offensive, Hué, South Vietnam
February 1968
Gelatin silver print
© Don McCullin / Contact Press Images

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Don McCullin. 'Turkish defender leaving the side-entrance of a cinema, Limassol, Cyprus' 1964

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Don McCullin
Turkish defender leaving the side-entrance of a cinema, Limassol, Cyprus
1964
Gelatin silver print
© Don McCullin / Contact Press Images

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Don-McCullin-Protester,-Cuban-missile-crisis-WEB

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Don McCullin
Protester, Cuban missile crisis, Whitehall, London
1962
Gelatin silver print
© Don McCullin / Contact Press Images

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Don McCullin. 'American soldiers, Checkpoint Charlie, West Berlin' August 1961

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Don McCullin
American soldiers, Checkpoint Charlie, West Berlin
August 1961
Gelatin silver print
© Don McCullin / Contact Press Images

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“For the first time ever, the National Gallery of Canada is organising an monographic exhibition dedicated to the work of a contemporary British photographer. Don McCullin: A Retrospective features a collection of 134 exceptional black-and-white photographs taken by McCullin, an unflinching photojournalist best known for his coverage of the world’s most dangerous conflict zones. His photographs have been published in major newspapers and magazines, including The Observer, The Sunday Times and The Daily Telegraph. McCullin has also created an important body of social documentary work and a series of lyrical landscapes in his native Britain. Several of these photographs are included in the exhibition, which will be on display until April 14, 2013 in the NGC’s Prints, Drawings and Photographs Galleries. “McCullin’s photographs belong in an art gallery because they consistently bring clarity and compositional grace to their compelling subject matter. These pictures are both hard to look at and hard not to.” said NGC director and CEO Marc Mayer.

Don McCullin: A Retrospective highlights works from all of McCullin’s major series: portraits of the poor and the homeless in London and northern England (1950s to 1980s); the construction of the Berlin Wall (1961); war and famine in Cyprus, the Congo, Biafra, Vietnam, Bangladesh, Cambodia, Lebanon and Northern Ireland (1964-1982); peoples of Southeast Asia and Africa (1988-2004); and landscapes in Somerset, England, and northern France (1970-2011). In this exhibition, the artist’s journey from working class England to the killing fields and to the landscape of Arthurian myth reveals his searing outrage and profound compassion. Also included are magazines and newspapers relating to past assignments.

McCullin covered war zones on four continents, primarily from the 1960s to the 1980s. His photographs from the battlefields belong to a tradition of war art practiced by Francisco de Goya, Otto Dix and photographer Robert Capa, artists who, like himself, sought to communicate in images the horrors of human conflict. Particularly compelling for their narrative depth, sombre lighting and powerful composition, McCullin’s photographs convey the intensity and intimacy of his human encounters. His landscapes, although also dark and brooding, speak to his desire to distance himself from the subject of human suffering.

Although, McCullin did travel to Syria recently for The Times on one final war assignment (these photographs are not included in the exhibition), his exposure to the worst human atrocities took such a toll on him that he more or less retreated from conflict zones beginning in the 1980s. McCullin does not like being called a war photographer. Nor does he think of himself as an artist, but rather as a photojournalist, or simply, a photographer. In her insightful essay in the exhibition catalogue, Sobey Curatorial Assistant Katherine Stauble writes of the war photographs: “Likely (these images) were not meant to hang on a gallery wall, but rather, to communicate information, to reveal truths and to mobilize action. Now that McCullin has escaped the battlefield and for the past twenty years has been focusing his lens on landscape and still life, one might expect the artist moniker to sit more comfortably with him.”

Press release from the National Gallery of Canada website

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Don McCullin. 'The Guvnors, Finsbury Park, London' 1958

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Don McCullin
The Guvnors, Finsbury Park, London
1958
Gelatin silver print
© Don McCullin / Contact Press Images

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Don McCullin. 'At a café in Finsbury Park, London' 1958

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Don McCullin
At a café in Finsbury Park, London
1958
Gelatin silver print
© Don McCullin / Contact Press Images
Photo © NGC

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Don McCullin. 'Jean, a homeless woman, Aldgate, East End, London' 1984, printed c. 1985

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Don McCullin
Jean, a homeless woman, Aldgate, East End, London
1984, printed c. 1985
Gelatin silver print
© Don McCullin / Contact Press Images

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Don McCullin. 'Homeless Irishman, Aldgate, East End, London' 1970

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Don McCullin
Homeless Irishman, Aldgate, East End, London
1970
Gelatin silver print
© Don McCullin / Contact Press Images

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Don McCullin. 'Old Vietnamese man, Tet Offensive, Hué, South Vietnam' February 1968

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Don McCullin
Old Vietnamese man, Tet Offensive, Hué, South Vietnam
February 1968
Gelatin silver print
© Don McCullin / Contact Press Images

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National Gallery of Canada
380 Sussex Dr  Ottawa
ON K1N 9N4, Canada
T: +1 613-990-1985

Opening hours:
Sunday 10.00 am – 5.00 pm
Monday Closed
Tuesday 10.00 am – 5.00 pm
Wednesday 10.00 am – 5.00 pm
Thursday 10.00 am – 8.00 pm
Friday 10.00 am – 5.00 pm
Saturday 10.00 am – 5.00 pm

National Gallery of Canada website

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29
Jan
13

Exhibition: ‘Che Guevara: Images of revolution. From the Skrein Photo Collection’ at Museum de Moderne Rupertinum, Salzburg

Exhibition dates: 24th November 2012 – 3rd February 2013

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Many thankx to the Museum de Moderne Rupertinum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

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MdM-Rupertinum_Bilder-Revolution_Salas_Che-fumano-WEB

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Osvaldo Salas
Che fumano [Che smoking]
1964
Gelatine-Silberprint, Vintage
40 x 50 cm
aus der Skrein Photo Collection

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Perfecto Romero. 'Miliz Campesinos' 1961

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Perfecto Romero
Miliz Campesinos [Military peasants]
1961
Gelatine-Silberprint, Vintage
30 x 40 cm
aus der Skrein Photo Collection

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Osvaldo Salas. 'Camilo beim Einzug in Havanna 8.1.1959' 1959

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Osvaldo Salas
Camilo beim Einzug in Havanna, 8.1.1959 [Camilo moving into Havana, 8.1.1959] (Camilo Cienfuegos)
1959
Gelatine-Silberprint, Vintage
40 x 50 cm
aus der Skrein Photo Collection

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Alberto Korda. '1. Mai 1960, Volksverteidigungsarmee' 1960

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Alberto Korda
1. Mai 1960, Volksverteidigungsarmee [1. May 1960, People’s Defence Force]
1960
s/w Fotografie
aus der Skrein Photo Collection
© VBK, Wien, 2012

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René Burri. 'Che Guevara' 1963

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René Burri
Che Guevara
1963
Kontaktbogen, Gelatine-Silberprint
22 x 34 cm
aus der Skrein Photo Collection

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Raúl Corrales. 'La Cabelleria' 1961

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Raúl Corrales
La Cabelleria [The Cavalry]
1961

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“Cuban President Fulgencio Batista, who seized power in a military coup in 1952, ran a corrupt and dictatorial regime. This gave rise to the Cuban revolutionary movement that still continues today: In 1953 Fidel Castro and his loyal followers organized an armed attack on the Moncada Barracks, which was brutally quashed by the Batista regime.

M-26-7 is a reference to this failed attack which marks the beginning of the Cuban Revolution and became a symbol of the revolution for Castro’s followers. On 26th of July 1953 the protagonists of the revolution were arrested, Fidel and Raul Castro were sentenced to many years in prison and numerous combatants were executed. In 1955 Batista released Castro from prison, who went into exile in Mexico, where Che Guevara, an Argentine-born physician, joined his movement. In 1956 they returned to Cuba from Mexico with 82 fighters; they landed in the Granma Province, south of Havana which also became a synonym of the revolution, like the Sierra Maestra Mountains.

This is where the Skrein Collection begins: the preparation of the guerilla war, the recruitment of new fighters, including Camilo Cienfuegos, who formed the triumvirate of the revolution with Che Guevara and Fidel Castro, or Celia Sánchez, one of the first women of the revolutionary movement. The activities of the revolutionists attracted many followers and enjoyed strong support among the population until victory was finally achieved with the Castro‘s triumphal entry in Havanna in 1959. This was followed by a phase of consolidation, during which Castro, Guevara and other revolutionaries assumed political offices and were appointed as ministers. After the Bay of Pigs disaster in 1961, the USA imposed a total embargo on Cuba, thus contributing to the isolation of the Caribbean island and its political leadership.

The photographs from the Skrein Photo Collection cover the period from the end of the Batista-Regime to the Cuban Missile Crisis. Both Cuban and foreign photographers were involved into political events as reporters, sympathizers, journalists and adventurers and spread the revolutionary ideology. Leading European photographers travelled into this troubled country in the midst of social upheavals and turned the leaders of the revolution into icons and symbols of a dissatisfied youth on the eve of the global 1968 movement world wide.

Austrian photographer Christian Skrein (*Vienna, 1945) began his career as an art, commercial and fashion photographer. He later became an enthusiastic and expert collector of photography and compiled comprehensive archives of snapshot photography and international press and art photography. For over 15 years now, he has focused on photographs of the Cuban Revolution and its protagonists. Today, his collection comprises more than 4,500 items, including several icons of the history of photography as well as numerous less spectacular photographs which document the political situation and social life in Cuba from the 1950s to the 1970s.

In 2011 the Getty Museum in Los Angeles selected a set of 60 photographs from the Skrein Collection for its first exhibition on the Cuban Revolution: the onslaught of visitors testified to the huge interest in this historical period and its profound and far-reaching impact on global politics and in the role of photography as mediator of pictures that create identity. The presentation of 150 photographs at the Museum der Moderne Salzburg offers visitors insights into this extensive specialized collection, but also shows the importance of photography and media for events and personalities. No other political event of this period was photographically documented as much as the Cuban Revolution; the pictures of its heroes were reproduced many thousands of times. The world famous photograph of Che Guevara by Alberto Korda is the most often reproduced photograph in the world, owing to a large-scale ideological and PR campaign initiated in 1967 by Italian publisher Giangiacomo Feltrinelli.

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The myth of revolution – image pictures and iconic reception

Che Guevara was recognized as media star already during the revolution; his portrait adorned the walls of every government authority and factory building, every office and tobacco factory – he was omnipresent, an icon and role model and a crucial propaganda instrument of the political movement. The charismatic, eternally young revolutionary adorned public and private rooms as poster, photograph and icon, and the people identified themselves with their leader on a never-before-seen scale. Che united the revolution with the idea of social upheaval and personified a socialist future, a new man and a new country.

After the successful revolution the photographs of its heroes became a synonym of the new society; they were revered and distributed all over the country like pictures of saints. While the early iconic pictures of the revolution were made by Cuban photographers, who were part of the revolutionary movement, the Western world began to take notice of developments in Cuba in 1959. Leading European photographers travelled into this troubled country in the midst of social upheavals and turned the leaders of the revolution into icons and symbols of a dissatisfied youth on the eve of the global 1968 movement. Particularly the word famous portrait of Che Guevara as “guerrillero heroico” with baret and red star, photographed by Alberto Korda, is still regarded as an epitome of revolution and rebellion today and considered the most famous portrait of a person worldwide.

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The photographic language of the revolution

Few photographs exist from the early years of the revolutionary movement against the Batista regime, and most of them were made by amateur photographers and travellers. They resemble the documentary photographic style of the 1930s which was popular in the United States and Europe at that time. Event photography, like the picture of Fidel Castro’s release from prison in 1955, retrospectively achieved iconic status and became the initial image of the revolution widely distributed in numerous reproductions, details and enlargements. The guerrilla fights in the Sierra Maestra are only documented in small incidental photographs made by sympathizers and fellow guerrillas with their own cameras.

Professional photographers discovered the “faces of the revolution” and their protagonists only in 1959. From then on countless portraits of Che Guevara, Fidel and Raúl Castro and their combatants were created. This is also the reason why so few photographs exist of Camilo Cienfuegos, who died in 1959, and of the authentic event of the triumphant entry into Havana on 8 January 1959, which were replaced by pictures of Fidel Castro’s famous speech. Photographers developed a photographic language with an epic style which was situated between documentation and homage and supported the political scope of the revolution. A photograph by Raúl Corrales became famous under the name “La Cabelleria”, even though the occasion (illegal entry into the premises of the American Fruit company) was not primarily heroic. The image created the identity of event and ideology and thus became a political statement.

The style of the photographers – from Alberto Korda to Liborio Noval and Osvaldo Salas, from Corrales to Tirso and Mayito – was characterized by a pictorial dramaturgy that was suitable for the media: strong contrasts, little internal drawing, silhouette-like figures against a discreet background – in other words the criteria of good news photography as it has been practiced since the 1940s. In addition, the photographers sympathizing with and involved in the revolution had a feel and understanding for pathos and staging and paid attention to small details and scenes on the fringe of large events.”

Press release from the Museum de Moderne Rupertinum website

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Alberto Korda. 'Siegesfeier nach der Schlacht in der Schweinebucht, Fidel Castro mit aufgemalter Flagge' 1961

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Alberto Korda
Siegesfeier nach der Schlacht in der Schweinebucht, Fidel Castro mit aufgemalter Flagge
[Victory celebration after the Battle in the Bay of Pigs, Fidel Castro with painted flag]

1961
Gelatine-Silberprint, Vintage, Deckfarben
40 x 30 cm
aus der Skrein Photo Collection
© VBK, Wien, 2012

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Carlos Morales. 'Siegreiche Revolution, 8.1.1959' 1959

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Carlos Morales
Siegreiche Revolution, 8.1.1959 [Victorious Revolution, 8.1.1959]
1959
Gelatine-Silberprint, Vintage
28 x 20 cm
aus der Skrein Photo Collection

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Venancio Diaz. 'Volksparade anlässlich "La Coubre“,' 1960

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Venancio Diaz
Volksparade anlässlich “La Coubre” [People’s parade dedicated to “Coubre”]
1960
Gelatine-Silberprint, Vintage
27 x 15 cm
aus der Skrein Photo Collection

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Anonymous. 'Fidel Castro' c. 1970

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Anonymous
Fidel Castro
c. 1970
Gelatine-Silberprint, Vintage
33.5 x 28 cm
aus der Skrein Photo Collection

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Alberto Korda. 'Che Guevara' 1960

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Alberto Korda
Che Guevara
1960
s/w-Fotografie
aus der Skrein Photo Collection
© VBK, Wien, 2012

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Museum de Moderne Rupertinum
Weiner Philharmoniker Gasse 9
5020 Salzburg, Austria

Opening hours:
Tuesday – Sunday: 10.00 am – 6.00 pm
Wednesday: 10.00 am – 8.00 pm
Monday: closed

Museum de Moderne Rupertinum website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Sleep/Wound’ 1995-96


Marcus Bunyan black and white archive: 'Sleep/Wound' 1995-96 *PLEASE NOTE THIS POSTING CONTAINS PHOTOGRAPHS OF MALE NUDITY - IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*

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