THE PHOTOCRAFT
View allAll Photos Tagged Before I Was Abel
After our fist week in New Zealand, we arrived in Wellington where we spent an afternoon before we took the Ferry across the Cook Strait to the South Island the next morning. A friend of mine “warned” me that this crossing can be a little uncomfortable as there are typically strong winds, but in our case the weather was mild (in contrast to the night before in Wellington, where I woke up due to the wind slightly swaying the car) and we arrived in Picton after an 3 and a half hours ride. Fortunately, we were on time since we had most of our planned journey for that day still ahead of us: a drive to the northernmost point of the South Island. If Google Maps was right, the calculated route that looked not so dramatically long on the map should take us almost 5 hours, meaning that we should arrive at the campsite 45 minutes before sunset. So we fuelled up our car in Picton and started the journey, driving along one of the windiest roads I’ve ever driven, and all that with the longest vehicle I’ve ever driven. The narrow and windy roads made it feel like I was speeding, but I was always within the speed limits, trying not to waste any minute. In fact, I drove all the way without a single break, even though we would have loved to stop multiple times, especially at the Abel Tasman National Park which we read should be incredibly beautiful. The further north we got, the less civilisation there was, and on the last few kilometres, the road turned into a gravel road. In wise anticipation, we also downloaded the offline maps for this area, and as expected the Wifi in our mobile home indeed lost its signal.
To our surprise, we arrived at the campsite in time and seeing that there is nothing else than a farm and a cafe that was closed, we were even more surprised that there was a campsite in the middle of nowhere. We then quickly checked in (and were informed that there is a power limitation since this is basically the end of the power line), parked our camper and hurried to get to the beach. Fortunately, the path was easy to find and very beautiful as one walks past some very characterful trees that were formed by strong winds, looking constantly at the beautifully rolling green hills with lots of sheep before the path goes down through a small forest to the actual beach. At the entrance to Wharariki beach, you see some huge sea stacks in the distance and I was wondering if these are already the famous Archway Islands (at this point you only see it from the side from which the arches are not visible) that everyone knows that once had a Windows computer. We then walked further down the beach and noticed two people taking images of themselves and at this point it was clear: these must be the famous Archway Islands. We then hurried to get down there, set up everything and were right in time for catching the last sun rays, but I do have to admit that the following blue hour was even more beautiful and I might upload one of these blue hour images one day. However, it was not until the next morning that I took my favourite image from that location.
The next morning, we got up and hiked to the beach again to shoot sunrise, but on our way it turned out that the sun was rising exactly opposite to the Archway Island. Nevertheless, we set up our tripods, started shooting and waited till the tide rose. Since the few clouds in the sky didn’t really catch much color, I put on my 10 stop filter and waited for some bigger waves that got further onto the beach, and together with a 60 seconds exposure I was able to capture this beautiful and dreamy composition. Moreover, since the wave didn’t fully reach us, there are still some structures in the foreground that nicely serve as leading lines towards the Archway Islands. All in all, I’m really happy with this image and will never forget the short time we were able to spend at this incredibly beautiful and remote place. In fact, we read that it’s a shame that one drives up there only for visiting Wharariki beach and doesn’t explore the Farewell Spit and the whole Golden Bay, but there is always more to explore, isn’t it? I hope you like this image!
¿Vamos a cazar la luna entre los pilares del V Centenario? Y dicho y hecho. Calculado, recalculado y dos días de calima intensa en Sevilla. ¿Próxima fecha posible? uffffffffffffffffff. Tres horas antes de la hora L, empiezamos a ver el cielo azul. A los coches, en magnífica compañía, y nuestras posiciones. Yo la quiero entre los pilares....... aquí. Yo la quiero a la derecha de los pilares.............aquí.
Mientras se acerca la hora, conversación entretenida, cervecita y algunos frutos secos.
A sus puestos, es la hora........ ¿pero donde está la luna? Vamos a darle unos minutos, puede que no sea muy exacto el programa. 10, 15, 20 minutos ¿y la luna? ¿Me habré equivocado de año?
Y cuando estamos a punto de plegar los bartulos, un momento............. allí parece........... a los disparadores..............
Gracias a Maribel, Abel y Raul, por acompañarme en esta locura de cazería lunar.
Minipanorámica de tres tomas horizontales.
Are we going to hunt the moon between the pillar of the V Centenario Brigde? said and done. Calculated, re-calculated and two days of intense hace in Sevilla. Next possible date? Uffff..... Three hours before the "Moon Hour", we start to see the blue sky. To the cars, in wonderful company an in our positions. I want it between the pillars...... here. I want it to the right of the pillars...... here. While the hour was approaching, enjojable conversations, beers and nuts. To your positions, it is the time!..... but, where is the moon? Let´s going to give her some minutes, maybe the program its not very accurate. 10, 15, 20 minutes, and the moon? Will I have get wrong the year? And when we are ready to fold our staff..... hold on..... there she is..... to the shutter releases.
A big thank you to Maribel, Abel and Raul for joining me in this madness of moon hunt.
Although Cape Maria van Diemen is in the far north of New Zealand it is also the westernmost point of the North Island. The cape was named by Abel Tasman, the first European explorer to discover New Zealand, after the wife of his patron. The walk out to the lighthouse was one of those trips I have been wanting to do for a very long time. Finally the stars aligned and it became one of those rare family outings when both our children were in the country at the same time. We provided transport for our daughter and her fiancé to start the last leg of a two year cycle trip that had them travel the Andes, Central Asia, the Himalayas and Tasmania before finishing with the Tour Aotearoa riding the length of New Zealand.
Note: This is not my build! This is AN_ABEL_BUILDER’s moc he wanted me to post for my RPG. He does not own a Flickr account, so that is why I am posting it here. The rating given for this build is rated by me, but remember this is not my build. Let me know if you have any questions. Thanks for understanding!
Welcome back!
Here is the backstory for this build.
Location: Tatooine
///Log Entry\\\
“The road was hard. Just getting to the Imperial base took ages. We, or should I say I, traveled by foot with my bulky fusion engine on my back. The suns that day brought scorching heat, and devastated the fresh air I was looking forward too...well, that’s if Tatooine ever has any fresh air.
Our mission was to place bombs around the abandoned, yet heavily used Imperial base. It wasn’t quite abandoned, but that’s what the authorities had told us.
Once I reached the edge of the base I contacted some of the other mission leaders. Hozz, a good friend of mine, told me the rest of the gang was heading for the other side of the building. I was assigned to distract some of the Imperial stormtroopers who were scouting the perimeter of the base.
Thirty minutes later I was told this, “...soldiers, fire at any enemy forces you come in contact with...we want this mission done and over with!” It was council leader Juan Aarons who contacted me. Well let’s just say I did what was asked.”
///End Log\\\
This entry is being given a rating of 55, by me, the admin of the RPG. This rating does not affect any of my builds towards the RPG.
This is the last of the three posts by AN_ABEL_BUILDER posted here on my account. The other two posts can be found on my page.
These three builds were a blast to take pictures of! They are probably some of my best pictures that I’ve done before. We had an amazing time entering the RPG. I might be posting some future builds by this friend, but definitely not until the first mission in the RPG is over.
Let me know what you think of these builds, and if you would like to join this RPG, please visit the link below.
RPG group: www.flickr.com/groups/thesurvivorsrpg/
Drop a comment if you have any feedback about this build! Thanks for viewing! :D
Note: This is not my build! This is AN_ABEL_BUILDER’s moc that he wanted me to post for my RPG. He does not own a Flickr account, so that is why I am posting it here. The rating given for this build is rated by me, but remember this is not my build. Let me know if you have any questions. Thanks for understanding!
Welcome back!
Here is the backstory for this build.
Location: Dathomir
///Log Entry\\\
“Moff Drago, an ex-Imperial, relocated his forces to the unknown planet of Dathomir. Not that Dathomir was uninhabited or anything, but the common citizen under the Imperial rule had almost no knowledge of its existence. I was sent on a mission, by the Survivor group, to scout out some of the Imperial remains on the planet.
The terrain was rough and spiky. I was glad I brought my jetpack because of this. Not too long after I reached the Imperial base, I was sent this message, “Quinn, get to the base! We have spotted several Imperial forces coming your way. Continue with your mission, and may the force be with you!” It was council leader Zach who contacted me.
After some more time had passed, I went forward with what I planned to do. The base, somewhat destroyed somewhat intact, was my target. I was to take out the main reactor engine powering the weapons factory. This way, the ex-Imperials would have much less ammunition on hand for future attacks.
Before I could get to the reactor, I had to cross a small yet heavily guarded bridge. This bridge led to the reactor. The bridge connected the southside of the building to the reactor.
Once on the bridge, I encountered the enemy. A squad of eight Imperial stormtroopers met my path. I quickly ignited my jetpack, and flew high above the ground. Two shots rang out, leaving all the enemy dead and myself having some pain in my left arm.
I reached the reactor, with much effort since I just injured my arm. Finally, after much struggle, I reached my desired destination. I placed a mid-scale bomb on one of the engine modules, and set it and ran, or actually flew. My mission was complete. My next assignment was something on Tatooine…I think”
///End Log\\\
This is his second post into the RPG, but it is his first entry. His character post can be found here: www.flickr.com/photos/188448355@N04/50349298566/in/datepo...
This entry is being given a rating of 58, by me, the admin of the RPG. This rating does not affect any of my builds towards the RPG.
The build was really interesting to watch him build. We had a few ideas in mind, changed the planet, but in the end the build looks really good. I haven't seen too many Dathomir builds, so the idea was pretty hard to figure out.
There is still another build made by AN_ABEL_BUILDER coming soon in a few days. If you are interested in this RPG, please visit the link below.
RPG group: www.flickr.com/groups/thesurvivorsrpg/
Drop a comment if you have any feedback about this build! Thanks for viewing! :)
Officially the Kingdom of Tonga (Tongan: Puleʻanga Fakatuʻi ʻo Tonga), an archipelago in the South Pacific Ocean, comprises 169 islands, 36 of them inhabited. The Kingdom stretches over a distance of about 800 kilometres (500 miles) in a north-south line. The islands that constitute the archipelago lie south of Samoa, about one-third of the way from New Zealand to Hawaiʻi.
Tonga also became known as the Friendly Islands because of the friendly reception accorded to Captain James Cook on his first visit in 1773. He happened to arrive at the time of the ʻinasi festival, the yearly donation of the first fruits to the Tuʻi Tonga, the islands' paramount chief, and received an invitation to the festivities. According to the writer William Mariner, in reality the chiefs had wanted to kill Cook during the gathering, but could not agree on a plan.
Apart from being the only sovereign monarchy among the island nations of the Pacific Ocean, Tonga can also lay claim to being the only island nation in the region to have avoided formal colonisation. Tonga plans to become a fully functioning constitutional monarchy after legislative reform and a more fully representative election take place in 2010.
Etymology
In many Polynesian languages the word tonga means "south". The name of Tonga derives from the word Tongahahake, which translates to "Southeast", originally meaning "the wind that blows from the Southeast". The proper pronunciation of the name 'Tonga' is /toŋa/, and not /tɒŋɡə/, a pronunciation used for an Indian carriage spelled in the same way and so causing confusion.
History
An Austronesian-speaking group linked to the archeological construct known as the Lapita cultural complex reached and colonised Tonga around 1500–1000 BCE. (Scholars continue to debate the dates of the initial settlement of Tonga.) Reaching the Tongan islands (without modern navigational tools and techniques) was a remarkable feat accomplished by the Lapita peoples. Not much is known about Tonga before European contact because of the lack of a writing system during prehistoric times. But oral history has persisted, and Europeans have recorded it (and given it Eurocentric interpretations). (The Tongan people first encountered Europeans in 1616 when the Dutch vessel Eendracht made a short visit to the islands to trade.)
By the 12th century Tongans, and the Tongan paramount chief, the Tuʻi, had a reputation across the central Pacific, from Niue to Tikopia, leading some historians to speak of a 'Tongan Empire'. In the 15th century and again in the 17th, civil war erupted. Into this situation the first European explorers arrived, beginning in 1616 with the Dutch explorers Willem Schouten and Jacob Le Maire (who called on the northern island of Niuatoputapu), and in 1643 with Abel Tasman(who visited Tongatapu and Haʻapai). Later noteworthy European visitors included James Cook (British Navy) in 1773, 1774, and 1777, Alessandro Malaspina (Spanish Navy) in 1793, the first London missionaries in 1797, and the Wesleyan Methodist Walter Lawry Buller in 1822.
In 1845 the ambitious young warrior, strategist, and orator Tāufaʻāhau united Tonga into a kingdom. He held the chiefly title of Tuʻi Kanokupolu, but was baptised with the name King George. In 1875, with the help of missionary Shirley Waldemar Baker, he declared Tonga a constitutional monarchy, formally adopted the western royal style, emancipated the "serfs", enshrined a code of law, land tenure, and freedom of the press, and limited the power of the chiefs.
Tonga became a British-protected state under a Treaty of Friendship on 18 May 1900, when European settlers and rival Tongan chiefs tried to oust the second king. Within the British Empire, which posted no higher permanent representative on Tonga than a British Consul (1901–1970), Tonga formed part of the British Western Pacific Territories (under a colonial High Commissioner, residing on Fiji) from 1901 until 1952. Although under the protection of Britain, Tonga remained the only Pacific nation never to have given up its monarchical government - as did Tahiti and Hawaiʻi. The Tongan monarchy, unlike that of the UK, follows a straight line of rulers.
The Treaty of Friendship and Tonga's protectorate status ended in 1970 under arrangements established by Queen Salote Tupou III prior to her death in 1965. Tonga joined the Commonwealth of Nations in 1970 (atypically as an autochthonous monarchy, that is one with its own hereditary monarch rather than Elizabeth II), and the United Nations in September 1999. While exposed to colonial pressures, Tonga has never lost indigenous governance, a fact that makes Tonga unique in the Pacific and gives Tongans much pride, as well as confidence in their monarchical system. As part of cost cutting measures across the British Foreign Service, the British Government closed the British High Commission in Nukuʻalofa in March 2006, transferring representation of British interests in Tonga to the UK High Commissioner in Fiji. The last resident British High Commissioner was Paul Nessling.
Geography
Located in Oceania, Tonga is an archipelago in the South Pacific Ocean, directly south of Western Samoa and about two-thirds of the way from Hawaii to New Zealand. Its 176 islands, 36 of them inhabited, are divided into three main groups--Vava'u, Ha'apai, and Tongatapu--and cover an 800-kilometre (500 mi.)-long north-south line. The largest island, Tongatapu, on which the capital city of Nukuʻalofa is located, covers 257 square kilometres (99 sq. mi.). Geologically the Tongan islands are of two types: most have a limestone base formed from uplifted coral formations; others consist of limestone overlaying a volcanic base.
Other Info
Oficial name:
Pule'anga Fakatu'i 'o Tonga
Independence:
4 June 1970
Area:
748 km2
Inhabitants:
103.000
Languages:
Lea fakatonga
English [eng] Classification: Indo-European, Germanic, West, English
More information.
Niuafo'ou [num] 690 (1981 SIL). Niuafo'ou and 'Eua islands. Dialects: Probably a dialect of East Uvean (Wallisian). Classification: Austronesian, Malayo-Polynesian, Central-Eastern, Eastern Malayo-Polynesian, Oceanic, Central-Eastern Oceanic, Remote Oceanic, Central Pacific, East Fijian-Polynesian, Polynesian, Nuclear, Samoic-Outlier, East Uvean-Niuafo'ou
More information.
Tongan [ton] 96,334 in Tonga (1998). Population total all countries: 105,319. Also spoken in American Samoa, Australia, Canada, Fiji, New Zealand, Niue, USA, Vanuatu. Alternate names: Tonga. Dialects: Close to Niue. There are slight dialect differences from north to south. Lexical similarity 86% with Wallisian, 66% with Samoan. Classification: Austronesian, Malayo-Polynesian, Central-Eastern, Eastern Malayo-Polynesian, Oceanic, Central-Eastern Oceanic, Remote Oceanic, Central Pacific, East Fijian-Polynesian, Polynesian, Tongic
More information.
Extinct languages
Niuatoputapu [nkp] Extinct. Ethnic population: 1,630 (1981). Niuatoputapu Island. Classification: Austronesian, Malayo-Polynesian, Central-Eastern, Eastern Malayo-Polynesian, Oceanic, Central-Eastern Oceanic, Remote Oceanic, Central Pacific, East Fijian-Polynesian, Polynesian, Nuclear, Samoic-Outlier
Capital city:
Nuku'Alofa
Meaning country name:
From the Tongan "South" or "southern", describing the islands' location relative to Samoa.
Friendly Islands (former name): named by Captain James Cook in 1773 after the friendliness and hospitality of the people he met on the islands.
Description Flag:
The flag of Tonga was adopted on November 4, 1875.
The flag looks similar to the flag of the Red Cross. The flag was originally identical to that flag, but to avoid confusion, it was changed so that the red cross appeared as a canton of a red ensign, making it similar to the 17th century red ensign. The flag has been in use since 1864 but was officially adopted in 1875. The constitution of Tonga states that the flag shall never be altered.
Coat of arms:
The Coat of arms of Tonga (ko e Sila ʻo Tonga) was designed in 1875 with the creation of the constitution. The three swords represent the three dynasties or lines of the kings of Tonga, namely the Tuʻi Tonga, Tuʻi Haʻatakalaua and the current Tuʻi Kanokupolu). Tonga was finally united under one king, King Siaosi Tupou I, who then orchestrated the formation of the first formal government and also the coat of arms. The dove with the olive branch symbolises the wish for God's peace to reign in Tonga forever (the dove and olive branch are taken directly from the story of Noah and the Great Flood in the Holy Bible). The three stars symbolise the main island groups of Tonga, which are Tongatapu, Vavaʻu and Haʻapai. The Crown symbolises the ruling monarchy, the King of Tonga. The text on the scroll at the bottom reads Ko e ʻOtua mo Tonga ko hoku Tofiʻa in the Tongan language: God and Tonga are my inheritance.
There is no official specification of how exactly the seal should look like. Even the shield on the front gate of the late king's palace is different from the old black/white copy used by the (ex-) government printer on all official stationery, is different from the copy on the prime minister's office webpage, etc. Some have pointed crowns, some rounded; some have normal flags, others have flags looking more like banners; some use the modern orthography, some the old (Ko e Otua mo Toga ko hoku Tofia); some have black swords, others white; and so forth.
Motto:
"Ko e 'Otua mo Tonga ko hoku tofi'a"
National Anthem: Ko e fasi 'o e tu'i 'o e 'Otu Tonga
Tongan lyrics (modern spelling)
'E 'otua māfimafi
ko homau 'eiki koe
ko koe ko e falala'anga
mo e 'ofa ki Tonga.
'Afio hifo 'emau lotu
'aia 'oku mau faí ni
mo ke tali homau loto
ʻo maluʻi ʻa Tupou.
English lyrics (literal translation)
Oh, almighty God!
You are our Lord,
It is You, the pillar
And the love of Tonga.
Look down on our prayer
That is what we do now
And may You answer our wish
To protect Tupou.
Internet Page: www.govt.to
Tonga in diferent languages
eng | afr | arg | ast | bre | cat | ces | cor | cym | dan | dsb | est | eus | fao | fin | fra | frp | fry | fur | gla | glg | hat | hrv | hsb | hun | ina | isl | ita | jav | jnf | kin | lat | lav | lim | lin | lit | lld | mlg | mlt | nld | nor | pol | por | que | roh | ron | run | rup | scn | slk | slv | sme | smo | spa | sqi | srd | swa | swe | tet | ton | tpi | tur | vor | wln | wol | zza: Tonga
bos | crh | kaa | mol | slo | tuk | uzb: Tonga / Тонга
deu | ltz | nds: Tonga / Tonga
ind | msa: Tonga / توڠڬا
aze: Tonqa / Тонга
bam: Tɔnga
epo: Tongo
fij: Toga
gle: Tonga / Tonga
glv: Yn Tongey
kmr: Tonga / Тонга / تۆنگا
kur: Tonga / تۆنگا
nrm: Tounga
oci: Tònga
rmy: Tonga / तोन्गा
smg: Tuonga
som: Toonga
tah: Toʻa
vie: Tông-ga
vol: Tonguäns
abq | alt | bul | che | chm | kir | kjh | kom | krc | kum | mkd | mon | rus | tyv | udm: Тонга (Tonga)
bak | srp | tat: Тонга / Tonga
bel: Тонга / Tonha
chv: Тонгӑ (Tongă)
kaz: Тонга / Tonga / تونگا
kbd: Тонгэ (Tongă)
oss: Тонгӕ (Tongä)
tgk: Тонга / تانگه / Tonga
ukr: Тонґа (Tonga)
ara: تونغا (Tūnġā); تونجا (Tūngā)
fas: تونگا / Tongâ
prs: تونگا (Tōngā)
pus: تونګا (Tongā)
uig: تونگا / Ton’ga / Тонга
urd: ٹونگا (Ṫôngā); تونگا (Tôngā)
div: ޓޮނގާ (Ṫoṅgā)
heb: טונגה (Ṭôngah)
lad: טונגה / Tonga
yid: טאָנגאַ (Tonga)
amh: ቶንጋ (Tonga)
ell: Τόνγκα (Tóngka); Τόγκα (Tógka)
hye: Տոնգա (Tonga); Թոնգա (Ṭonga)
kat: ტონგა (Tonga)
hin: टोंगा (Ṭoṁgā)
ben: টোঙ্গা (Ṭoṅgā); টঙ্গা (Ṭôṅgā)
pan: ਟੋਨਗਾ (Ṭongā)
kan: ಟೋಂಗ (Ṭōṁga)
mal: ടോംഗ (Ṭōṁga); ടോന്ഗ (Ṭōnga)
tam: டொங்கா (Ṭoṅkā); தொங்கா (Toṅkā); டோங்கா (Ṭōṅkā)
tel: టోంగా (Ṭōṁgā)
zho: 湯加/汤加 (Tāngjiā)
jpn: トンガ (Tonga)
kor: 통가 (Tongga)
mya: တာန္ဂာ (Tãga)
tha: ตองกา (Tɔ̄ṅkā); ท็องกา (Tʰɔṅkā)
khm: តុងហ្គា (Tuṅhkā)
I am very pleased to share with you my composition of the 2017 Total Solar Eclipse.
I really hope you like it.
Explanation: From a different perspective, this featured composition of the total eclipse shows a broader vision of its beauty and greatness. The central image is a High Dynamic Range fusion of 9 shots, with increasing exposures from 1/400 to 2.5 seconds at f16. The images on both sides were taken every 15 minutes after the eclipse started.
The images were taken from camp Wyoba, Casper, Wyoming, where dozens of people were sitting together on a small grass field, completely surrounded by a dense forest. It was raining the night before, but nobody decided to move, it definitely was worth it.
Copyright: Abel de Burgos Sierra
The Jerónimos Monastery or Hieronymites Monastery is a former monastery of the Order of Saint Jerome near the Tagus river in the parish of Belém, in the Lisbon Municipality, Portugal; it was secularised on 28 December 1833 by state decree and its ownership transferred to the charitable institution, Real Casa Pia de Lisboa.
The monastery is one of the most prominent examples of the Portuguese Late Gothic Manueline style of architecture in Lisbon. It was classified a UNESCO World Heritage Site, along with the nearby Tower of Belém, in 1983.
The Jerónimos Monastery replaced the church formerly existing in the same place, which was dedicated to Santa Maria de Belém and where the monks of the military-religious Order of Christ provided assistance to seafarers in transit. The harbour of Praia do Restelo was an advantageous spot for mariners, with a safe anchorage and protection from the winds, sought after by ships entering the mouth of the Tagus. The existing structure was inaugurated on the orders of Manuel I (1469–1521) at the courts of Montemor o Velho in 1495, as a final resting-place for members of the House of Aviz, in his belief that an Iberian dynastic kingdom would rule after his death. In 1496, King Manuel petitioned the Holy See for permission to construct a monastery at the site. The Hermitage of Restelo (Ermida do Restelo), as the church was known, was already in disrepair when Vasco da Gama and his men spent the night in prayer there before departing on their expedition to India in 1497.
The construction of the monastery and church began on 6 January 1501, and was completed 100 years later. King Manuel originally funded the project with money obtained from the Vintena da Pimenta, a 5 percent tax on commerce from Africa and the Orient, equivalent to 70 kilograms of gold per year, with the exception of those taxes collected on the importation of pepper, cinnamon and cloves, which went directly to the Crown. With the influx of such riches, the architects were not limited to small-scale plans, and resources already prescribed for the Monastery of Batalha, including the Aviz pantheon, were redirected to the project in Belém.
Manuel I selected the religious order of Hieronymite monks to occupy the monastery, whose role it was to pray for the King's eternal soul and to provide spiritual assistance to navigators and sailors who departed from the port of Restelo to discover lands around the world. This the monks did for over four centuries until 1833, when the religious orders were dissolved and the monastery was abandoned.
The monastery was designed in a manner that later became known as Manueline: a richly ornate architectural style with complex sculptural themes incorporating maritime elements and objects discovered during naval expeditions, carved in limestone. Diogo de Boitaca, the architect, pioneered this style in the Monastery of Jesus in Setúbal. Boitaca was responsible for drawing the plans and contracting work on the monastery, the sacristy, and the refectory. For its construction he used calcário de lioz, a gold-coloured limestone quarried from Ajuda, the valley of Alcántara, Laveiras, Rio Seco and Tercena. Boitaca was succeeded by the Spaniard Juan de Castilho, who took charge of construction around 1517. Castilho gradually moved from the Manueline to the Spanish Plateresque style, an ornamentation that included lavish decorations suggesting the decorative features of silverware (plata). The construction came to a halt when King Manuel I died in 1521.
Several sculptors left their mark on this building: Nicolau Chanterene added depth with his Renaissance themes, while the architect Diogo de Torralva resumed construction of the monastery in 1550, adding the main chapel, the choir, and completing the two stories of the monastery, using only Renaissance motifs. Diogo de Torralva's work was continued in 1571 by Jérôme de Rouen (also called Jerónimo de Ruão) who added some classical elements. The construction stopped in 1580 with the union of Spain and Portugal, as the building of the Escorial in Spain was now draining away all the allocated funds.
On 16 July 1604, Philip of Spain (who ruled after the Iberian Union) made the monastery a royal funerary monument, prohibiting anyone but the royal family and the Hieronymite monks from entering the building. A new portal was constructed in 1625, as well as the cloister door, the house of the doorkeepers, a staircase and a hall that was the entrance to the upper choir designed by the royal architect Teodósio Frias and executed by the mason Diogo Vaz. In 1640, the prior Bento de Siqueira ordered construction of the monastery's library, where books owned by the Infante Luís (son of King Manuel I) and others linked to the religious order were deposited.
With the restoration of Portuguese Independence in 1640, the monastery regained much of its former importance, becoming the burial place for the royal pantheon; within its walls four of the eight children of John IV of Portugal were entombed: the Infante Teodósio (1634–1653), the Infanta Joana (1636–1653), King Afonso VI (1643–1683) and Catarina de Bragança (1638–1705). In 1682 the body of Cardinal Henrique was buried in the transept chapels. On 29 September 1855, the body of King Afonso VI was transported to the royal pantheon of the House of Braganza in the Monastery of São Vicente de Fora, along with his three brothers and sister.
In 1663, the Brotherhood of the Senhor dos Passos occupied the old Chapel of Santo António, which was redecorated with a gold tiled ceiling in 1669, while the staircase frescos with the heraldry of Saint Jerome were completed in 1770. The retables were completed in 1709 and 1711, valuable alfaias were presented to the religious order, and the sacristy was redecorated in 1713. The painter Henrique Ferreira was commissioned in 1720 to paint the Kings of Portugal: the regal series was placed in the Sala dos Reis (Hall of the Kings). Henrique Ferreira was also commissioned to complete a series of nativity paintings.
The monastery withstood the 1755 Lisbon earthquake without much damage: only the balustrade and part of the high choir were ruined, but they were quickly repaired. On 28 December 1833, the Jerónimos Monastery was secularised by state decree and its title transferred to the Real Casa Pia de Lisboa to serve as a parochial church for the new civil parish of Santa Maria de Belém. Many of the artworks and treasures were either transferred to the crown or lost during this period. It was vacant most of the time and its condition began to deteriorate.
Restoration work began on the monastery after 1860, starting with the southern façade under supervision of the architect Rafael Silva e Castro, and in 1898 under Domingos Parente da Silva. Although the cloister cistern, internal clerical cells and the kitchen were demolished at this time, three reconstruction projects proposed by architect J. Colson, including the introduction of revivalist neo-Manueline elements, failed to gain the required approval. In 1863, architect Valentim José Correia was hired by the ombudsman of the Casa Pia, Eugénio de Almeida, to reorganise the second storey of the old dormitory and design the windows (1863–1865). He was subsequently replaced by Samuel Barret, who constructed the towers in the extreme western end of the dormitories. Similarly and inexplicably, Barret was replaced by the Italian scenery designers Rambois and Cinatti, who had worked on the design of the São Carlos Theatre, to continue the remodelling within the monastery in 1867. Between 1867 and 1868, they profoundly altered the annex and façade of the Church, which then appeared as it does today. They demolished the gallery and Hall of the Kings, constructed the towers of the eastern dormitory, the rose window of the upper choir and substituted the pyramid-shaped roof of the bell tower with the mitre-shaped design. The remodelling was delayed by the 1878 collapse of the central dormitory. After 1884, Raymundo Valladas began to contribute, initiating in 1886 the restoration of the cloister and the Sala do Capítulo, including construction of the vaulted ceiling. The tomb of Alexandre Herculano, designed by Eduardo Augusto da Silva, was placed in the Sala do Capítulo in 1888.
To celebrate the 1898 fourth centenary of the arrival of Vasco da Gama in India, it was decided to restore the tomb of the explorer in 1894. The tombs of Vasco da Gama and Luís de Camões, carved by the sculptor Costa Mota, were placed in the southern lateral chapel. A year later the monastery received the remains of the poet João de Deus, later joined by the tombs of Almeida Garret (1902), Sidónio Pais (1918), Guerra Junqueiro (1923) and Teófilo Braga (1924).
The Minister of Public Works opened a competition to finish the annex, which would serve as the National Museum of Industry and Commerce (Museu Nacional da Indústria e Comércio), but the project was canceled in 1899, and the Ethnological Museum of Portugal was installed.
Further remodelling of the monastery was begun in 1898 subsequent to the work done by Parente da Silva in 1895 on the central annex, now simplified, as well as restoration of the cadeirals (the chairs used by the clergy in religious services), which were completed in 1924 by sculptor Costa Mota. In 1938 the organ in the high choir was dismantled at the same time that a series of stained-glass windows, designed by Abel Manta and executed by Ricardo Leone, were replaced in the southern façade.
As part of the celebrations marking the centenary of modern Portugal in 1939, yet more remodelling was completed in the monastery and tower. During these projects, the baldachin and tomb of Alexandre Herculano were dismantled and the cloister patio was paved. In 1940 the space in front of the monastery was redesigned for the Portuguese Exposition. The Casa Pia vacated the interior spaces of the cloister and the tombs of Camões and Vasco da Gama were transferred to the lower choir. A series of windows designed by Rebocho and executed by Alves Mendes were completed in 1950.
In 1951 the remains of president Óscar Carmona were entombed in the Sala do Capítulo. They would later be transported to the National Pantheon in 1966 to join the bodies of other former presidents and literary heroes of the country.
The Maritime Museum was inaugurated in the western wing of the monastery in 1963.
The church and the monastery, like the nearby Torre de Belém and Padrão dos Descobrimentos, symbolise the Portuguese Age of Discovery and are among the main tourist attractions of Lisbon. In 1983, UNESCO formally designated the Monastery of the Hieronymites and Tower of Belém as a World Heritage Site.
When Portugal joined the European Economic Community, the formal ceremonies were held in the cloister of the monument (1985).
Two major exhibitions took place at the monastery during the 1990s: 4 séculos de pintura, in 1992; and the exposition "Leonardo da Vinci – um homem à escala do mundo, um Mundo à escala do homem", in 1998 (which included the Leicester Codex, on temporary loan from Bill Gates).
At the end of the 20th century, remodelling continued with conservation, cleaning and restoration, including the main chapel in 1999 and the cloister in 1998–2002.
On 13 December 2007, the Treaty of Lisbon was signed at the monastery, laying down the basis for the reform of the European Union.
Our relationships with our siblings are the longest we have in life. Probably, not by coincidence, the story of Cain and Abel is at the beginning of the book of Genesis, showing us the complex, not to say, dangerous aspects of these relationships (when the parent prefers one child over the other).
The girl here is tweaking her brother's cheek 'from the depth of her heart', and as you can guess he was offended, hurt, and started crying as loud as he could.
p.s.
Above them, it is written in Hebrew: (I am a good person) "Defamation, is not talking to me"…
The photo was taken a day before the Jewish 'Day of Atonement' (YOM KIPPUR) in which people are supposed to ask forgiveness from other people they might offend…
From Wikipedia, the free encyclopedia
+++++++++++++++++++++++++++++++++
Rencontres d'Arles
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
Art directors
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 - 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 - 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 - 1982: Alain Desvergnes (fr)
1983 - 1985: Lucien Clergue
1986 - 1987: François Hébel
1988 - 1989: Claude Hudelot (fr)
1990: Agnès de Gouvion Saint-Cyr
1991 - 1993: Louis Mesplé (fr)
1994: Lucien Clergue
1995 - 1998, délégué général: Bernard Millet (fr)
1995, artistic director: Michel Nuridsany (fr)
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle (fr)
1998, artistic director: Giovanna Calvenzi
1999 - 2001: Gilles Mora (fr)
2002 - 2014: François Hébel
Since 2015: Sam Stourdzé (fr)
The festival
A photography exhibition, Rencontres d'Arles, 2010
Events
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town’s historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix’s fashion show for the festival’s closing (2008); and Patti Smith’s concert for the Vu agency’s 20th anniversary (2006).
Nights at the Roman Theatre
At night, work by a photographer or a photography expert is projected in the town’s open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin’s “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival’s favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art’s fundamentally hybrid forms.
Symposia and panel discussions
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival’s professional week: the Discovery Award (€25,000), Author’s Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner’s book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival’s opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography’s aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images
“Rentrée en Images” has been a key part of the festival’s educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival’s programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget
Public funding accounted for 40% of the 2015 festival’s €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners
2002
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author’s Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author’s Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993-1998) by Xing Danwen
2004
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author’s Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichy
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author’s Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author’s Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007
[1]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author’s Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008
[2]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author’s Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009
[3]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author’s Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010
[4] [5]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author’s Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011
[6] [7]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[8]
Author’s Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[8]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[8]
2012
[9] [10] [11]
Discovery Award: Jonathan Torgovnik
Author’s Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author’s Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal[disambiguation needed], 2013)[12]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014
Discovery Award: Zhang Kechun
Author’s Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015
Discovery Award: Pauline Fargue
Author’s Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016
Discovery Award: Sarah Waiswa
Author’s Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017
[13]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)
Exhibitions
1970
Gjon Mili, Edward Weston, ...
1971
Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …
1972
Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …
1973
Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …
1974
Brassaï, Ansel Adams, Georges A. Tice, …
1975
Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …
1976
Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …
1977
Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …
1978
Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …
1979
David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …
1980
Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …
1981
Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …
1982
Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …
1983
Robert Rauschenberg, Bruce Davidson, …
1984
Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …
1985
David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …
1986
Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …
1987
Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.
1988
La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.
1989
Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.
1990
Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …
1991
Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …
1992
Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …
1993
Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …
1994
Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …
1995
Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …
1996
Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …
1997
Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …
1998
David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …
1999
Lee Friedlander, Walker Evans, …
2000
Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …
2001
Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …
2002
Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …
2003
Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …
2004
Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …
2005
Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …
2006
La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …
2007
The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …
2008
Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …
2009
Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]
2010
Robert Mapplethorpe[17] Lea Golda Holterman[18]
2011
Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...
2012
Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]
2013
Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.
2014
Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.
2015
Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.
References
O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.
O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.
"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.
"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.
"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.
"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.
Présentation de Robert Mapplethorpe sur le site rencontres-arles.com
"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.
Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com
Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com
Signe des temps: Arles 2012, un festival courageux (Photographie.com)
Fiche d'Alfredo Jaar sur rencontres-arles.com
Fiche de John Stezaker sur rencontres-arles.com
Fiche de Wolfgang Tillmans sur rencontres-arles.com
Fiche de Viviane Sassen sur rencontres-arles.com
Fiche de Pieter Hugo sur rencontres-arles.com
Fiche de Xavier Barral sur rencontres-arles.com
Fiche de Antoine Gonin sur rencontres-arles.com
Paying Attention
Wandering back through time recently, as I opened countless timeworn envelopes of faded photographs, I found a previously unseen picture of 'Taid' my grandfather, stood years before I was born, in the exact spot where we often stop now whenever we're down in Cornwall. West Looe to be specific. And now I come to think about it, the exact same feeling occurs when we're in other places, way too numerous to mention.
The feeling, not something men would normally talk about, for obvious reasons, is one of a tingling sensation up and down the spine and spreading over the top of the head. Like many such bodily sensations, it comes without explanation or clear rational, it just nudges, subtly as though to say, “Pay attention 007!”
Another such place where the nudge occurs is pictured in the photo attached; The Royal Albert Dock, as it's known these days. And through another spot of digging and delving into the hand-me-down possessions Taid had carefully left before his departure to places unknown back in 1984, I found records of his working life in Liverpool, just a mile or so up the road from Albert Dock at George Hadfield's dockside factory on Lightbody Street, Bootle.
In the photo, looking Northwards through the gaps in the pillars from Atlantic Pavilion towards Hartley Bridge, the Maritime Museum now occupies the building that once housed the offices of a Mr Richard Abel of Runcorn. Mr Abel ran a sand and gravel business as well as a boatbuilding yard in Runcorn where generations of his family built Mersey Flats, the region's famous wooden barges.
Serendipitously, or coincidentally if you’re that way inclined, another poignant photo had already turned up, this time of the Women War Workers in 1917 at George Hadfield's factory. They're stood aboard a Mersey Flat barge, shovels in hand. And I can’t help wondering, as I stand in Albert Dock and look towards where Mr Abel’s office was, if Taid had also visited Albert Dock through the course of his work. The ‘Pay Attention’ nudge is strong here.
No doubt if we do enough digging into the dusty records held in Liverpool’s various historical archives, we’ll find out for sure if there was in fact a trading connection between George Hadfield’s and Richard Abel’s businesses. All I can say for certain is that every time I work on the project or think about Mersey Flat OAKDALE and her maritime heritage in and around Liverpool, the thoughts are always accompanied by the nudge, let's call it a very strong sense of having been here before.
As Yogi Berra, the American baseball catcher once famously said, “It’s like deja vous all over again!”
And just like that, after driving 3 days. Early morning starting before dawn. Mist in front of the headlight, starting with a dirt road. The most intense moment was when finally I walked towards it, it was a path that was going up and I started to see the the top of the church above the horizon, each steps was lowering the horizon and slowly, step after step, the church emerged at the end of the path, floating on the water. I stayed and remembered after a long time that I was there for the picture. I took 2 rolls. The sun was raising and slowly giving its light.
Just like that.
A strange journey. Nothing difficult just full of unknown and uncertainties. Alone and a language I don't speak. Until the last moment I did not know if I would find the island.
Just like that.
At the end of the journey nothing awaits us. It's just us who have been awaiting to meet the end of our journey.
And to start our way back.
Camera: GSW690
Film: Kodak T-Max 400
Karelia, Russia.
-----
To listen: Abel Korzeniowski
A few hours before sunrise, the Milky Way centre rose with the Moon over Tasman Bay in New Zealand's South Island.
I made the effort to carry my camera and tripod in a dry bag on our two-day kayaking trip in Abel Tasman National Park in the hope that we would get clear skies when we camped. While I was lucky with the cloud cover and the tide, I wasn't so lucky with the position of the moon.
Mosquito Bay, Abel Tasman National Park, New Zealand, 2019
Sony a7R II with Sony FE 16-35mm f/2.8 GM
It's been a bit, huh?
February has been incredibly busy between work and family stuff, so getting out with the camera has been on the backburner for a little while. Not to mention that the sun has only just starting being up late enough for me to get out after work. Time has not been on my side.
Luck hasn't been on my side either, judging by how last night and tonight went.
While on my way to an operation session in Omaha, I saw what looked to be a swoosh geep coming at me on the Creston outside Waverly. I was confused, thinking maybe they ran standard cabs on the LINLIN that day. However, I was even more confused when I saw that it was at GP40X and a GP60M leading a unit coal hopper set. You heard me--geeps on a coal train in 2024. Judging by the symbol, BNSF sent the Havelock power up to Abel on the Sioux City sub to pull a set of coal hoppers out of storage. On top of that, there wasn't a cloud in the sky and the golden hour light was beautiful.
You'll notice that there isn't a photo of that here. That's because I, in my infinite wisdom, had grown accustomed to keeping the camera gear packed up at home for basketball season. You can see where I'm going with this. There was no way I could turn around, get my camera from home, and beat him to the yard before he would be in. So, I had to watch him go by and spent the rest of the night kicking myself for not having the camera along.
Fast forward to this afternoon and I decide I'm going to shoot something if it kills me. Once I got off work, I checked and saw this PAM train with a heavy set at Ashland heading my way. I ran home, got the camera, and booked it up to 84th St. However, dispatch did not have the same sense of urgency that I had, and by the time they were lined into town, the sun had dipped behind the big cottonwood across the field behind me. So, instead of a nice golden hour wedge at the wide open crossing, I instead had to shoot him across the field and with the weeds along the ROW.
I'll learn my lesson one of these days.
BNSF ET44ACH 3304 leads a coal empty westbound on the Creston Subdivision into Lincoln, Nebraska, February 29, 2024.
I see pain, I see need.
I see liars and thieves,
Abuse power with greed.
I had hope, I believed.
But I'm beginning to think that I've been deceived.
You will pay for what you've done.
this is going to be a very large rant, so prepare yourselves.
Last night, Sara, Rae, and I went to a Nickelback concert with the intent of seeing Papa Roach (one of my favorite bands) who was touring with them, Hinder, and Saving Abel. We had pit passes.
Papa Roach was BEYOND AMAZING. as always. Jacoby is even more awesome up close. They played Had Enough off of their new album which is going to be a single but hasn't been released as one yet. But being obsessed fans, Sara and I knew every word and sang along while everyone else just looked confused. Jerry, the guitarist, was staring at us in awe almost, for knowing the words. It was freaking awesome :D Jerry kept messing with the crowd. Gotta say (Sara) i respect him more now :)
But the most amazing thing happened just before they played Had Enough: Jacoby asked the entire crowd (16,500 people i believe) to take a moment of science to remember all who died on 9/11 (as it was the day after) and the entire place went dead silent. it was shocking, it was beautiful.
Now, on to the rant part of this. You see, Nickelback was never my favorite ever. They were always just 'eh alright' for me. Any of that little ounce of respect that was left for them, it is gone. First, Papa Roach's set was cut down to only 40 minutes so that Nickelback could have a grand 2 hour set. the stage set-up took an hour to put in place, complete with fire and taking up the entire stage while all the other bands had squeezed into the front.
Then, they come out in a flurry of screaming and sloshing beer. lovely. Throughout their very long set, Chad Kroeger (the lead singer of Nickelback) basically said how great it would be if you could legally get weed though a drive-thru, bragged about being a thief and smoking weed at age 13, advised a 10 year old boy in the pit he could do the same in a few years whilst his mother stood by smiling up at Chad, shot beer at the crowd with a 'beer gun', and hazily remembered to sing a few poorly thought out songs. and the worst thing he did: even when it was the day after 9/11, even after Papa Roach and Saving Abel had both paid tribute to our troops, Chad decides to joke about planes crashing.
Chad exercised his rock star powers, calling upon the stage crew left and right to get him a drink, then another, then (why the hell not) had a cart of 20 shots brought out. He then invited the Hinder lead singer and Jacoby the papa roach lead singer out for shots on stage. Jacoby is a recovering alcoholic and went through years of addiction and self hatred for those addictions. But oh no, Chad had to give him a shot. Jacoby tried refusing, even at one point saying he was going home to his sons 5th birthday. Chad practically called him an idiot, until finally Jacoby tipped it back and forced it down, then immediately walking off the stage.
In fact, Hinder and Saving Abel both had beer on stage and toased to the crowd. Papa Roach was the only one to drink only water.
I know personally that even if an alcoholic has been sober for a long time, they only need one drink to go back down. So who knows how Jacoby is now... thanks Chad.
Basically, this went on for a while longer. The slutty roadies were invited on stage to do some shots and Chad drunkenly cheered the fact that when you're a rock star, "there's always lots of hot chicks everywhere." Well said Chad, well said. Very classy. We left the pit shortly after this, sickened, disgusted, and in shock.
Now, after ive got all that out, for the good part!! We decided to walk around, so set off. As we were going along, out of nowhere we see Tobin Esperance, the Papa Roach bass guitarist!! :D :D After a short freak out session, we decided to take a chance, so i shoved Sara forward. They high-fived and we told Tobin how great they were, how much better than Nickelback. He smiled, thanked us, and said he liked my shirt <3 It was so loud, we actually had to lean in an talk in his ear. We got a picture (yea he put his arm around me. *fangirl squeal*), said again how great they were, and Tobin promised they would be back for a headlining tour. yes yes yes!!! :D so that made the night okay.
very, very okay. <3
So, um yes i pretty much love anyone who actually read all of that.
also, read THIS awesome article if you hate Nickelback. Actually, read THIS article if you love Nickelback. Maybe it will open your eyes.
Hi there Flickr’s what a heroic title! It indeed has some truth in it. Especially in photography. There are always some hypes and some no goes but why always stick to the rules? Why not sometimes try another angle, color, post processing or whatever you want to do?
However, what you see here is a sheep flock running towards the lovely “Farewell Spit” at the South Island of my beloved New Zealand.
Have you ever been around a sheep flock?
Well me as an urban child have never had the opportunity to be around sheep before I entered ground in New Zealand. So for me it was really strange to see how fearful and in their fear, how dumb sheep are. I really took it as an offend that the Bible calls mankind as sheep.
But if you see sheep around their shepherd it is really interesting to see how they know his voice and how they are able to put childish trust in their “Boss”. Sometimes I think if I would be like this life could be easier and with less worries!
If you ever visit the Farewell spit make sure to drive till the end of the long long long road until you get to this lonely café!
It is worth it. You can hike the meadows and see wild animals. The funny thing is that you kind of get the feeling a dog must have when he is around people. You immediately feel like a stranger! So as I saw this sheep flock, I ran screaming at them, which caused them to flee to the ends of the world. This is when I took this amazing shot!
Much said, I hope it doesn’t bother you and you can stick to my sometimes crappy English. I apologize for it!
I hope all of you are fine and you had an overwhelming start in the New Year. I wish success and fun to all of you guys.
I am happy to be part of the community and I am stoked to see more good shots in 2013!
Love,
Ben
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(Roscoe follows the Serial Squad back inside the Sheriffs' station.)
Roscoe: (sounding skeptical) So, you think we've got two killers?
Gabe: (talking over his shoulder as they walk) It's not that out-of-the-ordinary.
Di: Like Wolfgang Abel and Marco Furlan.
Roscoe: Who?
Raia: They were active in Italy from 1977 to 1984. At each crime-scene they left a note written over a Nazi eagle and a swastika, in Italian, with the name “Ludwig.” This was always followed with their reason for the murder, declaring the victims were sub-human who had to be eliminated. Their victims included homosexuals, prostitutes, and drug addicts. People they decided “betrayed their true God.” They frequently changed their method of killing; burning a drug-addict alive, stabbing a homosexual waiter 34 times, setting fire to a sleeping hitch-hiker, axing a 51 year-old prostitute, and hammering nails into the forehead of a homosexual priest, among other crimes. In 1997, they were found guilty of 10 out of 27 counts of murder.
Roscoe: So, we've got that same kind of thing going on, here?
Gabe: No, these two aren't equals. Leonard might be clever, but he's submissive.
Roscoe: So this second guy is the one in charge?
Di: Yes, he's likely controlling and arrogant, but he's probably not as bright as Leonard.
Raia: Imagine this second unsub like a bully in school, who needs a bright kid to help him with his homework. He'll keep the other people from bothering Leonard. He'll make Leonard feel important, and obligated.
Gabe: Leonard's been teaching him Shogi, and he's been teaching Leonard how to kill.
Roscoe: (as they enter the bullpen and meet up with Helen & Bo) We can use this. We should interview him, now.
Gabe: No, it's too soon. We need more. We need a name.
Helen: You mean from the list of suspects?
Bo: The girl doesn't have a lot of time left. Isn't there a quicker way?
Raia: Yes. (looks at Di) I need you.
Di: (lays a dramatic hand over her chest) Be still, my fluttering heart. I dreamt of this moment.
Raia: (monotone) Changing.
(A moment later, Di enters the waiting area where Mr. Draper is waiting for word about Leonard, she has removed her jacket and peruses the contents of a snack machine before noticing the man.)
Di: Oh, Mr. Draper. I didn't realize you were still here.
Draper: (checking her out) I'm waiting to find out what your people are doing with the boy, and whether I need to hire a lawyer.
Di: To be honest, Mr. Draper, I have a feeling Leonard isn't the right person.
Draper: (snorts) I coulda told you that. Boy's got no backbone. He's always been weak, just like his mother.
Di: (strikes a pose against the machine) There's a chance it might be someone Leonard knows. One of his friends?
Draper: He's never been much for friends.
Di: (toys with her necklace) But he must have one, right? I mean, everyone's got at least one friend, haven't they?
Draper: (watching her necklace) Not so much, well, there is this one fellah who doesn't treat him so bad. Leonard works part-time at a stable, you know, mucking stalls. He's on the scrawny side and told me some of the other boys made fun of him, but Shane stood up for him.
Raia: (in the bullpen, watching/listening to Di & Draper, speaks to Perry, on the computer split screen) Give me anything local for a "Shane."
Perry: Checking. Sending to you, now.
Raia: (her glasses glow and she speaks to the rest of the Squad, and Roscoe) Shane is probably Louis Shane. He's co-owner of a horse boarding facility just outside town.
Roscoe: Hang on, are you sure? I mean, Lou's gotten into a bar fight or two, but he's never been in real trouble.
Helen: Bar fights? Is he a belligerent drunk?
Roscoe: No, it's not like that. He's usually sticking up for someone, like when an old boy gets handsy with one of the waitresses.
Gabe: So, he's larger than Leonard, stronger, more aggressive. Someone who's stood up for him, unlike his stepfather.
Helen: Or his mother, based on his stepfather's obvious contempt for her.
Bo: If she didn't stand up for him, Leonard might have resented her.
Helen: And transferred that resentment to all women.
Perry: I've got a picture of Leonard's mother. Hospital records. (bruised face of a redheaded woman appears on screen)
Bo: There's our redheaded connection.
Roscoe: Oh ... man.
Helen: What?
Roscoe: Cindy Shane, Lou's ex-wife. She's been a blonde for years, but she was a redhead in high school, when they were dating.
Gabe: You said "ex-wife?"
Roscoe: Yeah, that was a mess. She waitressed at the Flank Strap and took a shine to some circuit rider. The two of them took off together. Lou took it pretty hard.
Helen: When did that happen?
Roscoe: It's been about, 4 months maybe.
Gabe: That was Lou's stressor. (he and Bo head for the exit)
Bo: (to Roscoe) Where is the boarding place?
Roscoe: (motioning for officers to accompany Bo & Gabe) Little over a mile outside town.
Helen: (calls after Bo) We'll rendezvous at the staging area.
Roscoe: (volunteers) I'll give them a lift.
(Next scene, the squad confronts a killer! Cast: Raia-Morgan W., Helen-Kestrel R. Gabe-Erebus D., Di-Me, Perry-Seth P., Bo-Erebus D. Thank you everyone for helping me put together this scene!)
1978 Philippines, Luzon, Nueva Vizcaya, Ilongot (Bugkalot) Tribe.
Deep in the rolling mountains of Northern Luzon, far from the hustle and bustle of Metro Manila exists the beautiful landscapes of the Cagayan Valley. The Valley – mostly consisting of the region between the Cordilleras and the Sierra Madre mountain ranges – is home to some of The Philippines most iconic landmarks.
Apart from its beautiful scenic views, the Cagayan Valley is also known to house a peculiar tribe of people whose cultural practices have drawn the attention of anthropologists from around the world.
To address the culturally unique elements of this tribe I will first take you through the mythology subscribed to by these people – the Bugkalut or the more common expression used by tribal outsiders, the Ilongot people.
Creation mythology of the Ilongot people
Those familiar with the Abrahamic religions will know the story of Cain and Abel; found in the Bible book of Genesis. Well, the Ilongot people follow a creation myth very similar to the story of Cain and Abel.
According to the Ilongot people, the creators of the universe are two quarrelling brothers who go by the name Cain and Abel. Abel was a shepherd who is known to have been looked upon favourably due to his propensity to self-sacrifice. While Cain who worked in agriculture was known for his inclination towards chaos. The Ilongot people identify those who live down in the lowlands as following the spirit of Abel.
The Ilongot people identify those who live down in the lowlands as following the spirit of Abel. They view them as superior as well as having had learned to work with the domesticated animals such as Carabao. Interestingly, the Ilongot see themselves as following in the footsteps of Cain and his spirit of chaos.
This is because the Ilongot have long been known as a tribe of headhunters. Like Cain, in moments of grief or intense emotion, the Ilongot have an inclination towards murder.
Manifestation of liget in the Ilongot tribe
After the loss of a loved one, a rage of bereavement arises in the men of the Ilongot. While under this condition – identified by the tribe as liget – the men of the Ilongot would hunt and kill other men.
This intense emotional state labelled as "liget" became the motivation for many cultural practices and “rites of passage” for the tribe. The spirit of liget has been described as a sense of anger, heat, energy and envy.
This emotional state which often leads to headhunting manifests itself in many situations. It is used in times of warfare, elders harness the power of the emotional state in such situations. An unsettled feud or the death of a loved one may also lead to headhunting.
It is also a requirement that a young man must kill before he can marry. Once the headhunters return a pig is sacrificed as well as there often is a celebration amongst the whole tribe.
In modern times there has been a crackdown on the headhunting carried out by the tribe. Protestant missionaries then began to make contact with the tribe; before that time the Ilongot people had no contact with the major world religions.
Many members of the tribe began to practice Christianity, the intense emotional states of the tribal members began to subside. The members were no longer reaching those previously intense emotional states of linget. This meant the tribespeople no longer resort to murder and headhunting as an expression of this emotional state.
1978 Philippines, Luzon, Nueva Vizcaya, Cagayan valley, Ilongot (Bugkalot) tribe
Deep in the rolling mountains of Northern Luzon, far from the hustle and bustle of Metro Manila exists the beautiful landscapes of the Cagayan Valley. The Valley – mostly consisting of the region between the Cordilleras and the Sierra Madre mountain ranges – is home to some of The Philippines most iconic landmarks.
Apart from its beautiful scenic views, the Cagayan Valley is also known to house a peculiar tribe of people whose cultural practices have drawn the attention of anthropologists from around the world.
To address the culturally unique elements of this tribe I will first take you through the mythology subscribed to by these people – the Bugkalut or the more common expression used by tribal outsiders, the Ilongot people.
Creation mythology of the Ilongot people
Those familiar with the Abrahamic religions will know the story of Cain and Abel; found in the Bible book of Genesis. Well, the Ilongot people follow a creation myth very similar to the story of Cain and Abel.
According to the Ilongot people, the creators of the universe are two quarrelling brothers who go by the name Cain and Abel. Abel was a shepherd who is known to have been looked upon favourably due to his propensity to self-sacrifice. While Cain who worked in agriculture was known for his inclination towards chaos. The Ilongot people identify those who live down in the lowlands as following the spirit of Abel.
The Ilongot people identify those who live down in the lowlands as following the spirit of Abel. They view them as superior as well as having had learned to work with the domesticated animals such as Carabao. Interestingly, the Ilongot see themselves as following in the footsteps of Cain and his spirit of chaos.
This is because the Ilongot have long been known as a tribe of headhunters. Like Cain, in moments of grief or intense emotion, the Ilongot have an inclination towards murder.
Manifestation of liget in the Ilongot tribe
After the loss of a loved one, a rage of bereavement arises in the men of the Ilongot. While under this condition – identified by the tribe as liget – the men of the Ilongot would hunt and kill other men.
This intense emotional state labelled as "liget" became the motivation for many cultural practices and “rites of passage” for the tribe. The spirit of liget has been described as a sense of anger, heat, energy and envy.
This emotional state which often leads to headhunting manifests itself in many situations. It is used in times of warfare, elders harness the power of the emotional state in such situations. An unsettled feud or the death of a loved one may also lead to headhunting.
It is also a requirement that a young man must kill before he can marry. Once the headhunters return a pig is sacrificed as well as there often is a celebration amongst the whole tribe.
In modern times there has been a crackdown on the headhunting carried out by the tribe. Protestant missionaries then began to make contact with the tribe; before that time the Ilongot people had no contact with the major world religions.
Many members of the tribe began to practice Christianity, the intense emotional states of the tribal members began to subside. The members were no longer reaching those previously intense emotional states of linget. This meant the tribespeople no longer resort to murder and headhunting as an expression of this emotional state.
1978 Philippines, Luzon, Nueva Vizcaya, Ilongot (Bugkalot) tribe
Deep in the rolling mountains of Northern Luzon, far from the hustle and bustle of Metro Manila exists the beautiful landscapes of the Cagayan Valley. The Valley – mostly consisting of the region between the Cordilleras and the Sierra Madre mountain ranges – is home to some of The Philippines most iconic landmarks.
Apart from its beautiful scenic views, the Cagayan Valley is also known to house a peculiar tribe of people whose cultural practices have drawn the attention of anthropologists from around the world.
To address the culturally unique elements of this tribe I will first take you through the mythology subscribed to by these people – the Bugkalut or the more common expression used by tribal outsiders, the Ilongot people.
Creation mythology of the Ilongot people
Those familiar with the Abrahamic religions will know the story of Cain and Abel; found in the Bible book of Genesis. Well, the Ilongot people follow a creation myth very similar to the story of Cain and Abel.
According to the Ilongot people, the creators of the universe are two quarrelling brothers who go by the name Cain and Abel. Abel was a shepherd who is known to have been looked upon favourably due to his propensity to self-sacrifice. While Cain who worked in agriculture was known for his inclination towards chaos.The Ilongot people identify those who live down in the lowlands as following the spirit of Abel.
The Ilongot people identify those who live down in the lowlands as following the spirit of Abel. They view them as superior as well as having had learned to work with the domesticated animals such as Carabao. Interestingly, the Ilongot see themselves as following in the footsteps of Cain and his spirit of chaos.
This is because the Ilongot have long been known as a tribe of headhunters. Like Cain, in moments of grief or intense emotion, the Ilongot have an inclination towards murder.
Manifestation of liget in the Ilongot tribe
After the loss of a loved one, a rage of bereavement arises in the men of the Ilongot. While under this condition – identified by the tribe as liget – the men of the Ilongot would hunt and kill other men.
This intense emotional state labelled as "liget" became the motivation for many cultural practices and “rites of passage” for the tribe. The spirit of liget has been described as a sense of anger, heat, energy and envy.
This emotional state which often leads to headhunting manifests itself in many situations. It is used in times of warfare, elders harness the power of the emotional state in such situations. An unsettled feud or the death of a loved one may also lead to headhunting.
It is also a requirement that a young man must kill before he can marry. Once the headhunters return a pig is sacrificed as well as there often is a celebration amongst the whole tribe.
In modern times there has been a crackdown on the headhunting carried out by the tribe. Protestant missionaries then began to make contact with the tribe; before that time the Ilongot people had no contact with the major world religions.
Many members of the tribe began to practice Christianity, the intense emotional states of the tribal members began to subside. The members were no longer reaching those previously intense emotional states of linget. This meant the tribespeople no longer resort to murder and headhunting as an expression of this emotional state.
Bristol Ferry Town Common
Portsmouth, RI
June 20th, 2014
Took a shot of my Jeep just before my Dad and I left Portsmouth. I kinda liked the way sunset was reflecting off the Jeep's windows.
Some history on this historic common that the Jeep is facing:
"The way to Bristol Ferry became a bustling community with taverns and shops. By the old ferry landing is the Town Commons. On March 12, 1714, the common is listed in a list of “Rhodes, Ways and Lanes in Portsmouth.” This document is available in town archives. Regarding the Bristol Ferry Common, it states that,
'… the piece of land near Abel Trip house adjoining to the ferry against Bristol, is left for the conveniency (sic) of the Public in importing and transporting of Cattel (sic), Sheep, Horses, wood, rails, etc. and is bounded on the bank against the salt water 12 rods, and against the land of John Earl & John Earl _____ twelve rods and against the land of John Pool, John Tripp and Abel Tripp, that is, from the Earl ____ his corner to Thomas Borden’s Northeast corner aforesaid, is twenty rods and from Borden’s down to the lege (sic) of the bank next to the salt water is nineteen rods.'"
SOURCE: portsmouthhistorynotes.wordpress.com/2012/04/08/bristol-f...
Completed in 1897.
"Princeton University is a private Ivy League research university in Princeton, New Jersey. Founded in 1746 in Elizabeth as the College of New Jersey, Princeton is the fourth-oldest institution of higher education in the United States and one of the nine colonial colleges chartered before the American Revolution. It is one of the highest-ranked universities in the world. The institution moved to Newark in 1747, and then to the current site nine years later. It officially became a university in 1896 and was subsequently renamed Princeton University.
The university is governed by the Trustees of Princeton University and has an endowment of $37.7 billion, the largest endowment per student in the United States. Princeton provides undergraduate and graduate instruction in the humanities, social sciences, natural sciences, and engineering to approximately 8,500 students on its 600 acres (2.4 km2) main campus. It offers postgraduate degrees through the Princeton School of Public and International Affairs, the School of Engineering and Applied Science, the School of Architecture and the Bendheim Center for Finance. The university also manages the Department of Energy's Princeton Plasma Physics Laboratory and is home to the NOAA's Geophysical Fluid Dynamics Laboratory. It is classified among "R1: Doctoral Universities – Very high research activity" and has one of the largest university libraries in the world.
Princeton uses a residential college system and is known for its upperclassmen eating clubs. The university has over 500 student organizations. Princeton students embrace a wide variety of traditions from both the past and present. The university is a NCAA Division I school and competes in the Ivy League. The school's athletic team, the Princeton Tigers, has won the most titles in its conference and has sent many students and alumni to the Olympics.
As of October 2021, 75 Nobel laureates, 16 Fields Medalists and 16 Turing Award laureates have been affiliated with Princeton University as alumni, faculty members, or researchers. In addition, Princeton has been associated with 21 National Medal of Science awardees, 5 Abel Prize awardees, 11 National Humanities Medal recipients, 215 Rhodes Scholars and 137 Marshall Scholars. Two U.S. Presidents, twelve U.S. Supreme Court Justices (three of whom currently serve on the court) and numerous living industry and media tycoons and foreign heads of state are all counted among Princeton's alumni body. Princeton has graduated many members of the U.S. Congress and the U.S. Cabinet, including eight Secretaries of State, three Secretaries of Defense and two Chairmen of the Joint Chiefs of Staff.
Princeton was founded before the American Revolutionary War. It is the home of Princeton University, which bears its name and moved to the community in 1756 from its previous location in Newark. Although its association with the university is primarily what makes Princeton a college town, other important institutions in the area include the Institute for Advanced Study, Westminster Choir College, Princeton Plasma Physics Laboratory, Princeton Theological Seminary, Opinion Research Corporation, Bristol-Myers Squibb, Siemens Corporate Research, SRI International, FMC Corporation, The Robert Wood Johnson Foundation, Amrep, Church and Dwight, Berlitz International, and Dow Jones & Company.
Princeton is roughly equidistant from New York City and Philadelphia. It is close to many major highways that serve both cities (e.g., Interstate 95 and U.S. Route 1), and receives major television and radio broadcasts from each. It is also close to Trenton, New Jersey's capital city, New Brunswick and Edison." - info from Wikipedia.
The fall of 2022 I did my 3rd major cycling tour. I began my adventure in Montreal, Canada and finished in Savannah, GA. This tour took me through the oldest parts of Quebec and the 13 original US states. During this adventure I cycled 7,126 km over the course of 2.5 months and took more than 68,000 photos. As with my previous tours, a major focus was to photograph historic architecture.
Now on Instagram.
I spent 4 nights in Bathinda and ended up becoming a regular fixture on train 01611 17h40 Bathinda - Firozupur Passenger for three evenings on the trot.
The modus operandi was to get something to eat - (usually butter chicken!) from one of the restaurants near the station, then ride 01611 to Romana Abel Singh for about a 20 minute wait before catching the counterpart working back - train 04604 17h40 Firozpur - Bathinda. The two trains actually crossed one stop beyond Romana Abel Singh at Kot Kapura Jn, but this left no time for ticket buying etc.
Ludihana WDG3A pair 14731R and 14711R await departure time at Bathinda with train 01611 174h40 to Firozpur on 29th January 2023.
They were in a very privileged state. Of all the multitudes of spiritual beings in the universe, how many of them are able to have such a close and daily contact with the Creator God? Just very few — probably those associated with the throne itself such as the Cherubim and the twenty-four elders. But in the Garden were two human beings in the closest of association with God Himself. It must have been like a heaven on earth! And indeed, that’s just what it was, in a symbolic way. It was as if God’s celestial palace temporarily had come to earth. Even the Garden, the Cherubim of the Garden, the altar built by Cain and Abel, the land of Eden, and the land of Nod are all connected with the temple symbolism and are direct images of God’s heavenly abode. And for the brief period of time before the sin of Adam and Eve, "heaven” was really here on earth. In the Garden our first parents were able to talk face to face with God. But note an important point. They only had conversations with Him at certain times of the day. They did not see Him on all occasions. It was “in the cool of the day” that they came into “the presence of the Lord” (Genesis 3:8). The expressions “cool of the day” and “the presence of the Lord” were a part of temple language. 7 “The cool of the day” was the period when the Sun got lower in the sky and the cool sea breezes normally swept over the Palestinian region. This was the time of the evening sacrifice (1 Kings 18:36; Daniel 9:21) — about three in the afternoon. This was the time when the animals were being regularly sacrificed (and also in the morning about nine o’clock). At these times the people were then reckoned as being “in the presence of God” (2 Chronicles 20:19). As the Kingdom of Heaven is increasingly seen as a highly advanced extraterrestrial/alien civilization from a scientific perspective, so too will the collective ...... These so-called extraterrestrial "aliens" have been known to reveal that they originate from the Pleiades, Zeti Reticuli, Arcturus, Aldebaran and Sirius, among others.. Arian allegedly is the name of a planet that circles Aldebaran (Alpha Tauri), and that’s inhabited by a humanoid civilization. Arian would be the 4th planet circling Aldebaran. Older estimates situate it approx. 60 LY away, which is in line with the 59 LY Martin Wiesengrün mentions. Note that there are – thus far unconfirmed reports – of a possible brown dwarf companion, in which case Aldebaran would be a binary system. Allegedly the natives call their sun Raula. Arian’s orbit around it would take approx. 20.2 earth years to complete.Thus Jerusalem's holiest spot is a rock that the ancient Jews saw as the center of the Earth, the axis of the universe, the pivot that joined Heaven and Earth, and Earth with the ..... DOME: The dome over the Temple Mount, Old Jerusalem, and the entire city corresponds to Aldebaran, the alpha star and eye of the bull Taurus.
The term New Jerusalem occurs twice in the New Testament, in verses Rev 3:12 and Rev 21:2 of the Book of Revelation. A large portion of the final two chapters of Revelation deals with John of Patmos' vision of the New Jerusalem. He describes the New Jerusalem as "'the bride, the wife of the Lamb'", where the river of the Water of Life flows.After John witnesses the new heaven and a new earth "that no longer has any sea", an angel takes him "in the Spirit" to a vantage point on "a great and high mountain" to see the New Jerusalem's descent. The enormous city comes out of heaven down to the New Earth. John's elaborate description of the New Jerusalem retains many features of the Garden of Eden and the paradise garden, such as rivers, a square shape, a wall, and the Tree of Life.ccording to John, the New Jerusalem is "pure gold, like clear glass" and its "brilliance [is] like a very costly stone, as a stone of crystal-clear jasper." The street of the city is also made of "pure gold, like transparent glass". The base of the city is laid out in a square and surrounded by a wall made of jasper. It says in Revelation 21:16 that the height, length, and width are of equal dimensions - as it was with the Holy of Holies in the Tabernacle and First Temple - and they measure 12,000 furlongs which is approximately 1500.3 miles). John writes that the wall is 144 cubits, which is assumed to be the thickness since the length is mentioned previously. 144 cubits are about equal to 65 meters, or 72 yards. It is important to note that 12 is the square root of 144. The number 12 was very important to early Jews and Christians, representing the 12 tribes of Israel and 12 Apostles of Jesus Christ.Part of Jerusalem's significance and holiness to Muslims derives from its strong association with Abraham, David, Solomon, and Jesus. They are all regarded as Prophets of Islam and their stories are mentioned in the Qur'an. Jerusalem served as the first qibla (direction of prayer) for Muslims. Whilst Muslims were in Mecca, and also for 17–18 months in Medina, Muslims prayed towards Jerusalem. Early mosques in Medina were built to face Jerusalem. In 625, the qibla was changed to the Kaaba in Mecca.[21][Quran 2:142–151] After Muhammad, many of his Companions lived in Jerusalem, and upon their death they were buried there The four sides of the city represented the four cardinal directions (North, South, East, and West.) In this way, New Jerusalem was thought of as an inclusive place, with gates accepting all of the 12 tribes of Israel from all corners of the earth.There is no temple building in the New Jerusalem. God and the Lamb are the city's temple, since they are worshiped everywhere. Revelation 22 goes on to describe a river of the water of life that flows down the middle of the great street of the city from the Throne of God. The tree of life grows in the middle of this street and on either side, or in the middle of the street and on either side of the river. The tree bears twelve fruits, or kinds of fruits, and yields its fruit every month. According to John, "The leaves of the tree were for the healing of the nations." This inclusion of the tree of life in the New Jerusalem harkens back to the Garden of Eden. The fruit the tree bears may be the fruit of life. John states that the New Jerusalem will be free of sin. The servants of God will have theosis, and "His name will be on their foreheads." Night will no longer fall, and the inhabitants of the city will "have need no lamp nor light of the sun, for the Lord God gives them light." John ends his account of the New Jerusalem by stressing its eternal nature: "And they shall reign forever and ever."There are twelve gates in the wall oriented to the compass with three each on the east, north, south, and west sides. There is an angel at each gate, or gatehouse. These gates are each made of a single pearl, giving them the name of the "pearly gates". The names of the twelve tribes of Israel are written on these gates. The (four) New Jerusalem (cardinal) gates may bear some relation to the gates mentioned in Enoch, Chapters 33 - 35, where the prophet reports (from four) "heavenly gates opening into heaven;" {(like) the extremities of the whole earth (reaching)}, "three (more gates) distinctly separated." [33, 3.] (All four of the gates) of the four major compass directions (are involved in the separating into 3 more gates, thus giving 12 gates total).[ref. Laurence translation, Book of Enoch.]The wall has twelve foundation stones, and on these are written the names of the Twelve Apostles. Revelation lacks a list of the names of the Twelve Apostles, and does not describe which name is inscribed on which foundation stone, or if all of the names are inscribed on all of the foundation stones, so that aspect of the arrangement is open to speculation. The layout of the precious stones is contested. All of the precious stones could adorn each foundation stone, either in layers or mixed together some other way, or just one unique type of stone could adorn each separate foundation stone. This latter possibility is favored by tradition, as each gate presumably stands on one foundation stone, and each of the twelve tribes has long been associated with a certain type of precious stone. These historical connections go back to the time of Temple worship, when the same kinds of stones were set in the golden Breastplate of the Ephod worn by the Kohen Gadol, and on the Ephod the names of each of the twelve tribes of Israel were inscribed on a particular type of stone.
It is interesting to note that the translated meanings of the various sorts of foundation stones have varied through the centuries: those in King James Version are differently named in later translations. "18: And the building of the wall of it was of jasper: and the city was pure gold, like unto clear glass. 19: And the foundations of the wall of the city were garnished with all manner of precious stones. The first foundation was jasper; the second, sapphire; the third, a chalcedony; the fourth, an emerald; 20: The fifth, sardonyx; the sixth, sardius; the seventh, chrysolite; the eighth, beryl; the ninth, a topaz; the tenth, a chrysoprasus; the eleventh, a jacinth; the twelfth, an amethyst." Rev 21:18-20 with the more modern, New Jerusalem Bible version, "18 The wall was built of diamond, and the city of pure gold, like clear glass. 19 The foundations of the city wall were faced with all kinds of precious stone: the first with diamond, the second lapis lazuli, the third turquoise, the fourth crystal, 20 the fifth agate, the sixth ruby, the seventh gold quartz, the eighth malachite, the ninth topaz, the tenth emerald, the eleventh sapphire and the twelfth amethyst." In 21:16, the angel measures the city with a golden rod or reed, and records it as 12,000 stadia by 12,000 stadia at the base, and 12,000 stadia high. A stadion is usually stated as 185 meters, or 607 feet, so the base has dimensions of about 2220 km by 2220 km, or 1380 miles by 1380 miles. In the ancient Greek system of measurement, the base of the New Jerusalem would have been equal to 144 million square stadia, 4.9 million square kilometers or 1.9 million square miles (roughly midway between the sizes of Australia and India). If rested on the Earth, its ceiling would be inside the upper boundary of the exosphere but outside the lower boundary.. By way of comparison, the International Space Station maintains an orbit with an altitude of about 386 km (240 mi) above the earth.The Book of Revelation was composed during the end of the 1st century AD, sometime during the later end of the reign of Emperor Nero Domitius (54 to 68 CE). The work is addressed to the “seven churches that are in Asia” (1:4). Revelation is normally broken into three sections: the prologue (1:1-3:22), the visions (4:1-22:5), and the epilogue (22:6-20). This study is principally concerned with chapter 21. The author of Revelation was both a Jew by birth and a believing Christian. For the author and the addressees of Revelation, they are searching for the Lord to vindicate them and judge the “inhabitants of the earth,” for their suffering (6:10). The fall of Jerusalem coupled with the Neronian persecutions form the tension within the subtext of Revelation. Throughout Revelation, several references to the Temple are made REV 3:12,7:15,11:19,14:15,16:1. This Temple appears to be of heavenly origin. When the eschaton arrives in REV 21:1, the reader expects the temple to come down from heaven with the New Jerusalem. Revelation 21 even contains typical New Jerusalem terminology that accompanies a restored Temple. Specific measurements are given for the new city (Ezekiel 40-48, 4Q554), and the city is built with gold, sapphires, and emeralds (Isaiah, Tobit). In addition, 21:21 references the “twelve gates.” Revelation maintains another typically aspect of New Jerusalem tradition – the reunification of the twelve tribes of Israel (Ezekiel 48:33-34, 4Q554).
Verse 22 marks a sudden and remarkable shift in New Jerusalem apocalyptic rhetoric: “I saw no temple in the city, for its temple is the Lord God Almighty and the Lamb.” Following with the tradition of 3 Baruch and 4 Sibylline Oracles, Revelation foresees an eschaton without the Temple. Why has the Revelation suddenly denied an eschatological Temple? Verse 23 sheds light on this disparity. Verse 23 proclaims, “And the city has no need of sun or moon to shine on it, for the glory of God is the light, and its lamp is the lamb.” For the author of Revelation, there is no need for a Temple because the Lord will be the New Jerusalem’s eternal light and Jesus (the lamb) will be its lamp. This re-interpretation utilizes Isaiah to make its case: “The LORD will be your everlasting light, and your God will be your glory. Your sun shall no more go down, or your moon withdraw itself; for the LORD will be your everlasting light, and your days of mourning shall be ended.” (Isaiah 60:19) The Temple is discarded in the eschaton because the Lord will provide illumination for the New Jerusalem, and Christ will be the glory for its residents. Henceforth, Christians believed that the New Jerusalem no longer required a Temple. For Christians, their Lord sufficiently replaced the Temple.The Babylonian threat to the Kingdom of Judah began as the Babylonian Empire conquered Assyria and rose to power from 612-609 BCE. Jerusalem surrendered without major bloodshed to Babylon in 597. An Israelite uprising brought the destruction of Nebuchadnezzar’s army upon Jerusalem in 586 BCE. The entire city, including the First Temple, was burned. Israelite aristocrats were taken captive to Babylon. The Book of Ezekiel contains the first record of the New Jerusalem. Within Ezekiel 40-48, there is an extended and detailed description of the measurements of the Temple, its chambers, porticos, and walls. Ezekiel 48:30-35 contains a list of twelve Temple gates named for Israel’s tribes. The Book of Zechariah expands upon Ezekiel’s New Jerusalem. After the Second Temple was built after the exile, Jerusalem’s population was only a few hundred. There were no defensive city walls until 445 BCE.[7] In the passage, the author writes about a city wall of fire to protect the enormous population. This text demonstrates the beginning of a progression of New Jerusalem thought. In Ezekiel, the focus is primarily on the human act of Temple construction. In Zechariah, the focus shifts to God’s intercession in the founding of New Jerusalem.
New Jerusalem is further extrapolated in Isaiah, where New Jerusalem is adorned with precious sapphires, jewels, and rubies. The city is described as a place free from terror and full of righteousness. Here, Isaiah provides an example of Jewish apocalypticism, where a hope for a perfected Jerusalem and freedom from oppression is revealed. As the original New Jerusalem composition, Ezekiel functioned as a source for later works such as 4 Ezra, 2 Baruch, Qumran documents, and the Book of Revelation. These texts used similar measurement language and expanded on the limited eschatological perspective in Ezekiel.Judaism sees the Messiah as a human male descendant of King David who will be anointed as the king of Israel and sit on the throne of David in Jerusalem. He will gather in the lost tribes of Israel, clarify unresolved issues of halakha, and rebuild the Holy Temple in Jerusalem according to the pattern shown to the prophet Ezekiel. During this time Jews believe an era of global peace and prosperity will be initiated, the nations will love Israel and will abandon their gods, turn toward Jerusalem, and come to the Holy Temple to worship the one God of Israel. Zechariah prophesied that any family among the nations who does not appear in the Temple in Jerusalem for the festival of Sukkoth will have no rain that year. Isaiah prophesied that the rebuilt Temple will be a house of prayer for all nations. The city of YHWH Shamma, the new Jerusalem, will be the gathering point of the world's nations, and will serve as the capital of the renewed Kingdom of Israel. Ezekiel prophesied that this city will have 12 gates, one gate for each of the tribes of Israel. The book of Isaiah closes with the prophecy "And it will come to pass, that from one new moon to another, and from one sabbath to another, all flesh will come to worship before Me, says YHWH"
At the core, apocalypses are a form of theodicy. They respond to overwhelming suffering with the hope of divine intercession and a perfected World to Come. The destruction of the Second Temple in 70 meant an end to Second Temple Judaism. Naturally, apocalyptic responses to the disaster followed. This section will first cover 4 Ezra and 2 Baruch. Fourth Ezra and 2 Baruch are important for two reasons. First, they look for a Temple in Heaven, not the eschaton. Second, these texts exhibit the final new Temple texts in Judaism. Jewish texts like 3 Baruch began to reject a restored Temple completely. However, these texts were deemed to be apocryphal by the Rabbis who maintained the belief in a Third Temple as central to Rabbinic Judaism. The Jewish apocalypse of 4 Ezra is a text contained in the apocryphal book 2 Esdras. The genre of 4 Ezra is historical fiction, set thirteen years after the Babylonian destruction of Jerusalem. Fourth Ezra is dated approximately in 83 CE, thirteen years after the Roman destruction of Jerusalem. The story follows Ezra’s period of mourning following Jerusalem’s fall. Ezra is Job-like in his criticism of God’s allowance of Jerusalem’s downfall. In Ezra’s deep state of grief, he meets a woman lamenting over Jerusalem. Ezra consoles the woman, and tells her to, “shake off your great sadness, and lay aside your many sorrows… the Most High may give you rest.” (4 Ezra 10:24). Suddenly, the woman is transfigured in an array of bright lights. She transforms into the New Jerusalem being rebuilt. As a bereaved widow she convinced Ezra to apply solace to himself through the image of a New Jerusalem. Fourth Ezra has two clear messages. First, do not grieve excessively over Jerusalem. Second, Jerusalem will be restored as a heavenly kingdom. Fourth Ezra also uses the title “Most High,” throughout the apocalypse to emphasis that the Lord will once again reign and reside in Jerusalem. The apocalypse of 2 Baruch is a contemporary narrative of 4 Ezra. The text also follows the same basic structure 4 Ezra: Job-like grief, animosity towards the Lord, and the rectification of Jerusalem that leads to the comfort of the Job-figure. Second Baruch is historical fiction, written after the Roman destruction but set before the fall of Jerusalem to the Babylonians. Baruch is distressed when the Lord informs him of Jerusalem’s impending doom. Baruch responds with several theological questions for God. For this study, Baruch’s inquiry about the future of Israel and the honor of the Lord are most pertinent (2 Baruch 3:4-6). Baruch learns that the Lord will destroy the city, not the enemy. Baruch also learns of a pre-immanent heavenly Temple: “[The Temple] was already prepared from the moment I decided to create paradise.” And I showed it to Adam before he sinned.” (2 Baruch 4:3). This Temple was created before Adam, and shown to him before Adam’s fall.
Two important conclusions come from 2 Baruch. First, the author dismisses hopes for an earthly re-built Temple. The focus is entirely on the heavenly Temple that pre-dated the Garden of Eden. This may be a device to express the supremacy of the heavenly Temple as a sanctuary built before Eden (the traditional location of the earthly Temple). Second, Baruch believes that restoration for the people of Israel exists in heaven, not on earth. The apocalypse of 3 Baruch is the anomaly among post-revolt New Jerusalem texts. Unlike 2 Baruch and 4 Ezra, the text exemplifies an alternative tradition that lacks a restored Temple. Like other apocalypses, 3 Baruch still mourns over the Temple, and re-focuses Jews to the heavens. Yet 3 Baruch finds that the Temple is ultimately unnecessary. This move could be polemical against works which afforded the Temple with excessive veneration. In the passage, an angel comes to Baruch and consoles him over Jerusalem: “Where is their God? And behold as I was weeping and saying such things, I saw an angel of the Lord coming and saying to me: Understand, O man, greatly beloved, and trouble not thyself so greatly concerning the salvation of Jerusalem.” (3 Baruch 1:3) Third Baruch certainly mourns over the Temple. Yet 3 Baruch is not ultimately concerned with the lack of a Temple. This text goes along with Jeremiah and Sibylline Oracles 4 to express a minority tradition within Jewish literature. In the first Christian apocalypse, the Book of Revelation coincides with this perspective on Jerusalem. The study will now move to early Christian perspectives on the Temple and the apocalyptic response in Revelation.Since Christianity originated from Judaism, the history of Jewish places of worship and the currents of thought in ancient Judaism described above served in part as the basis for the development of the Christian conception of the New Jerusalem. Christians have always placed religious significance on Jerusalem as the site of The Crucifixion and other events central to the Christian faith. In particular, the destruction of the Second Temple that took place in the year 70, a few decades after Christianity began its split from Judaism, was seminal to the nascent Christian apocalypticism of that time. In the Olivet discourse of the Gospels, Jesus predicts the destruction of Herod's Temple, and promises that it will precede the return of the Son of Man, commonly called the Second Coming. This prophecy of the renewal of Jerusalem by the messiah echoes those of the Jewish prophets. John of Patmos' vision of the New Jerusalem in the Book of Revelation draws on the Olivet discourse and all the historical precursors mentioned above.
Based on the Book of Revelation, premillennialism holds that, following the end times and the second creation of heaven and earth (see The New Earth), the New Jerusalem will be the earthly location where all true believers will spend eternity with God. The New Jerusalem is not limited to eschatology, however. Many Christians view the New Jerusalem as a current reality, that the New Jerusalem is the consummation of the Body of Christ, the Church and that Christians already take part in membership of both the heavenly Jerusalem and the earthly Church in a kind of dual citizenship.In this way, the New Jerusalem represents to Christians the final and everlasting reconciliation of God and His chosen people, "the end of the Christian pilgrimage." As such, the New Jerusalem is a conception of Heaven, see also Heaven (Christianity).Christianity interprets the city as a physical and/or spiritual restoration or divine recreation of the city of Jerusalem. It is also interpreted by many Christian groups as referring to the Church to be the dwelling place of the saints.
John of Patmos describes the New Jerusalem in the Book of Revelation in the Christian Bible, and so the New Jerusalem holds an important place in Christian eschatology and Christian mysticism, and has also influenced Christian philosophy and Christian theology. Such a renewal of Jerusalem, if a reconstruction, is an important theme in Judaism, Christianity, and the Bahá'í Faith. Renewed Jerusalem bears as its motto the words Ad librum (Latin: "as by the book".) Many traditions based on biblical scripture and other writings in the Jewish and Christian religions, such as Protestantism, and Orthodox Judaism, expect the literal renewal of Jerusalem to some day take place at the Temple
The dome over the Temple Mount, Old Jerusalem, and the entire city corresponds to Aldebaran, the alpha star and eye of the bull Taurus. The Foundation Stone within the Dome of the Rock is the center of this dome. Aldebaran, the thirteenth brightest star in our galaxy, is a first magnitude star located sixty-eight light years from Earth, forty times larger than our Sun and 125 times more luminous. It's usually described as rosy or pale reddish-orange in color, a quality the Hindu astronomers noted in their name, Rohini, which means "the Red One" or "the Red Deer." In Hindu star myths, Rohini is the female antelope, the daughter of the male antelope, Prajapati, the Lord of Generation (the constellation Orion). Its name, from the Arabic Al Dabaran, means "the Follower," or "Bright One of the Follower," a reference to how its appearance in the sky follows just after the rising of the Pleiades or perhaps the Hyades, both in Taurus; it also sets immediately following the setting of these two star clusters. To the Mesopotamian astronomers, Aldebaran was one of the four royal stars, or "Watchers," along with Antares in Scorpio, Regulus in Leo, and Fomalhaut in Piscis Austrinus (the Southern Fish). The Babylonians knew it as Ikuu, "the Leading Star of Stars," the Akkadians as Gisda, "the Furrow of Heaven."
Appropriately, with respect to the attributions of the Flood, tehom, and the cosmic waters to the Foundation Stone, in various cultures Aldebaran was associated with the gods of the rain and the Earth's fertility. An interesting astronomical aspect of Aldebaran is that it is one of the few first-magnitude stars that are eclipsed regularly by our Moon, sometimes, as happened in 1978, every month for a year. It would be a useful study to correlate the schedule of occultations by the Moon of Aldebaran with political events in Jerusalem to see if the astronomical events coincide with earthly happenings. GRAIL CASTLE: To understand what is meant by the statement that the Even HaShetiyah was set over the tehom to keep the waters of chaos from inundating the land, you need to reverse the relationships. The physical stone, which is part of the rock outcropping of Mount Moriah, is not the issue or the important player in this activity; it marks the spot.
The Foundation Stone does not keep the subterranean waters below the Temple Mount from rising up and flooding Jerusalem; rather, the Stone, which is an astral device, is the "plug" on the cosmic bathtub upstairs in the higher worlds. It is the realm of the ether, the primordial "waters" of creation, in which water is an esoteric code word for ether and primeval creative substance or matrix, for a level of undifferentiated consciousness-surely chaos to us.
The Temple Mount on Mount Moriah is the equivalent of Mount Ararat, the legendary resting place for Noah's Ark after the Deluge. There are in fact 144 such resting points for the Ark, for the resting place, the "Mount Ararat," is the staging ground for the ascent into the Grail Castle which is the same as the Ark. There the Ark floats, high above us, in the exalted dimensions, floating safely on the top of the Flood waters released in the interregnums between vast periods of creation and destruction Days and Years of Brahma, in the Vedic time system. The Ark, or Grail Castle, is the repository of all the information from the previous epochs of cosmic existence; the extent of this knowledge is almost unfathomable, almost incomprehensible, almost unattainable-except it isn't. The attainment of this inestimable, mind-dilating knowledge is the goal of the Grail Quest; it is the riches in the Celestial City of Lord Kubera of the North; it is the diverse contents of Noah's Ark; it is the cosmic wisdom of the Fish that towed the boat of Matsya-avatara to the northern mountain as the Flood subsided. The real Foundation Stone is the regulator for the flow from above to below of the cosmic waters, which when they flow, inundate human consciousness with the living, consciousness energizing wetness of the spiritual worlds. You could say that this Stone regulates how much deep cosmic memory and awareness can enter the human continuum at a given time without driving people mad. Too much transcendental knowledge is like chaos; it can be a deadly poison. But when the land has gone dry with an intellectualism and atheistic materialism, when it has become the Wasteland, as periodically happens, then it's appropriate to let a little water moisten the land. One master of this water-world was King Solomon, who, with his wife, fashioned the Ship of Time, using wood from the original Tree of Life in the Garden of Eden. Solomon placed King David's sword (the one he claimed from giant Goliath after he slew him) on the Ship of Time, which was an Ark, or repository, outside of space-time, to arrive, much later in planetary history, at the Celtic King Arthur's Camalate in England to be used by the Christed Knight, Sir Galahad."'
The connections will not be clear yet, but this is about the alpha and omega of the Temple of Jerusalem, the original Jerusalem temple in that holy city in the planet's early days, and the New Jerusalem to come at Glastonbury in England. King David's "sword" is the knowledge of how to activate and use the Jerusalem temple; this knowledge was obtained from the giant Goliath, who is a symbol for the Elohim, the angelic family whose members were the consummate masters of the geomantic temple and conservators of its mysteries. MYSTERIES OF THE EMERALD: As Jacob and Muhammad discovered, the Stone is also the launching pad for a remarkable Miraj into the higher spiritual worlds. The Stone itself-the real Even HaShetiyah-is the ladder into the higher worlds. It is the emerald, the true foundation and Foundation Stone of Jerusalem. It is the green stone brought by the angels from Heaven to Earth, the Stone by which the Phoenix is burned to ashes and restored to life, the stone that is "forever incorruptible" and whose "essence is most pure," known as the Grail, as Wolfram von Eschenbach wrote. The emerald is the Heart within the heart chakra, an esoteric dimension between the outer and inner aspects of this chakra. It is a six-sided double-terminated green stone standing vertically on one of its terminations; seen from the bottom up it is also a green cube. The entire Earth energy matrix is bounded by this emerald; it exists within every human; and it is one of the jewels from the crown of the Lord of Light. It is the essence of the Jerusalem temple as an archetype of the consummate heavenly city, the divine ideal.
In practical terms, the emerald as a subtle light form sits magnificently upon the physical Foundation Stone within the Dome of the Rock on Temple Mount. Its size is irrelevant and flexible; it is easier to interact with if you allow yourself to see it as perhaps the size of a skyscraper. That way it is easier to enter, which you may do through any of its six fluidic, permeable walls. There are other geomantic emeralds like this around the planet, but this one is special because its location is special. Only two places on Earth have the right combination of geomantic elements that allow this emerald (meaning, this emerald's special functions) to operate as intended. Only two places are designated for this seed to sprout: the Temple Mount in Jerusalem and the Tor in Glastonbury England. These are the Old Jerusalem and the New Jerusalem, both based on what we might call the once and future archetype of Jerusalem. Here I mean not the physical Israeli city, nor the architectural details of the First and Second Temple of Jerusalem, but the celestial original for this temple, from the light pattern library from which our reality is created. The existence of the two physical Temples of Jerusalem for a time embodied and grounded this heavenly ideal, enabling it to function in the material world, and that was centrally important for the Earth. Here is one reason why. The planet's twelve Vibrating Stones all lead here, to the Jerusalem temple archetype grounded at Temple Mount. Each stone grounds one of the Oroboros Lines that encircle the planet; each stone is coordinated with the celestial Jerusalem as overlaid on the Earth at the Temple Mount. There is one stone per one-twelfth division of the planet's surface, each of which is a Pentagon. To each Pentagon was assigned one of the twelve tribes of Israel; this was not a diaspora, but rather a code, a metaphor, for energies and holders of those energies assigned to each of the Earth's pentagons. If you were standing by one of the stones-at Delphi in Greece or in Glastonbury-you could follow its energy connections and find yourself in the original Temple of Jerusalem. That temple, and its archetype, had twelve gates: the twelve Vibrating Stones are also twelve gates, and lead into the archetype of the Temple of Jerusalem, which for a time was coincident with the two physical Temples. In practical geomantic terms, this meant that the twelve Oroboros Lines and the twelve zodiacal energies they represented were grounded at the Foundation Stone. Insofar as the twelve lines comprise twelve out of the fifteen prime energy lines that are the armature of the Earth's energy matrix, this central grounding point was potentially pivotal for the health, welfare, and destiny of the planet. A paradise on Earth-or something less exalted and uplifting-could be created or sustained from here. The myths are true in saying the world was created from this Foundation Stone, with all things spreading out from this point. Energetically the Earth is inside the emerald, the original Foundation Stone. Every aspect of the planet's complex geomantic structure is subsumed in this single planet-sized emerald; everything that comprises the Earth's geomythic matrix comes out of the emerald, and returns to it. When the Temple of Jerusalem is physically grounded on the Earth, things are in the process of returning to their source within the emerald; everything that spread out from the Foundation Stone at the beginning of creation is now magnetically being recalled to its point of origin. Seen over vast stretches of Earth time, it is like a shape turning itself inside out, over and over, cycling in on itself like a torus, Jerusalem manifest, then unmanifest, then manifest again."'
THE ARK OF THE COVENANT. What about the Ineffable Name of God inscribed on the Foundation Stone and the Ark of the Covenant, which resided in the Holy of Holies (the Devir, a perfect cube of twenty cubits), said to be over the Stone? Jewish belief says that the location of the Ark "marks the exact center of the world, or God's footstool. The Ark is understood to have been a container, a portable rectangular box or wooden chest lined with gold with long parallel handles, measuring about four feet long, two feet high, and two feet wide. It held the tablets of the Ten Commandments, both the shattered first version and the intact second one, as well as Aaron's magical rod and a small quantity of manna (a miraculous angelic food). At the time he received the Commandments while on Mount Sinai, Moses received instructions from God to construct the Ark of the Covenant to house the tablets. In many respects, Solomon built the Temple of Jerusalem to house the Ark. The Ark was the holiest of objects, said to possess extraordinary magical powers capable of protecting the Jews from danger. Biblical references–the Old Testament has two hundred–indicate that the Ark blazed with fire and lightning, emitted sparks, produced tumors or severe burns, could stop rivers, blast armies, destroy cities, and level mountains. It issued a moaning sound and was capable of rising off the ground and rushing at the enemies of the Jews in battle. God was said to descend and sit in the miniature Mercy Seat atop the Ark. The Ark of the Covenant is one of the mysteries of the Earth, and it is presumptuous to speculate as to its true nature. However, it was a device that had to do with a combination of sound and energy, and there was only one Ark. We can try approaching the matter sideways, as it were, through metaphor. The Ark was the voice of magic, the Word, the Ineffable Name uttered, all the living letters of the Hebrew alphabet spoken correctly, at once, the electric current that turned the system on. The system was the Earth grid, its armature of Oroboros Lines, its multiple linked emeralds-the "modem." It could make twelve Oroboros Lines into a single twelve-stringed instrument, played from here at the Foundation Stone. It could make all the elements of the Earth's energy matrix cohere, turn inside out, and become part of the Temple of Jerusalem. It was perhaps like a recording of the Word that was in the beginning, all the sacred syllables and sounds in perfect pronunciation-a magic wand of sound. When this sound touched the Even HaShetiyah, it animated the Earth's spiritual body and remarkable things happened and were possible.;When it was "on," it made not just the Temple but the entire Earth the Morning and Evening Star, the Foundation of Venus-Heaven on Earth realized, the celestial Jerusalem Temple fully manifest in matter. The downside was misuse, as J. R. R. Tolkien said of another unique magical device in The Lord of the Rings, "One ring to rule them ... and in the darkness bind them." The Earth had witnessed such a misuse, a malfeasance remembered in Grail myth as the Dolorous Stroke by which the Fisher King had misused the Sword of David (the Elohim's celestial codes for operating the system), wounded himself, and precipitated the Wasteland, The plug was put back in securely to block the flow of the tehom into the human world. Access to the Grail Castle was curtailed, and its reality eventually disbelieved, forgotten. INIMICAL ENERGIES AT THE TEMPLE MOUNT- We should not be surprised to find a fair concentration of what we could label dark and negative energies marshaled at the Temple Mount to block or distort access. Two giant astral beings are locked in mortal battle atop the Mount, swords clashing, wounds gaping; they are primitive beings of a male valence, and all they do is fight, striving to kill each other. This energy permeates Jerusalem. Numerous alien ships high above the city quarantine the Mount in a ring of beams broadcast like laser shafts. These energies help maintain the energies and functions of several circles of reptilian beings and giant astral snakes that surround the Mount, facing outwards into Jerusalem, discouraging access, keeping the energies combative, fragmented, bent on isolation and conflict. Behind them and also facing away from the Mount is another circle of large demonic control beings; their function too is to dissuade the fainthearted, to inflame those on the edge, to confuse or scare the rest, to keep the Mount and Stone from being used again as intended. The dome directly over the Mount and encompassing all of Jerusalem is damaged. Part of its crown is severed, like a yarmulke riding the side of the head by the ears instead of the occiput. The two cords linking the dome to the master dome at Avebury are damaged; one of them is not "hooked up" at all. The damages mean that Jerusalem through its dome is not receiving the beneficial cosmic energies of both Sirius and Canopus through Avebury as they are meant to; this allows other inimical energies to exert the predominant influence. The dome can be repaired, but it requires human assistance in conjunction with the angelic realm, and such repair could only be undertaken if the spiritual worlds judged it appropriate or karmically possible. (For information about another damaged dome, see Clingman's Dome, Tennessee.)
LUCIFER BINDING SITE: Coincident with the decommissioning of the Jerusalem Temple was the binding of Lucifer, Lord of Light, under the Foundation Stone. The Foundation of Venus, the Jerusalem new, old, and archetypal, is his light realm.
Elsewhere in Christendom, the tendency was to bury Lucifer under the granite weight of a massive Gothic cathedral, such as at Lincoln in England. For Jerusalem as the city to be healed, Lucifer, its foundation, will have to be unbound, and for the New Jerusalem to manifest on the planet, the Lord of Light will have to be restored to his pre-Fall position as God's chief archangel. This is not meant to be a definitive listing of the geomantic features of Jerusalem, for it has many others. Notable among these is one of the Earth's twelve Crowns of the Ancient of Days at Golgotha, the Hill of Skulls, and an eighteen-mile wide Landscape Zodiac on the periphery of the Old City.
From Wikipedia, the free encyclopedia
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Rencontres d'Arles
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
1 Art directors
2 The festival
3 The Rencontres d'Arles award winners
4 Exhibitions
5 References
6 External links
Art directors
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 - 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 - 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 - 1982: Alain Desvergnes (fr)
1983 - 1985: Lucien Clergue
1986 - 1987: François Hébel
1988 - 1989: Claude Hudelot (fr)
1990: Agnès de Gouvion Saint-Cyr
1991 - 1993: Louis Mesplé (fr)
1994: Lucien Clergue
1995 - 1998, délégué général: Bernard Millet (fr)
1995, artistic director: Michel Nuridsany (fr)
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle (fr)
1998, artistic director: Giovanna Calvenzi
1999 - 2001: Gilles Mora (fr)
2002 - 2014: François Hébel
Since 2015: Sam Stourdzé (fr)
The festival
A photography exhibition, Rencontres d'Arles, 2010
Events
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town’s historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix’s fashion show for the festival’s closing (2008); and Patti Smith’s concert for the Vu agency’s 20th anniversary (2006).
Nights at the Roman Theatre
At night, work by a photographer or a photography expert is projected in the town’s open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin’s “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival’s favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art’s fundamentally hybrid forms.
Symposia and panel discussions
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival’s professional week: the Discovery Award (€25,000), Author’s Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner’s book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival’s opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography’s aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images
“Rentrée en Images” has been a key part of the festival’s educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival’s programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget
Public funding accounted for 40% of the 2015 festival’s €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners
2002
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author’s Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author’s Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993-1998) by Xing Danwen
2004
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author’s Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichy
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author’s Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author’s Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007
[1]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author’s Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008
[2]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author’s Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009
[3]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author’s Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010
[4] [5]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author’s Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011
[6] [7]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[8]
Author’s Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[8]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[8]
2012
[9] [10] [11]
Discovery Award: Jonathan Torgovnik
Author’s Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author’s Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal[disambiguation needed], 2013)[12]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014
Discovery Award: Zhang Kechun
Author’s Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015
Discovery Award: Pauline Fargue
Author’s Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016
Discovery Award: Sarah Waiswa
Author’s Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017
[13]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)
Exhibitions
1970
Gjon Mili, Edward Weston, ...
1971
Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …
1972
Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …
1973
Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …
1974
Brassaï, Ansel Adams, Georges A. Tice, …
1975
Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …
1976
Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …
1977
Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …
1978
Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …
1979
David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …
1980
Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …
1981
Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …
1982
Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …
1983
Robert Rauschenberg, Bruce Davidson, …
1984
Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …
1985
David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …
1986
Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …
1987
Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.
1988
La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.
1989
Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.
1990
Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …
1991
Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …
1992
Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …
1993
Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …
1994
Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …
1995
Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …
1996
Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …
1997
Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …
1998
David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …
1999
Lee Friedlander, Walker Evans, …
2000
Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …
2001
Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …
2002
Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …
2003
Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …
2004
Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …
2005
Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …
2006
La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …
2007
The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …
2008
Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …
2009
Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]
2010
Robert Mapplethorpe[17] Lea Golda Holterman[18]
2011
Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...
2012
Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]
2013
Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.
2014
Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.
2015
Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.
References
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_214_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_213_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_212_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.
O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.
"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.
"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.
"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.
"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.
Présentation de Robert Mapplethorpe sur le site rencontres-arles.com
"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.
Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com
Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com
Signe des temps: Arles 2012, un festival courageux (Photographie.com)
Fiche d'Alfredo Jaar sur rencontres-arles.com
Fiche de John Stezaker sur rencontres-arles.com
Fiche de Wolfgang Tillmans sur rencontres-arles.com
Fiche de Viviane Sassen sur rencontres-arles.com
Fiche de Pieter Hugo sur rencontres-arles.com
Fiche de Xavier Barral sur rencontres-arles.com
Fiche de Antoine Gonin sur rencontres-arles.com
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Blythe Fifth Avenue's entry for:
Blythe-A-Day
Daily theme-based flickr group
JULY 2015
DAY 19: "JUST ONE"
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"Just One ... MORE ... BFA Model !!!!! "
A funny thing happened ...
about 5 minutes BEFORE we started our huge life Home Project back in April,
Our ship came in!
Apparently, it was a PIRATE SHIP, at that ... !!
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Please meet Blythe Fifth Avenue's newest top model who will REMAIN STOCK (except for the pure neemo body, which I think suits her mature face/hair, rather than a Licca body) (and as everyone knows, Takara bodies are not an option here at BFA ;) ...
Introducing ...
GLENDORA GARNETTE
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(Sally Salmagundi release)
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She is wearing a sparkle pullover by BFA;
Leggings from QMagic;
Boots from MissBlythe2012
Gold mesh socks by TDWS;
eyechips by BFA;
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British postcard in The Glamour Queens Series by James Gardiner Postcards, Watford, no. 5, 1988. Brigitte Helm in Metropolis (Fritz Lang, 1927).
The German expressionist film Metropolis (Fritz Lang, 1927) is a classic Science-Fiction epic and a highlight of silent cinema.
The screenplay for Metropolis was written by Fritz Lang and his wife Thea von Harbou. It would become one of the first feature-length films of the Science Fiction genre. Metropolis is set in a futuristic urban dystopia. Wealthy industrialists rule the vast city of Metropolis from high-rise tower complexes, while a lower class of underground-dwelling workers toil constantly to operate the machines that provide its power. The Master of Metropolis is the ruthless Joh Fredersen (Alfred Abel), whose son Freder (Gustav Fröhlich) idles away his time in a pleasure garden with the other children of the rich. Freder is interrupted by the arrival of a young woman named Maria (Brigitte Helm), who has brought a group of workers' children to see the privileged lifestyle led by the rich. Maria and the children are quickly ushered away, but Freder is fascinated by Maria and descends to the workers' city in an attempt to find her. Metropolis follows the attempts of Freder and Maria to overcome the vast gulf separating the classes of their city. One of the highlights of the film is the spectacular explosion of a huge machine in the machine rooms, which causes several injuries and deaths. Another highlight is the creation scene of the Maschinenmensch (Machine-Human), a false Maria, which must ruin Maria's reputation among the workers. The false Maria (also Brigitte Helm) unleashes chaos throughout Metropolis, driving men to murder out of lust for her and stirring dissent amongst the workers.
Metropolis was filmed in 1925, at a cost of approximately five million Reichsmarks. Thus, it was the most expensive film ever released up to that point. The two leading actors in the film were unknowns: nineteen-year-old Brigitte Helm had no previous film experience. Gustav Fröhlich had only played secondary roles before landing his breakthrough role as Freder Fredersen. The part came about by chance. Fröhlich was only scheduled to play one of the workmen but four weeks after the beginning he was discovered on the set by Thea von Harbou. Fritz Lang immediately cast him in the lead because of his striking good looks. Two new stars were born, but the film itself was met with a mixed response upon its initial release. Many critics praised its technical achievements and social metaphors while others derided its 'simplistic and naïve' presentation. Because of its long-running time and the inclusion of footage which censors found questionable, Metropolis was cut substantially after its German premiere: large portions of the film were lost over the subsequent decades. Numerous attempts have been made to restore the film since the 1970s-80s. In 2001, the film was inscribed on UNESCO's Memory of the World Register, the first film thus distinguished. In 2008, a damaged print of Lang’s original cut of the film was found in a museum in Argentina. After a long restoration process, the film was 95% restored and shown in a limited theatrical re-release in 2010.
Sources: Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
A mutilated French soldier after WW I
Gueules cassées (broken faces)[1] is a French expression for facially disfigured servicemen which originated in World War I. Colonel Yves Picot is said to have coined the term when he was refused entry to a gathering for the war-disabled.[1][2]
Contents
1Background
2Gueules cassées
3In film
4External links
5References
Background[edit]
Trench warfare protected the bodies but left the heads exposed.[3] The introduction of the steel helmet in 1915 made head shots more 'survivable', but this reduction of mortality meant a mutilated life for thousands.[1]
At the start of the war those wounded to the head were generally not considered able to survive and they would not usually be 'helped first'.[4] This changed in the course of the war, as progress was made in medical practices like oral and maxillofacial surgery and most notably in the new field of plastic surgery.[5] Surgeons conducted experiments with bone, cartilage and tissue transplants and the likes of Hippolyte Morestin, Harold Gillies and Léon Dufourmentel made enormous advances.[3] Because of the experimental character of this surgery some chose to remain as they were and others could just not be helped yet.[4] Some of the latter were helped by all kinds of new prosthetics to make them look more or less 'normal'.[6]
Gueules cassées[edit]
An estimated 4.2 million French were wounded, 300,000 of whom were classified as 'mutilated'. Of those some 15,000 can be called gueules cassées.[7] Right after the war those facially disfigured were not considered war veterans and exempt from support and veteran's benefits, but that changed later. In 1921 the Union des Blessés de la Face et de la tête (association of the wounded to the face and the head) was formed. The Colonel Picot mentioned above was one of its founders and a later president of the association.[1] It still exists, currently under the name Gueules Cassées with, considering the mutilations, the somewhat sour slogan sourire quand même ("smiling nonetheless").
In film[edit]
J'accuse! (1938), Abel Gance. The film features actual mutilated veterans.
Johnny Got His Gun (1971), Dalton Trumbo
The Officers' Ward (2001), François Dupeyron
See You Up There (2017), Albert Dupontel
External links[edit]
(in French) Website of the association
Broken gargoyles, article in The Guardian about much the same thing among Australian veterans
"Facing the Faceless: Erased Face as a Figure of Aesthetic and Historical Experience", a scholarly article about the phenomenon of disfiguration in art and literature and in relation to "gueules cassées". See Jirsa, Tomáš. Czech and Slovak Journal of Humanities, 5 (1), 2015, 104-119.
en.wikipedia.org/wiki/Gueules_cassées
Mutilation and Disfiguration
By Julie Anderson PDF EPUB KINDLE Print
The First World War created disfigured and mutilated bodies on a grand scale. Never before had the bodies of soldiers been so devastated by a conflict. Developments in established weapons such as cannons and machine guns, and terrifying innovations such as poison gas, created a relative army of disfigured and mutilated men. Some men lost multiple limbs and sensory organs such as eyes. No part of the body was safe from the potential of severe and life-changing wounds. Owing to new and advanced medical specialities, surgical techniques, and technical innovations, soldiers survived wounds that in previous conflicts might have killed them. Wounds healed, but often bodies were left badly disfigured and mutilated. These men had to manage not only the result of their bodily wounds, but also their emotional trauma and their new role as disabled veterans. For these damaged men, their war was over, but recovery, rehabilitation, and reintegration presented a new set of challenges.
Table of Contents
1 Introduction
2 Medical Specialities and Specialist Hospitals
3 Amputation
4 Prosthetics
5 Mutilation
6 Plastic surgery
7 Remembering the Disfigured and Mutilated
8 Conclusion
Notes
Selected Bibliography
Citation
Introduction↑
While war is no stranger to mangled bodies, the First World War was unprecedented as it created a significant number of mutilated and disfigured men, many more than in previous conflicts. This article focuses particularly on the Western Front, a battleground established early in the war, where new forms of weaponry created new types of bodily injury.[1] The siege-style warfare of bombing and shelling on the Western Front meant that significant numbers of men were killed and others badly wounded on the periphery of a direct hit. New developments in weapons such as machine guns and grenades and more frightening and mysterious weaponry such as poison gas created an unprecedented range of mutilating and disfiguring wounds internally and externally.[2] These innovations in weapons and unspecific targeting circumvented the basic personal safety equipment provided to the fighting men, such as helmets and gas masks, and wreaked havoc on the body. No part of the soldier’s body was safe. Limbs were shattered by shrapnel and needed to be amputated to save patients’ lives. Gas blistered lungs and caused lifelong breathing difficulties and blindness. Gunshot wounds left random scars on bodies, a permanent reminder of war. The nature of trench warfare on the Western Front meant that faces were particularly vulnerable to gunshot wounds. Repairing faces presented a challenge to the medical profession and exposed a new type of visual horror.
Since Joanna Bourke’s seminal book Dismembering the Male was published in 1996, there has been a growing interest from historians in the historiography of the impact of war, and its permanent and devastating effects on the body.[3] Wounding is discussed in texts that focus on medical care in the conflict, such as Leo van Bergen’s 1999 book, Before My Helpless Sight.[4] Although van Bergen’s book focussed on wounding in all warring nations on the Western Front, much of the research which followed his book has centred on individual nations. The work which centres on mutilation and disfigurement concentrates on the ways that men with specific wounds were treated in hospitals and rehabilitation centres and, after their demobilisation, the ways in which they negotiated their identity, health, and perceptions of those around them. Ana Carden-Coyne and Jeffrey Reznick have concentrated on Britain; Sabine Kienitz, Heather Perry, and Wolfgang Eckart have examined Germany; Beth Linker has analysed disabled veterans in the United States.[5] There have been few comparative studies except for Deborah Cohen’s study on disabled ex-servicemen’s experiences in Britain and Germany, Marjorie Gehrhardt’s study of facial disfigurement in Britain, France, and Germany and Susanne Michl’s book comparing Germany and France.[6] Sophie Delaporte’s study on the facially disfigured in France is the most specific, as it concentrates on a particular type of wound in one nation.[7] As might be expected, analysis of mutilation and disfigurement has been confined to the largest nations: Britain, France, and Germany, and to a lesser extent the United States, with the exception of Pieter Verstraete and Christine van Everbroeck’s work on Belgian soldiers’ wounds.[8] There remains plenty of scope for historians in the future to analyse the impact of this specific type of wounding, treatment regimens, and reception in other nations.
Medical Specialities and Specialist Hospitals↑
While there are a number of arguments centring on whether or not war advanced medical practice, war certainly led to new techniques and technologies in the field of treating cases of mutilation and disfigurement.[9] Complex war wounds led to collaboration between different medical specialities to repair unprecedented bodily damage.
Two medical specialties in particular developed new techniques to treat the vast numbers of cases of mutilating and disfiguring wounds. The first was orthopaedics. It was already an established medical speciality before the war, but throughout the war techniques were advanced and new technologies developed. Amputation was the most common operation performed by orthopaedic surgeons during the war. Plastic surgery also developed further as a result of the significant number of injuries to the face and head. Specifically concentrating on the face, plastic surgeons painstakingly operated to recreate some semblance of a soldier’s pre-war appearance. Developments in military medicine served to alleviate advances in weapons that caused bodily damage.
Dedicated hospitals and institutions were established to treat these specific wounds. Often, the hurried efforts of surgeons at the front meant that amputee soldiers required further surgical procedures to repair and improve their amputation. Patients also needed time to recover from surgery. Following procedures, a prosthesis needed to be fitted and rehabilitative therapy commenced. In many cases, specialist limb fitters were placed in hospitals to ensure that the soldiers or sailor received the best fitting prosthesis. Specialist hospitals were established as those with amputation required specific types of treatment and rehabilitation was important in order to return amputees to the work force to assist the war effort.
The organisation of hospitals and centres differed nationally. In Britain, the largest hospital for military amputees in England was Roehampton, a short distance outside London, and Erskine Hospital, just outside Glasgow, was the second largest.[10] The hospital facilities also housed limb-fitting workshops, where the amputee soldiers were fitted with their artificial limbs. There were significant numbers of specialist hospitals in Germany. At the hospitals, work therapy or Arbeitstherapie for amputees was the established method of rehabilitation, and a number of centres that focussed on different types of employment were set up for post-convalescence.[11] In most countries, hospitals combined medical care and rehabilitative regimes with the fitting of limbs and training for work. In the United States, two hospitals became centres for orthopaedic care – the Letterman General Hospital in San Francisco and the Walter Reed General Hospital in Washington.[12]
High quality centres for the treatment of facial wounds were established by a number of doctors during the war. In Britain, Harold Gillies (1882-1960) opened a specialist hospital, the Queens Hospital, to treat soldiers with facial wounds. The Dominions, Canada, New Zealand, and Australia provided specialist surgeons for their own soldiers at the hospital in the southeast of England, which by 1918 contained more than a thousand beds.[13] Gillies had originally worked with dentist, Charles Valadier (1873-1931), at the front and they concentrated on a combination of functional repair and the aesthetic of the face. In Paris, Hippolyte Morestin (1869-1919) worked to repair the faces of French soldiers wounded in war. Jacques Joseph (1865-1934) operated at the Charité in Berlin, where he performed plastic surgery on the facially wounded men of the German army. As well as providing specialist surgical treatment, the hospitals in warring nations provided specific kinds of associated therapy. For disfiguring wounds of the face, particular care had to be taken with mental health issues as well as physical restoration.
Amputation↑
Limb amputation was one of the most common practices during the war. Many thousands of limbs were amputated and lives were saved through its use. It is estimated in Germany that the number of amputations totalled 67,000 and 41,000 in Britain.[14] Many soldiers believed that they would rather die than be maimed, yet doctors at the fronts saved many thousands of soldiers through amputation.
Limbs were amputated for a number of reasons. They were often shredded as a result of shrapnel or explosions; machine guns shattered bones in arms or legs. Compound fracture, or one where the bone was shattered and projected through the skin, was a complex wound, and limbs were often amputated.[15] Often there was no bone left to join together, and the threat of complications such as infection meant that performing an amputation was safer for the patient. Environmental conditions increased the number of amputations and not all amputations were the result of traumatic injury. On the Western Front, amputations were conducted in cases of trench foot, caused by poor foot hygiene and immersion in trenches full of water. Furthermore, infection was often a complication in wounds. If gas gangrene affected an arm or leg, further amputations were conducted in order to save the soldier’s life.
Much of the work for orthopaedic surgeons on all sides of the conflict was centred on amputation. Orthopaedic surgeons conducted amputations for centuries, and innovations in anaesthetic, antiseptic use, and a range of surgical techniques improved patient outcomes during the war. Specific methods, care, and surveillance were employed to improve results and survival rates, and these were communicated to other surgeons by senior practitioners. In 1915 in Germany, Fritz Lange (1864-1952) a Munich orthopaedist published a field manual for army doctors. In Kriegs-Orthopädie (War Orthopaedics) he outlined methods to treat and transport patients with shattered limbs.[16] In Britain, Robert Jones (1857-1933), who became Director of Military Orthopaedics published Notes on Military Orthopaedics in 1917.[17] Publications such as these provided less experienced surgeons with guidance on practices and techniques to improve surgical and post-operative outcomes.
Long-held views on surgical treatment were challenged during the First World War. The range of damage to the body was often so extensive that different methods were employed to ensure the patient’s survival. Debridement, where flesh was removed, which was not employed in the early part of the war, was rediscovered and used effectively to prevent complications. The flap amputation, where a piece of skin covered the exposed amputation site, creating a padded area to make a healthy stump, was common in the 19th century and was effectively used during the war.
Surgeons at the front and in hospitals in their home country conducted thousands of amputations, from fingers to legs. Many soldiers endured multiple amputations, as the force of an explosion tore limbs from the body. However, American-born Ethelbert “Curley” Christian (1882-1954) who served in the Canadian army, was thought to be the only soldier to survive having all four of his limbs amputated.
Many surgeons became very skilled in the art of amputation through extensive practice. Surgeons at the front or on-board ships often amputated numbers of patients at a time. Often their hurried procedures left painful nerves exposed or an unsuitable stump so those amputations were tidied up away from the front by hospital surgeons who had more time to perform surgery in less pressured conditions. Some soldiers had four or five re-amputations in order to create a stump suitable for a prosthesis to be fitted.
There was much discussion amongst surgeons about where to amputate. In the First World War, surgeons undertook the practice of limb saving, which meant that they amputated as little of the limb as possible. One of the most important factors for a patient’s successful recovery after amputation was the correct surgical creation of the stump. Irregular stumps often made it difficult for technicians to fit an artificial limb. The stump was a vital component of the body-prosthesis nexus and needed to be surgically well-formed in order to provide a strong basis for the good fit and the best function of the prosthesis.
The stump had to be strong and painless. Many soldiers endured bulbar nerve surgery, as their stumps were sometimes painful due to exposed nerves. While they were in the hospital, many soldiers hardened their stumps by rubbing them with methylated spirits and wrapped them in tight bandages as they were healing. The stump also needed to shrink before it was fitted with a prosthesis. Soldiers learned to use their artificial limbs which often took many months. Early in the war, many soldiers were discharged from hospitals early, as hospitals experienced difficulty coping with the number of amputees. However, lack of instruction in the use of the limb affected soldiers’ stumps and, as one soldier noted, hospitals were full of men requiring treatment for sores on their stumps.[18]
Prosthetics↑
Prostheses were provided for amputee soldiers. New materials and designs were developed, ensuring that amputees were provided with the most advanced artificial limb available. Nations mobilised designers to create prosthetic limbs and a workforce to make them. In Germany, a great deal of effort was put into developing new devices to assist amputees.[19] Owing to their experience in the Civil War, American manufacturers, whose numbers had increased significantly after that conflict, were invited to Britain to share their expertise and develop new prosthetics.[20] For the first time, limb manufacturers worked closely with surgeons, a co-operation between the art of surgery and the craft of limb manufacture and fitting.
In the early part of the war, limb designs were similar to those developed in the 19th century. Heather Perry states that from the beginning of the war, German orthopaedists realised that they would need better prosthetics than were available.[21] Usually, arms and legs were made of wood, although metal was used as the war progressed, and were attached to the body using a range of leather straps and laces. A full leg amputation was often attached with a strap over the shoulder, as wooden prosthetic legs were very heavy. Arms were attached to the body with complicated harnesses, which often made them quite difficult to use.
As there were so many amputees, the pace of production of prosthetics was difficult to maintain throughout the war. One American orthopaedic surgeon estimated in 1915 that French limb makers were only able to manufacture 700 prostheses for the 7,000 amputees that required them.[22] In Britain, some of the 200 American prosthetic limb manufacturers were invited to establish workshops at the Queen Mary’s Limb fitting hospital at Roehampton, just outside London.[23] As many soldiers required prostheses, attempts to improve the speed at which limbs were supplied by making standard parts and fitting them together was adopted. Nevertheless, the number of amputees put pressure on the limb fitter’s ability to make the prosthesis and train the amputees to use their artificial limbs effectively. Limb fitters, surgeons, and disabled soldiers were concerned with three main issues: fit, function and camouflage.
Prosthetic arms were more difficult than legs to produce, as it was problematic to attach arms to the body. A complicated series of leather straps and laces was required, which made an artificial arm heavy and difficult for the wearer to manoeuvre. A range of implements to fit the arm prosthesis were developed, including eating utensils and tools. Small design adjustments made a difference in improving the prosthesis’ usefulness to the soldier. Often, this made the limb aesthetically different, creating an unfamiliar limb and an altered human form. Efforts were made to maintain recognisable physical standards, yet make limbs functional. The Openshaw hand had two little fingers strengthened with metal so that items could be carried. Yet functional limbs were not often very attractive to the public, so attempts were made to hide artificial limbs, particularly outside the work environment. In Germany, the “Sunday arm” was worn when a soldier wanted to disguise his amputation. If the limbs fitted well, functioned properly, and maintained standards of acceptable physiognomy, it was easier to hide the fact that a soldier or sailor wore an artificial limb.
Despite these new innovations, many artificial arms and legs were discarded when the men left hospital and only used on special occasions.[24] Poor fit, a lack of training in their use, and the soldier’s inability to adapt to the limb often meant that prostheses remained unused.
A prosthetic limb was compensation from the state for bodily loss, though some nations rewarded their disabled veterans more comprehensively than others. In addition to pensions, the British government provided a limb to each amputee veteran and by 1925 all amputees from the war were given a second limb as a substitute when a limb went for repair. In the United States, the Office of the Surgeon General effectively mandated the use of artificial limbs, to ensure that amputee veterans “passed” as able-bodied citizens after they were discharged.[25] In Germany, prostheses were provided by the state and centred on a veteran’s ability to work.
Mutilation↑
The bodies of the wounded were mutilated. Skin was cauterised and flayed from the body, burnt and mangled. Gunshot and shrapnel wounds left permanent marks and disfigurement. The skin on men’s trunks and backs was blistered and damaged from gas. Broken limbs could be repaired or removed and skin healed over what were once gaping wounds. But evidence of wounding left indelible marks on the body, which the medical profession could not remove. Moreover, the surgery required to repair injuries and sew skin together left visible scars. Amputation of a limb left a scarred stump. The mutilation of sexual organs was an issue that caused intense physical and psychological trauma, and for which nothing could be done. Wounds to soldiers’ sexual organs are rarely mentioned in the medical literature and there are few figures available on the number of soldiers who suffered this type of injury. In her book The Forbidden Zone, the former nurse Mary Borden (1886-1968) wrote about the level of damage to bodies including “mangled testicles”.[26] Not all disfigurement was external. Gas also caused internal wounds and scarring on the lungs, which caused breathing problems. The extent of the emotional impact of wounding was difficult to measure. The psychological and emotional trauma associated with disfigurement and mutilation went hand-in-hand with physical injury. There were many ways that war wounds affected the body and mind, causing permanent scarring.
Evidence of disability caused through war wounds was often camouflaged. Bodily wounds were hidden by clothing, as with an arm or leg amputation. However, not all scarring could be disguised. One of the more common disfiguring wounds was to the face, and the effects of the damage was difficult to hide. Although surgical techniques developed extensively during the war, some faces were too badly mutilated and the only option was to hide the remaining mutilation. Masking the facially wounded was a way to integrate them into society. Prosthetic appliances for the face were developed before the First World War; in France, silver facial prostheses were developed as early as 1833.[27] During the First World War, new techniques were utilised for those whom surgery could not help. Artists were fundamental in the creation of camouflage of mutilated faces. In Britain, Frances Derwent-Wood (1871-1926) worked in what became known as the “tin noses shop” to create masks for British soldiers. In late 1917, after consultation with Wood, Anna Coleman-Ladd (1878-1939) opened the Studio for Portrait Masks in Paris, administered by the American Red Cross and situated in the city's Latin Quarter. In her workshop in France, Coleman-Ladd made masks for men to wear to hide their disfigured faces and became highly skilled at creating and fitting them.[28] Other artists such as Jane Poupelet (1874-1932) and Robert Wlérick (1882-1944) assisted Coleman-Ladd, and the studio was incorporated into the Vale-de-Grâce military hospital after the war.[29] Made of materials such as tin and enamel, the masks were carefully painted in the patient’s skin tones and correct eye colour to ensure a lifelike appearance. Ladd would take plaster casts of a soldier's face in an attempt to re-create an identical cheekbone or eye-socket on the opposite side. Ladd then crafted a full or partial mask out of copper, which she painted to match the skin while the soldier was wearing it. Of the nearly 3,000 or so French soldiers requiring masks, Ladd made about 185. These partial masks were attached to the face with spectacles or ribbon and provided the wearer the means to cover the parts of their faces that were missing or that contemporary surgical skill did not have the means to repair.
The masks were often uncomfortable to wear as the tin rubbed the face.[30] Many French veterans did not wear their masks, instead preferring to tie a cloth around the disfigured portion of their face.[31] The question remains: were the masks to protect the disfigured servicemen, or for the public who did not want to see the unsettling visage of the mutilated face? Some of the men rarely wore their masks, while other conceived it as an important part of their identity.
In national contexts, the experience of facial wounding differed radically. In Britain, many of those with facial wounds were isolated in hospitals. Conversely, in France, the gueules cassées named themselves as a distinct group of war wounded and established a powerful organisation which represented them.[32]
While many soldiers tried to hide the evidence of mutilation and the disfiguring impact of conflict on their bodies, the medical profession exposed the wounded and their wounds. Mutilation and disfigurement was documented through medical illustrations, paintings, and casts of wounds. Photography was used to chart a patient’s progress and demonstrate the healing process. Generally, these images and objects were used to train new medical personnel. Through this documentation, medical practitioners were able to track the progress of their outcomes and improve their practice. A number of artists, from sculptors to painters, documented the experience of wounded servicemen. In Germany, Joseph documented the healing of facial wounds of soldiers through photography. Albums full of photographs of the facially wounded from a hospital in Britain show their initial wound and the final result of many surgical procedures.[33] Other, more traditional forms of art were used to document soldiers and sailors’ wounds. In Britain, Henry Tonks (1862-1937) drew the facially wounded in pastel drawings for Gillies. Kathleen Scott (1878-1947), a noted sculptor, volunteered to help Gillies, declaring with characteristic aplomb that the "men without noses are very beautiful, like antique marbles." Artists from the British colonies and dominions also illustrated the wounding and recovery process, including New Zealander Herbert Cole (1867-1930) and Australian Daryl Lindsay (1889-1976).[34] In addition, the work of artists, photographers, and surgeons was designed to assist in the psychological healing process, which was just as important as the physical reconstruction of the face.
Plastic surgery↑
During the war, plastic surgery of the face became a medical specialty in itself. Surgical methods for repairing faces damaged as a result of gunshot wounds or shells advanced during the war. It has been argued that the sheer number of facially wounded men provided the means for surgeons to advance medical practice.[35] The number of injuries to the face was significant; it has been estimated that approximately 280,000 men suffered facial wounding in France, Germany, and Great Britain.[36]
Prior to the war, plastic surgery of the face was an established practice and certain areas of the face were surgically altered as related to social and cultural acceptability. In particular, surgeons operated and tried to surgically improve the aesthetics of syphilitic and “racially unacceptable” noses.[37] In cases of facial wounding, many surgeons merely sewed up wounds, less concerned with aesthetics than a successful surgical outcome. The smashed eye sockets, non-existent jaws, and noses presented by the war wounded were a real challenge to the technical expertise of surgeons. Repairing facial wounds became more an aesthetic exercise, as wounded servicemen got the best treatment possible for the sacrifice of their faces to the war effort. In some cases, the facially wounded soldier found it difficult to be accepted by his own family – let alone strangers whom he encountered. Instead of merely sewing up the face, the male aesthetic was considered in the surgical repair of the men’s faces. Indeed, Sander Gilman argues that the war had a positive effect on the acceptability of plastic surgery for aesthetic reasons.[38] He argues that reconstructive surgery became masculinised and therefore more acceptable. Yet plastic surgery in the First World War was more than just facial repair by a surgeon – it required a constant series of collaborations between surgeons, dentists, nurses, photographers, and artists. Reconstructive dentistry in particular was fundamental to the rebuilding of the face. The mechanical dentist provided knowledge of the reconstruction of the bones of the jaw, which provided the expertise and skill for the face to be rebuilt and functions such as chewing and swallowing restored. The collaboration between these individuals overlapped as expertise was required throughout the process of healing and reconstruction.[39]
This new approach and its collective of experts required spaces to treat patients. Surgeons persuaded their respective military medical authorities that they needed to set up special centres for treating maxillofacial wounds. Centres were established in all warring nations which provided specialist surgery, care, which helped men to accept and live with their disfigurement as well as they could outside the confines of the hospital. In Britain, facially wounded soldiers were sent to centres for treatment and were isolated from the wider public. Visits by the public to these hospitals were not encouraged as men grappled with accepting their frightening facial wounds. In these hospitals, mirrors were banned from the wards and benches in the local area were painted blue in order to warn the public that a soldier with facial wounds might sit there.[40]
Transporting soldiers with facial wounds to the hospitals was problematic. Often, for those with multiple wounds, the reconstruction of the face was left until last, as doctors dealt with other wounds considered life threatening. By the time patients got to specialist units, their faces had started to heal, which made reconstruction difficult for maxillofacial surgeons to repair their wounds.[41] In Britain, Harold Gillies went so far as to have tags printed with the address of his specialist unit at Aldershot hospital which were then distributed in field hospitals, so that he was able to conduct surgery and limit the permanent damage to the facially wounded soldier.[42]
Many surgeons and medical practitioners devised innovative ways to treat the facially wounded. One of the most successful innovations was the tubed pedicle. The procedure created a flap of skin from the chest or forehead, which was moved into place on the face.[43] The flap remained attached to the body, but was stitched into a tube to keep the blood supply intact and reduced the incidence of infection. Jaws were repaired by transplanting bone from other parts of the body, or using bones from other sources. While the results and outcomes were not always successful, a significant amount of effort was undertaken in order to restore the mutilated faces of soldiers.
Remembering the Disfigured and Mutilated↑
After the war, film, photography, and literature reminded the public of the physical effects of war on the body. In particular, the pacifist movement utilised depictions of mutilated men to highlight their anti-war message. The army of disabled men in all nations reminded the public of the human suffering that war caused. The impact of the war and its disfigured and mutilated had lasting cultural resonances, as seen throughout the century since its commencement, in the on-going production of a wide range of media relating to these men’s experiences and the war itself.
In different nations, the mutilated and disfigured from the war were treated differently. The veteran with an empty sleeve or trouser leg, an uneven gait, or a stiff arm with a gloved hand became commonplace in the post-war world. In many ways, their bodily loss represented their wartime experience, and was accepted by the public, often uneasy at the scale of the physical and emotional sacrifice of so many men. That said, many veterans with amputations walked carefully to hide their limp or wore a realistic hand or glove on their artificial arm in an attempt to disguise their amputation, no doubt for a number of reasons. However, those with facial disfigurement experienced complex feelings about their war service and their place in post-war society. The facially wounded in France, perhaps defiantly, showed their faces in public, whereas in other countries, many of those with facial disfigurements preferred to avoid exposure to a curious public. For many veterans mutilated and disfigured during the war, remembering their war service and devastating injuries was uncomfortable, and the physical reminder of the war – their missing body part, scarred body, weak lungs, or disfigured face – sometimes elicited unwanted attention.
The powerful and disturbing image of the disfigured and mutilated, particularly those with facial wounds, was used by a range of groups and individuals to convey a message. Pacifists used artists’ work to highlight the devastation of war, to ensure peace was maintained. The anti-war museum in Germany took photos of the mutilated and showed them in order to remind the public of the horrific maiming capacity of modern weaponry. Ernst Friedrich’s (1894-1967) War Against War showed twenty-four photographs from Joseph’s clinic at the Charité in Berlin to remind visitors to the exhibition of the terrifying visage that war created. Other artists such as Georg Grosz (1893-1959) who is probably best known for his work Ecce Homo (1922), also used the mutilated face to demonstrate the lasting horror of the legacy of war. After the war, exhibitions of casts of the disfigured faces of veterans were shown in hospitals in London, Berlin, and Paris.[44] It is difficult to ascertain the reasons why the public attended these exhibitions, but they served a potent reminder of the devastating effects of modern weaponry.
Novels, photography, and film have been inspired by the experiences of the war mutilated. The 2001 film La chambre des officiers, based on the novel by Marc Dugain, focused on the experiences of a number of officers in a specialist French facial ward. When a young boy is confronted by his father’s radically altered face, he shouts “Non mon papa, non mon papa!” The 1971 film Johnny’s Got His Gun was adapted from the 1938 novel of the same name written by Dalton Trumbo (1905-1976). Both films depicted the physical and mental trauma of the disfigured and mutilated from the war and reminded audiences that for some disabled veterans, the emotional trauma of war had to be overcome on a daily basis.
The prosthetics created by the association between medical personnel, crafts people, and artists are a physical reminder of the technology of war, as much as the weaponry which wrought the damage on the soldiers’ bodies and which fills war museums around the world. Some of the material culture of disfigurement in the First World War is ephemeral. Very few of the masks made so painstakingly by artists such as Derwent Wood and Coleman-Ladd exist. Some veterans came to depend heavily on their masks to camouflage their disfigurement, and as part of their physical construction of self, they were buried wearing them. Although numbers of facially wounded men did not wear their masks on a daily basis, special occasions warranted their use, similar to the German “Sunday arm”, which was saved for church to protect others’ sensibilities. Artificial limbs survive in greater numbers, probably because veterans had a number of them throughout their lives, and the prosthetic arms and legs were fashioned of wood, leather, and metal and possess a robustness that a thin tin mask does not.
The war mutilated and disfigured were remembered in public commemoration of the war, yet this differed in national contexts. Amputees were publicly remembered and participated in Armistice Day commemorations. Other veterans, whose clothes hid their disfigurement, also participated in the marches to various cenotaphs that took place around the world on the date selected for reflection on war and loss. However, the facially disfigured in many nations did not take part; instead they remained in the shadows of remembrance. In France, unlike many other nations, the public saw the mutilated as they paraded with other war wounded. National contexts are fundamental to understanding the treatment and life experience of the mutilated and disfigured from the war.
Conclusion↑
It is clear that the First World War produced many thousands of mutilated and disfigured men. Veterans with metal or wooden legs or empty sleeves were seen on the streets of large cities around the world for decades before the First World War and the 1914-1918 conflict added significant numbers of amputees. Those with facial mutilation, whose injuries were virtually impossible to disguise, added a new type of war horror, as the public saw their war-ravaged faces. Medical specialities were created and new spaces were established to treat the disfigured and mutilated. The war provided the means for new medical innovations to be developed in these institutions, and the number of wounded meant treatment and techniques were tested and proven during the war. Co-operation between medical professionals improved outcomes for the severely wounded. New therapeutic regimes and a state responsibility for treating the mutilated and disfigured meant that veterans from the war re-established themselves as useful working citizens. However, different forms of mutilation and disfigurement engendered different reactions from the veteran, those around them, and the state.
Julie Anderson, University of Kent
Section Editors: Michael Neiberg; Sophie De Schaepdrijver
Notes
↑ Significantly lowered death rates from disease as opposed to wounds were particular to the Western Front. For an overview of the impact of disease see Ozdemir, Hikmet: The Ottoman Army 1914-1918. Disease and Death on the Battlefield, Salt Lake City 2008.
↑ For details on weapons see Audoin-Rouzeau, Stephane: Weapons. Issued by 1914-1918 Online, online: encyclopedia.1914-1918-online.net/article/weapons.
↑ See Bourke, Joanna: Dismembering the Male. Men’s Bodies, Britain and the Great War. London 1996.
↑ See van Bergen, Leo: Before My Helpless Sight. Suffering, Dying and Military Medicine on the Western Front, 1914-1918, Farnham 2009.
↑ See Carden-Coyne, Ana: The Politics of Wounds. Military Patients and Medical power in the First World War, Oxford 2015; Reznick, Jeffrey S.: Healing the Nation. Soldiers and the Culture of Caregiving in Britain During the Great War, Manchester 2004; Reznick, Jeffrey S.: John Galsworthy and Disabled Soldiers of the Great War, Manchester 2009; Kienitz, Sabine: Beschädigte Helden. Kriegsinvalidität und Körperbilder 1914-1923, Paderborn 2008; Perry, Heather: Recycling the Disabled. Army, medicine and modernity in WW1 Germany, Manchester 2014; Eckart, Wolfgang U.: Medizin und Krieg. Deutschland 1914-1924, Paderborn 2014; Linker, Beth: War’s Waste, Rehabilitation in World War I America, Chicago 2011.
↑ Cohen, Deborah: The War Come Home. Disabled Veterans in Britain and Germany 1914-1939, Berkeley 2001; Gehrhardt, Marjorie: The Men with Broken Faces. Bern 2015; Michl, Susanne: Im Dienste des Volkskörpers. Deutsche und französische Ärzte im Ersten Weltkrieg, Göttingen 2007.
↑ Sophie, Delaporte: Les Gueules Cassées: Les Blessés de la Face de la Grande Guerre, Paris 1996.
↑ Verstraete, Pieter and Van Everbroeck, Christine: Le silence mutilé. les soldats invalides belges de la Grande Guerre, Namur (Belgium) 2014.
↑ See Cooter, Roger: Medicine and the Goodness of War, in: Canadian Bulletin of Medical History, 7/2 (1990).
↑ See Alper, Helen (ed.): A History of Queen Mary’s University Hospital Roehampton, Roehampton 1997. The University of Glasgow is currently cataloguing the Erskine House papers, online: universityofglasgowlibrary.wordpress.com/2016/03/29/launc...
↑ Perry, Recycling the Disabled 2014, p. 96.
↑ Linker, War’s Waste 2011, p. 81.
↑ Bamji, Andrew: Facial Surgery. the Patient’s Experience, in: Cecil, Hugh and Liddle, Peter H. (eds.): Facing Armageddon. The First World War Experienced, London 1996, p. 495.
↑ For Germany, see Whalen, Robert Gerald: Bitter Wounds. German Victims of the Great War, 1914-1939, Ithaca 1984, p. 40. For Britain, see Bourke, Dismembering the Male 1996.
↑ There were no sulphalidamides or antibiotics, which were not developed until the 1930s and the Second World War respectively.
↑ Perry, Recycling the Disabled 2014, p. 31.
↑ This was a collection of articles that had been published in medical journals such as the British Medical Journal.
↑ William Towers, 11038, Imperial War Museum Sound Archive, London.
↑ Anderson, Julie / Perry, Heather R.: Rehabilitation and Restoration. Orthopaedics and disabled soldiers in Germany and Britain in the First World War, in: Medicine, Conflict, and Survival, 30/4 (2014), p. 240.
↑ Conference on Artificial Limbs for Disabled Servicemen, in: British Medical Journal (31 July 1915), p. 190.
↑ Perry, Recycling the Disabled 2014, p. 46.
↑ Osgood, Robert B.: A Survey of the Orthopaedic Services in the US Army Hospitals, General Base and Debarkation, in: American Journal of Orthopaedic Surgery 17 (1919), pp. 359-82.
↑ Guyatt, Mary: Better Legs. Artificial Limbs for British Veterans of the First World War, in: Journal of Design History 14/4 (2001), p. 201.
↑ Heather, Perry: Re-arming the Disabled Veteran. Artificially Rebuilding State and Society in World War One Germany, in: Ott, Katherine et al. (eds.): Artificial Parts, Practical Lives. Modern Histories of Prosthetics, New York 2002.
↑ See Linker, War’s Waste 2011.
↑ Borden, Mary: The Forbidden Zone, London 2013, p. 43 [originally published in 1929].
↑ Wallace, Antony F.: The Progress of Plastic Surgery, Oxford 1982, p. 96.
↑ There is a short film of Anna Coleman-Ladd working in her studio in Paris with her assistants. The film depicts them making masks and fitting them to a disfigured soldier. Online: www.smithsonianmag.com/history/faces-of-war-145799854/.
↑ Gehrhardt, The Men with Broken Faces 2015, p. 49.
↑ Nicolson, Juliet: The Great Silence 1918-1920. Living in the Shadow of the Great War, London 2009, pp. 66-67.
↑ Delaporte, Sophie: Gueules Cassées de la Grande Guerre, in: Delaporte, F. / Fournier, E. / Devauchelle, B. (eds.): La Fabrique du Visage. De la Physiognomonie Antique à la Premiere Greffe du Visage, Turnhout 2010, p. 301.
↑ See Delaporte, Les Gueules Cassées 1996.
↑ Online: gilliesarchives.org.uk.
↑ Alberti, Samuel J.M.M. (ed.): War, Art and Surgery. The Work of Henry Tonks and Julia Midgley, London 2014, p. 9.
↑ Gehrhardt, The Men with Broken Faces 2015, p. 5.
↑ Winter, Jay: Forms of kinship and remembrance in the aftermath of the Great War, in: Winter, J. / Sivan, E. (eds.): War and Remembrance in the Twentieth Century, Cambridge 1999, p. 48.
↑ See Gilman, Sander L.: Making the Body Beautiful. A Cultural History of Aesthetic Surgery, Princeton 1999.
↑ Ibid., p. 164.
↑ Gerhardt argues that expertise was required in stages. Gehrhardt, The Men with Broken Faces 2015, p. 45.
↑ Bamji, Facial Surgery 1996, p. 498.
↑ Gehrhardt, The Men with Broken Faces 2015, p. 5.
↑ Bamji, Andrew: Queen Mary’s Sidcup, 1974-1994. A Commemoration, 1994, p. 13.
↑ Santoni-Rugiu, Paolo / Sykes, Philip J.: A History of Plastic Surgery, New York 2007, p. 96.
↑ Maliniak, Jacques W.: Sculpture in the Living. Rebuilding the Face and Form by Plastic Surgery, New York 1934, p. 30.
Selected Bibliography
Alberti, Samuel J. M. M. (ed.): War, art and surgery. The work of Henry Tonks and Julia Midgley, London 2014: Royal College of Surgeons of England.
Anderson, Julie: ‘Jumpy stump’. Amputation and trauma in the First World War, in: First World War Studies 6/1, 2015, pp. 9-19.
Anderson, Julie / Perry, Heather R.: Rehabilitation and restoration. Orthopaedics and disabled soldiers in Germany and Britain in the First World War, in: Medicine, Conflict and Survival 30/4, 2014, pp. 227-251
Biernoff, Suzannah: Flesh poems. Henry Tonks and the art of surgery, in: Visual Culture in Britain 11/1, 2010, pp. 25-47.
Biernoff, Suzannah: The rhetoric of disfigurement in First World War Britain, in: Social History of Medicine 24/3, 2011, pp. 666-685.
Bourke, Joanna: Dismembering the male. Men's bodies, Britain and the Great War, Chicago 1996: University of Chicago Press.
Carden-Coyne, Ana: The politics of wounds. Military patients and medical power in the First World War, Oxford 2014: Oxford University Press.
Carden-Coyne, Ana: Reconstructing the body. Classicism, modernism, and the First World War, Oxford 2009: Oxford University Press.
Cohen, Deborah: The war come home. Disabled veterans in Britain and Germany, 1914-1939, Berkeley 2008: University of California Press.
Delaporte, Sophie: Gueules cassées. Les blessés de la face de la Grande Guerre, Paris 2004: A. Viénot.
Eckart, Wolfgang Uwe: Medizin und Krieg. Deutschland 1914-1924, Paderborn 2014: Ferdinand Schöningh.
Gagen, Wendy Jane: Remastering the body, renegotiating gender. Physical disability and masculinity during the First World War, in: European Review of History. Revue europeenne d'histoire 14/4, 2007, pp. 525-541.
Gehrhardt, Marjorie: The men with broken faces. Gueules cassées of the First World War, Oxford; Berlin 2015: Peter Lang.
Harrison, Mark: The medical war. British military medicine in the First World War, Oxford; New York 2010: Oxford University Press.
Kienitz, Sabine: Beschädigte Helden. Kriegsinvalidität und Körperbilder 1914-1923, Paderborn 2008: F. Schöningh.
Linker, Beth: War's waste. Rehabilitation in World War I America, Chicago; London 2011: University of Chicago Press.
Özdemir, Hikmet: The Ottoman army, 1914-1918. Disease and death on the battlefield, Salt Lake City 2008: University of Utah Press.
Perry, Heather R.: Recycling the disabled. Army, medicine, and modernity in WWI Germany, Manchester 2014: Manchester University Press.
Reznick, Jeffrey S.: John Galsworthy and disabled soldiers of the Great War. With an illustrated selection of his writings, Manchester 2009: Manchester University Press.
Reznick, Jeffrey S.: Healing the nation. Soldiers and the culture of caregiving in Britain during the Great War, Manchester; New York 2004: Manchester University Press.
Van Bergen, Leo: Before my helpless sight. Suffering, dying and military medicine on the Western Front, 1914-1918, Farnham; Burlington 2009: Ashgate.
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Citation
Anderson, Julie: Mutilation and Disfiguration , in: 1914-1918-online. International Encyclopedia of the First World War, ed. by Ute Daniel, Peter Gatrell, Oliver Janz, Heather Jones, Jennifer Keene, Alan Kramer, and Bill Nasson, issued by Freie Universität Berlin, Berlin 2017-08-03. DOI: 10.15463/ie1418.11137.
License
This text is licensed under: CC by-NC-ND 3.0 Germany - Attribution, Non-commercial, No Derivative Works.
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Dutch postcard, no. 850. Photo: Warner Bros.
Peter Lorre (1904–1964) with his trademark large, popped eyes, his toothy grin and his raspy voice was an American actor of Jewish Austro-Hungarian descent. He was an international sensation as the psychopathic child murderer in Fritz Lang’s M (1931). He later became a popular actor in a two British Hitchcock films and in a series of Hollywood crime films and mysteries. Although he was frequently typecast as a sinister foreigner in the US, he also became the star of the successful Mr. Moto detective series.
Peter Lorre was born László Löwenstein in 1904 in the Austro-Hungarian town of Ružomberok in Slovakia, then known by its Hungarian name Rózsahegy. He was the first child of Jewish couple Alajos Löwenstein and Elvira Freischberger. His father was chief bookkeeper at a local textile mill. Besides working as a bookkeeper, Alajos Löwenstein also served as a lieutenant in the Austrian army reserve, which meant that he was often away on military manoeuvres. When Lorre was four years old, his mother died, probably of food poisoning, leaving Alajos with three very young sons, the youngest only a couple of months old. He soon remarried, to his wife's best friend, Melanie Klein, with whom he had two more children. However, Lorre and his stepmother never got along, and this coloured his childhood memories. At the outbreak of the Second Balkan War in 1913, Alajos moved the family to Vienna, anticipating that this would lead to a larger conflict and that he would be called up. He was, at the outbreak of World War I in 1914, and served on the Eastern front during the winter of 1914-1915, before being put in charge of a prison camp due to heart trouble. As a youth Peter Lorre ran away from home, worked as a bank clerk and, after stage training in Vienna, made his acting debut in Zurich in Switzerland at the age of 17. In Vienna he worked with the Viennese Art Nouveau artist and puppeteer Richard Teschner. He then moved to the then German town of Breslau, and later to Zürich. In the late 1920s, Peter Lorre moved to Berlin, where the young and short (165 cm) actor worked with German playwright Bertolt Brecht. He made his film debut in a bit role in the Austrian silent film Die Verschwundene Frau/The vanished woman (Karl Leitner, 1929), followed by another small part in the German drama Der weiße Teufel/The White Devil (Alexandre Volkoff, 1930) starring Ivan Mozzhukhin. On stage and in the cinema, Lorre played a role in Brecht's Mann ist Mann/ A Man's a Man (Bertolt Brecht, Carl Koch, 1930) and as Dr Nakamura in the stage musical Happy End (music by composer Kurt Weill), alongside Brecht's wife Helene Weigel, Oskar Homolka and Kurt Gerron.
Peter Lorre became much better known after director Fritz Lang cast him cast in the lead role of Hans Beckert, the mentally ill child murderer in the classic thriller M (1931). Later, the Nazi propaganda film The Eternal Jew (1940) used an excerpt from the climactic scene in M in which Lorre is trapped by vengeful citizens. His passionate plea that his compulsion is uncontrollable, says the voice-over, makes him sympathetic and is an example of attempts by Jewish artists to corrupt public morals. M was Lang’s first sound film and he revealed the expressive possibilities for combining sound and visuals. Lorre's character whistles the tune In the Hall of the Mountain King from Edvard Grieg's Peer Gynt Suite No. 1. ( Lorre himself could not whistle – it is actually Lang who is heard.) The film was one of the first to use a leitmotif, associating In the Hall of the Mountain King with the Lorre character. Later in the film, the mere sound of the song lets the audience know that he is nearby, off-screen. This association of a musical theme with a particular character or situation, a technique borrowed from opera, is now a film staple. Lorre’s next role was the German musical comedy Bomben auf Monte Carlo/Monte Carlo Madness (Hanns Schwarz, 1931) starring Hans Albers and Anna Sten. That year he also co-starred in the comedy Die Koffer des Herrn O.F./The Trunks of Mr. O.F. (Alexis Granowsky, 1931) starring Alfred Abel, and Harald Paulsen. In 1932 Lorre appeared again alongside Hans Albers in the drama Der weiße Dämon/The White Demon (Kurt Gerron, 1932) and the science fiction film F.P.1 antwortet nicht/F.P.1 Doesn't Respond (Karl Hartl, 1932) about an air station in the middle of the Atlantic Ocean. Curt Siodmak had written the story after Charles Lindbergh's transatlantic flight. It was the last German film that either Siodmak or Peter Lorre, who played a secondary character, would make in Germany before the war.
When the Nazis came to power in Germany in 1933, Peter Lorre took refuge in Paris, where he appeared with Jean Gabin and Michel Simon in the charming comedy Du haut en bas/High and Low (Georg Wilhelm Pabst, 1933). Then Lorre moved on to London. There Ivor Montagu, Alfred Hitchcock's associate producer for The Man Who Knew Too Much (1934), reminded the director about Lorre's performance in M. They first considered him to play the assassin in the film, but wanted to use him in a larger role, despite his limited command of English at the time, which Lorre overcame by learning much of his part phonetically. The Man Who Knew Too Much was one of the most successful and critically acclaimed films of Hitchcock's British period. Lorre also was featured in Hitchcock's Secret Agent (Alfred Hitchcock, 1936), opposite John Gielgud and Madeleine Carroll. Lorre settled in Hollywood in 1935, where he specialized in playing sinister foreigners, beginning as the love-obsessed surgeon in the horror film Mad Love (Karl Freund, 1935), and as Raskolnikov in the Fyodor Dostoevsky adaptation Crime and Punishment (Josef von Sternberg, 1936). He starred in a series of eight Mr. Moto movies for Twentieth Century Fox, a parallel to the better known Charlie Chan series. Lorre played the ever-polite (albeit well versed in karate) Japanese detective Mr. Moto. According to Wikipedia, he did not enjoy these films — and twisted his shoulder during a stunt in Mr. Moto Takes a Vacation (Norman Foster, 1939) — but they were lucrative for the studio. When the series folded in 1939, Lorre freelanced in villainous roles at several studios. In 1940, he co-starred with fellow horror actors Bela Lugosi and Boris Karloff in the comedy You'll Find Out (David Butler, 1940), a vehicle for bandleader and radio personality Kay Kyser.
In 1941, Peter Lorre became a naturalized citizen of the United States. He enjoyed considerable popularity as a featured player in Warner Bros. suspense and adventure films. Lorre played the role of effeminate thief Joel Cairo opposite Humphrey Bogart in The Maltese Falcon (John Huston, 1941), a classic film noir based on the novel of the same name by Dashiell Hammett. The Maltese Falcon was Huston's directorial debut and was nominated for three Academy Awards. Then Lorre portrayed the character Ugarte in Casablanca (Michael Curtiz, 1942). One of his co-stars in both films was Sydney Greenstreet with whom he made 9 films. Most of them were variations on Casablanca, including Background to Danger (Raoul Walsh, 1943), with George Raft; Passage to Marseille (Michael Curtiz, 1944), reuniting them with Humphrey Bogart and Claude Rains, and Three Strangers (Jean Negulesco, 1946). The latter was a suspense film about three people who are joint partners on a winning lottery ticket starring top-billed Greenstreet, Geraldine Fitzgerald, and third-billed Lorre cast against type by director as the romantic lead. Hal Erickson at AllMovie: “As far as director Jean Negulesco was concerned, Lorre was the finest actor in Hollywood; Negulesco fought bitterly with the studio brass for permission to cast Lorre as the sympathetic leading man in The Mask of Dimitrios (1946), in which the diminutive actor gave one of his finest and subtlest performances.” Greenstreet and Lorre's final film together was the suspense thriller The Verdict (1946), director Don Siegel's first film. Lorre branched out into comedy with the role of Dr. Einstein in Frank Capra's version of Arsenic and Old Lace (1944), starring Cary Grant and Raymond Massey.
After World War II, Peter Lorre's acting career in Hollywood experienced a downturn, whereupon he concentrated on radio and stage work. An exception was the horror classic The Beast with Five Fingers (Robert Florey, 1946). In Germany Lorre co-wrote, directed and starred in Der Verlorene/The Lost One (1951), an art film in the film noir idiom. Hal Erickson: “In keeping with Lorre's established screen persona, this is a tale of stark terror, disillusionment and defeatism. The actor stars as Dr. Rothe, a German research scientist who during WW2 discovers that his fiancée has been selling his scientific secrets to the British. In a fit of pique, he murders her, but is not punished for the crime, which is passed off by the Nazi authorities as justifiable homicide. (...) Not entirely successful, Der Verlorene is still a fascinating exercise in fatalism from one of the cinema's most distinctive talents.” Lorre then returned to the United States where he appeared as a character actor in television and feature films, often parodying his 'creepy' image. In 1954, he was the first actor to play a James Bond villain when he portrayed Le Chiffre in a television adaptation of Casino Royale, opposite Barry Nelson as an American James Bond and Linda Christian as the first Bond girl. Lorre starred alongside Kirk Douglas and James Mason in 20,000 Leagues under the Sea (Richard Fleischer, 1954), and appeared in a supporting role in Voyage to the Bottom of the Sea (Irwin Allen, 1961). He worked with Roger Corman on several low-budget films, including two of the director's Edgar Allan Poe cycle (Tales of Terror, 1962 and The Raven, 1963). He was married three times: actress Celia Lovsky (1934–1945); actress Kaaren Verne (1945–1950) and Anne Marie Brenning (1953-1964, his death). In 1953, Brenning bore his only child, Catharine. In later life, Catharine made headlines after serial killer Kenneth Bianchi confessed to police investigators after his arrest that he and his cousin and fellow Hillside Strangler Angelo Buono, disguised as police officers, had stopped her in 1977 with the intent of abducting and murdering her, but let her go upon learning that she was the daughter of Peter Lorre. It was only after Bianchi was arrested that Catharine realized whom she had met. Catharine died in 1985 of complications arising from diabetes. Lorre had suffered for years from chronic gallbladder troubles, for which doctors had prescribed morphine. Lorre became trapped between the constant pain and addiction to morphine to ease the problem. It was during the period of the Mr. Moto films that Lorre struggled and overcame his addiction. Abruptly gaining a hundred pounds in a very short period and never fully recovering from his addiction to morphine, Lorre suffered many personal and career disappointments in his later years. His final film was the Jerry Lewis comedy The Patsy (Jerry Lewis, 1964) in which, ironically, the dourly demonic Lorre played a director of comedy films. A few months after completing this film, Peter Lorre died of a stroke in 1964 in Los Angeles. He was 59.
Sources: Hal Erickson (AllMovie), Ed Stephan (IMDb), Wikipedia and IMDb.
American postcard by American Postcard Company, 1982. Photo: Lawrence Irvine / New Line Cinema. Publicity still for Pink Flamingos (John Waters, 1972).
Harris Glenn Milstead, better known by his stage name Divine (1945-1988), was an American actor, singer, and drag queen. He was closely associated with the independent filmmaker John Waters. Divine became the international icon of bad taste cinema.
Harris Glenn Milstead was born in 1945 in Baltimore, Maryland to a conservative middle-class family. His parents were Harris Bernard Milstead and Frances Milstead (née Vukovich). Their only child, his parents lavished almost anything that he wanted upon him, including food. He became overweight, a condition he lived with for the rest of his life. Divine preferred to use his middle name, Glenn, to distinguish himself from his father, and was referred to as such by his parents and friends. When he was 17, his parents sent him to a psychiatrist, where he first realised his sexual attraction to men as well as women, something then taboo in conventional American society. In 1963, he began attending the Marinella Beauty School, where he learned hair styling and, after completing his studies, gained employment at a couple of local salons, specialising in the creation of beehives and other upswept hairstyles.
Milstead developed an early interest in drag while working as a women's hairdresser. He eventually gave up his job and for a while was financially supported by his parents, who catered to his expensive taste in clothes and cars. They reluctantly paid the many bills that he ran up financing lavish parties where he would dress up in drag as his favourite celebrity, actress Elizabeth Taylor. By the mid-1960s he had embraced the city's countercultural scene. His friend from high school, John Waters gave him the name 'Divine' and the tagline of 'the most beautiful woman in the world, almost'. Waters later remarked that he had borrowed the name Divine from a character in Jean Genet's novel Our Lady of the Flowers (1943). Along with his friend David Lochary, Divine joined Waters' acting troupe, the Dreamlanders (which also included Mary Vivian Pearce and Mink Stole), and adopted female roles for their experimental short films. The first was Roman Candles (John Waters, 1966), which was shown 'triple projected' on three 8mm projectors running simultaneously but was never released commercially. Divine starred in drag as a smoking nun. Other short films were Eat Your Makeup (John Waters, 1968), and The Diane Linkletter Story (John Waters, 1969), filmed on Sunday afternoons. Again in drag, he took a lead role in Waters' first full-length film, Mondo Trasho (John Waters, 1969) Divine as an unnamed blonde woman who drives around town and runs over a hitchhiker. In their review of the film, the Los Angeles Free Press exclaimed that "The 300-pound (140 kg) sex-symbol Divine is undoubtedly some sort of discovery." In 1970, he travelled to San Francisco, California, a city which had a large gay subculture that attracted Divine, who was then embracing his homosexuality. Divine played the role of Lady Divine, the operator of an exhibit known as The Cavalcade of Perversion who turns to murdering visitors in Waters's film Multiple Maniacs. The film contained several controversial scenes, notably one which involved Lady Divine masturbating using a rosary while sitting inside a church. In another, Lady Divine kills her boyfriend and proceeds to eat his heart; in actuality, Divine bit into a cow's heart which had gone rotten from being left out on the set all day. At the end of the film, Lady Divine is raped by a giant lobster named Lobstora, an act that drives her into madness; she subsequently goes on a killing spree in Fell's Point before being shot down by the National Guard. Due to its controversial nature, Waters feared that the film would be banned and confiscated by the Maryland Censor Board, so avoided their jurisdiction by only screening it at non-commercial venues, namely rented church premises. Multiple Maniacs was the first of Waters's films to receive widespread attention, as did Divine; KSFX remarked that "Divine is incredible! Could start a whole new trend in films." Following his San Francisco sojourn, Divine returned to Baltimore and participated in Pink Flamingos (John Waters, 1972). Designed by Waters to be an exercise in poor taste, the film featured Divine as Babs Johnson, living in a pink trailer with her egg-eating grandmother, chicken-loving son and voyeuristic daughter. Babs claims to be 'the filthiest person alive' and she is forced to prove her right to the title from challengers, Connie (Mink Stole) and Raymond Marble (David Lochary). In one scene, the Marbles send Babs a turd in a box as a birthday present, and in order to enact this scene, Divine defecated into the box the night before. The final scene in the film proved particularly infamous, involving Babs eating fresh dog feces; Divine later told a reporter, "I followed that dog around for three hours just zooming in on its asshole," waiting for it to empty its bowels so that they could film the scene. The scene became one of the most notable moments of Divine's acting career, and he later complained of people thinking that "I run around doing it all the time". The film proved a hit on the U.S. midnight movie circuit, became a cult classic, and established Divine's fame within the American counterculture.
Divine returned to San Francisco, where he and Mink Stole starred in a number of small-budget plays at the Palace Theater as part of drag troupe The Cockettes, including Divine and Her Stimulating Studs, Divine Saves the World, Vice Palace, Journey to the Center of Uranus and The Heartbreak of Psoriasis. In 1974, Divine returned to Baltimore to film Waters's next motion picture, Female Trouble, in which he played the lead role. Divine was unable to appear in Waters's next feature, Desperate Living (John Waters, 1977), despite the fact that the role of Mole McHenry had been written for him. This was because he had returned to working in the theatre as the scheming prison matron Pauline in Tom Eyen's play Women Behind Bars and its sequel, The Neon Woman. While in London in 1978, Divine attended as the guest of honour at the fourth Alternative Miss World pageant, a 'mock' event founded by Andrew Logan in 1972 in which 'drag queens' – including men, women and children – competed for the prize. The event was filmed by director Richard Gayer, whose subsequent film, entitled Alternative Miss World, premiered at the Odeon in London's Leicester Square as well as featuring at the Cannes Film Festival, both events which were attended by Divine. Continuing his cinematic work, he starred in Polyester (John Waters, 1981) as Francine Fishpaw. Unlike earlier roles, Fishpaw was not a strong female but a meek and victimized woman who falls in love with her dream lover, Todd Tomorrow, played by Tab Hunter. The film was released in 'Odorama', accompanied by 'scratch 'n' sniff' cards for the audience to smell at key points in the film. In 1981, Divine embarked on a career in the disco industry by producing a number of Hi-NRG tracks, most of which were written by Bobby Orlando. He achieved international chart success with hits like 'You Think You're a Man', 'I'm So Beautiful', and 'Walk Like a Man', all of which were performed in drag. The next Divine film, Lust in the Dust (Paul Bartel, 1985), reunited him with Tab Hunter and was Divine's first film not directed by John Waters. Set in the Wild West during the nineteenth century, the film was a sex comedy that starred Divine as Rosie Velez, a promiscuous woman who works as a singer in saloons and competes for the love of Abel Wood (Tab Hunter) against another woman (Lainie Kazan). A parody of the Western Duel in the Sun (King Vidor, 1946), the film was a moderate critical success. Divine followed this production with a very different role, that of gay male gangster Hilly Blue in Trouble in Mind (Alan Rudolph, 1985), starring Kris Kristofferson and Keith Carradine. The script was written with Divine in mind. Although not a major character in the film, Divine had been eager to play the part because he wished to perform in more male roles and leave behind the stereotype of simply being a female impersonator. Reviews of the film were mixed, as were the evaluations of Divine's performance. The he reunited with John Waters for Hairspray (John Waters, 1988), which represented his breakthrough into mainstream cinema. Set in Baltimore during the 1960s, Hairspray revolved around self-proclaimed "pleasantly plump" teenager Tracy Turnblad (Ricki Lake) as she pursues stardom as a dancer on a local television show and rallies against racial segregation. As he had in Female Trouble, Divine took on two roles in the film, one of which was female and the other male. The first of these, Edna Turnblad, was Tracy's loving mother; the other was the racist head of the station that airs the Corny Collins show. Hairspray was only a moderate success upon its initial theatrical release, earning a modest gross of $8 million. However, it managed to attract a larger audience on home video in the early 1990s and became a cult classic. Divine's final film role was in the low-budget comedy horror Out of the Dark (Michael Schroeder, 1989), produced with the same crew as Lust in the Dust. Appearing in only one scene within the film, he played the character of Detective Langella, a foulmouthed policeman investigating the murders of a killer clown. Out of the Dark would be released the year after Divine's death. On 7 March 1988, three weeks after Hairspray was released nationwide, Divine was staying at the Regency Plaza Suites Hotel in Los Angeles. He was scheduled to film a guest appearance the following day as Uncle Otto on the Fox network's television series Married... with Children in the second season wrap-up episode. Shortly before midnight, he died in his sleep, at age 42, of an enlarged heart (according to Wikipdia or respiratory failure caused by sleep apnea (according to IMDb). It was probably a combination. Described by People magazine as the 'Drag Queen of the Century', Divine has remained a cult figure, particularly within the LGBT community, and has provided the inspiration for fictional characters, artworks, and songs. Various books and documentary films devoted to his life have also been produced, including Divine Trash (1998) and I Am Divine (2013), written by Divine's manager and friend Bernard Jay. Frances Milstead subsequently cowrote her own book about Divine, entitled My Son Divine (2001), with Kevin Heffernan and Steve Yeager. His mother's continued relationship with the gay community was later documented in a film Frances: A Mother Divine (Tim Dunn, Michael O'Quinn, 2010)
Sources: Wikipedia and IMDb.
Camera: Canon EOS 1V
Film: Kodak Vision 2 500T
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From Wikipedia, the free encyclopedia
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Rencontres d'Arles
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
1 Art directors
2 The festival
3 The Rencontres d'Arles award winners
4 Exhibitions
5 References
6 External links
Art directors
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 - 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 - 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 - 1982: Alain Desvergnes (fr)
1983 - 1985: Lucien Clergue
1986 - 1987: François Hébel
1988 - 1989: Claude Hudelot (fr)
1990: Agnès de Gouvion Saint-Cyr
1991 - 1993: Louis Mesplé (fr)
1994: Lucien Clergue
1995 - 1998, délégué général: Bernard Millet (fr)
1995, artistic director: Michel Nuridsany (fr)
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle (fr)
1998, artistic director: Giovanna Calvenzi
1999 - 2001: Gilles Mora (fr)
2002 - 2014: François Hébel
Since 2015: Sam Stourdzé (fr)
The festival
A photography exhibition, Rencontres d'Arles, 2010
Events
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town’s historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix’s fashion show for the festival’s closing (2008); and Patti Smith’s concert for the Vu agency’s 20th anniversary (2006).
Nights at the Roman Theatre
At night, work by a photographer or a photography expert is projected in the town’s open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin’s “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival’s favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art’s fundamentally hybrid forms.
Symposia and panel discussions
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival’s professional week: the Discovery Award (€25,000), Author’s Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner’s book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival’s opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography’s aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images
“Rentrée en Images” has been a key part of the festival’s educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival’s programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget
Public funding accounted for 40% of the 2015 festival’s €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners
2002
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author’s Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author’s Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993-1998) by Xing Danwen
2004
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author’s Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichy
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author’s Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author’s Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007
[1]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author’s Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008
[2]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author’s Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009
[3]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author’s Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010
[4] [5]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author’s Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011
[6] [7]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[8]
Author’s Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[8]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[8]
2012
[9] [10] [11]
Discovery Award: Jonathan Torgovnik
Author’s Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author’s Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal[disambiguation needed], 2013)[12]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014
Discovery Award: Zhang Kechun
Author’s Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015
Discovery Award: Pauline Fargue
Author’s Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016
Discovery Award: Sarah Waiswa
Author’s Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017
[13]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)
Exhibitions
1970
Gjon Mili, Edward Weston, ...
1971
Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …
1972
Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …
1973
Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …
1974
Brassaï, Ansel Adams, Georges A. Tice, …
1975
Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …
1976
Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …
1977
Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …
1978
Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …
1979
David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …
1980
Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …
1981
Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …
1982
Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …
1983
Robert Rauschenberg, Bruce Davidson, …
1984
Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …
1985
David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …
1986
Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …
1987
Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.
1988
La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.
1989
Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.
1990
Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …
1991
Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …
1992
Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …
1993
Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …
1994
Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …
1995
Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …
1996
Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …
1997
Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …
1998
David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …
1999
Lee Friedlander, Walker Evans, …
2000
Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …
2001
Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …
2002
Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …
2003
Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …
2004
Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …
2005
Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …
2006
La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …
2007
The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …
2008
Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …
2009
Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]
2010
Robert Mapplethorpe[17] Lea Golda Holterman[18]
2011
Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...
2012
Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]
2013
Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.
2014
Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.
2015
Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.
References
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_214_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_213_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_212_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.
O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.
"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.
"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.
"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.
"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.
Présentation de Robert Mapplethorpe sur le site rencontres-arles.com
"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.
Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com
Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com
Signe des temps: Arles 2012, un festival courageux (Photographie.com)
Fiche d'Alfredo Jaar sur rencontres-arles.com
Fiche de John Stezaker sur rencontres-arles.com
Fiche de Wolfgang Tillmans sur rencontres-arles.com
Fiche de Viviane Sassen sur rencontres-arles.com
Fiche de Pieter Hugo sur rencontres-arles.com
Fiche de Xavier Barral sur rencontres-arles.com
Fiche de Antoine Gonin sur rencontres-arles.com
From Wikipedia, the free encyclopedia
+++++++++++++++++++++++++++++++++
Rencontres d'Arles
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
1Art directors
2The festival
3The Rencontres d'Arles award winners
4References
5External links
Art directors[edit]
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 – 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 – 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 – 1982: Alain Desvergnes [fr]
1983 – 1985: Lucien Clergue
1986 – 1987: François Hébel
1988 – 1989: Claude Hudelot [fr]
1990: Agnès de Gouvion Saint-Cyr
1991 – 1993: Louis Mesplé [fr]
1994: Lucien Clergue
1995 – 1998, délégué général: Bernard Millet [fr]
1995, artistic director: Michel Nuridsany [fr]
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle [fr]
1998, artistic director: Giovanna Calvenzi
1999 – 2001: Gilles Mora [fr]
2002 – 2014: François Hébel
Since 2015: Sam Stourdzé [fr]
The festival[edit]
A photography exhibition, Rencontres d'Arles, 2010
Events[edit]
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town's historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix's fashion show for the festival's closing (2008); and Patti Smith's concert for the Vu agency's 20th anniversary (2006).
Nights at the Roman Theatre[edit]
At night, work by a photographer or a photography expert is projected in the town's open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin's “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year[edit]
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival's favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books[edit]
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art's fundamentally hybrid forms.
Symposia and panel discussions[edit]
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards[edit]
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival's professional week: the Discovery Award (€25,000), Author's Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award[edit]
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner's book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery[edit]
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival's opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes[edit]
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography's aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images[edit]
“Rentrée en Images” has been a key part of the festival's educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival's programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget[edit]
Public funding accounted for 40% of the 2015 festival's €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee[edit]
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners[edit]
2002[edit]
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author's Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003[edit]
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author's Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993–1998) by Xing Danwen
2004[edit]
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author's Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005[edit]
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichý[1]
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author's Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006[edit]
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author's Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007[edit]
[2]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author's Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008[edit]
[3]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author's Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009[edit]
[4]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author's Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010[edit]
[5][6]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author's Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011[edit]
[7][8]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[9]
Author's Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[9]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[9]
2012[edit]
[10][11][12]
Discovery Award: Jonathan Torgovnik
Author's Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013[edit]
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author's Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal, 2013)[13]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014[edit]
Discovery Award: Zhang Kechun
Author's Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015[edit]
Discovery Award: Pauline Fargue
Author's Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016[edit]
Discovery Award: Sarah Waiswa
Author's Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017[edit]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)[14]
2018[edit]
[15][16][17]
Discovery Award: Paulien Oltheten
Author's Book Award: Photographic Treatment by Laurence Aëgerter (Dewi Lewis Publishing, 2017)
Special Mention for Author's Book Award: The Iceberg by Giorgio di Noto (Edition Patrick Frey, 2017)
Historical Book Award: The Pigeon Photographer by Julius Neubronner (Rorhof, 2017)
Photo-Text Award: War Primer 2 by Adam Broomberg and Oliver Chanarin (Mack Books, 2018)
Dummy Book Award: Phénomènes by Marina Gadonneix
Special Mention for Dummy Book Award: State of Shame by Indrė Urbonaitė
Photo Folio Review: Kurt Tong (winner)
Exhibitions
1970
Gjon Mili, Edward Weston, ...
1971
Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …
1972
Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …
1973
Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …
1974
Brassaï, Ansel Adams, Georges A. Tice, …
1975
Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …
1976
Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …
1977
Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …
1978
Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …
1979
David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …
1980
Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …
1981
Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …
1982
Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …
1983
Robert Rauschenberg, Bruce Davidson, …
1984
Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …
1985
David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …
1986
Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …
1987
Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.
1988
La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.
1989
Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.
1990
Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …
1991
Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …
1992
Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …
1993
Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …
1994
Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …
1995
Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …
1996
Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …
1997
Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …
1998
David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …
1999
Lee Friedlander, Walker Evans, …
2000
Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …
2001
Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …
2002
Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …
2003
Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …
2004
Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …
2005
Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …
2006
La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …
2007
The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …
2008
Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …
2009
Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]
2010
Robert Mapplethorpe[17] Lea Golda Holterman[18]
2011
Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...
2012
Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]
2013
Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.
2014
Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.
2015
Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.
References
O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.
O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.
"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.
"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.
"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.
"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.
Présentation de Robert Mapplethorpe sur le site rencontres-arles.com
"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.
Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com
Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com
Signe des temps: Arles 2012, un festival courageux (Photographie.com)
Fiche d'Alfredo Jaar sur rencontres-arles.com
Fiche de John Stezaker sur rencontres-arles.com
Fiche de Wolfgang Tillmans sur rencontres-arles.com
Fiche de Viviane Sassen sur rencontres-arles.com
Fiche de Pieter Hugo sur rencontres-arles.com
Fiche de Xavier Barral sur rencontres-arles.com
Fiche de Antoine Gonin sur rencontres-arles.com
From Wikipedia, the free encyclopedia
+++++++++++++++++++++++++++++++++
Rencontres d'Arles
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
1 Art directors
2 The festival
3 The Rencontres d'Arles award winners
4 Exhibitions
5 References
6 External links
Art directors
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 - 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 - 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 - 1982: Alain Desvergnes (fr)
1983 - 1985: Lucien Clergue
1986 - 1987: François Hébel
1988 - 1989: Claude Hudelot (fr)
1990: Agnès de Gouvion Saint-Cyr
1991 - 1993: Louis Mesplé (fr)
1994: Lucien Clergue
1995 - 1998, délégué général: Bernard Millet (fr)
1995, artistic director: Michel Nuridsany (fr)
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle (fr)
1998, artistic director: Giovanna Calvenzi
1999 - 2001: Gilles Mora (fr)
2002 - 2014: François Hébel
Since 2015: Sam Stourdzé (fr)
The festival
A photography exhibition, Rencontres d'Arles, 2010
Events
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town’s historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix’s fashion show for the festival’s closing (2008); and Patti Smith’s concert for the Vu agency’s 20th anniversary (2006).
Nights at the Roman Theatre
At night, work by a photographer or a photography expert is projected in the town’s open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin’s “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival’s favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art’s fundamentally hybrid forms.
Symposia and panel discussions
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival’s professional week: the Discovery Award (€25,000), Author’s Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner’s book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival’s opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography’s aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images
“Rentrée en Images” has been a key part of the festival’s educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival’s programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget
Public funding accounted for 40% of the 2015 festival’s €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners
2002
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author’s Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author’s Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993-1998) by Xing Danwen
2004
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author’s Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichy
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author’s Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author’s Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007
[1]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author’s Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008
[2]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author’s Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009
[3]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author’s Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010
[4] [5]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author’s Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011
[6] [7]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[8]
Author’s Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[8]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[8]
2012
[9] [10] [11]
Discovery Award: Jonathan Torgovnik
Author’s Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author’s Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal[disambiguation needed], 2013)[12]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014
Discovery Award: Zhang Kechun
Author’s Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015
Discovery Award: Pauline Fargue
Author’s Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016
Discovery Award: Sarah Waiswa
Author’s Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017
[13]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)
Exhibitions
1970
Gjon Mili, Edward Weston, ...
1971
Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …
1972
Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …
1973
Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …
1974
Brassaï, Ansel Adams, Georges A. Tice, …
1975
Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …
1976
Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …
1977
Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …
1978
Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …
1979
David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …
1980
Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …
1981
Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …
1982
Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …
1983
Robert Rauschenberg, Bruce Davidson, …
1984
Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …
1985
David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …
1986
Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …
1987
Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.
1988
La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.
1989
Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.
1990
Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …
1991
Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …
1992
Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …
1993
Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …
1994
Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …
1995
Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …
1996
Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …
1997
Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …
1998
David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …
1999
Lee Friedlander, Walker Evans, …
2000
Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …
2001
Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …
2002
Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …
2003
Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …
2004
Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …
2005
Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …
2006
La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …
2007
The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …
2008
Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …
2009
Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]
2010
Robert Mapplethorpe[17] Lea Golda Holterman[18]
2011
Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...
2012
Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]
2013
Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.
2014
Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.
2015
Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.
References
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O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.
O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.
"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.
"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.
"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.
"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.
Présentation de Robert Mapplethorpe sur le site rencontres-arles.com
"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.
Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com
Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com
Signe des temps: Arles 2012, un festival courageux (Photographie.com)
Fiche d'Alfredo Jaar sur rencontres-arles.com
Fiche de John Stezaker sur rencontres-arles.com
Fiche de Wolfgang Tillmans sur rencontres-arles.com
Fiche de Viviane Sassen sur rencontres-arles.com
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Fiche de Xavier Barral sur rencontres-arles.com
Fiche de Antoine Gonin sur rencontres-arles.com
"The Holy Trinity Column in Olomouc, in the Czech Republic is a Baroque monument (Trinity column) that was built between 1716 to 1754. The main purpose was to celebrate the Catholic Church and faith, partly caused by feeling of gratitude for ending a plague, which struck Moravia (now in the Czech Republic) between 1713 and 1715. The column was also understood to be an expression of local patriotism, since all artists and master craftsmen working on this monument were Olomouc citizens, and almost all depicted saints were connected with the city of Olomouc in some way.
It is the biggest Baroque sculptural group in the Czech Republic. In 2000 it was inscribed on the UNESCO World Heritage List as "one of the most exceptional examples of the apogee of central European Baroque artistic expression".
According to the ICOMOS evaluation of this patrimony, "the erection of Marian (plague) columns on town squares is an exclusively Baroque, post-Tridentine, phenomenon. Its iconographic basis lies in the Book of Revelation. The basic model is thought to have been the column in the Piazza Santa Maria Maggiore in Rome, from 1614.
This monument for Olomouc was the culmination of work of several artists and master craftsmen, but it did not bring much fortune to them. The first to die during the work was Wenzel Render, a monumental mason and privileged imperial architect. He came first with the idea to build the column, enforced his will upon the city council, designed it, built the first stage and helped to finance it. His followers Franz Thoneck, Johann Wenzel Rokický and Augustin Scholtz also did not live long enough to see the column finished; it was completed by Johann Ignaz Rokický. The sculptural decoration was started by Phillip Sattler. After his death Andreas Zahner continued and made 18 sculptures and 9 reliefs in 7 years before he died as well. Goldsmith Simon Forstner, who made gilded copper sculptures of the Holy Trinity and of the Assumption of the Virgin, was somewhat luckier and managed to finish his brilliant work. However he lost his health when working on the sculptures and using toxic mercury compounds during the gilding process.
After the Holy Trinity Column was finished in 1754, it became a source of great pride for Olomouc, since all people participating in its creation were citizens of the town. The column was consecrated in a great celebration attended by Empress Maria Theresa and her husband Francis I.
Only four years later, when Olomouc was besieged by a Prussian army and the Holy Trinity Column was hit by shots from Prussian cannons several times, Olomouc citizens went in a procession to beg the Prussian general not to shoot at the monument. General James Keith complied with their wishes. The column was repaired soon after the war and a replica of a stone shot was half-buried in its stem on the place where it was hit to remind people of this event.
The column is dominated by gilded copper sculptures of the Holy Trinity accompanied by the Archangel Gabriel on the top and the Assumption of the Virgin beneath it.
The base of the column, in three levels, is surrounded by 18 more stone sculptures of saints and 14 reliefs in elaborate cartouches. At the uppermost stage are saints connected with Jesus’ earth life – his mother’s parents St. Anne and St. Joachim, his foster-father St. Joseph, and St. John the Baptist, who was preparing his coming – who are accompanied by St. Lawrence and St. Jerome, saints to whom the chapel in the Olomouc town hall was dedicated. Three reliefs represent the Three theological virtues Faith, Hope, and Love.
Below them, the second stage is dedicated to Moravian saints St. Cyril and St. Methodius (Czech Metoděj), who came to Great Moravia to spread Christianity in 863 (St. Methodius became Moravian Archbishop), St. Blaise, in whose name one of the main Olomouc churches is consecrated, and patrons of neighbouring Bohemia St. Adalbert of Prague (Czech Vojtěch) and St. John of Nepomuk (Czech Jan Nepomucký), whose following was very strong there as well.
In the lowest stage one can see the figures of an Austrian patron St. Maurice and a Bohemian patron St. Wenceslas (Czech Václav), in whose names two important Olomouc churches were consecrated, another Austrian patron St. Florian, who was also viewed as a protector against various disasters, especially fire, St. John of Capistrano (Czech Jan Kapistránský), who used to preach in Olomouc, St. Anthony of Padua, a member of the Franciscan Order, which owned an important monastery in Olomouc, and St. Aloysius Gonzaga, a patron of students. His sculpture showed that Olomouc was very proud of its university.
Reliefs of all twelve apostles are placed among these sculptures.
The last missing in this list of saints is St. John Sarkander (Czech Jan Sarkander), whose statue (holding a lily as a symbol of purity) is on the second stage. John Sarkander was a priest who was tortured to death in Olomouc prison in the beginning of the Thirty Years' War, because he, as the legend says, refused to break the seal of confession. The decision to place him here violated the tradition, since Sarkander had not been canonized and not even beatified in that time yet, which could have resulted in problems with the Holy See. However, his following was so strong here that the craftsmen decided to take the risk. Sarkander was beatified in 1859 and canonized in 1995 on the occasion of the visit of Pope John Paul II in Olomouc.
The column also houses a small chapel inside with reliefs depicting Cain's offering from his crop, Abel's offering of firstlings of his flock, Noah's first burnt offering after the Flood, Abraham's offering of Isaac and of a lamb, and Jesus' death. The cities of Jerusalem and Olomouc can be seen in the background of the last mentioned relief.
Olomouc (UK: /ˈɒləmoʊts/, US: /ˈoʊloʊ-/, Czech: [ˈolomouts]; locally Holomóc or Olomóc; German: Olmütz; Polish: Ołomuniec [ɔwɔˈmuɲɛts]; Hungarian: Alamóc; Latin: Olomucium or Iuliomontium) is a city in Moravia, in the east of the Czech Republic. Located on the Morava River, the city is the ecclesiastical metropolis and was a historical capital city of Moravia, before having been sacked by the Swedish army during the Thirty Years' War. Today, it is the administrative centre of the Olomouc Region and the sixth largest city in the Czech Republic. The city has about 100,000 residents, and its larger urban zone has a population of about 480,000 people." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Become a patron to my photography on Patreon.
HMS Endeavour was a British Royal Navy research vessel that Lieutenant James Cook commanded to Tahiti, New Zealand and Australia on his first voyage of discovery from 1768 to 1771.
She was launched in 1764 as the collier Earl of Pembroke, with the Navy purchasing her in 1768 for a scientific mission to the Pacific Ocean and to explore the seas for the surmised Terra Australis Incognita or "unknown southern land". Commissioned as His Majesty's Bark Endeavour, she departed Plymouth in August 1768, rounded Cape Horn and reached Tahiti in time to observe the 1769 transit of Venus across the Sun. She then set sail into the largely-uncharted ocean to the south, stopping at the islands of Huahine, Bora Bora, and Raiatea west of Tahiti to allow Cook to claim them for Britain. In September 1769, she anchored off New Zealand, becoming the first European vessel to reach the islands since Abel Tasman's Heemskerck 127 years earlier.
In April 1770, Endeavour became the first European ship to reach the east coast of Australia, with Cook going ashore at what is now known as Botany Bay. Endeavour then sailed north along the Australian coast. She narrowly avoided disaster after running aground on the Great Barrier Reef, and Cook had to throw her guns overboard to lighten her. Endeavour was beached on the Australian mainland for seven weeks to permit rudimentary repairs to her hull. Resuming her voyage, she limped into port in Batavia in October 1770, her crew sworn to secrecy about the lands that they had visited. From Batavia Endeavour continued westward, rounded the Cape of Good Hope on 13 March 1771 and reached the English port of Dover on 12 July, having been at sea for nearly three years.
The ship was largely forgotten after her Pacific voyage, spending the next three years hauling troops and cargo to and from the Falkland Islands. She was renamed in 1775 after being sold into private hands, and used to transport timber from the Baltic. Rehired as a British troop transport during the American War of Independence, she was finally scuttled in a blockade of Narragansett Bay, RI., in 1778. Historical evidence indicates the ship was sunk just north of Goat Island in Newport Harbor, along with four other British transports.
Relics from Endeavour are displayed at maritime museums worldwide, including an anchor and six of her cannon. A replica of Endeavour was launched in 1994 and is berthed alongside the Australian National Maritime Museum in Sydney Harbour (seen above). The NASA Space Shuttle Endeavour was named after this ship, as was the command module of Apollo 15, which took a small piece of wood from Cook's ship into space, and the SpaceX Crew Dragon capsule C206 was christened Endeavour during Demo-2. The ship is also depicted on the New Zealand 50-cent coin.
The Australian replica features almost 30 km of rigging and 750 wooden blocks or pulleys! The masts and spars carry 28 sails that spread approximately 10,000 square feet of canvas. Between 1996 and 2002 she traced Cook's ports of call around the world before arriving in Whitby, England. She returned home in 2004-2005, having sailed around the world twice. She still sails, giving members of the public an opportunity to briefly experience life in a square-rigger at sea.
Unfortunately, she was closed on the day I visited the museum.
Camera: Canon EOS 1V, EF 2/135mm
Film: Kodak Vision 2 500T
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From Wikipedia, the free encyclopedia
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Rencontres d'Arles
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
Art directors
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 - 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 - 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 - 1982: Alain Desvergnes (fr)
1983 - 1985: Lucien Clergue
1986 - 1987: François Hébel
1988 - 1989: Claude Hudelot (fr)
1990: Agnès de Gouvion Saint-Cyr
1991 - 1993: Louis Mesplé (fr)
1994: Lucien Clergue
1995 - 1998, délégué général: Bernard Millet (fr)
1995, artistic director: Michel Nuridsany (fr)
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle (fr)
1998, artistic director: Giovanna Calvenzi
1999 - 2001: Gilles Mora (fr)
2002 - 2014: François Hébel
Since 2015: Sam Stourdzé (fr)
The festival
A photography exhibition, Rencontres d'Arles, 2010
Events
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town’s historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix’s fashion show for the festival’s closing (2008); and Patti Smith’s concert for the Vu agency’s 20th anniversary (2006).
Nights at the Roman Theatre
At night, work by a photographer or a photography expert is projected in the town’s open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin’s “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival’s favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art’s fundamentally hybrid forms.
Symposia and panel discussions
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival’s professional week: the Discovery Award (€25,000), Author’s Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner’s book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival’s opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography’s aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images
“Rentrée en Images” has been a key part of the festival’s educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival’s programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget
Public funding accounted for 40% of the 2015 festival’s €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners
2002
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author’s Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author’s Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993-1998) by Xing Danwen
2004
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author’s Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichy
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author’s Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author’s Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007
[1]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author’s Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008
[2]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author’s Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009
[3]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author’s Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010
[4] [5]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author’s Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011
[6] [7]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[8]
Author’s Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[8]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[8]
2012
[9] [10] [11]
Discovery Award: Jonathan Torgovnik
Author’s Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author’s Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal[disambiguation needed], 2013)[12]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014
Discovery Award: Zhang Kechun
Author’s Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015
Discovery Award: Pauline Fargue
Author’s Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016
Discovery Award: Sarah Waiswa
Author’s Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017
[13]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)
Exhibitions
1970
Gjon Mili, Edward Weston, ...
1971
Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …
1972
Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …
1973
Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …
1974
Brassaï, Ansel Adams, Georges A. Tice, …
1975
Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …
1976
Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …
1977
Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …
1978
Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …
1979
David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …
1980
Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …
1981
Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …
1982
Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …
1983
Robert Rauschenberg, Bruce Davidson, …
1984
Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …
1985
David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …
1986
Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …
1987
Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.
1988
La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.
1989
Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.
1990
Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …
1991
Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …
1992
Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …
1993
Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …
1994
Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …
1995
Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …
1996
Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …
1997
Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …
1998
David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …
1999
Lee Friedlander, Walker Evans, …
2000
Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …
2001
Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …
2002
Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …
2003
Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …
2004
Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …
2005
Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …
2006
La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …
2007
The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …
2008
Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …
2009
Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]
2010
Robert Mapplethorpe[17] Lea Golda Holterman[18]
2011
Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...
2012
Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]
2013
Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.
2014
Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.
2015
Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.
References
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_214_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_213_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_212_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.
O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.
"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.
"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.
"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.
"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.
Présentation de Robert Mapplethorpe sur le site rencontres-arles.com
"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.
Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com
Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com
Signe des temps: Arles 2012, un festival courageux (Photographie.com)
Fiche d'Alfredo Jaar sur rencontres-arles.com
Fiche de John Stezaker sur rencontres-arles.com
Fiche de Wolfgang Tillmans sur rencontres-arles.com
Fiche de Viviane Sassen sur rencontres-arles.com
Fiche de Pieter Hugo sur rencontres-arles.com
Fiche de Xavier Barral sur rencontres-arles.com
Fiche de Antoine Gonin sur rencontres-arles.com
Built in 1877.
"Princeton University is a private Ivy League research university in Princeton, New Jersey. Founded in 1746 in Elizabeth as the College of New Jersey, Princeton is the fourth-oldest institution of higher education in the United States and one of the nine colonial colleges chartered before the American Revolution. It is one of the highest-ranked universities in the world. The institution moved to Newark in 1747, and then to the current site nine years later. It officially became a university in 1896 and was subsequently renamed Princeton University.
The university is governed by the Trustees of Princeton University and has an endowment of $37.7 billion, the largest endowment per student in the United States. Princeton provides undergraduate and graduate instruction in the humanities, social sciences, natural sciences, and engineering to approximately 8,500 students on its 600 acres (2.4 km2) main campus. It offers postgraduate degrees through the Princeton School of Public and International Affairs, the School of Engineering and Applied Science, the School of Architecture and the Bendheim Center for Finance. The university also manages the Department of Energy's Princeton Plasma Physics Laboratory and is home to the NOAA's Geophysical Fluid Dynamics Laboratory. It is classified among "R1: Doctoral Universities – Very high research activity" and has one of the largest university libraries in the world.
Princeton uses a residential college system and is known for its upperclassmen eating clubs. The university has over 500 student organizations. Princeton students embrace a wide variety of traditions from both the past and present. The university is a NCAA Division I school and competes in the Ivy League. The school's athletic team, the Princeton Tigers, has won the most titles in its conference and has sent many students and alumni to the Olympics.
As of October 2021, 75 Nobel laureates, 16 Fields Medalists and 16 Turing Award laureates have been affiliated with Princeton University as alumni, faculty members, or researchers. In addition, Princeton has been associated with 21 National Medal of Science awardees, 5 Abel Prize awardees, 11 National Humanities Medal recipients, 215 Rhodes Scholars and 137 Marshall Scholars. Two U.S. Presidents, twelve U.S. Supreme Court Justices (three of whom currently serve on the court) and numerous living industry and media tycoons and foreign heads of state are all counted among Princeton's alumni body. Princeton has graduated many members of the U.S. Congress and the U.S. Cabinet, including eight Secretaries of State, three Secretaries of Defense and two Chairmen of the Joint Chiefs of Staff.
Princeton was founded before the American Revolutionary War. It is the home of Princeton University, which bears its name and moved to the community in 1756 from its previous location in Newark. Although its association with the university is primarily what makes Princeton a college town, other important institutions in the area include the Institute for Advanced Study, Westminster Choir College, Princeton Plasma Physics Laboratory, Princeton Theological Seminary, Opinion Research Corporation, Bristol-Myers Squibb, Siemens Corporate Research, SRI International, FMC Corporation, The Robert Wood Johnson Foundation, Amrep, Church and Dwight, Berlitz International, and Dow Jones & Company.
Princeton is roughly equidistant from New York City and Philadelphia. It is close to many major highways that serve both cities (e.g., Interstate 95 and U.S. Route 1), and receives major television and radio broadcasts from each. It is also close to Trenton, New Jersey's capital city, New Brunswick and Edison." - info from Wikipedia.
The fall of 2022 I did my 3rd major cycling tour. I began my adventure in Montreal, Canada and finished in Savannah, GA. This tour took me through the oldest parts of Quebec and the 13 original US states. During this adventure I cycled 7,126 km over the course of 2.5 months and took more than 68,000 photos. As with my previous tours, a major focus was to photograph historic architecture.
Now on Instagram.
Camera: Canon EOS 1V, EF 2/135mm
Film: Kodak Vision 2 500T
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From Wikipedia, the free encyclopedia
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Rencontres d'Arles
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
1 Art directors
2 The festival
3 The Rencontres d'Arles award winners
4 Exhibitions
5 References
6 External links
Art directors
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 - 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 - 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 - 1982: Alain Desvergnes (fr)
1983 - 1985: Lucien Clergue
1986 - 1987: François Hébel
1988 - 1989: Claude Hudelot (fr)
1990: Agnès de Gouvion Saint-Cyr
1991 - 1993: Louis Mesplé (fr)
1994: Lucien Clergue
1995 - 1998, délégué général: Bernard Millet (fr)
1995, artistic director: Michel Nuridsany (fr)
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle (fr)
1998, artistic director: Giovanna Calvenzi
1999 - 2001: Gilles Mora (fr)
2002 - 2014: François Hébel
Since 2015: Sam Stourdzé (fr)
The festival
A photography exhibition, Rencontres d'Arles, 2010
Events
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town’s historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix’s fashion show for the festival’s closing (2008); and Patti Smith’s concert for the Vu agency’s 20th anniversary (2006).
Nights at the Roman Theatre
At night, work by a photographer or a photography expert is projected in the town’s open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin’s “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival’s favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art’s fundamentally hybrid forms.
Symposia and panel discussions
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival’s professional week: the Discovery Award (€25,000), Author’s Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner’s book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival’s opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography’s aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images
“Rentrée en Images” has been a key part of the festival’s educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival’s programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget
Public funding accounted for 40% of the 2015 festival’s €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners
2002
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author’s Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author’s Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993-1998) by Xing Danwen
2004
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author’s Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichy
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author’s Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author’s Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007
[1]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author’s Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008
[2]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author’s Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009
[3]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author’s Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010
[4] [5]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author’s Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011
[6] [7]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[8]
Author’s Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[8]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[8]
2012
[9] [10] [11]
Discovery Award: Jonathan Torgovnik
Author’s Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author’s Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal[disambiguation needed], 2013)[12]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014
Discovery Award: Zhang Kechun
Author’s Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015
Discovery Award: Pauline Fargue
Author’s Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016
Discovery Award: Sarah Waiswa
Author’s Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017
[13]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)
Exhibitions
1970
Gjon Mili, Edward Weston, ...
1971
Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …
1972
Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …
1973
Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …
1974
Brassaï, Ansel Adams, Georges A. Tice, …
1975
Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …
1976
Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …
1977
Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …
1978
Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …
1979
David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …
1980
Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …
1981
Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …
1982
Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …
1983
Robert Rauschenberg, Bruce Davidson, …
1984
Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …
1985
David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …
1986
Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …
1987
Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.
1988
La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.
1989
Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.
1990
Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …
1991
Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …
1992
Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …
1993
Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …
1994
Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …
1995
Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …
1996
Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …
1997
Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …
1998
David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …
1999
Lee Friedlander, Walker Evans, …
2000
Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …
2001
Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …
2002
Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …
2003
Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …
2004
Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …
2005
Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …
2006
La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …
2007
The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …
2008
Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …
2009
Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]
2010
Robert Mapplethorpe[17] Lea Golda Holterman[18]
2011
Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...
2012
Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]
2013
Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.
2014
Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.
2015
Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.
References
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_214_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_213_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_212_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.
O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.
"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.
"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.
"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.
"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.
Présentation de Robert Mapplethorpe sur le site rencontres-arles.com
"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.
Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com
Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com
Signe des temps: Arles 2012, un festival courageux (Photographie.com)
Fiche d'Alfredo Jaar sur rencontres-arles.com
Fiche de John Stezaker sur rencontres-arles.com
Fiche de Wolfgang Tillmans sur rencontres-arles.com
Fiche de Viviane Sassen sur rencontres-arles.com
Fiche de Pieter Hugo sur rencontres-arles.com
Fiche de Xavier Barral sur rencontres-arles.com
Fiche de Antoine Gonin sur rencontres-arles.com
Camera: Canon EOS 1V, EF 4/16-35mm L IS
Film: Kodak Vision 2 500T
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From Wikipedia, the free encyclopedia
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Rencontres d'Arles
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
1 Art directors
2 The festival
3 The Rencontres d'Arles award winners
4 Exhibitions
5 References
6 External links
Art directors
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 - 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 - 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 - 1982: Alain Desvergnes (fr)
1983 - 1985: Lucien Clergue
1986 - 1987: François Hébel
1988 - 1989: Claude Hudelot (fr)
1990: Agnès de Gouvion Saint-Cyr
1991 - 1993: Louis Mesplé (fr)
1994: Lucien Clergue
1995 - 1998, délégué général: Bernard Millet (fr)
1995, artistic director: Michel Nuridsany (fr)
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle (fr)
1998, artistic director: Giovanna Calvenzi
1999 - 2001: Gilles Mora (fr)
2002 - 2014: François Hébel
Since 2015: Sam Stourdzé (fr)
The festival
A photography exhibition, Rencontres d'Arles, 2010
Events
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town’s historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix’s fashion show for the festival’s closing (2008); and Patti Smith’s concert for the Vu agency’s 20th anniversary (2006).
Nights at the Roman Theatre
At night, work by a photographer or a photography expert is projected in the town’s open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin’s “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival’s favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art’s fundamentally hybrid forms.
Symposia and panel discussions
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival’s professional week: the Discovery Award (€25,000), Author’s Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner’s book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival’s opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography’s aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images
“Rentrée en Images” has been a key part of the festival’s educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival’s programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget
Public funding accounted for 40% of the 2015 festival’s €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners
2002
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author’s Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author’s Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993-1998) by Xing Danwen
2004
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author’s Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichy
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author’s Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author’s Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007
[1]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author’s Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008
[2]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author’s Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009
[3]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author’s Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010
[4] [5]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author’s Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011
[6] [7]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[8]
Author’s Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[8]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[8]
2012
[9] [10] [11]
Discovery Award: Jonathan Torgovnik
Author’s Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author’s Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal[disambiguation needed], 2013)[12]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014
Discovery Award: Zhang Kechun
Author’s Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015
Discovery Award: Pauline Fargue
Author’s Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016
Discovery Award: Sarah Waiswa
Author’s Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017
[13]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)
Exhibitions
1970
Gjon Mili, Edward Weston, ...
1971
Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …
1972
Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …
1973
Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …
1974
Brassaï, Ansel Adams, Georges A. Tice, …
1975
Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …
1976
Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …
1977
Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …
1978
Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …
1979
David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …
1980
Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …
1981
Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …
1982
Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …
1983
Robert Rauschenberg, Bruce Davidson, …
1984
Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …
1985
David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …
1986
Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …
1987
Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.
1988
La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.
1989
Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.
1990
Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …
1991
Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …
1992
Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …
1993
Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …
1994
Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …
1995
Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …
1996
Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …
1997
Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …
1998
David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …
1999
Lee Friedlander, Walker Evans, …
2000
Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …
2001
Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …
2002
Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …
2003
Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …
2004
Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …
2005
Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …
2006
La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …
2007
The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …
2008
Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …
2009
Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]
2010
Robert Mapplethorpe[17] Lea Golda Holterman[18]
2011
Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...
2012
Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]
2013
Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.
2014
Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.
2015
Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.
References
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_214_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_213_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_212_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.
O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.
"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.
"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.
"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.
"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.
Présentation de Robert Mapplethorpe sur le site rencontres-arles.com
"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.
Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com
Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com
Signe des temps: Arles 2012, un festival courageux (Photographie.com)
Fiche d'Alfredo Jaar sur rencontres-arles.com
Fiche de John Stezaker sur rencontres-arles.com
Fiche de Wolfgang Tillmans sur rencontres-arles.com
Fiche de Viviane Sassen sur rencontres-arles.com
Fiche de Pieter Hugo sur rencontres-arles.com
Fiche de Xavier Barral sur rencontres-arles.com
Fiche de Antoine Gonin sur rencontres-arles.com
"Yale University is a private Ivy League research university in New Haven, Connecticut. Founded in 1701 as the Collegiate School, it is the third-oldest institution of higher education in the United States and among the most prestigious in the world.
Chartered by the Connecticut Colony, the Collegiate School was established in 1701 by clergy to educate Congregational ministers before moving to New Haven in 1716. Originally restricted to theology and sacred languages, the curriculum began to incorporate humanities and sciences by the time of the American Revolution. In the 19th century, the college expanded into graduate and professional instruction, awarding the first PhD in the United States in 1861 and organizing as a university in 1887. Yale's faculty and student populations grew after 1890 with rapid expansion of the physical campus and scientific research.
Yale is organized into fourteen constituent schools: the original undergraduate college, the Yale Graduate School of Arts and Sciences and twelve professional schools. While the university is governed by the Yale Corporation, each school's faculty oversees its curriculum and degree programs. In addition to a central campus in downtown New Haven, the university owns athletic facilities in western New Haven, a campus in West Haven, and forests and nature preserves throughout New England. As of 2021, the university's endowment was valued at $42.3 billion, the second largest of any educational institution. The Yale University Library, serving all constituent schools, holds more than 15 million volumes and is the third-largest academic library in the United States. Students compete in intercollegiate sports as the Yale Bulldogs in the NCAA Division I – Ivy League.
As of October 2020, 65 Nobel laureates, five Fields Medalists, four Abel Prize laureates, and three Turing Award winners have been affiliated with Yale University. In addition, Yale has graduated many notable alumni, including five U.S. presidents, 10 Founding Fathers, 19 U.S. Supreme Court Justices, 31 living billionaires, 54 College founders and presidents, many heads of state, cabinet members and governors. Hundreds of members of Congress and many U.S. diplomats, 78 MacArthur Fellows, 252 Rhodes Scholars, 123 Marshall Scholars, 102 Guggenheim Fellows and nine Mitchell Scholars have been affiliated with the university. Yale is a member of the Big Three. Yale's current faculty include 67 members of the National Academy of Sciences, 55 members of the National Academy of Medicine, 8 members of the National Academy of Engineering, and 187 members of the American Academy of Arts and Sciences. The college is, after normalization for institution size, the tenth-largest baccalaureate source of doctoral degree recipients in the United States, and the largest such source within the Ivy League. It also is a top 10 (ranked seventh), after normalization for the number of graduates, baccalaureate source of some of the most notable scientists (Nobel, Fields, Turing prizes, or membership in National Academy of Sciences, National Academy of Medicine, or National Academy of Engineering).
New Haven is a city in the U.S. state of Connecticut. It is located on New Haven Harbor on the northern shore of Long Island Sound in New Haven County, Connecticut, and is part of the New York City metropolitan area. With a population of 134,023 as determined by the 2020 United States Census, New Haven is the 3rd largest city in Connecticut after Bridgeport and Stamford and the principal municipality of Greater New Haven, which had a total population of 864,835.
New Haven was one of the first planned cities in America. A year after its founding by English Puritans in 1638, eight streets were laid out in a four-by-four grid, creating the "Nine Square Plan". The central common block is the New Haven Green, a 16-acre (6 ha) square at the center of Downtown New Haven. The Green is now a National Historic Landmark, and the "Nine Square Plan" is recognized by the American Planning Association as a National Planning Landmark.
New Haven is the home of Yale University, New Haven's biggest taxpayer and employer, and an integral part of the city's economy. Health care, professional and financial services and retail trade also contribute to the city's economic activity.
The city served as co-capital of Connecticut from 1701 until 1873, when sole governance was transferred to the more centrally located city of Hartford. New Haven has since billed itself as the "Cultural Capital of Connecticut" for its supply of established theaters, museums, and music venues. New Haven had the first public tree planting program in America, producing a canopy of mature trees (including some large elms) that gave the city the nickname "The Elm City"." - info from Wikipedia.
The fall of 2022 I did my 3rd major cycling tour. I began my adventure in Montreal, Canada and finished in Savannah, GA. This tour took me through the oldest parts of Quebec and the 13 original US states. During this adventure I cycled 7,126 km over the course of 2.5 months and took more than 68,000 photos. As with my previous tours, a major focus was to photograph historic architecture.
Now on Instagram.
"Nassau Hall (or colloquially Old Nassau) is the oldest building at Princeton University in Princeton, Mercer County, New Jersey, United States. In 1783 it served as the United States Capitol building for four months. At the time it was built in 1756, Nassau Hall was the largest building in colonial New Jersey and the largest academic building in the American colonies.
The university, originally known as the College of New Jersey, held classes for one year in Elizabeth and nine years in Newark before the hall was completed in 1756. Designed originally by Robert Smith, the building was subsequently remodeled by notable American architects Benjamin Latrobe, after the 1802 fire, and John Notman, after the 1855 fire. In the early years of Princeton University, Nassau Hall accommodated classrooms, a library, a chapel, and residential space for students and faculty. It housed the university's first Department of Psychology, for example.
During the American Revolutionary War, Nassau Hall was possessed by both British and American forces and suffered considerable damage, especially during the Battle of Princeton on January 3, 1777. From June 30 to November 4, 1783, Princeton was the provisional capital of the United States, and Nassau Hall served as its seat of government. The Congress of the Confederation met in the building's library on the second floor. According to Princeton University, "Here Congress congratulated George Washington on his successful termination of the war, received the news of the signing of the definitive treaty of peace with Great Britain, and welcomed the first foreign minister—from the Netherlands—accredited to the United States."
At present, Nassau Hall houses Princeton University's administrative offices, including that of the university's president. Old Nassau refers affectionately to the building and serves as a metonym for the university as a whole. The U.S. Department of the Interior designated Nassau Hall a National Historic Landmark in 1960, "signifying its importance in the Revolutionary War and in the history of the United States."
Princeton University is a private Ivy League research university in Princeton, New Jersey. Founded in 1746 in Elizabeth as the College of New Jersey, Princeton is the fourth-oldest institution of higher education in the United States and one of the nine colonial colleges chartered before the American Revolution. It is one of the highest-ranked universities in the world. The institution moved to Newark in 1747, and then to the current site nine years later. It officially became a university in 1896 and was subsequently renamed Princeton University.
The university is governed by the Trustees of Princeton University and has an endowment of $37.7 billion, the largest endowment per student in the United States. Princeton provides undergraduate and graduate instruction in the humanities, social sciences, natural sciences, and engineering to approximately 8,500 students on its 600 acres (2.4 km2) main campus. It offers postgraduate degrees through the Princeton School of Public and International Affairs, the School of Engineering and Applied Science, the School of Architecture and the Bendheim Center for Finance. The university also manages the Department of Energy's Princeton Plasma Physics Laboratory and is home to the NOAA's Geophysical Fluid Dynamics Laboratory. It is classified among "R1: Doctoral Universities – Very high research activity" and has one of the largest university libraries in the world.
Princeton uses a residential college system and is known for its upperclassmen eating clubs. The university has over 500 student organizations. Princeton students embrace a wide variety of traditions from both the past and present. The university is a NCAA Division I school and competes in the Ivy League. The school's athletic team, the Princeton Tigers, has won the most titles in its conference and has sent many students and alumni to the Olympics.
As of October 2021, 75 Nobel laureates, 16 Fields Medalists and 16 Turing Award laureates have been affiliated with Princeton University as alumni, faculty members, or researchers. In addition, Princeton has been associated with 21 National Medal of Science awardees, 5 Abel Prize awardees, 11 National Humanities Medal recipients, 215 Rhodes Scholars and 137 Marshall Scholars. Two U.S. Presidents, twelve U.S. Supreme Court Justices (three of whom currently serve on the court) and numerous living industry and media tycoons and foreign heads of state are all counted among Princeton's alumni body. Princeton has graduated many members of the U.S. Congress and the U.S. Cabinet, including eight Secretaries of State, three Secretaries of Defense and two Chairmen of the Joint Chiefs of Staff.
Princeton was founded before the American Revolutionary War. It is the home of Princeton University, which bears its name and moved to the community in 1756 from its previous location in Newark. Although its association with the university is primarily what makes Princeton a college town, other important institutions in the area include the Institute for Advanced Study, Westminster Choir College, Princeton Plasma Physics Laboratory, Princeton Theological Seminary, Opinion Research Corporation, Bristol-Myers Squibb, Siemens Corporate Research, SRI International, FMC Corporation, The Robert Wood Johnson Foundation, Amrep, Church and Dwight, Berlitz International, and Dow Jones & Company.
Princeton is roughly equidistant from New York City and Philadelphia. It is close to many major highways that serve both cities (e.g., Interstate 95 and U.S. Route 1), and receives major television and radio broadcasts from each. It is also close to Trenton, New Jersey's capital city, New Brunswick and Edison." - info from Wikipedia.
The fall of 2022 I did my 3rd major cycling tour. I began my adventure in Montreal, Canada and finished in Savannah, GA. This tour took me through the oldest parts of Quebec and the 13 original US states. During this adventure I cycled 7,126 km over the course of 2.5 months and took more than 68,000 photos. As with my previous tours, a major focus was to photograph historic architecture.
Now on Instagram.
Become a patron to my photography on Patreon.
1978 Philippines, Luzon, Nueva Vizcaya, Ilongot (Bugkalot) tribe
Deep in the rolling mountains of Northern Luzon, far from the hustle and bustle of Metro Manila exists the beautiful landscapes of the Cagayan Valley. The Valley – mostly consisting of the region between the Cordilleras and the Sierra Madre mountain ranges – is home to some of The Philippines most iconic landmarks.
Apart from its beautiful scenic views, the Cagayan Valley is also known to house a peculiar tribe of people whose cultural practices have drawn the attention of anthropologists from around the world.
To address the culturally unique elements of this tribe I will first take you through the mythology subscribed to by these people – the Bugkalut or the more common expression used by tribal outsiders, the Ilongot people.
Creation mythology of the Ilongot people
Those familiar with the Abrahamic religions will know the story of Cain and Abel; found in the Bible book of Genesis. Well, the Ilongot people follow a creation myth very similar to the story of Cain and Abel.
According to the Ilongot people, the creators of the universe are two quarrelling brothers who go by the name Cain and Abel. Abel was a shepherd who is known to have been looked upon favourably due to his propensity to self-sacrifice. While Cain who worked in agriculture was known for his inclination towards chaos.The Ilongot people identify those who live down in the lowlands as following the spirit of Abel.
The Ilongot people identify those who live down in the lowlands as following the spirit of Abel. They view them as superior as well as having had learned to work with the domesticated animals such as Carabao. Interestingly, the Ilongot see themselves as following in the footsteps of Cain and his spirit of chaos.
This is because the Ilongot have long been known as a tribe of headhunters. Like Cain, in moments of grief or intense emotion, the Ilongot have an inclination towards murder.
Manifestation of liget in the Ilongot tribe
After the loss of a loved one, a rage of bereavement arises in the men of the Ilongot. While under this condition – identified by the tribe as liget – the men of the Ilongot would hunt and kill other men.
This intense emotional state labelled as "liget" became the motivation for many cultural practices and “rites of passage” for the tribe. The spirit of liget has been described as a sense of anger, heat, energy and envy.
This emotional state which often leads to headhunting manifests itself in many situations. It is used in times of warfare, elders harness the power of the emotional state in such situations. An unsettled feud or the death of a loved one may also lead to headhunting.
It is also a requirement that a young man must kill before he can marry. Once the headhunters return a pig is sacrificed as well as there often is a celebration amongst the whole tribe.
In modern times there has been a crackdown on the headhunting carried out by the tribe. Protestant missionaries then began to make contact with the tribe; before that time the Ilongot people had no contact with the major world religions.
Many members of the tribe began to practice Christianity, the intense emotional states of the tribal members began to subside. The members were no longer reaching those previously intense emotional states of linget. This meant the tribespeople no longer resort to murder and headhunting as an expression of this emotional state.
1978 Philippines, Luzon, Nueva Vizcaya, Ilongot (Bugkalot) Tribe.
Deep in the rolling mountains of Northern Luzon, far from the hustle and bustle of Metro Manila exists the beautiful landscapes of the Cagayan Valley. The Valley – mostly consisting of the region between the Cordilleras and the Sierra Madre mountain ranges – is home to some of The Philippines most iconic landmarks.
Apart from its beautiful scenic views, the Cagayan Valley is also known to house a peculiar tribe of people whose cultural practices have drawn the attention of anthropologists from around the world.
To address the culturally unique elements of this tribe I will first take you through the mythology subscribed to by these people – the Bugkalut or the more common expression used by tribal outsiders, the Ilongot people.
Creation mythology of the Ilongot people
Those familiar with the Abrahamic religions will know the story of Cain and Abel; found in the Bible book of Genesis. Well, the Ilongot people follow a creation myth very similar to the story of Cain and Abel.
According to the Ilongot people, the creators of the universe are two quarrelling brothers who go by the name Cain and Abel. Abel was a shepherd who is known to have been looked upon favourably due to his propensity to self-sacrifice. While Cain who worked in agriculture was known for his inclination towards chaos.The Ilongot people identify those who live down in the lowlands as following the spirit of Abel.
The Ilongot people identify those who live down in the lowlands as following the spirit of Abel. They view them as superior as well as having had learned to work with the domesticated animals such as Carabao. Interestingly, the Ilongot see themselves as following in the footsteps of Cain and his spirit of chaos.
This is because the Ilongot have long been known as a tribe of headhunters. Like Cain, in moments of grief or intense emotion, the Ilongot have an inclination towards murder.
Manifestation of liget in the Ilongot tribe
After the loss of a loved one, a rage of bereavement arises in the men of the Ilongot. While under this condition – identified by the tribe as liget – the men of the Ilongot would hunt and kill other men.
This intense emotional state labelled as "liget" became the motivation for many cultural practices and “rites of passage” for the tribe. The spirit of liget has been described as a sense of anger, heat, energy and envy.
This emotional state which often leads to headhunting manifests itself in many situations. It is used in times of warfare, elders harness the power of the emotional state in such situations. An unsettled feud or the death of a loved one may also lead to headhunting.
It is also a requirement that a young man must kill before he can marry. Once the headhunters return a pig is sacrificed as well as there often is a celebration amongst the whole tribe.
In modern times there has been a crackdown on the headhunting carried out by the tribe. Protestant missionaries then began to make contact with the tribe; before that time the Ilongot people had no contact with the major world religions.
Many members of the tribe began to practice Christianity, the intense emotional states of the tribal members began to subside. The members were no longer reaching those previously intense emotional states of linget. This meant the tribespeople no longer resort to murder and headhunting as an expression of this emotional state.
1996
"Stewart, get to cover!" shouted the voice of Colonel Allen.
John Stewart dove to the side, an RPG soaring past him. He landed in the sand, his hands gripping the material harshly as he stood.
"Helluva dodge there, Johnny," chimed Rex Mason, one of the members of his squadron. The man held a minigun in his hand, the bullet belt feeding from his backpack. "Don't just stand there, get up ya dumbass."
John nodded, quickly standing to his feet. His hands lifted the M4 Carbine off the ground, quickly reloading the rifle. "Where the hell is our sniper support!?" He shouted, firing a few shots off at the aggressors.
"The helicopter was being fired at!" stated the Colonel, pulling the pin on a frag grenade and lobbing it over the piece of cover. "He hasn't relayed back!"
John cursed under his breath, hoping his friend was okay. As John was in his thoughts, the sound of an aircraft filled the sky. John, as well as his other two squadmates, turned their heads to see a jet soaring towards them, unleashing rounds trailing to them.
The rounds exploding as they touched the ground caused John's eyes to widen. "Get down!"
His yell falls on deaf ears as a frag grenade rolls past their cover from the enemy troop. Allen immediately leaps to the frag grenade, landing on top of it to reduce the blast. As the explosion occurs, the jet passes, exploding their car and knocking John out of consciousness.
-^-^-
Abel Tarrant tapped his foot anxiously in the back of the helicopter. They finally took down one of the jets following them, but the other doubled back to where the convoy was. Where his squad was.
The voice of the pilot broke him from his thoughts, peering over the edge of the chopper to see the remains of multiple explosions. His teeth grit, praying to whatever god there was that his squad was okay… that John was okay.
As the vehicle landed, he immediately hopped out, almost vomiting at the scene. Chunks of flesh and body parts of Colonel Allen were spread around the site. A lone minigun sat, the body of Rex completely gone.
His eyes locked on the body that was slightly twitching, dashing over to see his friend. His clothes were torn, a large chunk of metal lodged in his back, his body covered in blood.
"John?" he asked, praying to hear something. A small grunt from the man was all he needed. "MEDIC! I NEED A MEDIC, NOW!"
-^-^-
Present Day
John grit his teeth as ink encompassed his construct, the octopus slowly crushing the ball that he shielded himself in. "Dammit, Lee!" he shouted, shattering his own construct as well as the octopus with a burst of energy.
Abel Lee Tarrant, the Tattooed Man, stood across the street with various tattoos already lifting off his skin. "What's wrong Johnny?" he asked, sending forward a flaming skull. "Can't take a little ink?"
John narrowly dodged the skull, watching it explode against the building behind him. He quickly created a baseball bat and hit the second ink skull back his way. "Just give up!" he shouted, throwing the bat towards the man.
Lee raised his arm, a snake unravelling itself from the limb and coiling the bat until it shatters. "Why? So I can go to prison?" he asked, two guns forming in his hands. "I think I'm good."
He began to fire off ink bullets, John diving to avoid the attack. Swooping down towards him, his ring created a hammer that smacked him in the side, sending him flying back into the building he had just left. John flew in quickly after him, but halted at the sight before him.
Lee held a small girl in front of him, his arm against her neck. His free hand was held in the air, a lion tattoo snapping it's teeth at the girl's head, only centimeters away.
"L-Lee…" John stuttered, watching as the girl tried to free herself.
"Yeah… now you're not chasing, huh?" Lee asked, his voice different than before. "You better let me go, or else she gets it."
John landed, taking slow steps towards Lee as he spoke, "Lee… this isn't you…"
"Shut up!" he yelled, moving the tattoo closer. "You don't know me John!"
John, hesitated for a moment, surveying his options. After taking a deep breath, he reached to his hand and slid his ring off, tossing it to Lee. "I do know you," he stated, continuing to walk forward. "You could kill me in an instant now that I don't have my ring… but you haven't."
"This ain't a movie John," Lee informed threateningly.
John nodded, "I know. There isn't some script that you need to follow… there isn't some type of preconceived path for you…"
Lee, rather than pushing his offensive, took a step back away from John. "What are you getting at!?" he shouted, an octopus tendril shooting from his back. "You think I'm some sorry sack of shit that'll fold that easy?"
The tentacle shot forward wrapping around John and lifting him into the air. John felt his body being crushed by the ink, but not at the rate it should have been. Lee was holding back. He was hesitating.
"Vi-villains… don't save others…" he wheezed, not being able to speak under the crushing of the ink. "Villains… don't… help someone… l-learn… to walk again…"
The ink suddenly splashed onto the floor, dropping John in the process. The lion on his hand disappeared, his grip releasing, letting the hostage go. John wheezed as he took in breath, looking up at Lee, now on his knees.
"What… what am I doing?" he asked, looking at his tattooed hands. "I… I never wanted this. None of this."
John watched as he placed his head into his hands, lightly starting to cry. John stepped forward, his ring zipping back to his finger. "Lee…"
Lee looked up slightly, his eyes both filled with regret. "I don't know… I… I just don't know anymore," he whimpered. "Why I'm doing any of this…"
As police sirens could be heard, John's ring began to glow, ready to form handcuffs, but stopped. "Go."
Lee looked up to him, confusion filling his voice, "Huh?"
John reached out his hand to him, offering him help to stand. "Get out of here… go start fresh somewhere else…"
Lee shook his head in disbelief. "Wh-why? Why would you ever-"
"You don't turn your back on family," John interrupted, his hand still extended. "And I'd never turn my back on my brother."
-^-^-
Hal brought a can of beer to John, who was sitting idly on his couch. He arrived telling Hal that he needed to talk to someone, but he didn't specify what.
Sitting down next to him, Hal opened a beer of his own. "So, what's up man?"
John looked, troubled. His eyes a duller shade of green than they usually were, his body language stoic and lifeless. "I… I let Lee go today," he whispered out. "I had him on the ground and… and told him to leave."
Hal watched as his friend grit his teeth slightly, his fists closing. That's what it had been, what happened earlier today. He was busy with a threat downtown, so he only saw the news story about Tattooed Man escaping.
"John, I know you," he finally stated, placing his can down on the coffee table. "I have for… what, almost nine years now?" He sighed as John didn't seem to move, still holding his eyes shut tight. "The point is," he began, "You wouldn't have done it without a reason."
John nodded slightly, "I… I couldn't do it… he… John turned his head to Hal, looking at him in the eyes. Taking a deep breath, he began. "I… I've never told anyone this… only people that know are Lynn and Lee…" John informed, his head lowered. "I… for two years I couldn't walk…"
Hal looked at him with surprise on his face. "What?" he asked, confused by the statement.
"It… it was back in 96. I was only in the military for about a year when our convoy was attacked… I was the only one on the ground that made it out."
Hal stared at John, placing a hand on his shoulder. "John…" he whispered in a comforting way.
"A piece of metal from one of the cars… it lodged itself in my back," his words came out in a slight sob, his eyes tearing up at the memory. "The government funded my schooling… but it was Lee… h-he helped me learn to walk again…"
Hal patted his friend on the back as he cried, the most refined, toughest man he knew… he'd seen him laugh, cry… but never like this… he was… broken.
"I… I'm a monster," he whimpered out, catching Hal's ear. "Everyone… everyone that comes into contact with me… Tommy, Alan, Lee… K-Kat… it's my fault he's like this… it's like some kind of fucking curse."
Hal reached forward, pulling John into a hug. He felt the man's tears begin to stain his shoulder. "You aren't a monster… you're a hero…" Hal insisted. "You are a Green Lantern. You do nothing but put your life on the line everyday… you don't get to call yourself a monster."
"I just want to help him… help him be the man I know he is… I feel like, if it don't…" his voice trailed off, causing him to look up from Hal's shoulder. "I'm so tired of graveyards…" he mumbled, his voice cracking as he spoke. "I don't want Lee… or you… or Jessica… or Guy or Simon… I can't bury someone else… I can't do it."
"You don't have to," assured Hal, placing his hands on his shoulders. "I won't let you bury anyone else."
"Th-th-thank you… brother… thank you."
John left the apartment a few hours later, leaving Hal in his own thoughts. His thoughts on someone he once considered a friend… a brother.
1993, Starheart
Hal Jordan laughed alongside Thaal Sinestro, both sitting on bar stools with stings in hand. "And I tell her, 'Sorry I had to raincheck, giant evil space star might be trying to take over a planet,'" chuckles Hal, gaining a laugh from his pink skinned partner.
"Jordan, how you live such a healthy life between duty and family will never cease to surprise me," stated Thaal, taking a drink of his beverage. "I only wish it were that simple with Soranik."
Hal placed his hand on his friend's back, giving him a small pat. "Hey, don't sweat it," he insisted, "you'll get it… erm… eventually?"
Thaal chuckled, "Inspiring as ever," he paused, taking a drink before continuing, "the Honor Guard of the century."
"Hey! I feel like I did good," he retorted.
"You did. We did," he stated matter of factly.
"Not everyday you get to stop a giant evil starfish from taking over the Green Lantern central battery," he noted, raising his glass to Thaal. "So, a toast?"
Thaal raised his glass, "To brotherhood."
Hal smiled, nodding before he drank, "To brotherhood."
Present Day
Hal sighed to himself. He missed having Thaal around, the pink skinned man was his brother through and through…
But you don't turn your back on family, and Thaal turned his back on his brother. He wished that he could be redeemed, that there was some way to help him… but he was a villain. He was beyond saving.
He couldn't save his brother, so he vowed to protect John… he couldn't lose another brother. Not again.
Posted 12/29/22
- - - 5/18/24 Update: Please contact me if interested in acquiring my complete collection of #7UpUnCola billboards and posters in all sizes (serious inquiries only). These are literally the "best of the best" collected since 2010. I've kept the very best and sold the rest in dozens and dozens of transactions, including to international vintage poster dealers. This is by far the largest collection of its kind in the world to my knowledge. - - -
- - - Please note that ALL of my images are "All Rights Reserved" and are posted for educational purposes only. Please do the right thing and contact me in advance if you wish to discuss the use or reuse of my images and provide a link to my originals. I would also ask that I be given a "first look" at any 7Up UnCola billboards or posters before you market them to the general public in return for my extensive investment in time, money and research, including interviewing some of the surviving artists. Thanks, and enjoy. - - -
Search "7Up UnCola Billboards" on eBay www.ebay.com/usr/finishstrong312 or peruse my albums on Flickr.com www.flickr.com/photos/30559980@N07/albums if you'd like to learn more about this stunning body of work or acquire originals that might be duplicates to me. I keep the best and sell the rest.
- - -12 of my duplicate originals are for sale now as a set. They total about 2,500 square feet of 50-year-old offset lithographic posters. See my adjacent post. - - -
www.flickr.com/photos/30559980@N07/52580627326/in/album-7...
You can learn more about my one-of-a-kind 7Up UnCola billboard & poster collection by reading this in-depth 2016 article in Collectors Weekly (dot com) or the other links that follow:
www.collectorsweekly.com/articles/collecting-7ups-most-be...
flashbak.com/when-7up-was-cool-the-uncola-ad-campaign-196...
www.djfood.org/7up-the-uncola-posters/
dangerousminds.net/comments/the_uncola_7up_and_the_most_p...
This image:
This is a collage of the 54 +/- billboard images by the Seven Up Company working with the J Walter Thompson [advertising] Company of Chicago (the Midwest Mad Men) between about 1969 and the middle of the 1970's. They are arranged in chronological order as much as I can determine per the rainlap diagram on the rear of top left Panel A1 of each copy.
I also used my collection of several booklets about "The UnCola" award winning ad campaign and the expiration dates of billboard and poster offers to bracket the possible issue dates of each.
They represent over 11,300 square feet (1,053 sq. meters) which would equal 2.5 regulation basketball courts laid side to side.
Most are ONE-OF-A-KIND, TWO-OF-A-KIND, or one of just a couple dozen known copies at the most. VERY RARE
Learn more about this collective body of work in my various albums posted here on Flickr:
www.flickr.com/photos/30559980@N07/albums
"The UnCola" story:
My listings come from the largest, one-of-a-kind collection of 7Up UnCola posters and billboards in the world. To learn more about this award winning ad campaign, search for in-depth articles by Collectors Weekly (Collecting 7Ups Most Beautiful Hallucinatory Billboards), Dangerous Minds (The UnCola 7Up And The Most Psychedelic LSD Friendly Ad Campaign of All Time) or DJ Food's (7Up The UnCola Posters) blogs. Alternately, search <7Up UnCola> on flickr dot com and you'll quickly find out more about these art competition winning advertising images issued in the late 60's & early 70's:
These outdoor ads (billboards) were commissioned by the J. Walter Thompson [advertising] Co. of Chicago (JWT) between 1969 and the mid-1970's. I consider them the "Midwest Mad Men". Most of the 54+ extremely colorful billboard & poster images were illustrated by invited outside freelance artists who were allowed to sign their names on the originals if desired - not all did. If their design was selected, they received $2,000 for the final artwork. My collection includes at least one each of over two-thirds of the billboards and only my duplicate copies are being offered for sale. A few images were produced in-house at JWT, and never with the artist's name on them. JWT wisely chose to invite only up and coming artists and not well known graphic stars so as not to let their notoriety overshadow the 7Up product itself. FYI - Peter Max did NONE of the 7Up posters, contrary to popular belief. This famous ad campaign increased sales by 30% in a short time and rescued Seven Up from near bankruptcy. Since then they've lost their fizz.
Many of the artists have gone on to great fame in the graphics community Milton Glaser (I [heart] NY logo) (Mad Men final Season 7 poster; co-founder of Push Pin Studios), Seymour Chwast (co-founder of Push Pin Studios) with Isadore Seltzer (Push Pin), John Alcorn (Push Pin), Barry Zaid (Push Pin), Kim Whitesides, Jacqui Morgan, Simms Taback (1st Happy Meal Box in Smithsonian & Caldecott Honor for children's books), Skip Williamson (underground comics), Robert Abel (1st Tron movie animations), Charlie White III (permanent collection at MOMA), John Craig, Ray Lyle, Heather Cooper, Nancy Martell, Roger Chouinard, Pat Dypold, Bob Taylor, Tom Kamifuji (original rainbow logo for Apple), Bill Bosworth, Ed George, Joanne _ and probably several others.
From time to time Seven Up offered other billboard and poster images to the general public for prices ranging from $0.50 to $1.50 for posters and $3.50 up to $8.50 for billboards. My collection also includes a number of billboard & poster offers that helps me to pin down issue dates.
Check out this recent 69 second 7Up Vintage Limited Edition Art Series video that features several 7Up UnCola images from my collection:
www.youtube.com/watch?v=Fd8EonCcyAs
0:31 "Butterfly & Bottle”
0:33 "The UnUsual”
0:35 "UnCanny In Cans”
0:36 “See The Light”
0:40 “# Un In The Sun”
0:41 "Wet Un Wild”
DES #: 71251
Posted 12/26/22.
- - - Please note that ALL of my images are "All Rights Reserved" and are posted for educational purposes only. Please do the right thing and contact me in advance if you wish to discuss the use or reuse of my images and provide a link to my originals. I would also ask that I be given a "first look" at any 7Up UnCola billboards or posters before you market them to the general public in return for my extensive investment in time, money and research, including interviewing some of the surviving artists. Thanks, and enjoy. - - -
Search "7Up UnCola Billboards" on eBay www.ebay.com/usr/finishstrong312 or peruse my albums on Flickr.com www.flickr.com/photos/30559980@N07/albums if you'd like to learn more about this stunning body of work or acquire originals that might be duplicates to me. I keep the best and sell the rest.
Read about the illustrator’s career here:
en.wikipedia.org/wiki/Robert_Abel_(animator)
Robert was responsible for cutting edge animation including the original "Tron" movie and many more. This image was harvested from his 1974 psychedelic 7Up "Bubbles" video:
www.google.com/search?q=robert+abel+7up&oq=robert+abe...
You can learn more about my one-of-a-kind 7Up UnCola billboard & poster collection by reading this in-depth 2016 article in Collectors Weekly (dot com) or the other links that follow:
www.collectorsweekly.com/articles/collecting-7ups-most-be...
flashbak.com/when-7up-was-cool-the-uncola-ad-campaign-196...
www.djfood.org/7up-the-uncola-posters/
dangerousminds.net/comments/the_uncola_7up_and_the_most_p...
This image:
This is Design 71251 per the rainlap diagram on the rear of top left Panel A1.
I've dated it to 1972 based upon the number "2" as the 3rd digit in the numbering system, but that's pure speculation. Their system changed from very simple to very obscure in the later years (69-x, 70-x, 71-x, 711xxx, 712xx, 73xx, etc.) until some didn't even have numbers at all toward the end.
21'x10' vintage billboard acquired in Mint condition.
This is truly ONE-OF-A-KIND. I know of no other copies in any size at this time.
The illustrator and their image was NOT featured in a small American Contemporary Graphics booklet from about 1971-72:
www.flickr.com/photos/30559980@N07/albums/72157636886600686
This image was NOT featured in issue #47 of the "Dimensions" quarterly booklet published in the Fall of 1973 by the Simpson Lee Paper Company - this time focused entirely on 7Up billboards:
www.flickr.com/photos/30559980@N07/albums/72157649999521398
This was NOT offered in the purplish billboard and poster offer that expired on 12/31/70:
www.flickr.com/photos/30559980@N07/21744527254/in/album-7...
This was NOT offered in the square foldout billboard and poster offer that expired on 5/31/72 (4 photos):
www.flickr.com/photos/30559980@N07/8203486520/in/album-72...
www.flickr.com/photos/30559980@N07/8202391927/in/album-72...
This was NOT offered in the yellow billboard and poster offer that expired on 9/1/72:
www.flickr.com/photos/30559980@N07/5809333595/in/album-72...
This was NOT offered in the “New For 1973” billboard and poster offer that expired on 6/30/74:
www.flickr.com/photos/30559980@N07/15729486025/in/album-7...
Bottom line: I've never seen this image offered to the general public in my probably incomplete collection of billboard & poster offers.
1978 Philippines, Luzon, Nueva Vizcaya, Ilongot (Bugkalot) Tribe.
Deep in the rolling mountains of Northern Luzon, far from the hustle and bustle of Metro Manila exists the beautiful landscapes of the Cagayan Valley. The Valley – mostly consisting of the region between the Cordilleras and the Sierra Madre mountain ranges – is home to some of The Philippines most iconic landmarks.
Apart from its beautiful scenic views, the Cagayan Valley is also known to house a peculiar tribe of people whose cultural practices have drawn the attention of anthropologists from around the world.
To address the culturally unique elements of this tribe I will first take you through the mythology subscribed to by these people – the Bugkalut or the more common expression used by tribal outsiders, the Ilongot people.
Creation mythology of the Ilongot people
Those familiar with the Abrahamic religions will know the story of Cain and Abel; found in the Bible book of Genesis. Well, the Ilongot people follow a creation myth very similar to the story of Cain and Abel.
According to the Ilongot people, the creators of the universe are two quarrelling brothers who go by the name Cain and Abel. Abel was a shepherd who is known to have been looked upon favourably due to his propensity to self-sacrifice. While Cain who worked in agriculture was known for his inclination towards chaos. The Ilongot people identify those who live down in the lowlands as following the spirit of Abel.
The Ilongot people identify those who live down in the lowlands as following the spirit of Abel. They view them as superior as well as having had learned to work with the domesticated animals such as Carabao. Interestingly, the Ilongot see themselves as following in the footsteps of Cain and his spirit of chaos.
This is because the Ilongot have long been known as a tribe of headhunters. Like Cain, in moments of grief or intense emotion, the Ilongot have an inclination towards murder.
Manifestation of liget in the Ilongot tribe
After the loss of a loved one, a rage of bereavement arises in the men of the Ilongot. While under this condition – identified by the tribe as liget – the men of the Ilongot would hunt and kill other men.
This intense emotional state labelled as "liget" became the motivation for many cultural practices and “rites of passage” for the tribe. The spirit of liget has been described as a sense of anger, heat, energy and envy.
This emotional state which often leads to headhunting manifests itself in many situations. It is used in times of warfare, elders harness the power of the emotional state in such situations. An unsettled feud or the death of a loved one may also lead to headhunting.
It is also a requirement that a young man must kill before he can marry. Once the headhunters return a pig is sacrificed as well as there often is a celebration amongst the whole tribe.
In modern times there has been a crackdown on the headhunting carried out by the tribe. Protestant missionaries then began to make contact with the tribe; before that time the Ilongot people had no contact with the major world religions.
Many members of the tribe began to practice Christianity, the intense emotional states of the tribal members began to subside. The members were no longer reaching those previously intense emotional states of linget. This meant the tribespeople no longer resort to murder and headhunting as an expression of this emotional state.
"The Book of Genesis" redirects here. For the comics, see The Book of Genesis (comics).
The Creation of Man by Ephraim Moses Lilien, 1903.
Jacob flees Laban by Charles Foster, 1897.
Joshua 1:1 as recorded in the Aleppo Codex
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The Book of Genesis,[a] the first book of the Hebrew Bible and the Old Testament,[1] is Judaism's account of the creation of the world and the origins of the Jewish people.[2]
It is divisible into two parts, the primeval history (chapters 1–11) and the ancestral history (chapters 12–50).[3] The primeval history sets out the author's (or authors') concepts of the nature of the deity and of humankind's relationship with its maker: God creates a world which is good and fit for mankind, but when man corrupts it with sin God decides to destroy his creation, saving only the righteous Noah to reestablish the relationship between man and God.[4] The ancestral history (chapters 12–50) tells of the prehistory of Israel, God's chosen people.[5] At God's command Noah's descendant Abraham journeys from his home into the God-given land of Canaan, where he dwells as a sojourner, as does his son Isaac and his grandson Jacob. Jacob's name is changed to Israel, and through the agency of his son Joseph, the children of Israel descend into Egypt, 70 people in all with their households, and God promises them a future of greatness. Genesis ends with Israel in Egypt, ready for the coming of Moses and the Exodus. The narrative is punctuated by a series of covenants with God, successively narrowing in scope from all mankind (the covenant with Noah) to a special relationship with one people alone (Abraham and his descendants through Isaac and Jacob).[6]
In Judaism, the theological importance of Genesis centers on the covenants linking God to his chosen people and the people to the Promised Land. Christianity has interpreted Genesis as the prefiguration of certain cardinal Christian beliefs, primarily the need for salvation (the hope or assurance of all Christians) and the redemptive act of Christ on the Cross as the fulfillment of covenant promises as the Son of God.
Tradition credits Moses as the author of Genesis, as well as the books of Exodus, Leviticus, Numbers and most of Deuteronomy, but modern scholars increasingly see them as a product of the 6th and 5th centuries BC.[7][8]
Contents
1Structure
2Summary
3Composition
3.1Title and textual witnesses
3.2Origins
3.3Genre
4Themes
4.1Promises to the ancestors
4.2God's chosen people
5Judaism's weekly Torah portions
6See also
7Notes
8References
9Bibliography
9.1Commentaries on Genesis
9.2General
10External links
Structure[edit]
Genesis appears to be structured around the recurring phrase elleh toledot, meaning "these are the generations," with the first use of the phrase referring to the "generations of heaven and earth" and the remainder marking individuals—Noah, the "sons of Noah", Shem, etc., down to Jacob.[9] It is not clear, however, what this meant to the original authors, and most modern commentators divide it into two parts based on subject matter, a "primeval history" (chapters 1–11) and a "patriarchal history" (chapters 12–50).[10][b] While the first is far shorter than the second, it sets out the basic themes and provides an interpretive key for understanding the entire book.[11] The "primeval history" has a symmetrical structure hinging on chapters 6–9, the flood story, with the events before the flood mirrored by the events after;[12] the "ancestral history" is structured around the three patriarchs Abraham, Jacob and Joseph.[13] (The stories of Isaac do not make up a coherent cycle of stories and function as a bridge between the cycles of Abraham and Jacob.)[14]
Summary[edit]
See also: Primeval history and Patriarchal age
The Creation of Adam by Michelangelo, 1512.
God creates the world in six days and consecrates the seventh as a day of rest. God creates the first humans Adam and Eve and all the animals in the Garden of Eden but instructs them not to eat the fruit of the tree of knowledge of good and evil. A talking serpent portrayed as a deceptive creature or trickster, entices Eve into eating it against God's wishes, and she entices Adam, whereupon God throws them out and curses them—Adam to getting what he needs only by sweat and work, and Eve to giving birth in pain. This is interpreted by Christians as the fall of humanity. Eve bears two sons, Cain and Abel. Cain kills Abel after God accepts Abel's offering but not Cain's. God then curses Cain. Eve bears another son, Seth, to take Abel's place.
After many generations of Adam have passed from the lines of Cain and Seth, the world becomes corrupted by human sin and Nephilim, and God determines to wipe out humanity. First, he instructs the righteous Noah and his family to build an ark and put examples of all the animals on it, seven pairs of every clean animal and one pair of every unclean. Then God sends a great flood to wipe out the rest of the world. When the waters recede, God promises he will never destroy the world with water again, using the rainbow as a symbol of his promise. God sees mankind cooperating to build a great tower city, the Tower of Babel, and divides humanity with many languages and sets them apart with confusion.
God instructs Abram to travel from his home in Mesopotamia to the land of Canaan. There, God makes a covenant with Abram, promising that his descendants shall be as numerous as the stars, but that people will suffer oppression in a foreign land for four hundred years, after which they will inherit the land "from the river of Egypt to the great river, the river Euphrates". Abram's name is changed to Abraham and that of his wife Sarai to Sarah, and circumcision of all males is instituted as the sign of the covenant. Due to her old age, Sarah tells Abraham to take her Egyptian handmaiden, Hagar, as a second wife. Through Hagar, Abraham fathers Ishmael.
God resolves to destroy the cities of Sodom and Gomorrah for the sins of their people. Abraham protests and gets God to agree not to destroy the cities for the sake of ten righteous men. Angels save Abraham's nephew Lot and his family, but his wife looks back on the destruction against their command and turns into a pillar of salt. Lot's daughters, concerned that they are fugitives who will never find husbands, get him drunk to become pregnant by him, and give birth to the ancestors of the Moabites and Ammonites.
Abraham and Sarah go to the Philistine town of Gerar, pretending to be brother and sister (they are half-siblings). The King of Gerar takes Sarah for his wife, but God warns him to return her, and he obeys. God sends Sarah a son whom she will name Isaac; through him will be the establishment of the covenant. Sarah drives Ishmael and his mother Hagar out into the wilderness, but God saves them and promises to make Ishmael a great nation.
The Angel Hinders the Offering of Isaac (Rembrandt, 1635)
God tests Abraham by demanding that he sacrifice Isaac. As Abraham is about to lay the knife upon his son, God restrains him, promising him numberless descendants. On the death of Sarah, Abraham purchases Machpelah (believed to be modern Hebron) for a family tomb and sends his servant to Mesopotamia to find among his relations a wife for Isaac; after proving herself, Rebekah becomes Isaac's betrothed. Keturah, Abraham's other wife, births more children, among whose descendants are the Midianites. Abraham dies at a prosperous old age and his family lays him to rest in Hebron.
Isaac's wife Rebecca gives birth to the twins Esau, father of the Edomites, and Jacob. Through deception, Jacob becomes the heir instead of Esau and gains his father's blessing. He flees to his uncle where he prospers and earns his two wives, Rachel and Leah. Jacob's name is changed to Israel, and by his wives and their handmaidens he has twelve sons, the ancestors of the twelve tribes of the Children of Israel, and a daughter, Dinah.
Joseph, Jacob's favorite son, makes his brothers jealous and they sell him into slavery in Egypt. Joseph prospers, after hardship, with God's guidance of interpreting Pharaoh's dream of upcoming famine. He is then reunited with his father and brothers, who fail to recognize him, and plead for food. After much manipulation, he reveals himself and lets them and their households into Egypt, where Pharaoh assigns to them the land of Goshen. Jacob calls his sons to his bedside and reveals their future before he dies. Joseph lives to an old age and exhorts his brethren, if God should lead them out of the country, to take his bones with them.
Composition[edit]
Abram's Journey from Ur to Canaan (József Molnár, 1850)
Title and textual witnesses[edit]
Genesis takes its Hebrew title from the first word of the first sentence, Bereshit, meaning "In [the] beginning [of]"; in the Greek Septuagint it was called Genesis, from the phrase "the generations of heaven and earth".[15] There are four major textual witnesses to the book: the Masoretic Text, the Samaritan Pentateuch, the Septuagint, and fragments of Genesis found at Qumran. The Qumran group provides the oldest manuscripts but covers only a small proportion of the book; in general, the Masoretic Text is well preserved and reliable, but there are many individual instances where the other versions preserve a superior reading.[16]
Origins[edit]
Main article: Composition of the Torah
For much of the 20th century most scholars agreed that the five books of the Pentateuch—Genesis, Exodus, Leviticus, Numbers and Deuteronomy—came from four sources, the Yahwist, the Elohist, the Deuteronomist and the Priestly source, each telling the same basic story, and joined together by various editors.[17] Since the 1970s there has been a revolution leading scholars to view the Elohist source as no more than a variation on the Yahwist, and the Priestly source as a body of revisions and expansions to the Yahwist (or "non-Priestly") material. (The Deuteronomistic source does not appear in Genesis.)[18]
Scholars use examples of repeated and duplicate stories to identify the separate sources. In Genesis these include three different accounts of a Patriarch claiming that his wife was his sister, the two creation stories, and the two versions of Abraham sending Hagar and Ishmael into the desert.[19]
This leaves the question of when these works were created. Scholars in the first half of the 20th century came to the conclusion that the Yahwist is a product of the monarchic period, specifically at the court of Solomon, 10th century BC, and the Priestly work in the middle of the 5th century BC (with claims that the author is Ezra), but more recent thinking is that the Yahwist is from either just before or during the Babylonian exile of the 6th century BC, and the Priestly final edition was made late in the Exilic period or soon after.[8]
As for why the book was created, a theory which has gained considerable interest, although still controversial is "Persian imperial authorisation". This proposes that the Persians of the Achaemenid Empire, after their conquest of Babylon in 539 BC, agreed to grant Jerusalem a large measure of local autonomy within the empire, but required the local authorities to produce a single law code accepted by the entire community. The two powerful groups making up the community—the priestly families who controlled the Temple and who traced their origin to Moses and the wilderness wanderings, and the major landowning families who made up the "elders" and who traced their own origins to Abraham, who had "given" them the land—were in conflict over many issues, and each had its own "history of origins", but the Persian promise of greatly increased local autonomy for all provided a powerful incentive to cooperate in producing a single text.[20]
Genre[edit]
Genesis is perhaps best seen as an example of a creation myth, a type of literature telling of the first appearance of humans, the stories of ancestors and heroes, and the origins of culture, cities and so forth.[21] The most notable examples are found in the work of Greek historians of the 6th century BC: their intention was to connect notable families of their own day to a distant and heroic past, and in doing so they did not distinguish between myth, legend, and facts.[22] Professor Jean-Louis Ska of the Pontifical Biblical Institute calls the basic rule of the antiquarian historian the "law of conservation": everything old is valuable, nothing is eliminated.[23] Ska also points out the purpose behind such antiquarian histories: antiquity is needed to prove the worth of Israel's traditions to the nations (the neighbours of the Jews in early Persian Palestine), and to reconcile and unite the various factions within Israel itself.[23]
Themes[edit]
Joseph Recognized by His Brothers (Léon Pierre Urban Bourgeois, 1863)
Promises to the ancestors[edit]
In 1978 David Clines published his influential The Theme of the Pentateuch – influential because he was one of the first to take up the question of the theme of the entire five books. Clines' conclusion was that the overall theme is "the partial fulfillment – which implies also the partial nonfulfillment – of the promise to or blessing of the Patriarchs". (By calling the fulfillment "partial" Clines was drawing attention to the fact that at the end of Deuteronomy the people are still outside Canaan).[24]
The patriarchs, or ancestors, are Abraham, Isaac and Jacob, with their wives (Joseph is normally excluded).[25] Since the name YHWH had not been revealed to them, they worshipped El in his various manifestations.[26] (It is, however, worth noting that in the Jahwist source the patriarchs refer to deity by the name YHWH, for example in Genesis 15.) Through the patriarchs God announces the election of Israel, meaning that he has chosen Israel to be his special people and committed himself to their future.[27] God tells the patriarchs that he will be faithful to their descendants (i.e. to Israel), and Israel is expected to have faith in God and his promise. ("Faith" in the context of Genesis and the Hebrew Bible means agreement to the promissory relationship, not a body of belief).[28]
The promise itself has three parts: offspring, blessings, and land.[29] The fulfilment of the promise to each patriarch depends on having a male heir, and the story is constantly complicated by the fact that each prospective mother – Sarah, Rebekah and Rachel – is barren. The ancestors, however, retain their faith in God and God in each case gives a son – in Jacob's case, twelve sons, the foundation of the chosen Israelites. Each succeeding generation of the three promises attains a more rich fulfillment, until through Joseph "all the world" attains salvation from famine,[30] and by bringing the children of Israel down to Egypt he becomes the means through which the promise can be fulfilled.[25]
God's chosen people[edit]
Scholars generally agree that the theme of divine promise unites the patriarchal cycles, but many would dispute the efficacy of trying to examine Genesis' theology by pursuing a single overarching theme, instead citing as more productive the analysis of the Abraham cycle, the Jacob cycle, and the Joseph cycle, and the Yahwist and Priestly sources.[31] The problem lies in finding a way to unite the patriarchal theme of divine promise to the stories of Genesis 1–11 (the primeval history) with their theme of God's forgiveness in the face of man's evil nature.[32][33] One solution is to see the patriarchal stories as resulting from God's decision not to remain alienated from mankind:[33] God creates the world and mankind, mankind rebels, and God "elects" (chooses) Abraham.[6]
To this basic plot (which comes from the Yahwist) the Priestly source has added a series of covenants dividing history into stages, each with its own distinctive "sign". The first covenant is between God and all living creatures, and is marked by the sign of the rainbow; the second is with the descendants of Abraham (Ishmaelites and others as well as Israelites), and its sign is circumcision; and the last, which does not appear until the book of Exodus, is with Israel alone, and its sign is Sabbath. A great leader mediates each covenant (Noah, Abraham, Moses), and at each stage God progressively reveals himself by his name (Elohim with Noah, El Shaddai with Abraham, Yahweh with Moses).[6]
Judaism's weekly Torah portions[edit]
Main article: Weekly Torah portion
First Day of Creation (from the 1493 Nuremberg Chronicle)
Bereshit, on Genesis 1–6: Creation, Eden, Adam and Eve, Cain and Abel, Lamech, wickedness
Noach, on Genesis 6–11: Noah's Ark, the Flood, Noah's drunkenness, the Tower of Babel
Lech-Lecha, on Genesis 12–17: Abraham, Sarah, Lot, covenant, Hagar and Ishmael, circumcision
Vayeira, on Genesis 18–22: Abraham's visitors, Sodomites, Lot's visitors and flight, Hagar expelled, binding of Isaac
Chayei Sarah, on Genesis 23–25: Sarah buried, Rebekah for Isaac
Toledot, on Genesis 25–28: Esau and Jacob, Esau's birthright, Isaac's blessing
Vayetze, on Genesis 28–32: Jacob flees, Rachel, Leah, Laban, Jacob's children and departure
Vayishlach, on Genesis 32–36: Jacob's reunion with Esau, the rape of Dinah
Vayeshev, on Genesis 37–40: Joseph's dreams, coat, and slavery, Judah with Tamar, Joseph and Potiphar
Miketz, on Genesis 41–44: Pharaoh's dream, Joseph in government, Joseph's brothers visit Egypt
Vayigash, on Genesis 44–47: Joseph reveals himself, Jacob moves to Egypt
Vaychi, on Genesis 47–50: Jacob's blessings, death of Jacob and of Joseph
See also[edit]
Bible portal
Dating the Bible
Enûma Eliš
Genesis creation narrative
Genesis 1:1
Historicity of the Bible
Mosaic authorship
Paradise Lost
Protevangelium
Wife–sister narratives in the Book of Genesis
Notes[edit]
^ The name "Genesis" is from the Latin Vulgate, in turn borrowed or transliterated from Greek "γένεσις", meaning "Origin"; Hebrew: בְּרֵאשִׁית, "Bərēšīṯ", "In [the] beginning"
^ The Weekly Torah portions, Parashot, divide the book into 12 readings.
References[edit]
^ Hamilton 1990, p. 1.
^ Sweeney 2012, p. 657.
^ Bergant 2013, p. xii.
^ Bandstra 2008, p. 35.
^ Bandstra 2008, p. 78.
^ Jump up to: a b c Bandstra (2004), pp. 28–29
^ Van Seters (1998), p. 5
^ Jump up to: a b Davies (1998), p. 37
^ Hamilton (1990), p. 2
^ Whybray (1997), p. 41
^ McKeown (2008), p. 2
^ Walsh (2001), p. 112
^ Bergant 2013, p. 45.
^ Bergant 2013, p. 103.
^ Carr 2000, p. 491.
^ Hendel, R. S. (1992). "Genesis, Book of". In D. N. Freedman (Ed.), The Anchor Yale Bible Dictionary (Vol. 2, p. 933). New York: Doubleday
^ Gooder (2000), pp. 12–14
^ Van Seters (2004), pp. 30–86
^ Lawrence Boadt; Richard J. Clifford; Daniel J. Harrington (2012). Reading the Old Testament: An Introduction. Paulist Press.
^ Ska (2006), pp. 169, 217–18
^ Van Seters (2004) pp. 113–14
^ Whybray (2001), p. 39
^ Jump up to: a b Ska (2006), p. 169
^ Clines (1997), p. 30
^ Jump up to: a b Hamilton (1990), p. 50
^ John J Collins (2007), A Short Introduction to the Hebrew Bible, Fortress Press, p. 47
^ Brueggemann (2002), p. 61
^ Brueggemann (2002), p. 78
^ McKeown (2008), p. 4
^ Wenham (2003), p. 34
^ Hamilton (1990), pp. 38–39
^ Hendel, R. S. (1992). "Genesis, Book of". In D. N. Freedman (Ed.), The Anchor Yale Bible Dictionary (Vol. 2, p. 935). New York: Doubleday
^ Jump up to: a b Kugler, Hartin (2009), p.9
Bibliography[edit]
Commentaries on Genesis[edit]
Sweeney, Marvin (2012). "Genesis in the Context of Jewish Thought". In Evans, Craig A.; Lohr, Joel N. (eds.). The Book of Genesis: Composition, Reception, and Interpretation. BRILL. ISBN 978-9004226531.
Bandstra, Barry L. (2008). Reading the Old Testament. Cengage Learning. ISBN 978-0495391050.
Bergant, Dianne (2013). Genesis: In the Beginning. Liturgical Press. ISBN 9780814682753.
Blenkinsopp, Joseph (2011). Creation, Un-creation, Re-creation: A Discursive Commentary on Genesis 1–11. Continuum International Publishing Group. ISBN 9780567372871.
Brueggemann, Walter (1986). Genesis. Interpretation: A Bible Commentary for Teaching and Preaching. Atlanta: John Knox Press. ISBN 0-8042-3101-X.
Carr, David M. (2000). "Genesis, Book of". In Freedman, David Noel; Myers, Allen C. (eds.). Eerdmans Dictionary of the Bible. Amsterdam University Press. ISBN 9780567372871.
Cotter, David W (2003). Genesis. Liturgical Press. ISBN 9780814650400.
De La Torre, Miguel (2011). Genesis. Belief: A Theological Commentary on the Bible. Westminster John Knox Press.
Fretheim, Terence E. "The Book of Genesis." In The New Interpreter's Bible. Edited by Leander E. Keck, vol. 1, pp. 319–674. Nashville: Abingdon Press, 1994. ISBN 0-687-27814-7.
Hamilton, Victor P (1990). The Book of Genesis: chapters 1–17. Eerdmans. ISBN 9780802825216.
Hamilton, Victor P (1995). The Book of Genesis: chapters 18–50. Eerdmans. ISBN 9780802823090.
Hirsch, Samson Raphael. The Pentateuch: Genesis. Translated by Isaac Levy. Judaica Press, 2nd edition 1999. ISBN 0-910818-12-6. Originally published as Der Pentateuch uebersetzt und erklaert Frankfurt, 1867–1878.
Kass, Leon R. The Beginning of Wisdom: Reading Genesis. New York: Free Press, 2003. ISBN 0-7432-4299-8.
Kessler, Martin; Deurloo, Karel Adriaan (2004). A Commentary on Genesis: The Book of Beginnings. Paulist Press. ISBN 9780809142057.
McKeown, James (2008). Genesis. Eerdmans. ISBN 9780802827050.
Plaut, Gunther. The Torah: A Modern Commentary (1981), ISBN 0-8074-0055-6
Rogerson, John William (1991). Genesis 1–11. T&T Clark. ISBN 9780567083388.
Sacks, Robert D (1990). A Commentary on the Book of Genesis. Edwin Mellen.
Sarna, Nahum M. The JPS Torah Commentary: Genesis: The Traditional Hebrew Text with the New JPS Translation. Philadelphia: Jewish Publication Society, 1989. ISBN 0-8276-0326-6.
Speiser, E.A. Genesis: Introduction, Translation, and Notes. New York: Anchor Bible, 1964. ISBN 0-385-00854-6.
Towner, Wayne Sibley (2001). Genesis. Westminster John Knox Press. ISBN 9780664252564.
Turner, Laurence (2009). Genesis, Second Edition. Sheffield Phoenix Press. ISBN 9781906055653.
Von Rad, Gerhard (1972). Genesis: A Commentary. Westminster John Knox Press. ISBN 9780664227456.
Wenham, Gordon (2003). "Genesis". In James D. G. Dunn, John William Rogerson (ed.). Eerdmans Bible Commentary. Eerdmans. ISBN 9780802837110.
Whybray, R.N (2001). "Genesis". In John Barton (ed.). Oxford Bible Commentary. Oxford University Press. ISBN 9780198755005.
General[edit]
Bandstra, Barry L (2004). Reading the Old Testament: An Introduction to the Hebrew Bible. Wadsworth. ISBN 9780495391050.
Blenkinsopp, Joseph (2004). Treasures old and new: Essays in the Theology of the Pentateuch. Eerdmans. ISBN 9780802826794.
Brueggemann, Walter (2002). Reverberations of faith: A Theological Handbook of Old Testament themes. Westminster John Knox. ISBN 9780664222314.
Campbell, Antony F; O'Brien, Mark A (1993). Sources of the Pentateuch: Texts, Introductions, Annotations. Fortress Press. ISBN 9781451413670.
Carr, David M (1996). Reading the Fractures of Genesis. Westminster John Knox Press. ISBN 9780664220716.
Clines, David A (1997). The Theme of the Pentateuch. Sheffield Academic Press. ISBN 9780567431967.
Davies, G.I (1998). "Introduction to the Pentateuch". In John Barton (ed.). Oxford Bible Commentary. Oxford University Press. ISBN 9780198755005.
Gooder, Paula (2000). The Pentateuch: A Story of Beginnings. T&T Clark. ISBN 9780567084187.
Hendel, Ronald (2012). The Book of "Genesis": A Biography (Lives of Great Religious Books). Princeton University Press. ISBN 9780691140124.
Kugler, Robert; Hartin, Patrick (2009). The Old Testament between Theology and History: A Critical Survey. Eerdmans. ISBN 9780802846365.
Levin, Christoph L (2005). The Old Testament: A Brief Introduction. Princeton University Press. ISBN 9780691113944.
Longman, Tremper (2005). How to read Genesis. InterVarsity Press. ISBN 9780830875603.
McEntire, Mark (2008). Struggling with God: An Introduction to the Pentateuch. Mercer University Press. ISBN 9780881461015.
Newman, Murray L. (1999). Genesis (PDF). Forward Movement Publications, Cincinnati, OH.
Ska, Jean-Louis (2006). Introduction to Reading the Pentateuch. Eisenbrauns. ISBN 9781575061221.
Van Seters, John (1992). Prologue to History: The Yahwist as Historian in Genesis. Westminster John Knox Press. ISBN 9780664221799.
Van Seters, John (1998). "The Pentateuch". In Steven L. McKenzie, Matt Patrick Graham (ed.). The Hebrew Bible Today: An Introduction to Critical Issues. Westminster John Knox Press. ISBN 9780664256524.
Van Seters, John (2004). The Pentateuch: A Social-science Commentary. Continuum International Publishing Group. ISBN 9780567080882.
Walsh, Jerome T (2001). Style and Structure in Biblical Hebrew Narrative. Liturgical Press. ISBN 9780814658970.
External links[edit]
Wikimedia Commons has media related to Book of Genesis.
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Wikisource has original text related to this article:
Genesis
Book of Genesis Hebrew Transliteration
Book of Genesis illustrated
Genesis Reading Room (Tyndale Seminary): online commentaries and monographs on Genesis.
Bereshit with commentary in Hebrew
בראשית Bereishit – Genesis (Hebrew – English at Mechon-Mamre.org)
Genesis at Mechon-Mamre (Jewish Publication Society translation)
01 Genesis public domain audiobook at LibriVox Various versions
Genesis (The Living Torah) Rabbi Aryeh Kaplan's translation and commentary at Ort.org
Genesis (Judaica Press) at Chabad.org
Young's Literal Translation (YLT)
New International Version (NIV)
Revised Standard Version (RSV)
Westminster-Leningrad codex
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Book of Genesis in Bible Book
Genesis in Hebrew, Aramaic, Syriac, Greek, Latin, and English – The critical text of the Book of Genesis in Hebrew with ancient versions (Masoretic, Samaritan Pentateuch, Samaritan Targum, Targum Onkelos, Peshitta, Septuagint, Vetus Latina, Vulgate, Aquila, Symmachus, and Theodotion) and English translation for each version in parallel.
en.wikipedia.org/wiki/Book_of_Genesis
"The Fall of Man" by Lucas Cranach the Elder. The Tree of Knowledge is on the right.
The tree of the knowledge of good and evil (Biblical Hebrew: עֵ֕ץ הַדַּ֖עַת ט֥וֹב וָרָֽע [ʕesˤ hadaʕaθ tˤov waraʕ]) is one of two specific trees in the story of the Garden of Eden in Genesis 2–3, along with the tree of life.
Contents
1In Genesis
1.1Narrative
1.2Meaning of good and evil
2Religious views
2.1Judaism
2.2Christianity
2.3Islam
2.4Other cultures
3See also
4References
4.1Bibliography
In Genesis[edit]
Narrative[edit]
Genesis 2 narrates that Yahweh places the first man and woman in a garden with trees of whose fruits they may eat, but forbids them to eat from "the tree of the knowledge of good and evil." When, in Genesis 3, a serpent persuades the woman to eat from its forbidden fruit and she also lets the man taste it, God expels them from the garden and thereby from eternal life.
Meaning of good and evil[edit]
The phrase in Hebrew: טוֹב וָרָע, tov wa-raʿ, literally translates as good and evil. This may be an example of the type of figure of speech known as merism, a literary device that pairs opposite terms together in order to create a general meaning, so that the phrase "good and evil" would simply imply "everything." This is seen in the Egyptian expression evil-good, which is normally employed to mean "everything."[1] In Greek literature, Homer also uses the device when he lets Telemachus say, "I [wish to] know everything, the good and the evil." (Odyssey 20:309–310)
However, if tree of the knowledge of good and evil is to be understood to mean a tree whose fruit imparts knowledge of everything, this phrase does not necessarily denote a moral concept. This view is held by several scholars.[1][2][3]
Given the context of disobedience to God, other interpretations of the implications of this phrase also demand consideration. Robert Alter emphasizes the point that when God forbids the man to eat from that particular tree, he says that if he does so, he is "doomed to die." The Hebrew behind this is in a form regularly used in the Hebrew Bible for issuing death sentences.[4]
Religious views[edit]
Judaism[edit]
In Jewish tradition, the Tree of Knowledge and the eating of its fruit represents the beginning of the mixture of good and evil together. Before that time, the two were separate, and evil had only a nebulous existence in potential. While free choice did exist before eating the fruit, evil existed as an entity separate from the human psyche, and it was not in human nature to desire it. Eating and internalizing the forbidden fruit changed this and thus was born the yetzer hara, the evil inclination.[5][6] In Rashi's notes on Genesis 3:3, the first sin came about because Eve added an additional clause to the Divine command: Neither shall you touch it. By saying this, Eve added to YHWH's command and thereby came to detract from it, as it is written: Do not add to His Words (Proverbs 30:6). However, In Legends of the Jews, it was Adam who had devoutly forbidden Eve to touch the tree even though God had only mentioned the eating of the fruit.[7]
When Adam ate from the Tree of Knowledge, all the animals ate from it, too [8]
In Kabbalah, the sin of the Tree of Knowledge (called Cheit Eitz HaDa'at) brought about the great task of beirurim, sifting through the mixture of good and evil in the world to extract and liberate the sparks of holiness trapped therein.[9] Since evil has no independent existence, it depends on holiness to draw down the Divine life-force, on whose "leftovers" it then feeds and derives existence.[10] Once evil is separated from holiness through beirurim, its source of life is cut off, causing the evil to disappear. This is accomplished through observance of the 613 commandments in the Torah, which deal primarily with physical objects wherein good and evil are mixed together.[11][12][13] Thus, the task of beirurim rectifies the sin of the Tree and draws the Shechinah back down to earth, where the sin of the Tree had caused Her to depart.[14][15]
Christianity[edit]
A marble bas relief by Lorenzo Maitani on the Orvieto Cathedral, Italy depicts Eve and the tree
In Christian tradition, consuming the fruit of the tree of knowledge of good and evil was the sin committed by Adam and Eve that led to the fall of man in Genesis 3.
In Catholicism, Augustine of Hippo taught that the tree should be understood both symbolically and as a real tree - similarly to Jerusalem being both a real city and a figure of Heavenly Jerusalem.[16] Augustine underlined that the fruits of that tree were not evil by themselves, because everything that God created was good (Gen 1:12). It was disobedience of Adam and Eve, who had been told by God not to eat of the tree (Gen 2:17), that caused disorder in the creation,[17] thus humanity inherited sin and guilt from Adam and Eve's sin.[18]
In Western Christian art, the fruit of the tree is commonly depicted as the apple, which originated in central Asia. This depiction may have originated as a Latin pun: by eating the mālum (apple), Eve contracted malum (evil).[19]
Islam[edit]
See also: Tree of life (Quran)
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The Quran never refers to the tree as the "Tree of the knowledge of good and evil" but rather typically refers to it as "the tree" or (in the words of Iblis) as the "tree of immortality."[20] The tree in Quran is used as an example for a concept, idea, way of life or code of life. A good concept/idea is represented as a good tree and a bad idea/concept is represented as a bad tree[21] Muslims believe that when God created Adam and Eve, he told them that they could enjoy everything in the Garden except this tree (idea, concept, way of life), and so, Satan appeared to them and told them that the only reason God forbade them to eat from that tree is that they would become Angels or they start using the idea/concept of Ownership in conjunction with inheritance generations after generations which Iblis convinced Adam to accept[22]
When they ate from this tree their nakedness appeared to them and they began to sew together, for their covering, leaves from the Garden. The Arabic word used is ورق which also means currency / notes.[23] Which means they started to use currency due to ownership. As Allah already mentioned that everything in Heaven is free(so eat from where you desire) [24] so using currency to uphold the idea of ownership became the reason for the slip. The Quran mentions the sin as being a 'slip', and after this 'slip' they were sent to the destination they were intended to be on: Earth. Consequently, they repented to God and asked for his forgiveness[25] and were forgiven.[26] It was decided that those who obey God and follow his path shall be rewarded with everlasting life in Jannah, and those who disobey God and stray away from his path shall be punished in Jahannam.
God in Quran (Al-A'raf 27) states:
"[O] Children of Adam! Let not Satan tempt you as he brought your parents out of the Garden, stripping them of their garments to show them their shameful parts. Surely he [Satan] sees you, he and his tribe, from where you see them not. We have made the Satans the friends of those who do not believe."
Other cultures[edit]
A cylinder seal, known as the Adam and Eve cylinder seal, from post-Akkadian periods in Mesopotamia (c. 23rd-22nd century BCE), has been linked to the Adam and Eve story. Assyriologist George Smith (1840-1876) describes the seal as having two facing figures (male and female) seated on each side of a tree, holding out their hands to the fruit, while between their backs is a serpent, giving evidence that the fall of man account was known in early times of Babylonia.[27] The British Museum disputes this interpretation and holds that it is a common image from the period depicting a male deity being worshipped by a woman, with no reason to connect the scene with the Book of Genesis.[28]
See also[edit]
Adam and Eve (Latter Day Saint movement)
Dream of the Rood
Enlightenment (spiritual)
Original sin
References[edit]
^ Jump up to: a b Gordon, Cyrus H.; Rendsburg, Gary A. (1997). The Bible and the ancient Near East (4th ed.). New York: W.W. Norton & Co. p. 36. ISBN 978-0-393-31689-6.
^ Harry Orlinsky's notes to the NJPS Torah.
^ Wyatt, Nicolas (2001). Space and Time in the Religious Life of the Near East. A&C Black. p. 244. ISBN 978-0-567-04942-1.
^ Alter 2004, p. 21.
^ Rashi to Genesis 2:25
^ Ramban to Genesis 3:6
^ Ginzberg, Louis, The Legends of the Jews, Vol. I: The Fall of Man, (Translated by Henrietta Szold), Johns Hopkins University Press: 1998, ISBN 0-8018-5890-9
^ Bereishit Rabbah 19: 5
^ Epistle 26, Lessons in Tanya, Igeret HaKodesh
^ ch. 22, Tanya, Likutei Amarim
^ ch. 37, Lessons in Tanya, Likutei Amarim
^ Torah Ohr 3c
^ Torat Chaim Bereishit 30a
^ Bereishit Rabbah 19:7
^ Ramban to Genesis 3:8
^ Augustine, On the Literal Meaning of Genesis (De Genesi ad litteram), VIII, 4.8; Bibliothèque Augustinniene 49, 20
^ Augustine of Hippo, On the Literal Meaning of Genesis (De Genesi ad litteram), VIII, 6.12 and 13.28, Bibliothèque Augustinniene 49,28 and 50-52; PL 34, 377; cf. idem, De Trinitate, XII, 12.17; CCL 50, 371-372 [v. 26-31;1-36]; De natura boni 34-35; CSEL 25, 872; PL 42, 551-572
^ "The City of God (Book XIII), Chapter 14". Newadvent.org. Retrieved 2014-02-07.
^ Adams, Cecil (2006-11-24). "The Straight Dope: Was the forbidden fruit in the Garden of Eden an apple?". The Straight Dope. Creative Loafing Media, Inc. Retrieved 2008-10-06.
^ Qur'an 20:120
^ Qur'an 14:24
^ Qur'an 20:120
^ "ورق".
^ Qur'an 7:19
^ Qur'an 7:23
^ Qur'an 2:37
^ Mitchell, T.C. (2004). The Bible in the British Museum : interpreting the evidence (New ed.). New York: Paulist Press. p. 24. ISBN 9780809142927.
^ The British Museum. "'Adam and Eve' cylinder seal". Google Cultural Institute. Retrieved 2017-04-06.
Bibliography[edit]
Alter, Robert. A translation with commentary (2004). The five books of Moses. New York: W.W. Norton. ISBN 0-393-33393-0.
Knight, Douglas (1990). Watson E. Mills (ed.). Mercer dictionary of the Bible (2d corr. print. ed.). Macon, GA: Mercer University Press. ISBN 0-86554-402-6.
Media related to Tree of the knowledge of good and evil at Wikimedia Commons
en.wikipedia.org/wiki/Tree_of_the_knowledge_of_good_and_evil
American postcard by Portfolio, N.Y., N.Y., no SC 5. Photo: Francesco Scavullo. Caption: Divine, New York, 1978.
Harris Glenn Milstead, better known by his stage name Divine (1945-1988), was an American actor, singer, and drag queen. He was closely associated with the independent filmmaker John Waters. Divine became the international icon of bad taste cinema.
Harris Glenn Milstead was born in 1945 in Baltimore, Maryland to a conservative middle-class family. His parents were Harris Bernard Milstead and Frances Milstead (née Vukovich). Their only child, his parents lavished almost anything that he wanted upon him, including food. He became overweight, a condition he lived with for the rest of his life. Divine preferred to use his middle name, Glenn, to distinguish himself from his father, and was referred to as such by his parents and friends. When he was 17, his parents sent him to a psychiatrist, where he first realised his sexual attraction to men as well as women, something then taboo in conventional American society. In 1963, he began attending the Marinella Beauty School, where he learned hair styling and, after completing his studies, gained employment at a couple of local salons, specialising in the creation of beehives and other upswept hairstyles.
Milstead developed an early interest in drag while working as a women's hairdresser. He eventually gave up his job and for a while was financially supported by his parents, who catered to his expensive taste in clothes and cars. They reluctantly paid the many bills that he ran up financing lavish parties where he would dress up in drag as his favourite celebrity, actress Elizabeth Taylor. By the mid-1960s he had embraced the city's countercultural scene. His friend from high school, John Waters gave him the name 'Divine' and the tagline of 'the most beautiful woman in the world, almost'. Waters later remarked that he had borrowed the name Divine from a character in Jean Genet's novel Our Lady of the Flowers (1943). Along with his friend David Lochary, Divine joined Waters' acting troupe, the Dreamlanders (which also included Mary Vivian Pearce and Mink Stole), and adopted female roles for their experimental short films. The first was Roman Candles (John Waters, 1966), which was shown 'triple projected' on three 8mm projectors running simultaneously but was never released commercially. Divine starred in drag as a smoking nun. Other short films were Eat Your Makeup (John Waters, 1968), and The Diane Linkletter Story (John Waters, 1969), filmed on Sunday afternoons. Again in drag, he took a lead role in Waters' first full-length film, Mondo Trasho (John Waters, 1969) Divine as an unnamed blonde woman who drives around town and runs over a hitchhiker. In their review of the film, the Los Angeles Free Press exclaimed that "The 300-pound (140 kg) sex-symbol Divine is undoubtedly some sort of discovery." In 1970, he travelled to San Francisco, California, a city which had a large gay subculture that attracted Divine, who was then embracing his homosexuality. Divine played the role of Lady Divine, the operator of an exhibit known as The Cavalcade of Perversion who turns to murdering visitors in Waters's film Multiple Maniacs. The film contained several controversial scenes, notably one which involved Lady Divine masturbating using a rosary while sitting inside a church. In another, Lady Divine kills her boyfriend and proceeds to eat his heart; in actuality, Divine bit into a cow's heart which had gone rotten from being left out on the set all day. At the end of the film, Lady Divine is raped by a giant lobster named Lobstora, an act that drives her into madness; she subsequently goes on a killing spree in Fell's Point before being shot down by the National Guard. Due to its controversial nature, Waters feared that the film would be banned and confiscated by the Maryland Censor Board, so avoided their jurisdiction by only screening it at non-commercial venues, namely rented church premises. Multiple Maniacs was the first of Waters's films to receive widespread attention, as did Divine; KSFX remarked that "Divine is incredible! Could start a whole new trend in films." Following his San Francisco sojourn, Divine returned to Baltimore and participated in Pink Flamingos (John Waters, 1972). Designed by Waters to be an exercise in poor taste, the film featured Divine as Babs Johnson, living in a pink trailer with her egg-eating grandmother, chicken-loving son and voyeuristic daughter. Babs claims to be 'the filthiest person alive' and she is forced to prove her right to the title from challengers, Connie (Mink Stole) and Raymond Marble (David Lochary). In one scene, the Marbles send Babs a turd in a box as a birthday present, and in order to enact this scene, Divine defecated into the box the night before. The final scene in the film proved particularly infamous, involving Babs eating fresh dog feces; Divine later told a reporter, "I followed that dog around for three hours just zooming in on its asshole," waiting for it to empty its bowels so that they could film the scene. The scene became one of the most notable moments of Divine's acting career, and he later complained of people thinking that "I run around doing it all the time". The film proved a hit on the U.S. midnight movie circuit, became a cult classic, and established Divine's fame within the American counterculture.
Divine returned to San Francisco, where he and Mink Stole starred in a number of small-budget plays at the Palace Theater as part of drag troupe The Cockettes, including Divine and Her Stimulating Studs, Divine Saves the World, Vice Palace, Journey to the Center of Uranus and The Heartbreak of Psoriasis. In 1974, Divine returned to Baltimore to film Waters's next motion picture, Female Trouble, in which he played the lead role. Divine was unable to appear in Waters's next feature, Desperate Living (John Waters, 1977), despite the fact that the role of Mole McHenry had been written for him. This was because he had returned to working in the theatre as the scheming prison matron Pauline in Tom Eyen's play Women Behind Bars and its sequel, The Neon Woman. While in London in 1978, Divine attended as the guest of honour at the fourth Alternative Miss World pageant, a 'mock' event founded by Andrew Logan in 1972 in which 'drag queens' – including men, women and children – competed for the prize. The event was filmed by director Richard Gayer, whose subsequent film, entitled Alternative Miss World, premiered at the Odeon in London's Leicester Square as well as featuring at the Cannes Film Festival, both events which were attended by Divine. Continuing his cinematic work, he starred in Polyester (John Waters, 1981) as Francine Fishpaw. Unlike earlier roles, Fishpaw was not a strong female but a meek and victimized woman who falls in love with her dream lover, Todd Tomorrow, played by Tab Hunter. The film was released in 'Odorama', accompanied by 'scratch 'n' sniff' cards for the audience to smell at key points in the film. In 1981, Divine embarked on a career in the disco industry by producing a number of Hi-NRG tracks, most of which were written by Bobby Orlando. He achieved international chart success with hits like 'You Think You're a Man', 'I'm So Beautiful', and 'Walk Like a Man', all of which were performed in drag. The next Divine film, Lust in the Dust (Paul Bartel, 1985), reunited him with Tab Hunter and was Divine's first film not directed by John Waters. Set in the Wild West during the nineteenth century, the film was a sex comedy that starred Divine as Rosie Velez, a promiscuous woman who works as a singer in saloons and competes for the love of Abel Wood (Tab Hunter) against another woman (Lainie Kazan). A parody of the Western Duel in the Sun (King Vidor, 1946), the film was a moderate critical success. Divine followed this production with a very different role, that of gay male gangster Hilly Blue in Trouble in Mind (Alan Rudolph, 1985), starring Kris Kristofferson and Keith Carradine. The script was written with Divine in mind. Although not a major character in the film, Divine had been eager to play the part because he wished to perform in more male roles and leave behind the stereotype of simply being a female impersonator. Reviews of the film were mixed, as were the evaluations of Divine's performance. The he reunited with John Waters for Hairspray (John Waters, 1988), which represented his breakthrough into mainstream cinema. Set in Baltimore during the 1960s, Hairspray revolved around self-proclaimed "pleasantly plump" teenager Tracy Turnblad (Ricki Lake) as she pursues stardom as a dancer on a local television show and rallies against racial segregation. As he had in Female Trouble, Divine took on two roles in the film, one of which was female and the other male. The first of these, Edna Turnblad, was Tracy's loving mother; the other was the racist head of the station that airs the Corny Collins show. Hairspray was only a moderate success upon its initial theatrical release, earning a modest gross of $8 million. However, it managed to attract a larger audience on home video in the early 1990s and became a cult classic. Divine's final film role was in the low-budget comedy horror Out of the Dark (Michael Schroeder, 1989), produced with the same crew as Lust in the Dust. Appearing in only one scene within the film, he played the character of Detective Langella, a foulmouthed policeman investigating the murders of a killer clown. Out of the Dark would be released the year after Divine's death. On 7 March 1988, three weeks after Hairspray was released nationwide, Divine was staying at the Regency Plaza Suites Hotel in Los Angeles. He was scheduled to film a guest appearance the following day as Uncle Otto on the Fox network's television series Married... with Children in the second season wrap-up episode. Shortly before midnight, he died in his sleep, at age 42, of an enlarged heart (according to Wikipdia or respiratory failure caused by sleep apnea (according to IMDb). It was probably a combination. Described by People magazine as the 'Drag Queen of the Century', Divine has remained a cult figure, particularly within the LGBT community, and has provided the inspiration for fictional characters, artworks, and songs. Various books and documentary films devoted to his life have also been produced, including Divine Trash (1998) and I Am Divine (2013), written by Divine's manager and friend Bernard Jay. Frances Milstead subsequently cowrote her own book about Divine, entitled My Son Divine (2001), with Kevin Heffernan and Steve Yeager. His mother's continued relationship with the gay community was later documented in a film Frances: A Mother Divine (Tim Dunn, Michael O'Quinn, 2010)
Sources: Wikipedia and IMDb.
Church of St George, Georgeham Devon www.flickr.com/gp/52219527@N00/6Ju05e2x0A
The original name in Saxon times was simply Ham and it is mentioned as this in the 1087 Domesday Survey which states that Hama belonged to Tetbald, son of Berner and it was previously held by Etmar in the reign of Edward the Confessor. Parts of the village are still known as Higher Ham and Netherham. Later the village was been known as Ham St George, George Ham and finally Georgeham. There were other manors nearby in Pickwell, Croyde, North Buckland, Putsborough, Hole and Spreacombe. "Pediccheswella" / Pickwell Manor is most closely associated here and was held by Ulf at the time of Edward the Confessor, and in 1087 was held by Drogo on behalf of the Bishop Coutances. In 1186 it was held by Reinald. There were no distinct parishes at this time.
Legend has it that after the death of Thomas Beckett in 1170, three of the murderers fled to Pickwell. They were captured here and beheaded in front of the house. Whenever there is a full moon on December 29th (the anniversary of Beckett’s death) it’s reputed that the 3 knights can be seen riding from Pickwell to the beach – without their heads!
There may have been an early church on this site in Saxon or Norman times but there is no evidence of this. However there is a reference to an outdoor palm cross here
The founding date of the church is unknown but seems likely that a stone-built church was in existence in the 13c. In 1231 Robert de Edington is known to have been persona (parson) de Hamme and church patron. The Lord of the Manors of Georgeham & Pickwell & patron of the church in this period was Mauger de St Aubin who died in 1294 whose effigy now lies in the south side chapel www.flickr.com/gp/52219527@N00/e04Qu53Zs0 On the north side of the chancel is a small mutilated 13c stone carving of the Crucifixion. www.flickr.com/gp/52219527@N00/5509z5s6H3 discovered in Victorian times behind a blocked doorway to the rear of the pulpit which is believed to have originally led to a loft or rood screen. In the corners are two figures representing a Knight and his Lady kneeling in prayer, possibly Mauger & his wife .
Another monument with many portraits is dedicated to Tobie Newcourt son and heir of John Newcourt who bought the manors of Georgeham and Pickwell in 1560 from Peter Carew www.flickr.com/gp/52219527@N00/7uN7m7763z
There is also evidence that a north aisle existed possibly as part of a 13c building. The north wall is considerably thinner than the south wall and during Victorian restorations and the digging of a grave in 1975, traces of wall and paving were uncovered 15 feet outside the present north wall. These approximate to a continuation of the line of the outer wall of the Vestry.
The three stage late 14c / early 15c tower with stair turret n the north side.is the only part of the church largely untouched by later building work. Externally on the east side can be seen traces of alterations to the height of the nave showing that it was higher than at present. (possibly with a thatched roof) It was added after the 13c / 14c nave & south aisle were rebuilt
The main arcade between nave and aisle with its 4 graceful arches is most likely 15c work. The southern half of the arch between the chancel and Pickwell south chapel are similarly styled and is also original. It therefore seems likely that a 13c nave and chancel were rebuilt in the 15c adjoining the 14c tower.
The parish registers are interesting :
1571 - This yeere the plague was in Georgeham - 27 buried
1660 - Collected towards the rebuilding of the Kay of Watchett in Somersett the some of six shillings and eight pence
1663 - Collected in the congregation of Georgeham towards the brieffe for the rebuilding of the town of Marleborrow the sume six and twenty shillings and nine pence
1672 - Collected then in the congregation of Georgeham towards a brieffe for thous sufferers by fier of the psh of Kingston-upon-Thames in the Countie of Surrey 5/-
1680 - The great blazing Star or comet appeared December ye 14th
1746/7 - 21 persons died by a violent pleurotic feaver or peri-pneumone most of them in 4 or 5 days
An early 17c record mentions several coats of arms which are no longer on the walls including those of Carew, Talbot and Chichester whose families held Georgeham and Pickwell manors in the 14c or 16c, also those of Bouchier and Fitzwarren, related to Sir John Dinham whose family held North Buckland Manor.
In 1553 there were 4 bells in the tower and new bells were cast in 1714. Later records in 1727 say there were 6 bells. The 14c tower now houses a splendid peal of 8 bells with a combined weight of 2.8 tons. Five were cast in 1748, one in 1765 and the last two smaller ones in 1926. The bells have the following inscriptions:
Tenor "The Revd Mr Chichester, rector, John Harris esq A.R 1748"
7th "We were all cast at Gloucester by Abel Rudhall 1748"
6th "In concord such they'd please as much A.R. 1748 "
5th "As we that cheer the listering ear A.R. 1748"
4th "Mr John Richards, gent, H Warden T.R. 1765 "
3rd "Let men agree as well as wee A.R. 1748 "
2nd "In memorium S I Peacock patria sul deo dedit Helen Stuart Robertson Putsborough 1926"
Treble "My morning ring doth call them in"
There were radical changes made to the church from 1762 when the church interior was changed to a Classical or Romanesque style and most of the windows were altered. The original wooden screen between the nave and Pickwell side chapel dates from this period. www.flickr.com/gp/52219527@N00/316PAnFUtR New boxed seating for the congregation was installed in 1767.
In 1771 Honor Harris of Pickwell Manor applied to the diocese for permission to erect a 12-seated gallery at the west end of the church at the south side of the archway to the tower. The cost of erection was paid by her father John Harris, MP for Barnstaple There had already been a smaller gallery built by Gregorie Chichester, but John Harris replaced it with one made of oak without obtaining a faculty. Later in 1776 Honor applied for a licence to erect a monument in the south Pickwell Chapel to her parents John and Dorothy and three children who died in infancy. www.flickr.com/gp/52219527@N00/gWB324KB5X In order to erect the monument the east window was blocked up, but its shape can be clearly seen on the outside of the building.
in Victorian times a view from the gallery shows the monuments in the Pickwell Chapel, the boxed pews, low carved stone screen across the chancel & chapel and a pulpit with a canopy with the figure of an angel www.flickr.com/gp/52219527@N00/D93S36L6fY
Thomas Hole, patron & rector who died in 1889 caused the church to be restored AD 1876 "through his munificence and by the benefaction of a relative" www.flickr.com/gp/52219527@N00/8Fn9598ShV Faculty plans of the church drawn before the Victorian changes show a smaller vestry with its external door on the west rather than the current east door, an extra vestry window and two small windows in the chancel. The restoration by J Fowler removed much of the classical features when he also rebuilt the chancel.
Major repairs to the bell tower where made in 1926 when the old oak frame which had become very dangerous was replaced by an iron frame. This required all bells to be lowered to the ground while this was done. Part of this frame was replaced in 1998 with galvanised steel costing £11,000. As an alternative to fully ringing the bells, they are fitted with an auxiliary set of ropes, pulleys and hammers to enable tunes to be chimed by one person. The chimes on the 6 larger bells were thought to be fitted in Victorian times, but the mechanisms for the 2 smaller bells were not added until 1998.
Lewis Clarke CCL www.geograph.org.uk/photo/6728575