"Every dried out mummy-corpse, every dead child, every snarl of these fucking dogs - it's like they invade my dreams- I can't get relief either awake or asleep."
The watchtower is not, typically, an offensive weapon. It’s an anticipatory instrument, a hedge against the inevitability of future conflict. By Eugenie Shinkle, ASX, July 2015 Built in the 1950s,
TateShots talks to photographer Sophie Ristelhueber about her work ‘Fait’, on show as part of Tate Modern’s ‘Conflict, Time, Photography’ exhibition. In the summer of 1991, six months after the
“From that point on it got worse and worse. Right up until the point we drove all the way to the Syrian border, the violence just… it became evident that
Artist Richard Mosse’s large-format photographs prompt us to reconsider our relationship to art and history. Here, Mosse talks about his photographs of the U. S. Military occupation of Saddam Hussein’s
An interview with Benjamin Lowy, winner of the 2010 CDS/Honickman First Book Prize in Photography.
Bullet scored paraphernalia lie scattered in the dangerous wastes of central Iraq, evoking sculpture by Giacometti, Moore, Serra. Live and spent fire litter the surrounding landscape, creating an indelible image
By Trevor Tweeten and Richard Mosse, March 2009 Made in the Iraqi city of Saniya, Salah-a-Din Province, and at an urban combat simulator in a neighbouring US forward operating base.
Shot in Saddam Hussein’s hilltop palace in the mountains overlooking the River Tigris, Theatre of War is a slow, virtually static video piece redolent of classical history painting. Audio was
The work was made in 2007-8 while I was following a platoon of US Airborne Infantry based in the Korengal Valley of Eastern Afghanistan. This is a single screenversion of
Baghdad Calling. Photography by Geert Van Kesteren. Episode Publishers, 2008. Cat# MW133 ISBN-13: 978-9059730830