“Everything about the city made me uncomfortable and raised questions: the landscape, the atmosphere, the situation, the agitation, etc. It seemed so imperfect. I wanted to understand this chaos.” To
"Trees, leaves, flowers are all given the Sells treatment and become abstracted metaphors of the sacred geometry still found between light and organic materials within the aforementioned natural world."
"He recalls developing his negatives by moonlight, having to make his way to the ferry on a road thick with often-time un-negotiable elephant herds. He tells of carrying his chemicals
” Its tick-box approach to images, the title, the cover, the text within capitalize on the “rough” Ugandan nightlife and seems very much directed at a Deutsche Bourse Prize/ Magnum/
"I was completely blind by the way. My optic nerve had been bounced off. I couldn't see a goddamn thing. I had a huge hole in my leg, went right
Now, it’s hard to defend yourself if you are in possession of the ‘white privilege’, as I am...
Under apartheid, the system of racial segregation that shaped South African society from 1928 until 1994, photographer Ernest Cole was able to change his classification from “black” to “coloured”. Connect
David Goldblatt discusses his series Ex-Offenders, for which he photographed former criminals or ex-offenders on parole, often at the sites where their crimes occurred. Connect to the ASX world! Like
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from Urban Life: Beauty is in the Name of the Beholder @ Nontsikelelo Veleko POV Female Johannesburg, REVIEW. By Fanny Landstrom, for ASX, July 2013 POV Female Johannesburg – five young
Lemvo Jean Abou Bakar Depara, known as Depara (1928–1997), was an Angolan-born photographer who worked in the Democratic Republic of Congo. Depara purchased his first video camera to record his