Latest news with #InternationalCenterofPhotography
Morocco World
7 days ago
- General
- Morocco World
Rabat Hosts Exhibition of Reza, Exploring Human Condition Through Image
Rabat – The Contemporary Odyssey of REZA is exhibited at the National Photography Museum in Rabat. Housed in the Fort Rottemburg, this exhibit takes war-time photographs from renowned photojournalist Reza Deghati to promote peace and humanity within its stony historic walls. The Contemporary Odyssey of REZA in Rabat. Photo credit: Emma de Jong The exhibit explores the themes of war, peace, education, and love through seven rooms of photos alongside their stories. It is an exploration of the human condition, including that of the viewer, through a hallway of mirrors and pensive quotes by influential authors and philosophers like Rumi, Ibn Arabi, Antoine de Saint Exupéry, and Victor Hugo. The Contemporary Odyssey of REZA in Rabat. Photo credit: Emma de Jong Outside, on the walls of the fort, a mosaic of portraits of people from around the world showcases the variety and presence of a common human experience. Reza Deghati is a French-Iranian photojournalist who has spent over three decades capturing moments of conflict and resilience across hundreds of countries from all over the world. The Contemporary Odyssey of REZA in Rabat. Photo credit: Emma de Jong Largely documenting chaos and catastrophe, Reza has used photography to showcase the peace and poetry hidden in the darkest hours of people's lives, using his images to elevate their stories. The Contemporary Odyssey of REZA in Rabat. Photo credit: Emma de Jong Reza's work is prominently featured in international media, documentaries, and exhibitions globally. He has written 30 books and won numerous awards celebrating his positive contributions to humanity, such as the Infinity Award from the International Center of Photography and an honorary degree of Doctor Honoris Causa from the American University of Paris. France named him a Chevalier of the National Order of Merit in 2005. The Contemporary Odyssey of REZA in Rabat. Photo credit: Emma de Jong Tags: ArtexhibitiongalleryRabat
Time of India
20-05-2025
- Entertainment
- Time of India
Blake Lively snubs Taylor Swift for girls' night with sisters amid sexual assault scandal as Travis Kelce appears solo in Las Vegas
Blake Lively's outing follows reports of her halted friendship with Taylor Swift (Getty Images) Blake Lively appeared to be embracing family time as she stepped out for a girls' night with her sisters, Robyn and Lori Lively, in New York City—just as headlines swirl around her fractured friendship with Taylor Swift and her legal feud with director Justin Baldoni . The 'Gossip Girl' alum took to Instagram Stories over the weekend, sharing a vibrant group selfie from their visit to the International Center of Photography. The trio showed off their tight-knit bond while supporting Blake's close friends, photographers Anna Palma and Guy Aroch, during the launch of their decade-long collaboration with Coca-Cola. Family support comes as Lively's friendship with Taylor Swift hits pause The timing of Blake's public family outing is telling. It comes on the heels of reports that her once-celebrated friendship with pop icon Taylor Swift has 'halted.' According to a Swift insider via People, 'Taylor wants no part in this drama.' by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like This Device Made My Power Bill Drop Overnight elecTrick - Save upto 80% on Power Bill Pre-Order Undo This rift reportedly emerged after Baldoni's legal team subpoenaed Swift to testify in the upcoming sexual harassment trial involving Blake and the "Jane the Virgin" actor. The subpoena was filed on May 8, pulling the global superstar into a lawsuit she had no direct involvement with. A spokesperson for Swift made it clear: 'Taylor Swift never set foot on the set of this movie... she never saw an edit or made any notes on the film.' They emphasized that Swift was 'traveling around the globe during 2023 and 2024 headlining the biggest tour in history' and had no creative stake in It Ends With Us—the film at the center of the legal dispute. Blake Lively's team hasn't stayed silent. A rep for the actress condemned Baldoni's actions, stating, 'The defendants continue to publicly intimidate, bully, shame and attack women's rights and reputations.' The rep further accused Baldoni and his legal team of attempting to dismantle a powerful California victims' rights law, calling their tactics "disturbing." Adding another layer to the unfolding drama, NFL star Travis Kelce recently unfollowed Ryan Reynolds on Instagram, fueling speculation about where loyalties lie amid the growing tension. The move didn't go unnoticed by fans, especially considering Reynolds is not only Blake Lively's husband but was also named in Justin Baldoni's $400 million defamation lawsuit. While neither Kelce nor Swift has publicly addressed the social media snub, the timing—following Swift's subpoena and her reported distancing from Lively—has led many to believe it signals deeper divisions within their once-close celebrity circle. Also Read: Taylor Swift and Travis Kelce breathe easier after judge's ruling eases legal tensions involving Blake Lively As the March 2026 trial looms, Lively is leaning on family and trusted friends, while navigating a high-profile legal battle and a strained friendship with one of pop culture's biggest stars. Get IPL 2025 match schedules , squads , points table , and live scores for CSK , MI , RCB , KKR , SRH , LSG , DC , GT , PBKS , and RR . Check the latest IPL Orange Cap and Purple Cap standings.
BBC News
15-04-2025
- Science
- BBC News
Ten striking images of an Earth scarred by humans
Photographer Ed Burtynsky has been capturing the impact of humans on Earth for over 40 years. Here are ten of his most striking shots, from a shipwrecking yard in Bangladesh to rivers of iron dioxide in Canada. This June, the International Center of Photography in New York is dedicating a retrospective to The Great Acceleration, the seminal work of the Canadian artist.
The Guardian
27-02-2025
- Entertainment
- The Guardian
Society of the Spectacle: the shock and prescience of Weegee's photography
Known both for his preternatural ability to show up at the scene of murders, car crashes, fires and other urban calamities, as well as his bizarre distortions of world-famous figures like Marilyn Monroe and The Beatles, the photographer Weegee, AKA Arthur Fellig, was a fascinating study in contrasts. A new exhibit from the International Center of Photography in New York City, Weegee: Society of the Spectacle explores the work and legacy of a man who in many ways was at once of his time and so far ahead of it. 'At the beginning of this project was a kind of puzzling question,' said exhibit curator Clément Chéroux, 'it's as if you had in the same body a Walker Evans and a Man Ray. How could the same photographer do that?' A child of Jewish emigres from what is now the Ukraine, Weegee left school at a young age to join the workforce and support his family – thus began his career in photography. In fact, one account of the origins of his distinctive moniker states that it came from his work as a photo boy in the New York Times's photo lab, where he would squeegee water off of countless photographic prints. This boundless work ethic and steely determination were to become hallmarks of Weegee's energetic and prodigious career. As his adoption of a professional alter ego implies, Weegee was very much a self-made creation, and he was not shy about crafting elaborate mise-en-scenes in which to situate himself for self-portraits. One shows him in a mock–mug shot, ever-present Speed Graphic camera in hand and cigar protruding enormously from his mouth. 'He was someone who liked to play roles,' said Chéroux. 'He had this stamp, 'Weegee the Famous', that he would put on the back of all his photographs. He was playing with a kind of idea that he was famous.' The mixture of seediness, spectacle and in-your-face audacity very much captures the public image that Weegee promulgated, as well as the dramatic aesthetic that he cultivated with his photographs. Weegee built his reputation throughout the 1930s and 40s with a seemingly endless array of crime scene photos for the tabloid press that depicted murdered bodies, car crashes, fires and individuals being hauled into police headquarters. In order to be first on the scene, he made good use of a police scanner that was installed in his vehicle, and he was also known to cruise the streets of New York all night long in search of fresh shots. His lightning-fast work even led to the myth that he had a darkroom right in the trunk of his car (more likely, it was that Weegee smartly situated his photo studio right next to police headquarters). As much as Weegee became synonymous with on-the-scene photojournalism, his career took a sharp turn when he began to make incredibly distorted, grotesque images of luminaries like John F Kennedy and Andy Warhol, and even shots of the Mona Lisa. 'This is very rare in the story of photography of the 20th century,' said Chéroux. 'I don't know of any other photographer who had that same polarity – being both interested in what was right in front of the camera, and then also so interested in the darkroom manipulations. That was what struck me from the beginning.' If there is one throughline to unite these two halves of Weegee's output, it may be the idea of 'spectacle' that is right in the exhibition's title. As curator, Chéroux took the phrase 'society of the spectacle' from French philosopher Guy Debord's magnum opus, which advanced the argument that deep interpersonal connections between people were being replaced by a society ever more focused on surfaces and images. Although Weegee is not known to have ever read Guy Debord's book (which appeared in the French just one year before his death in 1968) the overlap is beyond doubt – the cover of the book's 1983 edition, which features a Life magazine photograph by JR Eyerman of rows of movie theater spectators wearing 3D glasses, may as well be one of Weegee's many shots of urban dwellers turning out to stare at the latest disaster. 'Weegee had a kind of understanding that the tabloid press of the time was transforming everything into a kind of spectacle,' said Chéroux. 'Very often, he had spectators in the image, you will see someone looking at the scene. He understood that if you put a spectator in, it will help someone to feel that they are a voyeur of the scene.' Indeed some of the most striking images in the exhibit are of people acting as spectators, be they portraits of individuals sitting at the movies or of people with their heads craned upwards looking at the latest urban trainwreck. Ironically, in these photos of people taking in spectacles one can see a certain kind of innocence and authenticity, as they are so lost in their wonderment that they disarm the typical masks that we have all become accustomed to wearing whenever someone is taking our photo. It is as though Weegee is opining that when we are staring at others we in fact offer up our true selves. A similar critique of American culture can be seen in the 1939 shot Balcony Seats at a Murder, which shows groups of New Yorkers leaning out of the windows of their apartments, presumably staring at the titular event. It is as though Weegee is posing the latest happenings in the big city as a kind of modern entertainment. 'With his title, Weegee is telling us that the people looking at the murder or fire or crash are exactly like the spectators in a movie theater,' said Chéroux. 'If you think about that, Weegee was very smart, he had this political consciousness. If you look at the first and second parts of career, in both case he's criticizing the way that American society is transforming everything into a spectacle.' With our own modern-day fixation on social media images and the endlessness of round-the-clock news, Weegee very much speaks to what the society of the spectacle has become in our time. It's an important exhibition for introducing new audiences to someone who still has things to tell us. 'I hope that people will see the exhibition and think that it's going to help us think about today,' Chéroux said. 'I equally hope that this show is also going to go the other way around, the present situation will help us think about what has come before.' Weegee: Society of the Spectacle is now on show at the ICP in New York until 5 May
New York Times
22-02-2025
- New York Times
Weegee Pix End Up in Morgue!
Arthur Fellig, the prolific photographer and incidental social critic better known as Weegee, was highly regarded for his gritty street tableaus. He began working as a freelance news photographer in New York City in the 1930s, and had an uncanny penchant for arriving at crime scenes, fires or other disasters at just the right moment, getting just the right shot with his Speed Graphic camera. (According to various accounts, it was this preternatural timing that led to his pseudonym, a phonetic spelling of Ouija, an allusion to clairvoyance.) His considerable career, which spanned decades and even brought him to Hollywood in the late 1940s for a time, inspired the writer Christopher Bonanos, an editor at New York magazine, to write a biography of Fellig that was published in 2018: 'Flash: The Making of Weegee the Famous.' As Mr. Bonanos was gathering reference materials for his book, he examined a series of photographs from a collection at the International Center of Photography, taken of the interior of Weegee's New York City apartment between 1937 and the mid-1940s. They showed Weegee's bed and the wall behind it, covered with newspaper clippings. Mr. Bonanos shared his account this week with Times Insider. He scrutinized the photos of the papered wall in an attempt to identify the various clips. In one image, he could make out a page torn from The New York Post, with an article detailing the arrest of Harry Brunette, a bank robber and kidnapper. It featured a photo of J. Edgar Hoover, director of the Federal Bureau of Investigation, at the scene of the police raid on West 102nd Street in Manhattan, where Mr. Brunette was apprehended. The Times published its own article about the arrest, on Dec. 16, 1936, and used the same photograph. Mr. Bonanos, knowing The Times keeps a physical archive of articles, photographs and other materials, contacted the Morgue (the archive's nickname) in 2017. He was curious about some Weegee photos the Morgue might have, including the one of Hoover. The Times found it, in a photo folder for Hoover, though the image was not credited to Weegee. It was labeled an Associated Press photo. According to Mr. Bonanos, it is highly unlikely that Weegee would have posted someone else's photographs on his bedroom wall. He's confident the image belongs to Weegee. The Times discovered other photographs. One, in a folder marked 'ships, disasters' was an image of the Finnish freighter Aurora, on fire in the Hudson River in 1941. In print, the photo had been credited to The New York Times. But on the back, written in pencil, the name of the photographer is clear: Arthur Fellig.
