tag:blogger.com,1999:blog-11966258808163248072024-03-14T16:53:53.289+11:00jagath dheerasekaraUnknownnoreply@blogger.comBlogger152125tag:blogger.com,1999:blog-1196625880816324807.post-49815900639329421882014-08-02T11:05:00.002+10:002014-08-02T11:06:47.402+10:00Eviction of Aboriginal protesters by Sotheby's auction house in Melbourne<div style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 14px; line-height: 19px; margin-bottom: 6px;">
“Members of Tasmania's Aboriginal community tried unsuccessfully to stop the auction of three ancestral photographs at Sotheby's in Melbourne on Tuesday night.” <a href="http://www.abc.net.au/news/2014-07-30/aboriginal-protesters-evicted-by-sutheby27s/5636678" rel="nofollow" style="color: #3b5998; text-decoration: none;" target="_blank">http://www.abc.net.au/<wbr></wbr>news/2014-07-30/aboriginal-<wbr></wbr>protesters-evicted-by-<wbr></wbr>sutheby27s/5636678</a><br />
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<span style="color: #444444; font-size: xx-small;">(Photographer </span><span style="background-color: #f9f9f9; color: #444444; font-family: Arial, Helvetica, sans-serif; font-size: xx-small;">Henry Firth | Photo Courtesy Southeby's Australia)</span></div>
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Three photos that went under hammer were titled "The Last of the Tasmanian Natives”. They depicted Aboriginal residents of the Oyster Cove settlement near Hobart in the 1860s.</div>
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Dr Julie Gough’s (<a href="http://www.anu.edu.au/culture/abstractions/artists/jg_1.htm" rel="nofollow" style="color: #3b5998; text-decoration: none;" target="_blank">http://www.anu.edu.au/<wbr></wbr>culture/abstractions/artists/<wbr></wbr>jg_1.htm</a>) essay - Forgotten Lives - The First Photographs of Tasmanian Aboriginal People in recently published book tilted ‘Calling the Shots - Aboriginal Photographies’ ** gives a great deal of details and circumstances in which early photographs related to Oyster Cove were made. Gough argues “the controlled isolation of Aboriginal people at Oyster Cove who were segregated from the increasing Aboriginal community in Bass Strait and isolated family groups mainland Tasmania can be viewed as part of a future-oriented agenda. The official determination to not recognise Aboriginal people not at Oyster Cove as legitimate Aborigines has had ramifications to this day, as the mainstream populace has misunderstood Aboriginally, Aboriginal history and cultural continuance in Tasmania.” (p. 36) In the same book, in his essay - Aboriginal People and Four Early Brisbane Photographers, Michael Aird points out “sadly, some photographs have been used to exclude Aboriginal people from their history and identity. Captions such as 'The last of the tribe' are examples of how this has happened” (p. 153).</div>
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When valuing/selecting art, it is about time for auction houses, galleries, museums, collectors, festivals, curators, publishers, editors, critiques pay more attention to the process from which the work of art originated and divulge it to the clients/consumers/spectators in a more transparent, meaningful and culturally accepted manner. This is not dissimilar to other products in the market. To quote an analogy, we in the role of consumers are increasingly concerned about what we consume – food, apparel, furniture etc. We tend to look into the value chain to know how and where the products we consume are produced and what their sources are. For instance, whether the sources for a product were obtained by the logging of a rainforest, killing of an animal of an endangered species or whether it was produced in a sweat shop. We know well that no matter how smart a t-shirt is or how big the brand name is, if the t-shirt comes from a sweat shop it would be a product of heartless exploitation. We do this to safeguard less powerful communities and vulnerable eco systems and species.</div>
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It may not be easy to apply the same logic to art making especially because it varies depending on the nature of the work and contexts. However, it is not impossible to initiate frameworks if leading stakeholders work together in this 21st century. This is the only way one could put some ethical and moral safeguards on the process and make an effort to resolve historical wrongs.</div>
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(** Calling the Shots was edited by Prof. Jane Lydon and published by Aboriginal Studies Press)</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1196625880816324807.post-7567000945250570112013-07-21T23:12:00.005+10:002013-07-21T23:14:23.381+10:00Queensland Centre for Photography // Brisbane<div class="separator" style="clear: both; text-align: left;">
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1196625880816324807.post-79632877062171780282013-04-30T21:30:00.004+10:002013-04-30T21:32:39.958+10:00In the Outskirts of the Australian Dream - Exhibition opening on 17 May<div class="separator" style="clear: both; text-align: center;">
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<a href="http://headon.com.au/event/outskirts-australian-dream">http://headon.com.au/event/outskirts-australian-dream</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1196625880816324807.post-12269174718287743042012-10-18T12:35:00.003+11:002013-04-04T21:38:32.541+11:00In the Australian Museum<span style="background-color: white; color: #333333; font-family: Verdana, sans-serif; line-height: 17px; text-align: left;">Some photographs taken by me have been used in the Indigenous Australian Permanent exhibition/installation of the Australian Museum (Sydney). Works are from <i>Ampilatwatja </i>and <i>Manuwangku</i> (aka <i>Muckaty</i>) communities in Central Australia. Two sections in which these works appear are Social Justice and Culture. I am glad that such an important gallery of the Museum has been refreshed after more than a decade. </span><br />
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<span style="font-family: Verdana, sans-serif;"><i style="color: #333333;">Ampilatwatja</i><span style="color: #333333;"> was truly an eye </span><span style="color: #333333;">opener for me as for the first time I got the opportunity to </span><span style="color: #333333;">meet an Aboriginal community. It took more than one year for me to do it once I settled in Australia. I can't be too proud of that. The Ampilatwatja Walk-off was remarkable by any </span><span style="color: #333333;">standard. Though it could not survive the pressure the system </span><span style="color: #333333;">exerted</span><span style="color: #333333;"> on it, the community's resistance to the Intervention was written into history. Manuwangku struggle despite the pressures and all the possible divide and rule tactics on earth is well and truly alive today. I </span></span><span style="color: #333333; font-family: Verdana, sans-serif;">sincerely hope their traditional land will remain safe and free of nuclear waste.</span><br />
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<span style="font-family: Verdana, sans-serif;"><span style="background-color: white; color: #333333; text-align: left;"><span style="line-height: 17px;">The way in which museums and some anthropologists have worked and work is posing serious ethical, moral, sometimes legal questions. In spite of that I welcomed the idea of incluidng these images in the permamant exhibition, mainly as a record which would help some who seek information and knowledge. I tend to visit museums to get overall feel about the environment around me though it may possibly be superficial and sometimes blatantly biased. Reading between line is left to me. </span></span></span><span style="background-color: white; color: #333333; font-family: Verdana, sans-serif; line-height: 17px; text-align: left;">Museums and their publications, to me, were windows to </span><span style="background-color: white; color: #333333; font-family: Verdana, sans-serif; text-align: left;"><span style="line-height: 17px;">Aboriginal culture. I must reiterate that many institutions even today love to "fossilise", "freeze" animals and humans or "putting" them through the process of </span></span><span style="background-color: white; font-family: Verdana, sans-serif; text-align: left;"><span id="hotword"><span id="hotword" name="hotword" style="color: #333333; cursor: default;">taxidermy including their cultural </span></span></span><span style="color: #333333; font-family: Verdana, sans-serif;">activities ... even struggles perhaps. It may be the easiest way for those institutions to handle stubborn animals and humans. I believe, p</span><span style="color: #333333; font-family: Verdana, sans-serif;">rocess in which images are collected and the manner in which it are used do determine the ethical value of an image. Even today third world, </span><span style="color: #333333; font-family: Verdana, sans-serif;">disadvantageous or vulnerable communities are the hunting grounds. Histories of many museums including those of Australia raise more questions than providing answers in this regard. I </span><span style="color: #333333; font-family: Verdana, sans-serif;">sincerely hope this will change in the future for better.</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1196625880816324807.post-80424005679434112562012-08-29T18:47:00.000+10:002012-08-29T18:47:42.675+10:00Magnum photographer - Martine Franck, who has died aged 74, was a photographer of great contrasts<br />
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<a href="http://www.guardian.co.uk/artanddesign/2012/aug/19/martine-franck" target="_blank">Text and image courtesy of Guardian.co.uk</a></div>
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Martine Franck in 1972, photographed by her husband, Henri-Cartier Bresson. Photograph: © Henri Cartier-Bresson/Magnum Photos</div>
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<a href="http://www.magnumphotos.com/C.aspx?VP3=CMS3&VF=MAGO31_9_VForm&ERID=24KL535XVA" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title="Magnum Photos profile of Martine Franck">Martine Franck</a>, who has died aged 74, was a photographer of great contrasts. She started out by taking pictures in Asia, a continent she revisited for weeks at a time, but she also devoted herself to documenting daily life close to her homes in Paris and the Luberon, Provence. Her work is characterised by a fascination with the little intimacies and interactions in the lives of anonymous poor, marginalised and elderly people, yet she also assembled a matchless portfolio of portraits of famous authors and artists, including <a href="http://www.magnumphotos.com/C.aspx?VP3=SearchResult&STID=2S5RYD19OIQ" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title="Martine Franck's photos of Seamus Heaney">Seamus Heaney</a>, <a href="http://www.magnumphotos.com/C.aspx?VP3=SearchResult&STID=2S5RYDZMLW9T" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title="Martine Franck's photos of Marc Chagall">Marc Chagall</a> and <a href="http://www.magnumphotos.com/C.aspx?VP3=SearchResult&STID=2S5RYDLXBZH" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title="Martine Franck's portraits of Diego Giacometti">Diego Giacometti</a>.</div>
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Franck never adhered to the opinion professed by her fellow <a href="http://www.guardian.co.uk/artanddesign/magnum" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title="More from guardian.co.uk on Magnum">Magnum</a>agency photographer <a href="http://www.guardian.co.uk/artanddesign/2012/jan/05/eve-arnold" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title="Eve Arnold obituary">Eve Arnold</a> that all photographers are obliged to be intrusive. Ever modest, she said: "I think I was shy as a young woman and realised that <a href="http://www.guardian.co.uk/artanddesign/photography" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title="More from guardian.co.uk on Photography">photography</a> was an ideal way of expressing myself, of telling people what was going on without having to talk." In 1970, she married the celebrated French photographer and co-founder of the Magnum agency, <a href="http://www.guardian.co.uk/news/2004/aug/05/guardianobituaries.artsobituaries" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title="">Henri Cartier-Bresson</a>. The couple collaborated on a series of portraits of the artist <a href="http://www.guardian.co.uk/news/2001/feb/19/guardianobituaries2" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title="">Balthus</a>, as retiring by temperament as Franck herself.</div>
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She was born to a Belgian banker, Louis Franck, and his British wife, Evelyn, in Antwerp. With the outbreak of hostilities in 1939, her father, who made his career in London, joined the British army. The rest of the family was evacuated to the US and spent the war on Long Island and in Arizona. She was educated in <a href="http://www.guardian.co.uk/world/europe-news" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title="More from guardian.co.uk on Europe">Europe</a>, and studied history of art at Madrid University and the Ecole du Louvre in Paris.</div>
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Writing her thesis (on Henri Gaudier-Brzeska and the influence of cubism on sculpture) convinced Franck that she did not wish to be an academic or a curator, but a photographer. Her father had moved in artistic circles and one of her first portraits was of the sculptor Etienne Martin emerging from a cave smeared with clay. In 1963, she went to China, taking her cousin's Leica camera with her, and discovered the joys of documenting other cultures. Returning home via Hong Kong, Cambodia, India, Afghanistan and Turkey, she paused to visit the theatre director Ariane Mnouchkine and bought her first camera in Japan. She kept to a Leica, and predominantly used black-and-white film, throughout her career.</div>
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Returning to France, she worked as a photographic assistant at Time-Life while developing her own technique. Her early mentors were Eliot Elisofon and Gjon Mili, yet she also cited dramatically different female photographers as influences: Julia Margaret Cameron, for her portraits, and Dorothea Lange and Margaret Bourke-White. Lange's social conscience was reflected in Franck's project on old people's homes for the Petits Frères des Pauvres association. Bourke-White's love for play of light and geometric shapes is embedded in arguably Franck's single most perfect image, that of the <a href="http://www.magnumphotos.com/C.aspx?VP3=SearchResult&ALID=2TYRYDIWIF08" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title="Martine Franck's photograph of bathers at the poolside at Le Brusc">bathers at the poolside at Le Brusc</a>, Provence, taken in 1976. She described her experience of capturing it: "I remember running to get the image while changing the film, quickly closing down the lens as the sunlight was so intense. That's what makes photography so exciting." A moment later the positions of all five figures and their shadows on the white tiles would have irrevocably altered. The image has stood the test of time and was used as the cover shot for her book in the series I Grandi Fotografi in 2003.</div>
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Franck's work was used in Life, Fortune and Vogue, for which she shot portraits of women in public life, including her fellow photographer Sarah Moon and Mnouchkine, who made Franck the official photographer to her <a href="http://www.magnumphotos.com/C.aspx?VP3=CMS3&VF=MAGO31_10_VForm&ERID=24KL535XVA" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title="Magnum: Thtre du Soleil photos by Franck">Théâtre du Soleil</a>. Franck's fascination with masks and disguises found an outlet in Mnouchkine's ambitious deployment of kathakali, kabuki and commedia dell'arte. Their collaboration led to Franck experimenting with colour photography, which she used to capture theatrical productions such as Robert Wilson's ethereal version of Fables de la Fontaine at the Comédie Française in 2004. Franck's love of the theatrical could transform her quiet unobtrusiveness.</div>
<span class="inline wide" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; display: block; float: none; margin: 0px; padding: 0px; width: auto;"><img alt="Tulku Khentrul Lodro Rabsel, 12" height="340" src="http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/2012/8/19/1345392377770/Tulku-Khentrul-Lodro-Rabs-003.jpg" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin: 0px; padding: 5px 0px 0px;" width="480" /><span class="caption" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #666666; display: block; font-size: 0.858em; line-height: 1.25; margin: 0px 0px 13px; padding: 0px; width: 480px;">Tulku Khentrul Lodro Rabsel, 12, with his tutor in a Nepalese monastery taken by Franck in 1996. Photograph: © Martine Franck/Magnum Photos</span></span><br />
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In 1966, Franck met Cartier-Bresson, who epitomised Magnum's tradition of humanitarian photography. Franck was adamant that she would neither bask in his reflection nor disappear in his shadow and she joined the Vu agency in 1970. Her first solo exhibition was planned for the ICA in London that year; when she saw that the invitations were embossed with the information that her husband would be present at the launch, she cancelled the show.</div>
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With Vu's demise, Franck co-founded the Viva agency in 1972. It also collapsed and it was not until 1980 that Franck joined <a href="http://www.magnumphotos.com/C.aspx?VP=XSpecific_MAG.Biography_VPage&AID=2K7O3R14HF4K" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title="Magnum: Franck's biography">Magnum</a>, becoming a full member in 1983. She was one of the few women to be accepted into the agency and served as vice-president from 1998 to 2000. Eschewing the war/human tragedy reportage that characterised Magnum's reputation, Franck continued her projects on marginal or isolated lives. When I first met her, in the 1990s, she had just completed her book on Tory Island, a "small rock" off the northern Irish coast with a population of around 130 Gaelic-speakers, where she lived in order to document their way of life.</div>
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Always a feminist, Franck was not above picking a grandiose book title – such as <a href="http://www.magnumphotos.com/C.aspx?VP3=SearchResult&ALID=2TYRYDIWVYUQ" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title="Des Femmes et la Cration photos by Martine Franck">Des Femmes et la Création</a>. It is typical that one of her final projects involved three weeks spent visiting small villages in Gujerat, western India, documenting young girls embroidering their own dowries.</div>
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As well as their homage to Balthus, Franck and Cartier-Bresson undertook a joint project in the Soviet Union. Franck also created a small book of portraits of her husband. Among the most memorable of this similarly shy and elusive character is that taken from behind, showing the back of his head. His reflection in the square mirror before him is repeated in the self-portrait he is sketching: <a href="http://www.magnumphotos.com/C.aspx?VP3=SearchResult&ALID=2S5RYDYZZTTS" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title="Martine Franck's photo of Henri Cartier-Bresson">a reflection on a reflection</a>. Franck never used him as mentor or protector but warmly concluded: "Henri was both critical and inspirational as well as warmly supportive of me as a photographer." They had a daughter, Melanie, another reason for Franck to operate close to home when possible.</div>
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Franck's brother, the photographic curator and collector Eric Franck, affirms: "Henri was always very generous in encouraging her work, something she respected greatly." Franck's sister-in-law, Louise Baring, adds: "What was so extraordinary about Martine was that with subtlety and grace she could both be a great photographer herself and at the same time honour her husband's tradition."</div>
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She worked hard to launch the <a href="http://www.henricartierbresson.org/index_en.htm" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title="Fondation Henri Cartier-Bresson">Fondation Henri Cartier-Bresson</a> in 2002; Henri died two years later. In 2005, she was made a chevalier of the Légion d'Honneur. After her diagnosis with bone marrow cancer in 2010, she continued showing her work, and had exhibitions earlier this year at the Howard Greenberg Gallery in New York and at the Claude Bernard Gallery in Paris.</div>
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She is survived by Melanie, three grandchildren and her brother, Eric.</div>
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• Martine Franck, photographer, born 3 April 1938; died 16 August 2012</div>
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• <a href="http://www.magnumphotos.com/C.aspx?VP3=CMS3&VF=MAGO31_10_VForm&ERID=24KL535XVA" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin: 0px; padding: 0px; text-decoration: none;" title="Magnum: Martine Franck photos">Martine Franck photo galleries on the Magnum website</a></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1196625880816324807.post-83341055443213532552012-08-20T22:00:00.000+10:002012-08-21T13:26:29.196+10:00William and Winifred Bowness Photography Prize for 2012 - Finalists announced !<br />
<span style="font-size: x-small;">Text courtesy : Monash Gallery of Art web site
/ Official communiqué </span><br />
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Forty two images by some of Australia’s best photographers are in the running for the $25 000 William and Winifred Bowness Photography Prize for 2012. Established in 2006 to promote excellence in photography, the prize and exhibition will showcase some of the most outstanding contemporary work produced in Australia over the past 12 months.
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The finalist’s works were selected from approximately 2 500 photographs submitted by 495 entrants - the largest ever received in the history of the Bowness Photography Prize. One of these finalists will win the $25 000 first prize. Three finalists will be awarded an Adobe Honourable Mention prize.
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This year’s eminent judging panel, Magnum photographer TRENT PARKE, NGV’s Senior Curator Photography ISOBEL CROMBIE, and MGA Gallery Director SHAUNE LAKIN have selected 42 photographs from approximately 2 500 entries – the largest number received in the history of Australia’s most coveted photography prize.
Shaune Lakin, MGA Gallery Director, said on behalf of the judging panel: “With a record number of entries and an extraordinarily high caliber of work, the judging process was very difficult. So we selected more finalists than usual – to reflect the strength of the field. The finalists represent the best in contemporary Australian photography and their photographs will make an amazing exhibition; I am sure choosing a winner in early October will be incredibly difficult.”
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The winner of the $25 000 prize will be announced at MGA on Thursday 4 OCTOBER 2012. One of Australia’s most eminent cultural figures, Penelope Seidler AM, will join the judging panel to choose the winner of the 2012 Bowness Photography Prize.<br />
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<b>Robert ASHTON
</b><br />
<b>Daniel BOETKER-SMITH</b><br />
<b>
Kirsten BOWERS</b><br />
<b>
Jane BROWN</b><br />
<b>
Chris BUDGEON
</b><br />
<b>Elaine CAMPANER
</b><br />
<b>Rowan CONROY</b><br />
<b>
Jagath DHEERASEKARA
</b><br />
<b>Stephen DUPONT</b><br />
<b>
Cherine FAHD</b><br />
<b>
Jacqueline FELSTEAD
</b><br />
<b>Siri HAYES
</b><br />
<b>Christopher HOLT</b><br />
<b>
Tim JOHNSON</b><br />
<b>
Francis KEOGH
</b><br />
<b>Bronek KOZKA</b><br />
<b>
Jesse MARLOW
</b><br />
<b>Joseph MCGLENNON</b><br />
<b>
Georgia METAXAS</b><br />
<b>
Michael MILLER
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<b>Phuong NGO</b><br />
<b>
Simon OBARZANEK</b><br />
<b>
Gerard O’CONNOR and Marc WASIAK</b><br />
<b>
Polixeni PAPAPETROU
</b><br />
<b>Izabela PLUTA
</b><br />
<b>Clare RAE
</b><br />
<b>Hannah RAISIN
</b><br />
<b>Lynne ROBERTS-GOODWIN</b><br />
<b>
Tobias ROWLES</b><br />
<b>
Julie RRAP</b><br />
<b>
Rodney SCHAFFER</b><br />
<b>
Lani SELIGMAN</b><br />
<b>
Martin SMITH
</b><br />
<b>Valerie SPARKS</b><br />
<b>
David STEPHENSON
</b><br />
<b>Darren SYLVESTER</b><br />
<b>
Claudia TERSTAPPEN
</b><br />
<b>Christian THOMPSON
</b><br />
<b>Stephanie VALENTIN</b><br />
<b>
Justine VARGA</b><br />
<b>
Daniel VON STURMER
</b><br />
<b>William YANG</b><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1196625880816324807.post-57018888743626114922012-07-28T16:54:00.000+10:002012-07-28T16:54:26.756+10:00'I was gutted that I'd been such a coward': photographers who didn't step in to help - the Guardian reports<span class="Apple-style-span" style="border-collapse: collapse; color: #666666; font-family: arial, sans-serif; font-size: 16px; line-height: 19px;">What's it like to witness a mob attack, a starving child or the aftermath of a bomb, and take a photograph instead of stopping to help? As two journalists are under fire for recording rather than intervening in a sex attack in India, we ask people who know ...</span><br />
<span class="Apple-style-span" style="border-collapse: collapse; color: #666666; font-family: arial, sans-serif; font-size: 16px; line-height: 19px;"><br style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" />To read the full article <a href="http://www.guardian.co.uk/media/2012/jul/28/gutted-photographers-who-didnt-help">http://www.guardian.co.uk/media/2012/jul/28/gutted-photographers-who-didnt-help</a></span><br />
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<span class="Apple-style-span" style="border-collapse: collapse; color: #666666; font-family: arial, sans-serif; font-size: 16px; line-height: 19px;"><a href="http://www.guardian.co.uk/media/interactive/2012/jul/28/bystanders-photographers-who-didnt-help" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">In pictures: the photographers who stood by (</a></span><span class="Apple-style-span" style="border-collapse: collapse; color: #666666; font-family: arial, sans-serif; font-size: 16px; line-height: 19px;">contains some graphic images)</span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1196625880816324807.post-91040320012814512282012-07-14T07:37:00.001+10:002012-07-14T07:37:44.227+10:00The most difficult thing about making a good photograph by David H Wells<a href="http://thewellspoint.com/2012/07/13/the-most-difficult-thing-about-making-a-good-photograph/">The most difficult thing about making a good photograph</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1196625880816324807.post-66621920503501115992012-06-20T05:30:00.001+10:002012-06-20T05:30:35.192+10:00IN CONVERSATION: JAGATH DHEERASEKARA & SANDY EDWARDS<div class="separator" style="clear: both; text-align: left;">
<a href="http://whatson.cityofsydney.nsw.gov.au/events/14293-in-conversation-jagath-dheerasekara-sandy-edwards">http://whatson.cityofsydney.nsw.gov.au/events/14293-in-conversation-jagath-dheerasekara-sandy-edwards</a></div>
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1196625880816324807.post-47242904833696928962012-06-05T13:57:00.000+10:002012-07-14T07:39:15.551+10:00Maori friends | Te Kete Kahurangi Dance Troupe<div class="separator" style="clear: both; text-align: left;">
Te Kete Kahurangi Dance Troupe is one of the most active Maori cultural groups in NSW. I met them while working on another assignment. I felt truly privileged to be welcomed to photograph their rehearsals, performances (along with the recent one at the NSW Parliament) and their private spaces. I am ever so grateful to the Maori friends including <a href="http://www.uws.edu.au/newscentre/news_centre/more_and_more_news/awhina_waapu,_te_kete_kahurangi,_airds" target="_blank">Awhina</a> and Hohepa for the <a href="http://en.wikipedia.org/wiki/Haka" target="_blank">'Haka'</a> performance they did for my friend Peter and me in formally welcoming us.</div>
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<a href="http://3.bp.blogspot.com/-roQGimmMflA/T81-NijhJ5I/AAAAAAAAIg8/Bx3ycc7Pm-U/s1600/airdsBradbury_maoriDanceGroup_2012-05-23_73928.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="http://3.bp.blogspot.com/-roQGimmMflA/T81-NijhJ5I/AAAAAAAAIg8/Bx3ycc7Pm-U/s320/airdsBradbury_maoriDanceGroup_2012-05-23_73928.jpg" width="320" /></a></div>
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<a href="http://1.bp.blogspot.com/-2dWzEsVXnxU/T81_yl9A5KI/AAAAAAAAIhY/FbUxZwwpifI/s1600/airdsBradbury_maoriDanceRehearsal_2012-05-20_73353.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="http://1.bp.blogspot.com/-2dWzEsVXnxU/T81_yl9A5KI/AAAAAAAAIhY/FbUxZwwpifI/s320/airdsBradbury_maoriDanceRehearsal_2012-05-20_73353.jpg" width="320" /></a></div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1196625880816324807.post-71780599704870438072012-05-30T10:32:00.000+10:002012-05-30T10:33:33.986+10:00When Worlds Collide #14: Freezing Moments and Defying Time’s Tyranny by Nalaka GunawardeneNalaka sent me the link to his column yesterday. It is truly inspiring and amazing to anyone who loves photographs and appreciates human relationships.<br />
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Following text and images in this blogpost are from<br />
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http://collidecolumn.wordpress.com/2012/05/05/when-worlds-collide-14-freezing-moments-and-defying-times-tyranny/<br />
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and copyrighted to Nalaka Gunawardene<br />
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<a href="http://collidecolumn.wordpress.com/2012/05/05/when-worlds-collide-14-freezing-moments-and-defying-times-tyranny/" target="_blank"><span class="Apple-style-span" style="font-size: large;">When Worlds Collide #14: Freezing Moments and Defying Time’s Tyranny by Nalaka Gunawardene</span></a><br />
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Growing up in a very different Sri Lanka during the 1970s, I was image starved.</div>
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We had no television, no Internet, and going to the cinema was a rare treat. And cameras were uncommon – those who owned them had to carefully plan every photograph to make the best use of film rolls with a finite number of shots (12, 24 or 36).</div>
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My school teacher parents had a <a href="http://en.wikipedia.org/wiki/Box_camera" style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #0066cc; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Kodak box camera</a>, using which they took some home photos of my early years. Two dozen black-and-whites (some in sepia prints) survive to this day in remarkably good shape. That is all I have to show for the first decade and half of my life. </div>
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I also have a few (now fading) colour photos from my mid to late teens, taken fleetingly with cameras borrowed from friends. By then, in the 1980s, our home camera was no longer useable. And I didn’t own a basic (analog) camera until I was 25; it took me another dozen years to go digital. Yes, I know: that makes me a dinosaur of sorts…</div>
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Some of my friends have been much luckier. <a href="http://www.buddhini.net/about.html" style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #0066cc; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Buddhini Ekanayake</a>, a Child of ’77, had a photographer father who captured all key moments of her life, and then some.</div>
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As she recalls: “My father had a passion for photography since he was a teenager. Later, with his part-time job as a local news reporter, the camera became a part of his life. So I have a whole lot of photographs from my childhood…My father took the photos and my mother preserved them in photo albums. Thanks to them, I have a huge collection of memories, emotions and untold stories bound with those thousands of photographs.”</div>
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It was partly the happy byproduct of journalism. Her father, Wijayananda Ekanayake, always had a film-loaded camera standing by to rush out at short notice. He would often develop them in his small darkroom at home.</div>
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Says Buddhini: “Those days, unlike today, one had to develop the entire film roll even for a single photo. I can remember he was using film rolls cut into short lengths of 10 to 12 frames, so he could finish them soon and send out urgent news photos. In such situations, I was the most readily available subject for him to finish the untaken frames!”</div>
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Buddhini’s Progress from Year 1 to 30 – A Father’s unusual Birthday Present</div>
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<strong style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-weight: bold; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Birthday Photos</strong></div>
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Every birthday was marked with a dedicated photo shoot, so Buddhini has an evenly spaced visual record of her life, all in black and white. When she turned 30 a few years ago, she selected one from each birthday to make a scrapbook layout. “I really enjoyed working on that layout because those pictures carried so many memories in my life,” she says.</div>
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Buddhini, who works as a freelance designer and TV producer, shares this and other visual memories <a href="http://www.buddhini.net/" style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #0066cc; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">on her personal website</a>. She now continues the family tradition by photographing milestones in her own daughter’s life.</div>
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Another friend, Chulie de Silva, uses family photographs – taken over generations and decades — for chronicling tales of her colourful and far-flung family, hailing from the coastal town of Hikkaduwa. Her memories, often personalising the local history, are<a href="http://chulie.wordpress.com/" style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #0066cc; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">shared on a popular blog</a>, evoking comments from many readers.</div>
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Especially poignant are her bittersweet memories of younger brother Prasanna, who was killed when the Indian Ocean tsunami came crashing in without warning on 26 December 2004. Suddenly, only photos and memories were left.</div>
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Within 72 hours a mutual friend, Bangladeshi photojournalist <a href="http://www.shahidulalam.com/" style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #0066cc; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Shahidul Alam</a>, was bearing witness to the massive devastation. He saw something extraordinary when walking amidst the ruins of Telwatte — close to where the world’s worst train accident happened, when <a href="http://nalakagunawardene.com/2009/12/28/asian-tsunami5-how-a-packed-train-headed-to-disaster-with-no-warning/" style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #0066cc; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">an overcrowded train headed straight into the ferocious waves.</a></div>
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“I came across a family that had gathered in the wreckage of their home. I wanted to ask them their stories, find out what they had seen, but stopped when I saw them pick up the family album. They sat amidst the rubble and laughed as they turned page after page,” he recalled in the 2007 book I co-edited titled <em style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-style: italic; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;"><a href="http://tiny.cc/DisCom" style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #0066cc; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Communicating Disasters: An Asia Pacific Resource Book</a></em>.</div>
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<strong style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-weight: bold; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">As disaster survivors sift through what is left of their homes, family photo albums are among the most cherished possessions they try to recover. This impulse cuts across cultures and other human divisions.</strong></div>
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<strong style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-weight: bold; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Helping Hands</strong></div>
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And in this networked age, anyone can join such a quest from anywhere. In the aftermath of Japan’s earthquake and tsunami of 11 March 2011, dozens of volunteers helped hand-clean over 70,000 family photographs recovered from the debris.</div>
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<a href="http://hands.org/" style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #0066cc; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">All Hands Volunteers</a>, a Massachusetts-based non-profit group, enlisted more than 200 remote volunteers to augment efforts of those on site. Some among them, who earn their living by ‘retouching’ fashion photos for glamour magazines, found it the ‘most satisfying work’ in their lives. (For details, see: <a href="http://tiny.cc/Hands" style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #0066cc; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">http://tiny.cc/Hands</a>)</div>
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Future disasters would probably imperil fewer family photos, as more people store and share their digitally taken photos on Facebook, Flickr, Picasa and other online platforms. ‘Digital Natives’ like my teenaged daughter rarely print their many photos.</div>
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The cyber ‘cloud’ is increasingly the giant repository of our memories. While no tsunami can wipe them out, we might one day discover the web’s own inherent hazards.</div>
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<strong style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-weight: bold; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Analog or digital, physical or virtual, why are snapshots of frozen moments so powerfully evocative to all of us?</strong></div>
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Ultimately, photos are about defying the tyranny of time and the elements. When memory fails, chemicals or digits linger a bit longer…</div>
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As <a href="http://nalakagunawardene.com/category/arthur-c-clarke/" style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #0066cc; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Sir Arthur C Clarke</a> once remarked, “A cheap box camera can provide for anyone of us what the greatest sculptor of the ancient world laboured for years to give Emperor Hadrian – the exact image of a lost love. With the invention of photography, some aspects of the past became for the first time directly accessible, with the minimum of selective intervention by a human mind.”</div>
<div style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-size: 16px; line-height: 24px; margin-bottom: 24px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">
<strong style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-weight: bold; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">The mystique of photography – which existed even a generation ago — has all but vanished as more people carry cameras (or mobile phones with camera facility). Yet the first world’s photos were taken less than 200 years ago. Do today’s shutter-happy children realize what a small wonder they hold in their hands? I doubt it.</strong></div>
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As Sir Arthur wrote in <em style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-style: italic; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;"><a href="http://nalakagunawardene.com/2011/05/14/thor-superman-and-arthur-c-clarkes-third-law-technology-or-magic/" style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #0066cc; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Profiles of the Future</a> </em>(1962): “Photography is such a commonplace device that we have long forgotten how marvelous it really is; if it were as difficult and expensive to take a photograph as, say, to launch a satellite, we would then give the camera the credit that is due to it.”<em style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-style: italic; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;"></em></div>
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<em style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-style: italic; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Nalaka can be followed : <a href="http://nalakagunawardene.com/" style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #0066cc; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">http://nalakagunawardene.com</a>, and on Twitter: <a href="https://twitter.com//NalakaG" style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #0066cc; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">NalakaG</a></em></div>
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About Nalaka Gunawardene - as he describes ...</div>
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<span class="Apple-style-span" style="font-size: 14px; line-height: 20px;">"A science writer by training, I've worked as a journalist and communication specialist across Asia for 25 years. During this time, I have variously been a news reporter, feature writer, radio presenter, TV quizmaster, documentary film producer, foreign correspondent and journalist trainer. I continue to juggle some of these roles, while also blogging and tweeting and column writing. There's NOTHING OFFICIAL about this blog. In fact, there's NOTHING OFFICIAL about me! I've always stayed well clear of ALL centres of power and authority."</span></div>
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1196625880816324807.post-77616540505366912002012-05-24T12:37:00.000+10:002012-05-24T12:37:14.315+10:00Two men band<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-xUg4B6ZPtpQ/T72eScwv7FI/AAAAAAAAIfc/gf7_-IyCSgA/s1600/airdsBradbury_maoriDanceGroup_2012-05-23_73838.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="http://1.bp.blogspot.com/-xUg4B6ZPtpQ/T72eScwv7FI/AAAAAAAAIfc/gf7_-IyCSgA/s320/airdsBradbury_maoriDanceGroup_2012-05-23_73838.jpg" width="320" /></a></div>
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Two men band and its audience at the St James StationUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-1196625880816324807.post-12879620774755683732012-05-24T11:58:00.000+10:002012-05-24T12:05:16.870+10:00David Alan Harvey - Wall / floor talk - Australian Centre for Photography<div class="separator" style="clear: both; text-align: center;">
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<a href="http://2.bp.blogspot.com/-L9VBS2xcZUQ/T72W-lxRTSI/AAAAAAAAIfQ/hShVwhc0D0U/s1600/dahTalk2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="114" src="http://2.bp.blogspot.com/-L9VBS2xcZUQ/T72W-lxRTSI/AAAAAAAAIfQ/hShVwhc0D0U/s320/dahTalk2.jpg" width="320" /></a></div>
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Photos : Magnum and National Geographic photographer <a href="http://www.davidalanharvey.com/" target="_blank">David Alan Harvey</a>'s wall / floor talk at the Australian Centre for Photography in relation to his "based on true story".<br />
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Following text is courtesy of <a href="http://www.acp.org.au/" target="_blank">the Australian Centre for Photography website</a><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, Geneva, sans-serif; font-size: 12px;"><b>5 May–17 June 2012</b></span><br />
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<b>FREE ENTRY</b></div>
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Head On Photo Festival and the Australian Centre for Photography are partnering to present <i>(<a href="http://tmp.acp.org.au/current/" target="_blank">based on a true story</a>)</i>.</div>
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David Alan Harvey, an internationally renowned Magnum photographer, presents a new collection of work capturing the vibrancy and cultural energy of Rio de Janeiro, Brazil. Shot over a two-year period, Harvey’s intimate photographs are raw, real and passionate and make you feel like a fly on the wall. <i>(based on a true story)</i> is a representation of one night out that Harvey admits ‘changed [me] forever’. Photographs from this series have been published in Harvey’s new book also titled <i>(based on a true story)</i>. This is Harvey’s very personal journey into the novela, a mystery tale that is not about Rio, but set in Rio.</div>
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Harvey has extensive experience documenting cultural stories around the world including projects on French teenagers, the Berlin Wall, Maya culture, Native Americans, Vietnam, Mexico, Naples and Nairobi. Harvey has published several major books including <i>Cuba</i> (2000) and <i>Divided Soul</i> (2002) based on his extensive exploration of the Spanish/Portuguese diaspora into the Americas, <i>Living Proof</i> (2009) an investigation of hip hop culture in the South Bronx, New York and <i>Tell It Like It Is</i> (1966) based on Harvey's experience living with a black family in Norfolk, Virginia. Harvey has also shot over forty essays for National Geographic magazine.</div>
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David Alan Harvey was born in 1944 in San Francisco, USA and lives and works in New York.</div>
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David Alan Harvey is travelling to Sydney as part of the Head On Photo Festival and will present seminars and workshops. He will also speak at Semi-Permanent Sydney 2012.</div>
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<br /></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1196625880816324807.post-15873601410100959542012-05-02T18:33:00.001+10:002012-05-06T06:51:07.118+10:00Manuwangku, Under the Nuclear Cloud | Photographs by Jagath Dheerasekara | Curated by Sandy Edwards | Customs House | Head On Photo Festival | Sydney | 4 May - 8 July<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-UxUF7EErFPI/T6BY0qm7uBI/AAAAAAAAIeA/dVpJkkwK0HY/s1600/EVITE-Manuwangku-FINAL.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://1.bp.blogspot.com/-UxUF7EErFPI/T6BY0qm7uBI/AAAAAAAAIeA/dVpJkkwK0HY/s640/EVITE-Manuwangku-FINAL.jpg" width="432" /></a></div>
<span class="Apple-style-span" style="font-family: arial;"><a href="http://headon.com.au/event/customs-house-manuwangku-under-nuclear-cloud" target="_blank">Manuwangku, Under the Nuclear Cloud</a></span><span class="Apple-style-span" style="font-family: arial;"> is featured in </span><span class="Apple-style-span" style="font-family: arial;"><a href="http://headon.com.au/content/about-head-photo-festival" target="_blank">the Head On Photo Festival</a></span><span class="Apple-style-span" style="font-family: arial;"> . Head On is Australia's largest photo festival and world's second largest. The exhibition is curated by Sandy Edwards and hosted by </span><span class="Apple-style-span" style="font-family: arial;"><a href="http://www.cityofsydney.nsw.gov.au/customshouse/whatsOn/" target="_blank">Customs House</a></span><span class="Apple-style-span" style="font-family: arial;">. (Level 2, 31 Alfred Street, Circular Quay, NSW 2000). Customs House will continue to host the exhibition even after the Head On Photo Festival until 9 July during the VIVID Festival and the NAIDOC Week. For this project, </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">photographer <a href="http://jd.photoshelter.com/" target="_blank">Jagath Dheerasekara</a>, won the Amnesty International Human Rights Innovation Grant Award in 2010 and the exhibition is currently on <a href="http://jd.photoshelter.com/page1" target="_blank">tour</a>.</span><br />
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<a href="http://1.bp.blogspot.com/-zE4LJ27qVAU/T6DcCJOlV_I/AAAAAAAAIeQ/vFsRun359L4/s1600/Screen+shot+2012-05-02+at+16.05.11.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-zE4LJ27qVAU/T6DcCJOlV_I/AAAAAAAAIeQ/vFsRun359L4/s1600/Screen+shot+2012-05-02+at+16.05.11.png" /></a></div>
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<span class="Apple-style-span" style="color: #666666; font-family: inherit;">Extracts from the comments in the media and other sources on the Manuwangku, Under the Nuclear Cloud series:</span></div>
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<span style="border-collapse: collapse; color: #666666; font-family: inherit;">"The photographs are excellent. They are a moving portrayal of Aboriginal Australia that all Australians aught to know about on an issue that wont go away."</span><br />
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<span class="Apple-style-span" style="color: #666666; font-family: inherit;"><span style="border-collapse: collapse;">- <a href="http://en.wikipedia.org/wiki/John_Pilger" target="_blank">John Pilger</a>, Writer and Filmmaker, January 2012</span></span><br />
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<span class="Apple-style-span" style="color: #666666;"><span style="border-collapse: collapse;"><span style="border-collapse: separate; font-family: inherit;">"They (photographs) are just beautiful. They show how we live. We don't want the nuclear waste dump coming to our land. That place is very important for water. This exhibition will be a real eye opener for people in the cities. It shows the realities of our lives in the outback, out under the stars. People need to see what is really happening."</span></span></span></div>
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<span class="Apple-style-span" style="color: #666666;"><span style="border-collapse: collapse;"><span style="border-collapse: separate; font-family: inherit;">- Penny Phillips Napangardi, Traditional Owner of Mukaty (Manuwangku), April 2012</span></span></span></div>
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<span class="Apple-style-span" style="border-collapse: collapse; color: #666666; font-family: inherit;">”These photographs are an enormous achievement on Jagath’s account. There are many examples of photographers coming to Australia full of desire to photograph Aboriginal people. There have been many mismatches and misinterpretations. Jagath has combined his humanism and his personal experiences and has achieved a delightfully accurate portrayal of the Muckaty community in all its subtlety. He has created a lasting positive document that will remain invaluable as we hopefully continue to develop more photographic archives of Aboriginal Australia that combine realism with a keenly felt positive empathy. "
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<span class="Apple-style-span" style="border-collapse: collapse; color: #666666; font-family: inherit;">- <a href="http://www.artgallery.nsw.gov.au/collection/search/?artist_id=edwards-sandy" target="_blank">Sandy Edwards</a>, Photographer and Curator, Jan 2012</span></div>
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<span style="border-collapse: collapse;"><span class="Apple-style-span" style="color: #666666; font-family: inherit;">They are wonderful. Just wonderful. He's taken the time to be with the people. Otherwise he wont have gained so much of their trust.</span></span><br />
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<span class="Apple-style-span" style="color: #666666; font-family: inherit;"><span style="border-collapse: collapse;">- <a href="http://en.wikipedia.org/wiki/Mervyn_Bishop" target="_blank">Mervyn Bishop</a>, Photographer, </span><span class="Apple-style-span" style="border-collapse: collapse;">January </span><span style="border-collapse: collapse;">2012</span></span></div>
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<span style="border-collapse: collapse;"><span class="Apple-style-span" style="color: #666666; font-family: inherit;">"They are composed with a purpose. They show there is nowhere in Australia that Aboriginal people don't live and care about the land.</span></span><br />
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<span class="Apple-style-span" style="color: #666666; font-family: inherit;"><span style="border-collapse: collapse;">- <a href="http://www.bos17.com/biennale/artist/76" target="_blank">Djon Mundine OAM</a>, Art Curator, </span><span class="Apple-style-span" style="border-collapse: collapse;">January</span><span style="border-collapse: collapse;"> 2012</span></span></div>
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<span class="Apple-style-span" style="border-collapse: collapse; color: #666666;">Exhibition has so far travelled to ...</span><br />
<span class="Apple-style-span" style="color: #666666;">Sydney | </span><span class="Apple-style-span" style="border-collapse: collapse; color: #666666;">The Pine Street Gallery, Chippendale | </span><span class="Apple-style-span" style="border-collapse: collapse; color: #666666;">January 2012</span><br />
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<span class="Apple-style-span" style="border-collapse: collapse; color: #666666;">Melbourne | </span><span class="Apple-style-span" style="border-collapse: collapse; color: #666666;">Sustainability Living Festival 2012 | </span><span class="Apple-style-span" style="border-collapse: collapse; color: #666666;">February 2012</span><br />
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<span class="Apple-style-span" style="color: #666666;">Perth | </span><span class="Apple-style-span" style="color: #666666;">FotoFreo Photo Festival 2012. Divergence
: Photographs from Elsewhere | </span><span class="Apple-style-span" style="color: #666666;">March ~ April 2012</span></div>
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<span class="Apple-style-span" style="color: #666666;">Sydney | </span><span class="Apple-style-span" style="color: #666666;">Head On Foto Festival + VIVID Festival + NAIDOC Week | </span><span class="Apple-style-span" style="color: #666666;">Customs House, Circular Quay | </span><span class="Apple-style-span" style="color: #666666;">May 4 ~ July 9 2012</span><br />
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<span class="Apple-style-span" style="border-collapse: collapse; color: #666666; font-family: inherit;">Melbourne | </span><span class="Apple-style-span" style="border-collapse: collapse; color: #666666;">La Trobe University, Library, Bundoora Campus | </span><span class="Apple-style-span" style="border-collapse: collapse; color: #666666;">Curated by Dr Vincent Alessi, Artistic Director, La Trobe University Art Museum | </span><span class="Apple-style-span" style="border-collapse: collapse; color: #666666;">May ~ July 2012 (Including NAIDOC Week)</span></div>
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<span class="Apple-style-span" style="border-collapse: collapse; color: #666666;">Darwin | </span><span class="Apple-style-span" style="border-collapse: collapse; color: #666666;">Darwin Festival | </span><span class="Apple-style-span" style="border-collapse: collapse; color: #666666;">Thursday 9 ~ Sunday 26 August 2012</span><br />
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Alice Springs | </span><span class="Apple-style-span" style="border-collapse: collapse; color: #666666;">Alice Springs Festival | </span><span class="Apple-style-span" style="border-collapse: collapse; color: #666666;">Friday 7 ~ Sunday 16 September 2012</span><br />
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<span class="Apple-style-span" style="border-collapse: collapse; color: #666666; font-family: inherit;">Tennant Creek | </span><span class="Apple-style-span" style="border-collapse: collapse; color: #666666;">Desert Harmony Festival | </span><span class="Apple-style-span" style="border-collapse: collapse; color: #666666;">August 24 ~ September 2 2012</span></div>
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Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-1196625880816324807.post-25008274946645078152012-01-29T11:29:00.000+11:002012-01-29T11:29:50.822+11:00Photographer Adam Ferguson - The shot that nearly killed me: War photographers – a special report - Attacked by a Haitian mob, kidnapped by Gaddafi's troops, shot in Afghanistan … Who'd be a war photographer?I was one of the first on the scene. The Afghan security forces normally shut down a suicide bombing like this pretty quickly. I was able to get to the epicentre of the explosion. It was carnage, there were bodies, flames were coming out of the buildings. I remember feeling very scared because there was still popping and hissing and small explosions, and the building was collapsing. It was still very fresh and there was a risk of another bomb. It was one of those situations where you have to put fear aside and focus on the job at hand: to watch the situation and document it. .... > > > <a href="http://www.guardian.co.uk/media/2011/jun/18/war-photographers-special-report">read more</a> > > >Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1196625880816324807.post-83463135741366745692012-01-04T23:00:00.000+11:002012-01-04T23:00:14.143+11:00Errol Morris: 'We've forgotten that photographs are connected to the physical world'<object height="370" width="460"> <param name="movie" value="http://www.guardian.co.uk/video/embed"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><param name="flashvars" value="endpoint=http://www.guardian.co.uk/commentisfree/video/2011/dec/26/errol-morris-photography-video/json"></param><embed src="http://www.guardian.co.uk/video/embed" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="460" height="370" flashvars="endpoint=http://www.guardian.co.uk/commentisfree/video/2011/dec/26/errol-morris-photography-video/json"></embed> </object><br />
<br />
VideoWriter and Oscar-winning documentary maker Errol Morris talks about the nature of truth, art and propaganda in photography. Drawing examples from the photographs of Abu Ghraib and the Crimean war, cited in his book Believing is Seeing, he argues we've often underplayed the link between photgraphs and the physical world<br />
<br />
<a href="http://www.guardian.co.uk/commentisfree/video/2011/dec/26/errol-morris-photography-video">http://www.guardian.co.uk/commentisfree/video/2011/dec/26/errol-morris-photography-video</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1196625880816324807.post-8425001403227149302011-12-23T08:19:00.000+11:002011-12-23T08:19:11.130+11:00Meltdown : the men who crashed the world - 4 part series<iframe width="560" height="315" src="http://www.youtube.com/embed/THCnDbBkcvM" frameborder="0" allowfullscreen></iframe><br />
<br />
<br />
<iframe width="560" height="315" src="http://www.youtube.com/embed/Bp7c2Wo9YDc" frameborder="0" allowfullscreen></iframe><br />
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<iframe width="560" height="315" src="http://www.youtube.com/embed/L20DhfgPugE" frameborder="0" allowfullscreen></iframe><br />
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<br />
<iframe width="560" height="315" src="http://www.youtube.com/embed/osAYMnqZyZc" frameborder="0" allowfullscreen></iframe>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1196625880816324807.post-87206524669565673422011-11-17T22:11:00.000+11:002011-11-17T22:11:38.335+11:00Occupy protestors say it is 99% v 1%. Are they right?<object height="370" width="460"> <param name="movie" value="http://www.guardian.co.uk/video/embed"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><param name="flashvars" value="endpoint=http://www.guardian.co.uk/news/datablog/video/2011/nov/16/99-v-1-occupy-data-animation/json"></param><embed src="http://www.guardian.co.uk/video/embed" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="460" height="370" flashvars="endpoint=http://www.guardian.co.uk/news/datablog/video/2011/nov/16/99-v-1-occupy-data-animation/json"></embed> </object><br />
<br />
It has been the rallying cry of the Occupy movement for the past two months - but is the US really split 99% v 1%? As poverty and inequality reach record levels, how much richer have the rich got? This animation explains what the key data says about the state of America today.<br />
<br />
Read more at <a href="http://www.guardian.co.uk/news/datablog/2011/nov/16/occupy-protests-data-video">guardian.co.uk</a><br />
<br />
Source <a href="http://www.guardian.co.uk/news/datablog/2011/nov/16/occupy-protests-data-video">guardian.co.uk</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1196625880816324807.post-32186273371218606082011-10-29T12:27:00.000+11:002011-10-29T12:27:26.508+11:00The One Life Photography Competition 2011 - Winners and Finalists<b>About One Life Photography Competition</b><br />
Artists Wanted was created three years ago by two Brooklyn based artists, Jason Goodman and William Etundi Jr. Their first hand experience in the art world was the inspiration for creating this bold new platform for finding burgeoning talent and exposing it to the world.<br />
<br />
With judges ranging from actor Steve Buscemi to DEVO frontman Mark Mothersbaugh to curators from The Guggenheim and MOMA, we try to balance new perspectives with established art world sensibilities to find work that transcends the typical.<br />
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Our first opening, for artist Kim Holleman at the Whitebox Exhibition Space was their largest, with 1,000 attendees. Our second featured the work of Pete Eckert, a blind photographer, who has become an art sensation with international acclaim including a feature in Time Magazine. Our most recent two openings were phenomenal successes hosted at the Open House Gallery and The New Museum in Manhattan. This is an exciting era for art, the best is yet to come.<br />
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<a href="http://www.artistswanted.org/prev_exhibitions/one_life_2011/"><b>Competition 2011</b></a><br />
Photo District News (PDN) and Artists Wanted thank all participating photographers for joining <a href="http://www.artistswanted.org/prev_exhibitions/one_life_2011/">the annual One Life Photography Competition (2011)</a>. The level of work we've received was phenomenal and truly inspirational. We're incredibly grateful for having caught a glimpse of the world captured through your lens. <br />
<br />
The compelling stories, insightful perspectives and powerful imagery you submitted presented an extremely difficult selection process for our jurors. After much deliberation a decision has been made by our judges: Stravinski Pierre, Art Director of Esquire Magazine; Ellen-k Syverstad, Founder of ellen-k FINE ART PHOTOGRAPH; Daria Brit Shapiro, Head Curator of Artists Wanted; Patrick Amselle,m Associate Curator of Photography at Brooklyn Museum; Daniel Aycock, Director of Front Room Gallery; Conor Risch, Senior Editor of PDN Magazine; Katherine Schad, Director Of Photography of O, The Oprah Magazine; and Bruce Perez, Director of Photography at Redbook Magazine. <br />
<br />
<a href="http://www.artistswanted.org/prev_exhibitions/one_life_2011/"><b>To view the work, click on the photographer's image.</b><br />
</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1196625880816324807.post-40437029305207918032011-09-29T17:10:00.001+10:002011-09-29T18:08:37.864+10:00Saudi woman detained for driving - Middle East - Al Jazeera English<a href="http://english.aljazeera.net/news/middleeast/2011/05/201152253018241827.html#.ToQXykj3jrA.blogger">Saudi woman detained for driving - Middle East - Al Jazeera English</a><br />
<br />
A woman in Saudi Arabia was detained after she launched a campaign against the driving ban for women in the Kingdom and posted a video of herself behind the wheel on Facebook and YouTube.<br />
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Human rights activist Walid Abou el-Kheir said Manal al-Sherif was detained on Saturday by the country's religious police, who are charged with ensuring the kingdom's rigid interpretation of Islamic teachings are observed.<br />
<br />
Al-Sherif was released hours later, according to the campaign's Twitter account. The terms of her release were not immediately clear.<br />
<br />
Al-Sherif and a group of other women started a Facebook page called "Teach me how to drive so I can protect myself,'' which urges authorities to lift the driving ban.<br />
<br />
She went on a test drive in the eastern city of Khobar and later posted a video of the experience.<br />
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"This is a volunteer campaign to help the girls of this country'' learn to drive, al-Sherif says in the video.<br />
<br />
"At least for times of emergency, God forbid. What if whoever is driving them gets a heart attack?''<br />
<br />
'Mass drive'<br />
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The campaigners have focused on the importance of women driving in times of emergencies and in the case of low-income families.<br />
<br />
Al-Sherif said unlike the traditional argument in Saudi Arabia that driving exposes women to sinful temptations by allowing them to mingle with policemen and mechanics, women who drive can avoid sexual harassment from their drivers and protect their "dignity.''<br />
<br />
Through Facebook, the campaigners are calling for a mass drive on June 17 and more than 12,000 people viewing the page have indicated they support the call.<br />
<br />
On their Facebook page, the group says women joining the campaign should not challenge authorities if they were stopped and questioned, and should abide by the country's strict dress code.<br />
<br />
"We want to live as complete citizens, without the humiliation that we are subjected to every day because we are tied to a driver,'' the Facebook message reads.<br />
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"We are not here to break the law or demonstrate or challenge the authorities, we are here to claim one of our simplest rights.''<br />
<br />
Saudi Arabia is the only country in the world to ban women, both Saudi and foreign, from driving. The prohibition forces families to hire live-in drivers, and those who cannot afford the $300 to $400 a month for a driver must rely on male relatives to drive them to work, school, shopping or the doctor.<br />
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By the way according to the US Department of State <a href="http://www.state.gov/r/pa/ei/bgn/3584.htm">"The United States and Saudi Arabia share common concerns about regional security, oil exports and imports, and sustainable development. Close consultations between the U.S. and Saudi Arabia have developed on international, economic, and development issues such as the Middle East peace process and shared interests in the Gulf. The continued availability of reliable sources of oil, particularly from Saudi Arabia, remains important to the prosperity of the United States as well as to Europe and Japan. Saudi Arabia is one of the leading sources of imported oil for the United States, providing more than one million barrels/day of oil to the U.S. market. <b>The U.S. is Saudi Arabia's largest trading partner, and Saudi Arabia is the largest U.S. export market in the Middle East</b>. ..."</a>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-1196625880816324807.post-41520876559232243572011-09-26T11:44:00.000+10:002011-09-26T11:44:55.146+10:00The mad square - Modernity in German art 1910–37 - Art Gallery NSW - 6 Aug ~ 6 Nov 2011<b>In an era of chaos came an explosion of creativity – edgy, provocative, yet utterly compelling</b><br />
<br />
Germany at the start of the 20th century was a country in turmoil. With the formation of the Weimar Republic, replacing the old imperial system, came a dramatic shift in thinking. In the new metropolis of Berlin and beyond, a period of intense creativity flourished amid chaos and revolution.<br />
<br />
<b>Watch interviews with the curator and visiting experts</b><br />
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/_hmPHwlc7BQ" width="560"></iframe><br />
<br />
Bold new movements such as Expressionism, Dada, Constructivism, Bauhaus and New Objectivity exploded onto the turbulent social landscape. The artists’ interest in experimentation extended across art forms, forging influential directions in painting, photography, design, decorative arts, film, theatre, street art and political satire.<br />
<br />
The mad square: modernity in German art 1910-37 brings together over 200 diverse works exploring the fascinating and complex ways in which artists sought to portray the modern world. Featuring leading artists such as Max Beckmann, Otto Dix, George Grosz, Hannah Höch and El Lissitzky among others, this major exhibition is drawn from renowned international and Australian collections.<br />
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Text courtesy of <a href="http://www.artgallery.nsw.gov.au/exhibitions/mad-square/">http://www.artgallery.nsw.gov.au/exhibitions/mad-square/</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1196625880816324807.post-87282103942587740242011-09-10T12:22:00.005+10:002011-09-11T09:01:21.314+10:00Marrickville Contemporary Art Prize 2011 (MCAP’11) - Finalists' Exhibition<span class="Apple-style-span" style="color: #666666; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Venue : Chrissie Cotter Gallery
(Pidcock Street Camperdown)
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</span></div><div class="MsoNormal"><span class="Apple-style-span" style="color: #666666; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Dates : 9-25 September<o:p></o:p></span></div><div class="MsoNormal"><span class="Apple-style-span" style="color: #666666; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br />
</span></div><div class="MsoNormal"><span class="Apple-style-span" style="color: #666666; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Gallery Hours: Wed-Sun 11am-5pm. Free Entry</span></div><div class="MsoNormal"><span class="Apple-style-span" style="color: #666666; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br />
</span></div><div class="MsoNormal"><span class="Apple-style-span" style="color: #666666; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Finalists:<o:p></o:p></span></div><div class="MsoNormal"><span class="Apple-style-span" style="color: #666666; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br />
</span></div><div class="MsoNormal"><span class="Apple-style-span" style="color: #666666; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Angela Stretch, Anthony Bartok, Bronwyn Carter, Catherine Cloran, Catriona Secker, Cigdem Aydemir, Diego Bonetto, Ganbold Lundaa, Georgina Pollard, Gilbert Grace, Goran Tomic, Gustavo Boke, Harry Perlich, Hayley Hill, Ingrid Dernee, <a href="http://jd.photoshelter.com/">Jagath Dheerasekara,</a> Jason Andison, Jo Tracy, Justin Henderson, Kate Mulheron, Kurt Sorensen, Lydia Dowman, Marieka Walsh, Mark Wotherspoon, Michael Garbutt & Tega Brain, Mitzi McKenzie-King, Peter Williamson, Peter McGuiness, Rachael Everitt, Ro Murray, Shannon Johnson, Teena Marie McCarthy, Tim Andrew, Tina Fiveash, Will Coles.</span><br />
<span class="Apple-style-span" style="color: #666666; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; line-height: 24px;">..............................................................................................................................................</span><br />
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #666666; line-height: 24px;">Jagath Dheerasekara's photography can be seen at <a href="http://www.jd.photoshelter.com/">www.jd.photoshelter.com</a></span></span></div></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1196625880816324807.post-49701502431927284922011-09-10T12:08:00.004+10:002011-09-11T09:08:37.957+10:00“Walk With Us" - Book Launch - Sydney<iframe allowfullscreen="" frameborder="0" height="300" src="http://player.vimeo.com/video/28843058?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="400"></iframe><br />
<a href="http://vimeo.com/28843058">Walk with Us - Book Launch - Sydney - 01 September 2011</a> from <a href="http://vimeo.com/jagath">jagath dheerasekara</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
<br />
<span class="Apple-style-span" style="color: #666666; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; line-height: 24px;">“Walk With Us” - </span><span class="Apple-style-span" style="color: #666666; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; line-height: 24px;">Aboriginal Elders call out to Australian people to walk with them in their Quest for Justice. </span><span class="Apple-style-span" style="color: #666666; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; line-height: 24px;">A sequel to the highly regarded and recommended “This Is What We Said” (February 2010)</span><br />
<span class="Apple-style-span" style="color: #666666; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; line-height: 24px;"><br />
</span><br />
<span class="Apple-style-span" style="color: #666666; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="line-height: 24px;">Of this book Michael Kirby AC CMG retired judge of the High Court of Australia said, “...these are words that we should hear, that our parliament should hear, that our leaders should hear.”</span></span><span class="Apple-style-span" style="color: #666666; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="line-height: 24px;"> </span><span class="Apple-style-span" style="line-height: 24px;">“Walk With Us” is equally informative and important beautifully illustrated, this hard-covered book provides a very important update of recent happenings in the Northern Territory including unsatisfactory changes to the legislation, Elders visit to the United Nations, the recent Australians visit of Navi Pillay, the UN Human Rights High Commissioner, who flew into Darwin to especially to meet with Aboriginal Elders and leaders from across the Territory. The Commissioner sensed the very, “... deep hurt and pain that they have suffered.” (Darwin May 2011). The High Commissioner has joined other world and Australians leaders in their calling for immediate changes.</span><span class="Apple-style-span" style="line-height: 24px;"><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /></span><span class="Apple-style-span" style="line-height: 24px;"><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /></span><span class="Apple-style-span" style="line-height: 24px;">This is a complex subject and both books provide an easy way of keeping up to date with what has been happening in the Northern Territory.</span><span class="Apple-style-span" style="line-height: 24px;"><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /></span><span class="Apple-style-span" style="line-height: 24px;"><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /></span><span class="Apple-style-span" style="line-height: 24px;">In “Walk With Us” you will learn further what Northern Territory Aboriginal people are saying and you will hear their heartfelt plea to the people of Australia.</span><span class="Apple-style-span" style="line-height: 24px;"> </span><span class="Apple-style-span" style="line-height: 24px;"><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /></span><span class="Apple-style-span" style="line-height: 24px;"><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /></span><span class="Apple-style-span" style="line-height: 24px;">Publication Date: 25 August</span><span class="Apple-style-span" style="line-height: 24px;"><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /></span><span class="Apple-style-span" style="line-height: 24px;"><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /></span><span class="Apple-style-span" style="line-height: 24px;">An order form can be obtained from</span><span class="Apple-style-span" style="line-height: 24px;"> </span><span class="Apple-style-span" style="line-height: 24px;"><a href="http://www.concernedaustralians.com.au/" rel="nofollow" style="cursor: pointer; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" target="_blank">concernedaustralians.com.au</a></span><span class="Apple-style-span" style="line-height: 24px;"><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /></span><span class="Apple-style-span" style="line-height: 24px;"><br style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" /></span><span class="Apple-style-span" style="line-height: 24px;">Text courtesy of the blurb sent out by "<a href="http://www.concernedaustralians.com.au/">the Concerned Australians</a>"</span></span><br />
<span class="Apple-style-span" style="color: #666666; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; line-height: 24px;">..............................................................................................................................................</span><br />
<span class="Apple-style-span" style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="color: #666666; line-height: 24px;">Jagath Dheerasekara's photography can be seen at <a href="http://www.jd.photoshelter.com/">www.jd.photoshelter.com</a></span></span>Unknownnoreply@blogger.com0Sydney NSW, Australia-33.8689009 151.20709139999997-34.2412264 150.78688789999995 -33.4965754 151.62729489999998tag:blogger.com,1999:blog-1196625880816324807.post-53676327481158280582011-08-28T01:02:00.011+10:002011-11-04T15:57:28.576+11:00Albert Namatjira the first citizen - Namatjira the Show - Big hART - Hermannsburg - Palm Valley - Ngurratjuta Art Centre<span id="goog_1673905466"></span><span id="goog_1673905467"></span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-wQW8JSsN9JY/TllznSdsoYI/AAAAAAAAIHM/8LhGUEGzYrA/s1600/namajiraShowHermannsburg_bigHart_2011-08-11_43532.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="http://2.bp.blogspot.com/-wQW8JSsN9JY/TllznSdsoYI/AAAAAAAAIHM/8LhGUEGzYrA/s320/namajiraShowHermannsburg_bigHart_2011-08-11_43532.jpg" width="320" /></a></div>I came to know <a href="http://en.wikipedia.org/wiki/Albert_Namatjira">Albert Namatjira</a> some two years ago through the documentary Albert Namajira the First Citizen. Though sad, his life story intrigued me and led me to research on him. <a href="http://en.wikipedia.org/wiki/Albert_Namatjira">Namatjira</a> is representative of Aboriginal Australians' life of the era - perhaps to a great extent today as well. <a href="http://en.wikipedia.org/wiki/Albert_Namatjira">Albert Namatjira</a> is significant not only because he became the first Aborigine to be granted Australian citizenship in 1957 but also because of the legacy he left behind as a water colour artist. Artist descendants of <a href="http://en.wikipedia.org/wiki/Albert_Namatjira">Namatjira</a> are the evidence to <a href="http://en.wikipedia.org/wiki/Albert_Namatjira">Namatjira</a> heritage. Today most of these artists are living in and around Alice Springs. <a href="http://www.ngurart.com.au/">Nugrratjuta Iltja Ntjarra or Many Hands Art Centre of Alice Springs</a> has become one of a few ethical galleries / art centres who represent most - if not all - of <a href="http://en.wikipedia.org/wiki/Albert_Namatjira">Namtjira</a> legacy artists.
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<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-8uUjMbG3NRQ/Tli7wV3QWFI/AAAAAAAAIGw/9EAnk9cmjPI/s1600/namajiraShowHermannsburg_bigHart_2011-08-10_42519.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: left;"><img border="0" height="213" src="http://2.bp.blogspot.com/-8uUjMbG3NRQ/Tli7wV3QWFI/AAAAAAAAIGw/9EAnk9cmjPI/s320/namajiraShowHermannsburg_bigHart_2011-08-10_42519.jpg" width="320" /></a></div><div style="text-align: left;">It was through mere coincidence that I met the <a href="http://bighart.org/public/?p=90">Big hART</a> mob who later took me to <a href="http://www.hermannsburg.com.au/en-AU/2-How-to-get-there.html">Hermannsburg</a>. Interestingly, remnants of the Lutheran mission where <a href="http://en.wikipedia.org/wiki/Albert_Namatjira">Namatjira</a> grew up still stand there. Something big for many in the community was happening in <a href="http://www.hermannsburg.com.au/en-AU/2-How-to-get-there.html">Hermannsburg</a>. <a href="http://bighart.org/public/">Big hART</a>'s award winning, critically acclaimed, sell out show <a href="http://www.namatjira.bighart.org/">Namatjira</a> was just about to open in Melbourne at the Malthouse Theatre (on August 10) commencing its 2011 show gig <span class="Apple-style-span" style="font-size: x-small;">(10 -28 August, <a href="http://www.malthousetheatre.com.au/page/Namatjira"><span style="color: windowtext; text-decoration: none;">Malthouse Theatre</span></a>, Melbourne, 1- 4 September, <a href="http://purchase.tickets.com/buy/TicketPurchase?agency=DRUM_THEATRE&organ_val=27588&event_val=0901&schedule=list"><span style="color: windowtext; text-decoration: none;">DRUM Theatre</span></a>, Dandenong, 8 – 10 September, <a href="http://www.gpac.org.au/Shows/Alcoa_Theatre/2011/Namatjira"><span style="color: windowtext; text-decoration: none;">Geelong Performing Arts Centre</span></a>, Geelong, 14- 17 September, <a href="http://www.canberratheatrecentre.com.au/what-is-on/event-details.aspx?eventID=4821"><span style="color: windowtext; text-decoration: none;">Canberra Theatre Centre</span></a>, Canberra, 21 – 24 September, <a href="http://merrigong.com.au/shows/namatjira.html"><span style="color: windowtext; text-decoration: none;">Merrigong Theatre Co.</span></a>, IPAC, Wollongong, 30 September – 1 October, <a href="http://www.norpa.org.au/whats-on/season-2011/namatjira"><span style="color: windowtext; text-decoration: none;">NORPA</span></a>, Lismore)</span>. <a href="http://www.hermannsburg.com.au/en-AU/2-How-to-get-there.html">Hermannsburg</a> was readying to congratulate it with choir singing watched by the audience in Melbourne and in turn watching the show on big screen, facilitated by a dual webcast. All these events unfolded through the joint efforts of the <a href="http://www.hermannsburg.com.au/en-AU/2-How-to-get-there.html">Hermannsburg</a> community and <a href="http://bighart.org/public/">Big hART</a>.<br />
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<span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"> <a href="http://www.namatjira.bighart.org/">Namatjira</a></span></span><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"> Tailer by Sophia Marions<br />
<iframe frameborder="0" height="225" src="http://player.vimeo.com/video/27177189?title=0&byline=0&portrait=0" width="400">&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;br /&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt; 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<a href="http://vimeo.com/27177189">Showing at the Malthouse, Melbourne!</a> from <a href="http://vimeo.com/user2000620">Sophia Marinos</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
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Day and Night at <a href="http://www.hermannsburg.com.au/en-AU/2-How-to-get-there.html">Hermannsburg</a></span></span><br />
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Namajira home</div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"><a href="http://4.bp.blogspot.com/-5plTkXKMSE0/TliH9AKPJoI/AAAAAAAAIEM/l1rKqrAPTKw/s1600/palmValley_bigHart_2011-08-11_42831.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="http://4.bp.blogspot.com/-5plTkXKMSE0/TliH9AKPJoI/AAAAAAAAIEM/l1rKqrAPTKw/s320/palmValley_bigHart_2011-08-11_42831.jpg" width="320" /></a></span></span></div><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"><br />
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</span></span><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"><a href="http://www.ngurart.com.au/">Ngurratjuta Iltja Ntjarra or Many Hands Art Centre of Alice Springs</a><br />
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<div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"><a href="http://1.bp.blogspot.com/--E-rGldXwos/TliEidFSD4I/AAAAAAAAIDQ/0dlGiqyKa4k/s1600/ngurratajuta_bigHart_2011-08-12_43664.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="http://1.bp.blogspot.com/--E-rGldXwos/TliEidFSD4I/AAAAAAAAIDQ/0dlGiqyKa4k/s320/ngurratajuta_bigHart_2011-08-12_43664.jpg" width="320" /></a></span></span></div>Emma Daniel : Emma Nungarayi lived at Papunya for many years. She is a well respected elder holding much traditional knowledge, not only in story form, but also song and dance. Emma also lived at Mt. Doreen near Yuendamu for many years with her brother, Don Tjungerrayi and is one of the Traditional Owners of Karrinyarra, Mount Wedge. Emma now lives in Alice Springs and has been painting with Ngurratjuta since it first opened in 2004. Over the last few years Emma’s paintings have been gaining a lot of attention with her bold motifs and strong colours, indicative of the Papunya area. Emma's brother is the renowned artist Paddy Carroll (now deceased). Text courtesy of <a href="http://www.ngurart.com.au/">http://www.ngurart.com.au/</a><br />
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<div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"><a href="http://4.bp.blogspot.com/-5tE7Ah3UioI/TliDhdP-GUI/AAAAAAAAIDI/i34uDtq6sNA/s1600/ngurratajuta_bigHart_2011-08-12_43714.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="http://4.bp.blogspot.com/-5tE7Ah3UioI/TliDhdP-GUI/AAAAAAAAIDI/i34uDtq6sNA/s320/ngurratajuta_bigHart_2011-08-12_43714.jpg" width="320" /></a></span></span></div><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"><br />
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<div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"><a href="http://3.bp.blogspot.com/-mhfygKldm6c/TliDlG0tIGI/AAAAAAAAIDM/gSGazx37r-0/s1600/ngurratajuta_bigHart_2011-08-12_43814.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="http://3.bp.blogspot.com/-mhfygKldm6c/TliDlG0tIGI/AAAAAAAAIDM/gSGazx37r-0/s320/ngurratajuta_bigHart_2011-08-12_43814.jpg" width="320" /></a></span></span></div><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;">Gloria Pannka : Gloria's father, Claude Pannka was one of the original 'Hermannsburg School' watercolour artists. Alongside Albert Namatjira, Claude developed an interest in painting when artists Rex Battarbee visited Hermannsburg in 1934. By 1950 Claude was painting full time and became a highly sought after artists. Gloria's father taught her to paint with watercolours and she continues to paint in the tradition of the 'Hermannsburg school' style. Gloria uses fine detail and subtle tones to capture the West MacDonnell Ranges where she currently lives. Gloria's work has featured in a number of exhibitions throughout her career, including the honour of receiving a 'highly commended' title for her painting in the NATSIAA 2008 which was then acquired by the NT Museum and Art Gallery. Gloria has also had the privilege of having her painting 'West MacDonnell Ranges' acquired by the Parliament House Art Collection Canberra. Text courtesy of <a href="http://www.ngurart.com.au/4-Artists.html">http://www.ngurart.com.au/</a></span></span></div><div style="text-align: left;"></div><div style="text-align: left;"></div><div style="text-align: left;"></div><div style="text-align: left;"></div><div style="text-align: left;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"><br />
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</span></div><div style="text-align: left;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;">Community voices - videos by </span>Sophia Marions<br />
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</span></div><iframe frameborder="0" height="225" src="http://player.vimeo.com/video/26455030?title=0&byline=0&portrait=0" width="400"></iframe><br />
<a href="http://vimeo.com/26455030">Mostyn</a> from <a href="http://vimeo.com/user2000620">Sophia Marinos</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
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<iframe frameborder="0" height="225" src="http://player.vimeo.com/video/26454294?title=0&byline=0&portrait=0" width="400"></iframe><br />
<a href="http://vimeo.com/26454294">Ivy</a> from <a href="http://vimeo.com/user2000620">Sophia Marinos</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
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Jagath Dheerasekara's photography can be viewed at http://jd.photoshelter.com/Unknownnoreply@blogger.com0Hermannsburg NT 0872, Australia-23.9530118 132.77301339999997-23.9723743 132.75370089999996 -23.9336493 132.79232589999998tag:blogger.com,1999:blog-1196625880816324807.post-90894419995674770352011-08-12T17:33:00.000+10:002011-08-12T17:33:03.849+10:00Nigerian families of meningitis drug trial victims finally get compensation as drug giant Pfizer lost the legal battle<span class="Apple-style-span" style="border-collapse: collapse; color: #333333; font-family: arial, sans-serif; font-size: 12px; line-height: 15px;"></span><br />
<h1 style="background-repeat: no-repeat no-repeat; border-bottom-color: rgb(214, 29, 0); border-collapse: collapse; border-left-color: rgb(214, 29, 0); border-right-color: rgb(214, 29, 0); border-top-color: initial; border-top-style: initial; border-top-width: 0px; font-weight: normal; line-height: 1.154; margin-bottom: 2px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; width: 460px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-size: 12px; line-height: 15px;"><h1 style="border-bottom-color: rgb(214, 29, 0); border-collapse: collapse; border-left-color: rgb(214, 29, 0); border-right-color: rgb(214, 29, 0); border-top-color: initial; border-top-style: initial; border-top-width: 0px; font-size: 2.166em; font-weight: normal; line-height: 1.154; margin-bottom: 2px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; width: 460px;"><span class="Apple-style-span" style="color: #666666;">Pfizer pays out to Nigerian families of meningitis drug trial victims</span></h1><div class="stand-first-alone" id="stand-first" style="border-collapse: collapse; color: #999999; font-size: 1.333em; line-height: 1.25; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 34px; padding-left: 0px; padding-right: 0px; padding-top: 0px; width: 460px;">Pfizer pays compensation to families of four children after 15-year legal battle over controversial drug trial in state of Kano</div></span><span class="Apple-style-span" style="line-height: 18px;"><div style="border-collapse: collapse; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="Apple-style-span" style="color: #666666; font-size: small;">The parents of four Nigerian children who died of meningitis have become the first winners of a 15-year legal battle against <a href="http://www.guardian.co.uk/business/pfizer" style="border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="More from guardian.co.uk on Pfizer">Pfizer</a> over a fiercely controversial drug trial.</span></div><div style="border-collapse: collapse; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="Apple-style-span" style="color: #666666; font-size: small;">The world's biggest research-based pharmaceutical company announced on Thursday that it had made payments of $175,000 (£108,000) to each family. More such compensation settlements are expected to follow.</span></div><div style="border-collapse: collapse; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="Apple-style-span" style="color: #666666; font-size: small;">Pfizer was sued after 11 children died in a clinical trial when the northern state of Kano was hit by <a href="http://www.guardian.co.uk/world/africa" style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="More from guardian.co.uk on Africa">Africa</a>'s worst ever meningitis epidemic in 1996. A hundred children were given an experimental oral antibiotic called Trovan, while a further hundred received ceftriaxone, the "gold-standard" treatment of modern medicine.</span></div><div style="border-collapse: collapse; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="Apple-style-span" style="color: #666666; font-size: small;">Five children died on Trovan and six on ceftriaxone. But later it was claimed that Pfizer did not have proper consent from parents to use an experimental drug on their children and questions were raised over the documentation of the trial.</span></div><div style="border-collapse: collapse; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="Apple-style-span" style="color: #666666; font-size: small;">Legal action filed against the company alleged that some received a dose lower than recommended, leaving many children with brain damage, paralysis or slurred speech.</span></div><div style="border-collapse: collapse; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="Apple-style-span" style="color: #666666; font-size: small;">US-based Pfizer had argued that meningitis and not its antibiotic had led to the deaths of 11 children and harm to dozens of others. But in 2009 it reached a tentative out-of-court settlement with the Kano state government worth $75m.</span></div><div style="border-collapse: collapse; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="Apple-style-span" style="color: #666666; font-size: small;">The families of four of the children each collected cheques for $175,000 from a compensation trust fund, after submitting DNA samples to show that the dead were their offspring.</span></div><div style="border-collapse: collapse; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="Apple-style-span" style="color: #666666; font-size: small;">The compensation was the first given out by the Healthcare/Meningitis Trust Fund. The decision over who is compensated and for how much is being managed by an independent board of trustees in Kano, not by the government or Pfizer, the company has said. "We are pleased that these four individuals, the first group of qualified claimants of the Healthcare/Meningitis Trust Fund, have received compensation," said a spokesman.</span></div><div style="border-collapse: collapse; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="Apple-style-span" style="color: #666666; font-size: small;">"This is the first step in a multiphase review process by which the independent board of trustees that manages the funds will deliver payments to all other claimants.</span></div><div style="border-collapse: collapse; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="Apple-style-span" style="color: #666666; font-size: small;">"We thank them for their commitment and dedication to seeing this process through in the most timely and transparent way possible."</span></div><div style="border-collapse: collapse; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="Apple-style-span" style="color: #666666; font-size: small;">But one parent who lost a daughter said the process was still dogged by local factionalism and he had no idea when he would receive money.</span></div><div style="border-collapse: collapse; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="Apple-style-span" style="color: #666666; font-size: small;">"I talked to my attorney this week," said the man, who did not wish to be named for legal reasons. "They are still in contact with Pfizer as to when I will get paid. We are just crossing our fingers."</span></div><div style="border-collapse: collapse; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="Apple-style-span" style="color: #666666; font-size: small;">He added: "We are fed up with this case. Our children are dead and some are maimed. We want to end this matter now, but some people are being opportunist for riches."</span></div><div style="border-collapse: collapse; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="Apple-style-span" style="color: #666666; font-size: small;">Pfizer said in February it had settled all outstanding lawsuits involving accusations that it tested the experimental antibiotic Trovan on children.</span></div><div style="border-collapse: collapse; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="Apple-style-span" style="color: #666666; font-size: small;">The pharmaceutical giant also agreed to sponsor health projects in Kano as well as creating a fund of $35m to compensate those affected.</span></div><div style="border-collapse: collapse; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="Apple-style-span" style="color: #666666; font-size: small;">But last year a US diplomatic cable uncovered by WikiLeaks revealed that Pfizer hired investigators to look for evidence of corruption against the Nigerian attorney general in an effort to persuade him to drop the legal action.</span></div><div style="border-collapse: collapse; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="Apple-style-span" style="color: #666666; font-size: small;">The cable reported a meeting between Pfizer's country manager, Enrico Liggeri, and US officials at the Abuja embassy on 9 April 2009. It stated: "According to Liggeri, Pfizer had hired investigators to uncover corruption links to federal attorney general Michael Aondoakaa to expose him and put pressure on him to drop the federal cases.</span></div><div style="border-collapse: collapse; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="Apple-style-span" style="color: #666666; font-size: small;">He said Pfizer's investigators were passing this information to local media."</span></div><div style="border-collapse: collapse; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="Apple-style-span" style="color: #666666; font-size: small;">There is no suggestion that the attorney general was swayed by the pressure.</span></div><div style="border-collapse: collapse; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="Apple-style-span" style="color: #666666; font-size: small;">Pfizer had planned to sell Trovan in the US and Europe after the trials on African children. However, its licence was withdrawn in Europe because of concern over liver toxicity.</span></div><div style="border-collapse: collapse; font-size: 14px; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="Apple-style-span" style="color: #666666;">This article appreared in <a href="http://www.guardian.co.uk/world/2011/aug/11/pfizer-nigeria-meningitis-drug-compensation">http://www.guardian.co.uk/world/2011/aug/11/pfizer-nigeria-meningitis-drug-compensation</a></span></div></span></span></h1><div></div>Unknownnoreply@blogger.com0