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Homeland Vintage Jazz Record Covers « Mattson Creative.

Italo Calvino said: The more enlightened our houses are, the more their walls ooze ghosts. Describe the ghosts that live in this house:  Image credit: “love Don’t live here anymore…” – © 2009 Robb North – made available under Attribution 2.0 Generic

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The PhotoBook Journal

The_Aftermath_Project_Voume_V_cover

Copyright the photographers published by The Aftermath Project

The Aftermath Project has just published the fifth (V) of it series of volumes in which they examine and create a dialog around War, which is “only half the story”, or perhaps better stated by Sara Terry, Founder of The Aftermath Project; “offer(s) a rich and complex visual conversation about post-conflict issues.”

The Grant Winner for volume V is Davide Montelone (Italy), also the finalist for covering the same post-conflict subject in the Northern Caucasus in 2009. The finalist are Elizabeth Herman (USA) for her work on the women of Bangladesh, Miquel Dewever-Plana (France) for his investigation of the conflict in Guatemala, Carlos Javier Ortiz (US) the issues of conflict in the US within the schools and the team of Massimo Mastrorillo and Lara Ciarabellini (Italy) of the aftermath of the Bosnian War in Bosnia and Herzegovina.

All of The Aftermath Projects…

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The PhotoBook Journal

Laia_Abril_Thinspiration_cover

Copyright 2012 Laia Abril self-published

First be warned, this is a troubling, if not disturbing, photobook.

As such, it is a photo-documentary of a community of mostly young women who appear to obsessively starving themselves to death. In a bazaar twist on social networking, these women post and share self-portraits of their current anorexia state amongst themselves. .

As a social documentary artist, Laia Abril has researched this self-destructing group by re-photographing what these women have posted about themselves on certain web sites and other social media. In by so doing, she calls attention to the act of social networking as well as photography as a medium to propagate an illness.

Abril asks the rhetorical question; does photography help them to be aware of reality or has the camera turned into another trick for anorexia to control their body and perpetuate the distortion of their own image? To what extent…

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