Isaach De Bankolé in Mother of George (2013)dir. by Andrew Dosunmu
Interlude #milonloh #rogermbee #IMh #paris
Soleil O/Oh Sun (Med Hondo - 1967)
|—||Arundhati Roy, The God of Small Things|
This rhetoric of “both sides” implies that pain and fault belong equally to Palestinians and Israelis. It erases manifold, unmistakable, qualitative and quantitative differences at play in Israel’s attack on the Gaza Strip and the political-historical context in which this is taking place — most centrally, that what is occurring is part of a settler-colonial invasion.
“Both sides” rhetoric refuses to make even the easiest, most obvious judgment, to which any honest evaluation of the information points: that Israel is massacring Palestinian adults and children, 77% of whom are civilians, and subjecting them to collective punishment; that Israel evidently claims for itself a right to extra-judicially execute anyone who it says is a Hamas member, a practice too few among even Palestine’s allies have denounced; that Israel is bombarding what is essentially a giant refugee camp home to an imprisoned population of a people Israel has ethnically cleansed, occupied, subjected to apartheid, and repeatedly slaughtered; that international law does not grant Israel a “right to defend itself” against the Gaza Strip. And that international law does grant Palestinians a right to resist using armed struggle.
To employ “both sides” rhetoric completely misrepresents the situation. It is not “both sides” who take thousands of political prisoners. Both sides do not systematically torture each other. Both sides do not control each other’s freedom of movement, or access to the sea, drinking water, and education.
Greg Shupak - "A Plague on One House" via Jacobin Magazine
Kanye West keeps it simple, but casual cool, for his cover and editorial feature in the August issue of GQ magazine photographed by Patrick Demarchelier.
Test Shots is an ongoing series of portraits taken in the studio with photography couple Rog and Bee Walker. Each photograph, taken mostly of their close friends and fellow creatives, is as striking as it is simple.
Opting for a sombre and dark background, coupled with poised and pensive subjects, Walker’s shots manage to maximize on the simplicity of the traditional portrait style by making use of a medium format camera that provides an image quality which, despite the powerful stillness of each individual, vividly brings the details of each photograph to life. This brings out both a sense of strength and vulnerability in each picture, alluding to the intimate two-way dialog between subject and photographer.
"This is the most organic method of communication I have. Photography is the way I speak…It doesn’t get more personal than another human, and that’s what I’m looking to capture, that connection between humanity." - Rog Walker
We don’t need to replace our history with myths to validate ourselves and our cultures. Keep it real.
This is literally why I get super annoyed with all those ridiculous ancient egypt memes like pls shut the fuck up and stop using dead people in your bs respectability politics
MENGWELUNE . Bamoun kingdom images
|—||―Paulo Freire, Pedagogy of the Oppressed|
The Atlantic’s In Focus blog is doing a great photo series on America in the early 1970s. Last week they took a look at documentary photographer John H. White, who went on to win the Pulitzer Prize for Photojournalism in 1982. Here’s a quick look at the series, and you can see the whole thing over at The Atlantic.