Volume 2 Number 1

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photojournalism

Vol.2 No.1

EDITOR’SLETTER Dear Reader, There are a number of great advantages to being a quarterly magazine, not least the degree of hindsight it affords an editor. When we began laying out this issue in March, the world’s gaze was firmly fixed on events in Iraq. At the time it seemed that having to wait two months for our new edition would put us at a disadvantage: how could we stay relevant to the overriding topic of the day when the story and our understanding of it were changing so rapidly?

Instead the quarterly timeline of this magazine grants us the opportunity to explore our purpose carefully and subsequently to publish an issue that I feel presents stories by photographers who have a clear intent and the vision to realise it.

By contrast the “War on Iraq” turned out not to be a war. Rather, as people around the world have argued (both on the streets and in diplomatic circles), it became a spectacle of two armies marauding across 300 miles of desert to Baghdad to lay claim to an illusive moral victory – freedom over tyranny. Much, but not all, of the imagery produced in Iraq over the past months has served little more than to project a narrow view of a deadly desert trek. We have been shown what it is like to be a soldier with an unrivalled array of firepower at your finger tips, but have these photographs actually informed us about the conflict and its wider consequences? It seems that the role of the front-line photographer has been mostly co-opted by the military and government to create images designed to make the public gasp in admiration at awful and shocking displays of strength.

This issue of ei8ht not only tells new and previously unseen stories but also shows the power and relevancy of photojournalism as a tool for sincere and profound communication. There is no doubt that making a story on drugs and gang violence in Cape Town is every bit as dangerous or heroic as photographing war, yet it is the intimacy of the images we show here that allows us to see beyond the story’s mere physical logistics and instead to reflect upon, and gain an understanding of, the lives depicted.

Similarly Birdmen, Parents Again and the other stories in this issue show us how individuals have employed photography as an effective tool for telling their story and not as the end in itself. It is one thing to have Baghdad as your goal, but quite another to have an idea of what to do, or what it means, when you get there.

JON LEVY

CONTRIBUTOR BIOGRAPHIES Brian Fitzgerald is the chief photographer at the Yakima Herald-Republic, Washington State, USA. A graduate of Arizona State University, Brian has been a photographer and an editor at several newspapers. In addition to the daily demands of press photography, Brian passionately pursues his main interest, producing compelling documentary photography projects.

Horst A Friedrichs studied photography in Munich and soon after began freelancing for magazines in Switzerland, Germany and the UK. His first book Troubadoure Allahs was published in 1999. Now based in London, he devotes much of his time to

new book projects and is represented by Katz Pictures. www.photohorst.com | www.katzpictures.com Colin Jacobson has worked as a picture editor for, amongst others, The Observer Magazine and The Independent Magazine. He has twice been the Chair of World Press Photo and is currently an honorary research fellow at Cardiff University School of Journalism, Media and Cultural Studies. Colin writes widely on contemporary photojournalism and, as the founder of Reportage in the 1990s, continues to edit the online version – www.reportage.org Chris Steele-Perkins is based in London and Tokyo, and is a member of the esteemed co-operative,

Magnum Photos. He is the author of several books and numerous exhibitions have featured his work over the past four decades. Chris is currently working on new projects in Japan and Durham and a book of personal work entitled Echoes will be published by Trolley in autumn 2003. www.magnumphotos.com Zak Waters was born and raised in Northeast England, where he worked until he moved to London in the early 1990s. He has since photographed for international charities, including Action Against Hunger (UK), The Guardian and Sunday Times among others. Zak continues to add to his Birdmen project and is represented by AgentKan in Amsterdam.

COVER David Lurie was born in Cape Town, South Africa, and studied and taught at UCT before going to the London School of Economics. Self-taught in photography, David began producing documentary projects full time in 1995 following the publication of his book Life in the Liberated Zone (Cornerhouse Books, UK).

Published worldwide, his work has won several awards, including ‘Pictures of the Year’ and Nikon [UK] awards. Cape Town Fringe: Manenberg Avenue is Where it’s Happening is to be published by Double Storey Books, SA, later this year. David is represented by Katz Pictures.

TO PURCHASE A PRINT FROM DAVID LURIE OF THIS COVER IMAGE PLEASE CALL +44 (0)20 7636 0399 Katz aims to assist young photographers through regular meetings of the “Forum”, which couples the creative skills of the individual with the agency's editorial experience, market awareness and sales networks.

For more details editors and photographers should contact: frede@katzpictures.com | www.katzpictures.com

ei 8 ht EDITOR: Jon Levy ASSISTANT EDITOR: Phil Lee CONTRIBUTING EDITORS: PHOTO Sophie Batterbury TEXT James Loader ART DIRECTION: Grant Scott PUBLISHER: Gordon Miller EUROPEAN ASSOCIATE: Arnaud Blanchard INTERN: Stephanie Wegernast REPROGRAPHICS: Graphic Facilities PRINTER: Fox Print Services 2

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CONTENTS:JUNE 2003 Editor’s letter

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Contributors

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Announcements p.44 Exhibitions

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Agencies

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Photographers p.53 Resources

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CAPE TOWN FRINGE David Lurie reports from the mean streets of Manenberg on a community uprooted from their former home. Moved to a new housing complex their lives are embittered by drugs and violence p.4 THE HEART OF THE MATTER Colin Jacobson

reviews the work of war photographer Larry Burrows. A visual depth in Burrows’ images exposes the limits of photo-reportage, 40 years on p.14 DESERT ANGELS As he travels through the mystical land between Venezuela and Colombia, Horst A Friedrich’s images

reflect the magical stories he heard along the way p.20 WALKING TOKYO Chris Steele-Perkins’ explores the city from day to night in a single spread p.28 BIRDMEN Zak Waters records the lives and loves of pigeon racers. His story charts the

decline of the sport in the UK and documents a community’s changing face p.30 PARENTS AGAIN Brian Fitzgerald finds retirement is elusive for a growing number of American grandparents.

Following one family, he reveals their experience of fostering and raising

their own grandchildren

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BABY I WANT YOU SO In association with the Picture House Gallery, Leicester, ei8ht presents Tina Stallard’s project on IVF treatment p.45 REVIEWS Carl De Keyzer’s Zona p.46 3

CAPE TOWN FRINGE

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DAVID LURIE

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Manenberg was established as a ‘coloured township’ following the 1960s and 1970s Groups Areas Act, which forced removals from District Six and other multiracial parts of Cape Town. The design of townships such as Manenberg was based on Ebenezer Howard’s Garden City model (originally conceived for Victorian England’s working-class families), with blocks of flats, terraced and semidetached houses, and a standardised architecture.

Situated 15 kilometres from Cape Town’s city centre, Manenberg is isolated from adjacent ‘black’ and ‘coloured’ townships by means of highways, railway lines and buffer strips. South Africa’s apartheid planners conceived their plans and urban designs to create social order and racial harmony by means of zoning of land use and the segregation of different social groups. Instead, they created a Frankenstein’s monster that remains firmly intact in the new South Africa. ei8ht

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‘Black’ and ‘coloured’ working class people remain trapped in crime-infested ghettoes of high unemployment and extreme poverty, located at a considerable distance from the main centres of commerce, tourism and industry. Living conditions are appalling and most life takes place in the streets where people have little or no privacy.

Known for its gang violence and for being the headquarters of the Hard Livings gang, Manenberg features regularly in the media with almost daily reports of violence and gang killings. The area is also associated with the highly militaristic prison gangs such as the “28s” and “26s” that have, transformed themselves into sophisticated corporate structures connected to multinational drug cartels and crime syndicates. Drug trafficking, alcohol sales, gunrunning, taxis and sex work are the major sources of revenue of the area. With its extremely high levels of unemployment and poverty, Manenberg has become a ripe recruiting ground for drug lords, dealers and hitmen.

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Oh! Don’t talk to me about that, please don’t talk to me.

I will cry. I will cry all over again. There’s when the trouble started. When they chuck us out like that. When they chucked us out of Cape Town. My whole life became changed!

There was change. Not just in me, but in all the people.

What they took away they can never give it back to us again [weeps]. Oh! I want to cry so much, all over again ...

I cannot explain how it was when I moved out of Cape Town and I came to Manenberg. In those days I didn’t know why they chuck us out. What did we do, that they chuck us out like this? We wasn’t murderers, we wasn’t robbers, like today.

Now people are corrupt. They can really be barbarians.

They murder one another and that is what they wanted ...

It was wrong what the white people did. These people did wrong. They had everything, everything that a person’s heart yearns for. And we had nothing but we were satisfied.

They broke us up. They broke up the community. They took our happiness from us. The day they threw us out of Cape Town, that was my whole life tumbling down. I don’t know how my life continued. I couldn’t see my life in this raw township far away from the family. All the neighbours were strangers.

That was the hardest part of my life, believe me ❽ MRS G J, FORMER RESIDENT OF DISTRICT SIX, NOW OF MANENBERG 12

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Soldiers of the 3rd Battalion, 9th Marine Regiment, one of the first combat units to land in Vietnam Š 2002 Larry Burrows Collection #

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THE HEART OF THE MATTER

BY COLIN JACOBSON

MILLIONS OF WORDS and thousands of photographs have attempted to make sense of the Vietnam War, but the clarity of vision and strength of purpose that Larry Burrows displayed in his work give the recently published retrospective Vietnam a profound sense of authenticity. This book could not be more timely, given the events in Iraq and the deliberately confused versions of reality that both the public and the journalists covering the events have been allowed to receive.

Larry Burrows arrived in Vietnam in 1962, at a time when the American presence was relatively minimal and the military were operating as “advisers”. He covered the war as much as he could for the next nine years, charting the relentless increase in US involvement. He wanted to see the end of the war and was desperate to photograph the peace but sadly died, aged 44, in a helicopter that was shot down on the Laos-Vietnam border in 1971.

Burrows was working during the heyday of the picture magazine and was able to stay for long periods in Vietnam because he was a staff photographer for Life magazine. He had the luxury of time, unlike many of his colleagues who were on more instant deadlines, working for the wire services. As David Halberstam notes in his introduction, “You could hang out with the troops and get to know them; and sooner or later, if you did not find the war, then the war would find you.” Unlike today’s photographers working in Iraq, he was not expected to produce images for daily consumption or spend valuable time transmitting pictures by satellite phone. Nor did he live in an era of growing distrust of the nature of press photography and ei8ht

increasing familiarity with the subject matter of photojournalism.

His first major picture essay on Vietnam appeared in 1963, a massive 14-page story with the double-edged title, “We Wade Deeper into Jungle War”. This made him a household name in America but, more significantly, first opened up some of the realities of what was going on in Vietnam to the American public.

What is it that makes Burrows’ work seem so fresh and meaningful today, over 30 years after he was killed in Vietnam?

Undoubtedly, one overwhelming factor was his closeness and this is all about access. Journalists and photographers seemed to be able to hop about almost at will during that war, providing they had the courage and the contacts. The idea of being “embedded” with the military was unthinkable. Mrs Thatcher and the British Ministry of Defence put an end to all that in the Falklands War and the lesson was well learnt by the time of the first Gulf War. The recent conflict in Iraq offered the illusion of access to hundreds of journalists, but military control or self-censorship has effectively removed the possibility of Burrows’ style of visual reporting. Few of the images from Iraq seen so far have gone beyond the descriptive.

Perhaps this has much to do with how photographers see their function. Burrows was working at a time when TV was dependent on cumbersome technology with film crews, without the current mobility and flexibility for instant transmission. TV stations had to wait for film to be transported, processed and edited. The sense of being frontline photo reporters was therefore much stronger during the Vietnam War. Photojournalists could and did cover situations which 15

A Vietnamese soldier stands guard over Vietcong prisoners and dead, captured weapons and flags as two US advisers look on Š Time Inc 2002

THE HEART OF THE MATTER

did not just repeat or reinforce what had already been seen on TV but which told the audience something new and moved the story on.

Burrows was able to act as a mediator or interpreter, making sense of a confused and confusing situation which was far away both physically and culturally from the perception of the Western world. His picture stories seemed to cut through the military complications and foggy propaganda.

Burrows saw himself as a storyteller. He researched his assignments meticulously and always knew what it was he wanted to photograph and why. He seemed to think and work in a picture-essay mode so that his work was not just a series of individual images but was easily publishable as a coherent and convincing sequence. Beyond his undeniable courage and persistence, he had a strong intellectual control over his subject matter. He understood what was happening in the war and sensed very early on that America was getting into something that could spiral out of control. He was constantly alert to significant changes in policy and direction in the conduct of the war.

Burrows seems both modest and discreet in his photographic expectations. Many of his images are relatively straightforward, without any stylistic devices, showing things as he found them. At the same time, there is an overwhelming sense that both he (and we) are inside the story, getting a genuine sense of what it feels like to be there. He was certainly famous in his own lifetime because of his stories in Life but he did not parade his ego through his work. There was no celebrity circuit of leading photographers trying to win international competitions as part of their career maintenance.

Much of his best work was in colour, which comes as a bit of a surprise since we have come to feel that Vietnam was a black and white war. Burrows wrote a note to his editors: “I am very happy with the equipment I have. All I need is time and patience to use it to the fullest degree, plus God on my side to help with the lighting problems – to move the sun and the moon and the stars to the position of my choice.” Perhaps this illustrates better than anything the gulf between his approach and attitudes and those of contemporary war photographers, armed with sophisticated digital equipment and image-transmitting mobiles but dominated by the need for speed to meet deadlines.

At one level, this book is an elegy to all those who had the misfortune to be caught up in that bizarre and misunderstood conflict. The book finishes with five full-page uncaptioned portraits of US soldiers lying in a sleep of exhaustion. They look horribly young and vulnerable and we are left wondering how many of them ever made it home. At the same time, the book reinforces the sense that 18

Burrows was the last of a breed. Life itself was slowly losing its impact and influence as network television became the primary source of visual news communication. Vietnam has frequently been described as the first television war, or “the living-room war”.

What is evident from the Iraq War is the huge shift in stylistic solutions to journalistic storytelling. Today, talented photojournalists face a very different visual climate. Publications want images that are “strong” and which tell the story in one picture. The pressures are on today’s photojournalists to produce “stunning”, “shocking” even “award-winning” pictures all the time and in every situation. This may help to explain the fate of Brian Walski, fired from the LA Times for merging two adjacent but weak images from Iraq and transmitting a more powerful constructed version. Straightforward reportage, in which not every picture can be a masterpiece and some are just informative, is a disappearing species. At the same time, on a cultural level, readers are bombarded with a relentless array of visual imagery and photographers have to overcome a wall of indifference built up by saturation coverage of global events.

The Vietnam War has a cultural significance for the West that has provided countless writers and filmmakers with their source material. Burrows’ work makes sense to us and touches us because we feel we know where we are with it, we can fill in the gaps. In spite of saturation media coverage, recent history is often too close for perceptive appraisal and photojournalists have to work hard to engage us and persuade us to want to go beyond the facts. A contemporary market for picture essays scarcely exists and it is doubtful that any of the many photographers covering the war in Iraq will have been able to produce a story as pointed and effective as Burrows’ “One ride with Yankee Papa 13”. “In retrospect, he was as much historian as photographer and artist. Because of his work, generations born long after he died will be able to witness and understand and feel the terrible events he recorded,” writes David Halberstam. For sheer immediacy and apocalyptic significance, the battle on Hill 400 and Mutter Ridge in October 1966 can surely never have been rivalled in the history of war photography. Burrows left us an extraordinarily coherent picture of the changing pattern of events in Vietnam and that is made possible because of his searing intelligence and his ability to follow focussed stories, taking them beyond the immediate narrative to the heart of the matter ❽ Larry Burrows Vietnam, with an introduction by David Halberstam, 244 pp hardcover; Jonathan Cape (UK), £35.00 (Knopf, USA); ISBN: 0-375-4110-X. For details of reader offer, see foto8 announcements.

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Lance Corporal James C. Farley shouts to his gunner, Wayne Hoilien: “My gun is jammed. Cover your side. I’ll help these guys.” © 2002 Larry Burrows Collection ei8ht

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A VAST DESERT STRETCHES from Venezuela to the Colombian border. It is composed of endless blue skies, dense cactus groves and barren mountain slopes.

On our trip through this enchanted land, we encountered people who were reminiscent of characters from the novel, One Hundred Years of Solitude.

In Colombia we met the Wayuu, one of the last desert Indian people.

We spoke with a shaman and spent days listening to Doña Ruperta, a 114-year-old storyteller.

In the distance was a light in contrast with the sparse landscape.

As we neared it defined itself as a woman in a white dress standing before a clay hut.

She sat there on a rickety old stool. Her midnight blue eyes travelled towards the horizon, chasing clouds the size of continents in a vast blue sky which stretched like a circus tent over the desertscape.

We followed Doña Ruperta into the kitchen. Sacred pictures hung on the wall, discoloured by smoke that emanated from the fireplace, an aromatic mixture of coffee and cinnamon.

Yellow-orange sunlight from faraway over the dry desert ground rolled into the kitchen.

We sat down and shared goat’s cheese and coffee. Doña Ruperta began to tell the stories.

Translated from the German by Chris Ammermann

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HER NAME WAS PETRA COTES. She had arrived in Macondo in the middle of the war with a chance husband who lived off raffles, and when the man died she kept up the business. She was a clean young mulatto woman with yellow almond-shaped eyes that gave her face the ferocity of a panther, but she had a generous heart and a magnificent vocation for love. When Ursula realized that José Arcadio Segundo was a cockfight man and that Aureliano Segundo played the accordion at his concubine’s noisy parties, she thought she would go mad with the combination. It was as if the defects of the family and none of the virtues had been concentrated in both. Then she decided that no one again would be called Aureliano or José Arcadio. Yet when Aureliano Segundo had his first son she did not dare go against his will.

“All right,” Ursula said, “but on one condition: I will bring him up.”

Although she was already a hundred years old and on the point of going blind from cataracts, she still had her physical dynamism, her integrity of character, and her mental balance intact. No one would be better able than she to shape the virtuous man who would restore the prestige of the family, a man who would never have heard talk of war, fighting cocks, bad women, or wild undertakings, four calamities that, according to what Ursula thought, had determined the downfall of their line. “This one will be a priest,” she promised solemnly. “And if God gives me life he’ll be Pope someday.” They all laughed when they heard her, not only in the bedroom but all through the house, where Aureliano Segundo’s rowdy friends were gathered. The war, relegated to the attic of bad memories, was momentarily recalled with the popping of champagne bottles.

“To the health of the Pope,” Aureliano Segundo toasted.

The guests toasted in a chorus. Then the man of the house played the accordion, fireworks were set off, and drums celebrated the event throughout the town ❽ One Hundred Years of Solitude by Gabriel García Márquez. © Penguin Books Ltd 1973

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WALKING TOKYO BY CHRIS STEELE-PERKINS

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These photographs are about walking in Tokyo. The presentation is as simple as I can make it,

without trying to prioritize one image over another. They are taken from the story of one imaginary day.

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BIRDMEN

BY ZAK WATERS WHEN I WAS A YOUNG LAD, most of my friends’ fathers had garden allotments, where they grew vegetables and flowers for annual prize shows. A number of them also had what we called sheds, where they would keep their pigeons. For many years I had no idea of the significance of the swarms of birds flying in sequence, looping the loop in the sky and the complexities of the birdmen’s passion.

I started working on Birdmen around a year ago, travelling the country meeting birdmen and telling them my plans to produce a documentary. They all welcomed the project with open arms and many joked that they were a dying breed, which is literally the case. Within a matter of two years, from an all-time high in 1988 of over 130,000 members and around 2,000 separate clubs, the number of registered racers fell to under 60,000.

The most significant factor in the decline was the winding-down and eventual collapse of major industry, including coal mining, shipyards and steel works. Whole communities, 30

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particularly in the north of England, were affected by enormous economic and social difficulties. Skilled men, whose families for generations had been employed, were faced with redundancy, job layoffs and the prospect of lower paid non-skilled work. This led to high unemployment, debt and relocations not just within the UK, but also around the world.

Communities were in turmoil and so were the birdmen. I was a witness to the economic decline: I watched throughout my childhood and early teens people stripped of their identities and dignity as their world was torn apart by the economic down-turn that took away everything. I also witnessed men killing their birds in depression, anger and frustration because they had no money to keep them and no one else had the money to buy them.

Over the last ten years membership in the UK has dropped again to around 46,000. The men find it increasingly difficult to attract new members, not just from the outside, but also from within their own families; their sons and daughters are not interested in taking part, finding themselves with wider horizons. Ironically, the sport’s popularity worldwide has rocketed. In the USA there are many bigpurse races with prize money reaching $50,000, and buyers from the UAE are frequent visitors to England and mainland Europe, where birds can be auctioned for as much as £100,000.

In the early 1900s, pigeon racing became established in England 32

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On race day the men gather at their clubs with their chosen birds (above & left top). One by one each bird is given a number that is entered by hand into a log-book. Once all the birds have been registered, race fees paid to the club treasurer, beers bought and the birds placed in their baskets, they are picked up by the pigeon transporters and driven to one of a number of sites in the UK or Europe. Transporters (left bottom) in Dieppe, France, wait for a break in the weather to liberate the birds and start the race ei8ht

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strongly within working communities, especially in the north of England. The men used to hammer lofts out of old tea crates in which to house their pigeons. Many wanted their birds to have the fresh air they never had, being down the face of a colliery for 12-hour shifts at a time, and coming straight from the colliery they would watch their birds fly until the sun set in the sky.

They wanted their pigeons to fly because they themselves never could; they wanted their pigeons to come back because they wanted to. Free will is important, although as a reward for coming back the cock always gets half an hour with his hen.

Pigeon racing is all about love: for the men it is the love of the sport and for the pigeons the love of each other. Two pigeons paired will mate with each other for life, which is why, when a bird is released in a race 700 miles away, it will compete to be back beside its partner within ten hours. The men’s success in pairing compatible birds, as well as keeping them healthy, is key to a successful racing pigeon.

The birdmen are the last of a working class breed, through whom you can chart not only the decline of industry in the UK but also a change in the life of a community that is becoming lost forever â?˝ 36

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Once the birds have been liberated (previous pages) messages are relayed to the club and the birdmen’s wait begins. Anxious hours are passed checking the horizon and mobile phones for news of their or other racers’ birds. On the return of their pigeon, the men will wave a “high flyer”, usually a white bird (above), to entice their pigeon to enter the loft. Once inside its number ring is taken and its time logged. Then it’s down to the pub (left top) for a beer, chat and a bit of gloating for the winners ei8ht

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PARENTS AGAIN

BY BRIAN FITZGERALD

MARGARET HORN STILL REMEMBERS the night when, seven years ago, she and her husband Peter made the decision that altered their lives forever.

The native New Yorkers had two children, the youngest a junior in high school, and were looking forward to Peter’s retirement from the Navy after a 27-year career as an officer.

The future was bright and full of promise. “We thought we could go on vacation and do our own thing,” said Margaret, 51. “Then we got Kimmy.”

The Horns became grandparents for the first time when Kimberly was born on 3rd January 1995 to Tara, 30, their daughter. Little “Kimmy” and her mother spent the first few weeks with the Horns because the paediatrician was afraid that conditions at Tara’s place – no heat, and long-term drug use by Tara and her live-in boyfriend – would be bad for the baby.

Tara disappeared in late January, just weeks after the baby was born. When she showed up demanding Kimmy several days later, the police were called. Margaret recalls an officer telling her to go to the courthouse and file for custody. “We went down that day,” she said.

Less than a month after becoming grandparents, the Horns became Kimmy’s legal parents. “We never had ‘grandparent’,” says Peter, 53, of their lives since, which now they share with Kimmy, Kevin, 5, and Kenny, 4 – all Tara’s children. With a total of three grandchildren to raise, his wife says, simply, “Sometimes I think, what the heck did we get into?”

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According to the 2000 census, more than 59,000 grandparents in Virginia and a growing number across the United States, like the Horns, have stepped in when their sons or daughters couldn’t – or wouldn’t – raise children on their own.

Like parents of any age, they have to deal with dirty diapers, doctors’ visits, and never-ending questions. They’ve been there before. The one question they can’t handle, though, is the one unasked. Peter, for eight years a risk-assessment manager at Portsmouth Naval Hospital, explains it this way: “By the time they are all old enough to live on their own, I’ll probably be dead.”

Peter doesn’t have much time to think of dying. Seven years after his first retirement, he’s working again and the couple is as busy as ever. Complete with scabby knees, runny noses and loud voices that tend towards the demanding, three small kid-shaped tornadoes form 40

the stormy centre of stability the Horns have built to keep the dangers of the outside world – including their daughter – from intruding.

Kimmy, Kevin and Kenny look like any small children, although their darker skin colour and curly hair is enough to cause stares when Peter and Margaret take them shopping at the Navy base’s commissary. Get to know them, and their personalities emerge.

Kimmy is the leader of the group. Like her mother, Kimmy is headstrong and hyperactive. After she began running away, they took her to a doctor who sent them home with a prescription for Ritalin and a diagnosis: Attention Deficit Hyperactivity Disorder.

Kevin is his grandfather’s “helper”. For a five-year-old, he’s tall and strong, curious and wide-eyed. He’s also a survivor: Kevin was discovered hours after being born, next to Tara’s unconscious form on ei8ht

the floor of a bathroom. Sharing his mother’s cocaine addiction, he has learning disabilities, suffers seizures and has had a stroke that withered the left side of his body.

Kenny has a sweet smile, and he knows it. Intelligent and fearless, he was born healthy only because his mother was sober in jail from the fourth month of her pregnancy. After having Kenny in hospital, Tara went back to jail. Kenny was placed in foster care and then, four months later, went to the Horns.

After Kenny, the Horns put their foot down. They couldn’t afford to take in any more children. It was all they could do to keep up with the ones they had.

Tara has since given birth to more two daughters, one on 1st August last year. Another daughter, born two years ago, has been adopted by foster parents. The Horns theoretically should receive ei8ht

support of $65 per month for two of the children, the state minimum, but Tara is unable to pay even that amount.

The government provides assistance in the form of TANF (Temporary Assistance for Needy Families), a federal program that provides them with $321 a month. The Horns estimate they spend up to $250 a week on groceries. In contrast, foster parents in Virginia currently get $500 a month per child – an irony not lost on the Horns.

“We’re mad. We’re doing just as much as foster parents,” says Margaret. “Sometimes more.” To help with expenses, Peter accepts hand-me-down clothing from co-workers whose children have outgrown them.

Mental and spiritual support comes in the form of monthly Grandparents as Parents meetings, organized since 1997 by the 41

Catholic Charities of Hampton Roads, Inc. The group’s founder, Minnie Thomas, 75, began with two support groups for grandparents. Now with the new title of Grandparents Caregivers Resource Program, 12 groups exist in Norfolk alone, and others meet monthly in Williamsburg, Newport News and Hampton Roads, and Virginia Beach.

The non-profit organization is expanding services to include support groups for children, and already has one called Relatives as Parents. “We looked at the statistics, and we saw there was a need,” said Kathy Dial, director of Older Adult Services for the organization. “We’ve only reached the tip of the iceberg.”

According to Dial, it’s especially difficult for grandparents to raise children because so much has changed since they had their own.

Many grandparents are single themselves, but continue to take on 42

children because they are family. “It’s getting worse,” said Dial. “It’s not a short-term thing. These grandparents have been doing this for a long time.”

When grandparents raise their grandchildren, they are faced with an array of issues, including custody. “Some of them don’t like to ask for custody because that would interfere with the possibility of the child going back to the parents,” said Dial. She explained that other grandparents immediately apply for custody, knowing that it will help them enroll the child in school and make other decisions for them.

That was the case when the Horns were mulling over the decisions facing them seven years ago. “We knew what we were doing. We didn’t have social services knock on our door. We actually sought them out,” said Peter. “There were no surprises for us.”

The Horns were surprised, though, when they tried to adopt ei8ht

Kevin. They spent $7,000 in lawyers’ fees, a bid ultimately unsuccessful when Tara failed to show up at the court hearing. “I don’t trust anybody anymore. We’ve been burned too many times and I’m not going to be burnt again. These are my kids. It’s asinine that the judges are more inclined to favour the birth parents than the ones who are taking care of the kids,” a frustrated Margaret said of the process they have been through.

Peter doubts that they are in any danger of ever losing the children, but he worries about their future. The children are considered wards and are not eligible for benefits from Peter’s Navy pension in case of his death. When he retires for the second time, Peter will be 67. His own father died when Peter was 46, and he muses that his grandchildren could be about 20 years old when he passes on. “If something happened to both of us they’d be done,” he said. ei8ht

In between the vacations, the classes and the organized chaos, the Horns are doing what they can to prepare their grandchildren for the future. After a long summer at home with them, Margaret is excited about the start of school. For the first time, all the children are in classes. “This year I’ll be able to have some free time. I’ll be able to clean in peace, I’ll be able to eat in peace and go out with friends,” she explained.

While the children don’t yet know the circumstances surrounding their family, the Horns know the time is coming. “Kimmy kind of knows that we are not biologically her parents. We told her that we love her just like she’s our daughter,” Margaret said.

Peter echoes the sentiment shared by many grandparents in the same situation. “These kids are going to have to learn to do things on their own as quickly as possible. We won’t be around forever.” ❽ 43

foto8 www.foto8.com presentationS of topical stories including J B Russell’s report on Iraq’s Kurds and Olivier Mirguet’s take on North Korea. Plus expanded book reviews, exhibition listings and the home of ei8ht on the web.

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ei8ht

BABY I WANT YOU SO

BY TINA STALLARD

In the 24 years since the world’s first test-tube baby was born, attitudes to infertility have changed. No longer is it seen as a sadness to be suffered but as an illness that can be treated. Yet despite the medical breakthroughs and headline stories about menopausal women conceiving with the help of science, the success rate for IVF remains surprisingly low: only one in five women becomes pregnant as a result of treatment.

Most women have at least three treatments, and success is not guaranteed. Yet, so overwhelming is their desire for motherhood, many go back time and again. Couples spend thousands of pounds, use up years of their lives and place an enormous strain on their relationship in the belief that ultimately IVF treatment will provide them with a much-longed-for child.

Tina Stallard photographed two couples undergoing IVF to explore what drives women to undergo this treatment and to show the emotional and physical demands of their experiences ❽

The exhibition “All for a Good Cause”, featuring the work of Jenny Matthews, Jonathan Olley and Tina Stallard, supported by the Arts Council through East Midlands Arts and in collaboration with ei8ht, is showing at the Picture House Centre, Leicester, UK, until 22nd

ei8ht

August,

before

starting

on

a

national

tour.

45

SIBERIA IS SYNONYMOUS WITH GULAGS and harsh winters. Both are present in Carl De Keyzer’s new book Zona, a study of life within the prison camps of this region, along with more surprising details. In August 2000, De Keyzer was invited to the capital Krasnoyarsk to host a workshop accompanying a Magnum exhibition.

While looking for a subject for his group to photograph he was introduced to Camp 27.

In this model, all-male prison the inmates, dressed in regulation black uniform with their heads shorn, perform their daily tasks amongst the bizarre theme park of statues and decorations adorning the prison buildings. This most unusual setting inspired De Keyzer to return on two further occasions to photograph inside the region’s other prison camps. The resulting body of work, taken within the constraints of the restricted access he was granted, contains contradictory images such as the positive view of 46

reformed conditions that the prison authorities wish to project, juxtaposed with De Keyzer’s observations of the remaining hardships of camp life. Photographs full of bright colours, blue skies and scenes of everyday recreation and community are contrasted with traditional images of grey and isolated gulag life – still found in some of the remoter camps.

In an essay in the book, De Keyzer recollects how his hosts controlled what he could and couldn’t see. At times, he and his Russian colleagues were left waiting for days outside a camp before entering to discover newly painted walls and prisoners in crisp uniforms. However, as De Keyzer became more familiar with the prison officials’ routine he learnt to snatch unsanctioned snapshots. His photograph of prisoners breaking rocks in a ditch is such an image. They stand together shirtless in the sunshine, their bare, tanned torsos adorned with amateur tattoos. In the background the high

wire of the perimeter fence and a watchtower with its single occupant overlook their labours – a reminder of their supervised confinement. Such manual work is a constant in the lives of Siberia’s prison population and is recorded in all its forms

by De Keyzer. In city-based factory camps men labour in huge sheds producing wooden furniture, cutting planks or mending machinery. In the village camps the industry is agricultural; male and female prisoners chopping wood, constructing buildings or nursing farm animals.

A more unusual activity is depicted in Zona’s cover image. In the depths of winter, amidst an opalescent landscape, a cold, blue light illuminates a huge horse carved from snow. Behind it, partially obscured by billowing steam clouds, dark figures busy themselves on other sculptures.

In the foreground, a rotund man is silhouetted, warming his gloveless hands over a fire. Similar to the huge wooden windmill, murals and metal ei8ht

REVIEWS

figures found in Camp 27, as well as the sky-blue painted walls and decoration of many of the prison interiors, these sculptures represent official attempts to enliven institutional life and divert from its mundane routine.

Recreation, of one kind or another, features heavily: men and women sit and doze in their respective television lounges, take saunas, perform plays, read, or let rip on the dance floor. Many of these scenes are obviously staged for the camera, like the surreal tennis match without balls: two tracksuited men stand facing each other across the court, rackets in hand as if poised to play.

De Keyzer’s photographs go some way to convey the crowded conditions in single-sex communities: inmates sleeping side by side in huge barrack dormitories, jostling together in canteens at mealtimes or hanging out smoking in large groups in the yards. Despite the physical proximities of life inside, emotional loneliness must be hard to avoid. Visiting times are restricted to only a few hours each month; De Keyzer records expressions of expectation and anxiety on prisoners’ faces as they wait or interact with their family or friends.

Frequently prisoners turn to each other for support – single-sex relationships are another subject he was asked not to photograph. A lot of inmates get married as wedlock ensures increased visiting time and three extra hours are allowed for the ceremony and a special marriage hotel is provided. De Keyzer’s pictures of the newlyweds are poignant, stolen moments, a glimpse of private time within a communal system.

The significance of the images in Zona is often as much to do with what is not recorded as with what is: prison guards, perimeter fencing and watchtowers are not permitted, likewise single-sex relationships – yet these are the realities of prison life and De Keyzer sneaks them in whenever possible. Much can also be read in the demeanour of the prisoners: their wary expressions represent years of discipline. Zona does not pretend to give us the reality of life inside a Serbian prison camp; rather it records what was made available to an outsider. De Keyzer highlights the the prison authorities’ stage-management and at times breaks through to give us stolen insights ❽ SOPHIE WRIGHT

Zona by Carl De Keyzer, 160pp hardback, 90 colour photographs, £29.95, Trolley, www.trolleynet.com ISBN 0-9542648-4-3

ei8ht

The Gate by François Bizot Hardback, 286 pp, £16.99 The Harvill Press 2003, ISBN 184343 001 0

Few returned from Cambodia’s death camps; fewer still have written such a hauntingly moving account of their experience as has the French Buddhist scholar François Bizot. While clearly embittered by his experience, that Bizot is able to relive his waking nightmare so candidly, with such dignity and so poetically is simply as beyond belief as the ordeal he somehow survived.

Afghanistan: The Road to Kabul

by Ron Haviv. Essays by Ilana Ozernoy 79 colour photographs, 160 pp., £30.

Published in US by de.Mo, www.de-mo.org ISBN 0-9705768-5-4

Originally billed as the first digitally photographed and produced book of its kind, Haviv’s work has achieved far more than simply a technical victory. The harsh realities of war are evident but it is Haviv’s intuitive images that tell us much more about this particular conflict.

A man carrying a bunch of brightly coloured balloons is photographed from the rear as two women dressed from head to foot in burkhas, their faces obscured, watch him walk past. Later, in conclusion, a released balloon floats towards a flock of white birds in an azure sky. Such is the quality and depth of the composition, what could have been a cliché instead becomes symbolic of a people released.

Exodus – Sebastião Salgado, An Exhibition – over 300 photographs at the Barbican Gallery,

Silk Street, London EC2 – until 1 June

The latest Sebastião Salgado exhibition is a timely reminder of how war, oppression and inequality affect ordinary people.

Entitled “Exodus”, and including 350 black and white images from his Migrations and Children series (photo above), the collection explores the lives of the globe’s wandering masses; individuals and families forced to relinquish their roots to escape persecution and poverty.

For a full-length version of all these reviews visit: www.foto8.com/reviews/ 47

EXHIBITIONS

INDIVIDUAL SHOWS: Tessa Bunney Moor and Dale

An exhibition of landscape and documentary photographs capturing the relationship between the area’s landscape, wildlife and people.

Venue: Nidd Castle Shooting Lodge, Lofthouse Moor, Nidderdale, North Yorkshire 28 June – 1 July

Henri Cartier-Bresson De qui s’agit-il?

A retrospective of the Magnum photographer’s several decades of hugely influential images.

Venue: Biblioteque Nationale de France, Francois-Mitterand Building, Quai FrancoisMauriac, 75013 Paris, France – until 27 July Ad van Denderen Go No Go

Guy Bourdin

A retrospective of Bourdin’s fashion photography, acclaimed for its intensity, drama and highly distinctive style.

Venue: Shine Gallery, 3 Jubilee Place, London SW3 3DT 7 – 30 May

An account on immigration seen through the eyes of the photographer.

Venue: FOAM Fotografiemuseum Amsterdam, Keizersgracht 609, 1017 DS Amsterdam, Netherlands – until 15 July Walker Evans

Breuer’s first solo exhibition in London depicts the presence of global corporations in the European landscape.

Best known for his documentary photographs taken in America’s rural south during the 1930s commenting on the vernacular of American Life.

Venue: Photographers’ Gallery, 5 Great Newport Street, London WC2H 7HY 21 May – 12 July

Venue: Photographers’ Gallery, 5 Great Newport Street, London WC2H 7HY 15 May – 12 July

© Homer Sykes

Max Kandhola Illustration of Life

A documentation of the artist’s father’s decline shortly after being diagnosed with cancer.

Venue: Impressions Gallery, 29 Castlegate, York YO1 9RN – until 31 May Jacques-Henri Lartigue The Age of Elegance and The Art of Style

A new collection of Latigue’s glamorous and elegant work.

Venue: The Michael Hoppen Gallery, 3 Jubilee Place, London, SW3 3TD 4 June – 9 August Inge Morath Boarder Spaces / Last Journey

© Guy Bourdin Estate courtesy of Shine Gallery

48

Jo Broughton, Me, Myself and Them

Graciela Iturbide Juchitan

Photographs exploring female sexuality, desire and denial through two bodies of work.

The pueblo and people of Juchitan in Oaxaca, Mexico, famous for its legends, myths and oral history.

Venue: Tom Blau Gallery, 21 Queen Elizabeth Street, London, SE1 2PD, UK 12 June – 16 July

Venue: Side Gallery, 5& 9 Side, Newcastle-upon-Tyne, NE1 3JE – until 6 July

Memorial exhibition that combines both photographs by and of the legendary photographer who died in 2002.

Venue: Leica Gallery, 670 Broadway, New York, NY 10012, USA 27 June – 9 August Simon Norfolk Afghanistan: chronotopia

An exhibition of images described

by the artist himself as: "Utter destruction on an epic, Babylonian scale, bathed in the crystal light of a desert sunrise."

Venue: Sirius Arts Centre, Cobh, Co. Cork, Ireland 5 – 30 June Karen Robinson Roma: Gypsy Villages in Romania

Panos Photographer Karen Robinson’s take on the discrimination and poverty that Photofusion: © Alban Kakulya & Yann Mingard – Panos – Strates

Frank Breuer, Warehouses and Logos

unite most of the 20 million Roma worldwide.

Paul Seawright Hidden

Venue: Side Gallery, 5& 9 Side, Newcastle-upon-Tyne, NE1 3JE 24 May – 6 July

An account of an Afghanistan torn apart by war.

Sebastiao Salgado – Exodus

A photographic account of mass migration and the different stories related to it. (1993–1999).

Venue: The Barbican Art Gallery, Barbican Centre, Silk Street , London EC2 8DS – until 1 June

Venue: Ffotogallery, Chapter, Market Road, Cardiff CF5 1QE – until 18 May Lorna Simpson

An exhibition of the work of the influential African-American photographer and filmmaker.

Venue: The Irish Museum of Modern Art, Royal Hospital,

The Photographers’ Gallery

Walker Evans 15 May – 12 July 2003 Frank Breuer 21 May – 12 July 2003

Homer Sykes Shanghai Odyssey

A collection of Sykes’ photographs documenting Shanghai from the personal and familiar to the industrial and institutional.

Venue: Open Eye Gallery 28 – 32 Wood Street, Liverpool L1 4AQ – until 28 June GROUP SHOWS: The Jazz Lenses – Photographs of Jazz Musicians in New Orleans, USA Skip Bolen and Steven Forster

Photographs dedicated to "capturing the moments" of today’s most exciting jazz performers.

Venue: John Stinson Fine Arts, 900 South Peters Street, New Orleans Museum & Arts District, USA – until 31 May All in a Good Cause Jonathon Olley, Jenny Mathews and Tina Stallard

Three individual bodies of documentary photography in collaboration with ei8ht.

Venue: Picture House Centre for Photography, International House, 3rd floor, 125 Granby Street, Leicester LE1 6FD – until 22 August Caught On Camera, Photographers Photographed

Photojournalism, fashion shoots, holiday snaps, family portraits and celebrity paparazzi shots feature in this show of photographers at work.

Venue: Tom Blau Gallery, 21 Queen Elizabeth Street, Butlers Wharf, London SE1 2PD – until 16 May

Venue: Leica Gallery, 670 Broadway, New York, NY 10012, USA – until 21 June Various Artists, Cultural Breakthrough

A VSO-sponsored exhibition in which celebrities select the images and words that capture the significance of their unique cultural experience.

Venue: The Newsroom, The Guardian and Observer Archive and Visitor Centre, 60 Farringdon Road, London EC1R 3GA 5 June – 28 June The Eye and the Camera: a History of Photography Rudolf Koppitz, Walker Evans, Stephen Shore and others

The key protagonists of visual communication from a collection that commenced in 1999.

Venue: Albertina, Albertinaplatz1, 1010 Vienna, Austria – until 8 June

Charting the frontiers of a new Europe from the Baltic to the Black Sea in landscape and portraiture.

Venue: Photofusion 17a, Electric Lane, London SW9 8LA 6 June – 12 July Veil Faisal Abdu’Allah, Gaetan de Clerambault, Marc Garanger, Shirin Neshat and Koroush Adim

International exhibition examining one of the most powerful symbols in contemporary culture, the veil.

Venue: Open Eye Gallery, 28 – 32 Wood Street, Liverpool L1 4AQ 5 July – 16 August 5 & 8 Great Newport Street Open Daily / Admission Free Tel: 020 7831 1772

www.photonet.org.uk

Metallica and Peep World Ross Halfins & John Stoddart

Photographs of metal band Metallica, and John Stoddart’s idiosyncratic images of women.

Venue: Proud Camden Moss , 10 Greenland Street, London NW1 – until 25 May Rhubarb Rhubarb International

International Festival of the Image, with an emphasis on three days of talks and portfolio reviews.

Venue: Orange Studio, Birmingham. www.rhubarb-rhubarb.net 25 – 27 July Without Words

Karel Cudlin, James Ravilious, Grace Robertson, George Rodger and Humphrey Spender

Some of the finest examples of press photography from the Masters of the craft exhibited together in one collection.

The work of Czech photographer known for his humanistic documentary photography, and other acclaimed British photojournalists.

Venue: Kicken Gallery, Lienienstrasse 155, D101115, Berlin, Germany – until 22 May

ei8ht

East of Eden Alban Kakulya & Yann Mingard

© Graciela Iturbide / Open Eye

Kilmainham Dublin 8 – until 8 June

World Press Photo

The exhibition of winning entries in the 2002 international competition visits the UK. Venue: Royal Festival Hall, Queen Elizabeth Hall, Purcell Room, SouthBank, London, SE1 – until 1 June Compiled by Stephanie Wegenast ei8ht welcomes exhibition listings.

Please send news releases via email to: listings@foto8.com or post to: Listings, foto8, 18 Great Portland Street, London W1W 8QP. Every effort has been made to ensure that all information is correct at time of going to press. ei8ht and foto8 Ltd accept no responsibility for any changes to dates of exhibitions.

Baby I want you so © Tina Stallard

Picture House Centre for Photography practical centre supporting photographers and the broader arts community providing commissions, exhibition opportunities, facilities and training welcomes photographers able to offer lectures, workshops and demonstrations

3 r d f l o o r, I n t e r n a t i o n a l H o u s e , 1 2 5 G r a n b y S t r e e t , L e i c e s t e r L E 1 6 F D T - 0 11 6 2 5 5 5 2 8 2 E - photo@pichouse.demon.co.uk

Picture House with financial assistance from Arts Council England and in collaboration with ei8ht presents commissioned documentary exhibitions ‘All in a Good Cause’ by Jonathan Olley, Tina Stallard and Jenny Matthews 25.04.03 - 22.08.03 49

FROM THE BOOK UKRAINE: GYPSY BARON AND HIS DAUGTHER

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Gaza Beach © Zijah Gafic/Grazia Neri

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US Marines of the 3rd Battalion 4th Marines take Baghdad Bridge. ©Gary Knight / VII

C hristopher Anderson . A lexandra Boulat Lauren Greenfield . R on Haviv . G ary Knight A ntonin Kratochvil . C hristopher Morris James Nachtwey . John Stanmeyer 5 8 B OULEVARD LATOUR M AUBOURG, F-75007 PARIS, FRANCE

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EXHIBITIONS

INDIVIDUAL SHOWS: Tessa Bunney Moor and Dale

An exhibition of landscape and documentary photographs capturing the relationship between the area’s landscape, wildlife and people.

Venue: Nidd Castle Shooting Lodge, Lofthouse Moor, Nidderdale, North Yorkshire 28 June – 1 July

Henri Cartier-Bresson De qui s’agit-il?

A retrospective of the Magnum photographer’s several decades of hugely influential images.

Venue: Biblioteque Nationale de France, Francois-Mitterand Building, Quai FrancoisMauriac, 75013 Paris, France – until 27 July Ad van Denderen Go No Go

Guy Bourdin

A retrospective of Bourdin’s fashion photography, acclaimed for its intensity, drama and highly distinctive style.

Venue: Shine Gallery, 3 Jubilee Place, London SW3 3DT 7 – 30 May

An account on immigration seen through the eyes of the photographer.

Venue: FOAM Fotografiemuseum Amsterdam, Keizersgracht 609, 1017 DS Amsterdam, Netherlands – until 15 July Walker Evans

Breuer’s first solo exhibition in London depicts the presence of global corporations in the European landscape.

Best known for his documentary photographs taken in America’s rural south during the 1930s commenting on the vernacular of American Life.

Venue: Photographers’ Gallery, 5 Great Newport Street, London WC2H 7HY 21 May – 12 July

Venue: Photographers’ Gallery, 5 Great Newport Street, London WC2H 7HY 15 May – 12 July

© Homer Sykes

Max Kandhola Illustration of Life

A documentation of the artist’s father’s decline shortly after being diagnosed with cancer.

Venue: Impressions Gallery, 29 Castlegate, York YO1 9RN – until 31 May Jacques-Henri Lartigue The Age of Elegance and The Art of Style

A new collection of Latigue’s glamorous and elegant work.

Venue: The Michael Hoppen Gallery, 3 Jubilee Place, London, SW3 3TD 4 June – 9 August Inge Morath Boarder Spaces / Last Journey

© Guy Bourdin Estate courtesy of Shine Gallery

48

Jo Broughton, Me, Myself and Them

Graciela Iturbide Juchitan

Photographs exploring female sexuality, desire and denial through two bodies of work.

The pueblo and people of Juchitan in Oaxaca, Mexico, famous for its legends, myths and oral history.

Venue: Tom Blau Gallery, 21 Queen Elizabeth Street, London, SE1 2PD, UK 12 June – 16 July

Venue: Side Gallery, 5& 9 Side, Newcastle-upon-Tyne, NE1 3JE – until 6 July

Memorial exhibition that combines both photographs by and of the legendary photographer who died in 2002.

Venue: Leica Gallery, 670 Broadway, New York, NY 10012, USA 27 June – 9 August Simon Norfolk Afghanistan: chronotopia

An exhibition of images described

by the artist himself as: "Utter destruction on an epic, Babylonian scale, bathed in the crystal light of a desert sunrise."

Venue: Sirius Arts Centre, Cobh, Co. Cork, Ireland 5 – 30 June Karen Robinson Roma: Gypsy Villages in Romania

Panos Photographer Karen Robinson’s take on the discrimination and poverty that Photofusion: © Alban Kakulya & Yann Mingard – Panos – Strates

Frank Breuer, Warehouses and Logos

unite most of the 20 million Roma worldwide.

Paul Seawright Hidden

Venue: Side Gallery, 5& 9 Side, Newcastle-upon-Tyne, NE1 3JE 24 May – 6 July

An account of an Afghanistan torn apart by war.

Sebastiao Salgado – Exodus

A photographic account of mass migration and the different stories related to it. (1993–1999).

Venue: The Barbican Art Gallery, Barbican Centre, Silk Street , London EC2 8DS – until 1 June

Venue: Ffotogallery, Chapter, Market Road, Cardiff CF5 1QE – until 18 May Lorna Simpson

An exhibition of the work of the influential African-American photographer and filmmaker.

Venue: The Irish Museum of Modern Art, Royal Hospital,