It was in 2008 that I first came across a catalogue titled Mapping Sitting: On Portraiture and Photography by artists Walid Raad and Akram Zaatari. The project brought together different kinds of portraits from the Arab Image Foundation’s archive taken in the Middle East during the mid-20th century. Portrait studio… <a href=”http://www.ianyanmag.com/sitting-still-reflections-on-armenian-portrait-photography/”>Read More →</a>
Fatih Akin’s film on tragic events of 1915 is no great cinematic oeuvre but marks turning point in Turkish discourse.
"The key issue in telling any epic story of dispossession, exodus, catastrophe or Holocaust is precisely the manner in which the story is to be told in the literary and cinematic context when all such grand narratives have become suspect. By virtue of a sustained course of more than 100 years of poignant and powerful remembrance, the Armenian tragedy has advanced far too deeply into our political consciousness for a tired old cliche kind of cinematic narrative to do justice to it. If a director is not aware of that fact, he walks perilously between tragedy and kitsch."
When artist Ania Dabrowska started working with Diab Alkarssifi, a homeless Lebanese man in London, she made a startling discovery. He was a compulsive photographer with a hoard of unseen pictures from his homeland. Sean O’Hagan hears the story behind them
A collection of portraits taken on August 22, 2014 during photographer Gilda Davidian’s one day…
Photographic collages by Holly Roberts go on view at Craig Krull Gallery in Santa Monica this week. Seen here is a work from 2014, “Horse Resting.” (Holly Roberts / Craig Krull Gallery)
The Case for Reparations by Ta-Nehisi Coates
Two hundred fifty years of slavery. Ninety years of Jim Crow. Sixty years of separate but equal. Thirty-five years of racist housing policy. Until we reckon with our compounding moral debts, America will never be whole.
Installation of i.d. photos from Studio Anouchian
dating from 1935–70 (Tripoli, Lebanon)
Photographer: Antranik Anouchian (1908–1991)
M. Yammine Collection, Arab Image Foundation
i.d. photos from Studio Anouchian dating from 1935–70
The photographs in this section were used, as similar ones still are today,for the purpose of identifying people on passports, i.d. cards, licenses, permits, and so on. The images comprising this installation were reprinted from thousands of negatives from Studio Anouchian, which was located in Tripoli, in northern Lebanon. Antranik Anouchian (1908–1991) was born in Sivaz, Turkey, and fled the Armenian genoicide of 1915 after losing his parents and six brothers, seeking refuge in Aleppo’s orphanage before settling in Tripoli. He studied at Vahan Derounian’s studio, taking it over when Derounian moved away shortly before World War II. Like most Armenian photographers of the time, Anouchian perfected his studio skills; he was particularly adept at retouching. He stored his negatives in stock boxes, inscribing them in Armenian with the year and one of three categories: men, women, or couples. Following a disastrous flood, the boxes were rescued by a collector and donated to the Arab Image Foundation in 1998. Most of Anouchian’s subjects remain unidentified.