Development and Pollution by Lu Guang, commissioned by Greenpeace International.
Wuhai Chemical Plant produces PVC products that create lots of poisonous waste material and sewage, which gets dumped along the coast of the Yellow River. China is now the world’s second-largest economy. Its economic development has consumed lots of energy and generated plenty of pollution. A habit of directly discharging unprocessed industrial sewage, exhaust gas and waste material has led to pollution of farmlands, grasslands, and drinking water as well as the ocean and the air. Over the past 10 years, factories have been moved from the country’s east to its central and western parts, thus greatly expanding the polluted area and increasing the severity of the situation. Although the environmental protection administration has shut down many small enterprises with serious pollution emission, some still continue to discharge contaminants illegally. Some have adopted covert operations, such as releasing the smoke and gas waste at night. The sewage channel is embedded into the river and ocean for discharging pollution. Western factories have large evaporation ponds to store sewage, but the sewage sinks into the ground, thus polluting the water source. Minerals, such as coal and iron, are expanded to large-scale predatory strip mine exploitation from the original underground mining. Grassland has been turned into desert. Fertile farmland has given way to barren mountains. Herdsmen no longer have grassland. Farmers have lost their farms, their own homelands destroyed, thus causing the villagers to become displaced. Winds carry the exposed coal dust and sand, causing smog. Smog, in turn, forces middle and primary schools to close. Flights get delayed. The highway gets shut down. The number of hospital patients with respiratory disease goes up. Food and drinking water is polluted, which leads to cancer, so common China has seen the emergence of ‘cancer villages’. China’s environmental pollution has already exerted great threats to people’s life and security.
Nailya Alexander Gallery, in conjunction with Contact Press Images presents MAIN STRƎƎT: The Lost Dream of Route 66, an exhibition of photographs by Pulitzer-Prize winning photographer Edward Keating. The exhibition is accompanied by the release of Keating’s eponymous book of 84 photographs (Damiani, 2018).
Edward Keating has served as a photojournalist for nearly 40 years for such publications as New York Times, Forbes and Business Week. In 2001, Keating received the Pulitzer Prize for Breaking News Photography, as well as the John Faber Award for International Reporting, Overseas Press Club, for his series of photographs on the September 11 attacks. He additionally shared the 2000 Pulitzer Prize for National Reporting with New York Times staff for the series, “How Race is Lived in America,” and was nominated for the Pulitzer Prize for the 1997 series “Vows,” co-authored with Lois Smith Brady. In 2003, Keating joined Contact Press Images photography agency. MAIN STRƎƎT will be Keating’s sixth monograph.
MAIN STRƎƎT is the result of 11 years of travels along Route 66– the 2,400 mile stretch between Chicago and Santa Monica. Called the “mother road” in John Steinbeck’s The Grapes of Wrath, Route 66 has inspired countless artists and writers, including Andy Warhol and Jack Kerouac. Following the path of migrant farmers and others, Keating has ventured westward and back along Route 66, documenting the lives of Americans along the way.
Matthew Leifheit is a Brooklyn-based photographer. He is Editor-in-Chief of MATTE Magazine, an independent journal of emerging photography founded in 2010 that recently released its 47th issue. He was formerly the photo editor of VICE, and has also written criticism and interviews for Aperture, Foam, Art F City and TIME LightBox. Leifheit holds a BFA from the Rhode Island School of Design and an MFA from the Yale School of Art, where he was awarded the Richard Benson Prize in 2017. Currently, Leifheit is an adjunct professor of photography at Yale, Parsons, Pratt and School of Visual Arts.
Leifheit's work in photography and publishing has been exhibited internationally and is held in public collections including the International Center of Photography, the Museum of Modern Art Library and Yale's Beinecke Rare Book & Manuscript Library. His photographs have appeared in The New York Times, The New Yorker, TIME Magazine, VICE and the Yale Daily News.
Ryan Pfluger - Born and raised New York photographer with a MFA in Photo, Video & Related Media from the School of Visual Arts. Captivated by nostalgia, my work often deals with recreating memories, memorializing objects and how sexuality influences image making. Exploring what portraiture means presently in our culture, my photographs deal with the subtlety of body posture, the gaze and the role of self-portraiture. Most importantly, I allow my subjects to be present.
I'm uncomfortable in public spaces and people often call me IMDB.
Christopher Anderson was born in Canada and grew up in west Texas. He first gained recognition for his pictures in 1999 when he boarded a handmade, wooden boat with Haitian refugees trying to sail to America. The boat, named the Believe In God, sank in the Caribbean. In 2000 the images from that journey would receive the Robert Capa Gold Medal. Christopher is a member of Magnum Photos. He is the author of four monographs of photography.
Based in Sicily, Italy, Daniel Castro Garcia is the 2017 recipient of the W. Eugene Smith Grant in Humanistic Photography for his project Foreigner: I Peri N’Tera—a Sicilian colloquialism that translates as “feet on the ground.” This project is a new chapter that explores the ongoing refugee crisis in Europe. This work in particular focuses on the reality of life in Sicily, Italy, for unaccompanied minors who survive the journey to Europe across the Sahara Desert and Mediterranean Sea. Through his body of work, Castro Garcia poses the question, “How do the individuals at the centre of this crisis locate themselves within their ‘new’ landscape and what effect do these experiences have on their daily lives?” He uses photography not only to document his subjects, but also to collaborate with them, allowing these individuals an opportunity to tell their story without the guise of the media.
As a woman brought up in China, I used to think I could only love someone who is older and more mature than me, who can be my protector and mentor. Then I met my current boyfriend, Moro. Since he is 5 years younger than me, I felt that whole concept of relationships changed, all the way around. I became the person who has more authority & power. One of my male friends even questioned how I could choose a boyfriend the way a man would choose a girlfriend. And I thought, "Damn right. That’s exactly what I’m doing, & why not!"
I started to experiment with this relationship. I would set up all kinds of situations for Moro and I to perform in the photos. My photos explore the alternative possibilities of heterosexual relationships. They question what is the norm of heterosexual relationships. What will happen if man & woman exchange their roles of sex & roles of power. Because my boyfriend is Japanese, and I am Chinese, this project also describes a love and hate relationship.
This project is an ongoing project which grows with our real relationship but is never meant to be a documentation.
A book "Experimental Relationship Vol.1 2007-2017" was published by Jiazazhi Press in May 2018. Read more about this book here.
To say that Asia is far away and different is to say the most shallow thing; but it doesn’t mean that it’s not true. In Silent Mode continent of billions is empty and uninhabited. The perspective is focused on the shape of the world itself, crafted by humans, on the mark left by Japanese, who orbit between almost non-existent private sphere and omnipresent public - all seen by an observer from the outside, who’s not claiming a right to understand all of this. What was supposed to happen here, happened long ago - or will not happen at all.
Leisure consists of both equally time and place, as well as some idea. Along with the late modernity space and time blurred, and the structure of organized labor forced to create an equally organized structure of free time and getaway.
After season focuses on the backstage of this structure, which produces places suspended in a time. The structured free time industry stops at the end of vacations, emptying. The people had their holidays and for a while all those resorts become unnecessary, frozen and ready to receive the thousands of organized tourists that will come again. This cycle repeats endlessly, and in each of these places you can feel the gentle but still palpable trace of memories of leisure – the idea lacking accurate coordinate and time frames.
Joel Meyerowitz (born March 6, 1938) is a street photographer and portrait and landscape photographer. He began photographing in color in 1962 and was an early advocate of the use of color during a time when there was significant resistance to the idea of color photography as serious art. In the early 1970s he taught photography at the Cooper Union in New York City.