#Louie Palu

[federer7]

U.S. Marine Gysgt. Carlos “OJ” Orjuela, age 31. Garmsir, Helmand, Afghanistan. 2008

Photo: Louie Palu

[sesiondemadrugada]

Louie Palu.

[las-microfisuras]

“Marisol Espinoza, una mujer de 20 años de Chiapas, descansa en un refugio para deportados y migrantes en Nogales, México, la noche después de ser deportada de los Estados Unidos. Cruzó a los Estados Unidos y caminó por el desierto de Arizona durante seis días hasta que fue arrestada por la Patrulla Fronteriza.”

Fotografía de Louie Palu

[thoughtportal]

The Price of Paperless

Table of Contents

Here Everything is Poison

By J. Malcolm Garcia, Photography by Darren McCollester

Fall 2010

Cold winds carry lead-filled dust from a nearby slagheap, a hundred million tonnes of toxic tailings, and scatter it on clothes hanging from laundry lines, on open buckets of drinking water, on the dirt children play in, and on the feral dogs running down alleys in this former French army barracks housing about 250 displaced Roma men, women, and children.

Editor’s Desk

The Price of the Paperless Revolution

By Ted Genoways

Reporting

Jharia Burning

By Allison Joyce, Photography by Allison Joyce

The Pit

By Nathaniel Miller

Father Copper

By Annie Murphy, Photography by Rodrigo Llano

Mother of God, Child of Zeus

By Jessica Benko, Photography by Bear Guerra

Digging Out

By Elliott D. Woods, Photography by Elliott D. Woods

The Solution: Bolivia’s Lithium Dreams

By Matthew Power, Photography by Fabio Cuttica

Tin Fever

By Delphine Schrank, Photography by Mark Craemer

Here Everything is Poison

By J. Malcolm Garcia, Photography by Darren McCollester

Essays

The Devil’s Tail: Reading From the Lives of Authors

By Robert Boyers

Fiction

Favorite Son

By Jennifer Haigh

The Digger

By Samanta Schweblin, Translated by Daniel Alarcon

Poetry

The Man

By Patrick Phillips

Work-Clothes Quilt

By Patrick Phillips

Tailing Dam of Baotou Steel

By Qin Xiaoyu

The Book of Lost Railroad Photographs

By Amy Beeder

Criticism

The Age of Inequality

By Oscar Villalon

The Activist Novelist

By Jacob Silverman

The Triumph of Capitalism

By Brian Sholis

Multimedia

The Underground Giant: Life in the Hard Rock Mines of Quebec and Ontario

By Louie Palu, Photography by Louie Palu

[columnistfromtheabyss]

Review: Inter Arma – New Heaven (Relapse)

My review of Inter Arma's brilliant new album, New Heaven, written for Heavy Music HQ:

Richmond, Virginia’s Inter Arma have taken a significant step forward with their latest album, New Heaven. They seem to have incorporated everything they have done so far into a new experimental musical experience, with a structure that is becoming progressive, abstract and adventuresome.

Inter Arma’s usual tone, which combines sludge, black metal, and post-metal, is still evident in New Heaven. However, this time the band present a darker, more dissonant, and more startling image of a horizon that is full of desolation, isolation, agony, and tales of challenges and survival. That’s why the image Inter Arma chose, a photograph by National Geographic photographer Louie Palu, fits well on the album cover; depicting a ranger standing in front of the unknown, contemplating facing the wilderness. Inter Arma’s interpretation added to the real background of the image makes the album a resounding and magnificent work. New Heaven is a prodigious opportunity to explore new perspectives of the band and oneself.

Rating: 4/5

[numeraledition]

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#1.2.1 Projeto de Referência

Garmsir Marines, 2008, Louie Palu

https://www.louiepalu.com/portfolio/G0000r9HQk5M3w8s

[hoorelhussiny]

Assignment 3: Representation, Myth, Ideology, and Iconology Analysis

Representation: The Bedouin woman - Photographed by Rehab Eldalil

This photograph depicts Hajja Oum Mohamed, a Bedouin woman of the Jebeliya community posing in her garden in South Sinai, Egypt, with little bits of embroidery sewed by herself. It is a form of expression that portrays a marginalized community that has been discriminated against with little cultural representation or misrepresentation in modern-day Egyptian society. An indigenous community whose efforts and profits have been neglected by Sinai’s wealthy tourism industry, and their rights to pursue any work in the government, police force, and army forces stripped away in front of their eyes (The longing of the stranger, World Press Photo). A representation that voices the Bedouin’s struggles in the modern Egyptian society, it’s mistreated culture and reality without sounds. Nevertheless, prior to the 1990’s, Bedouin women were forbidden to be viewed by men, hence their photographs were frequently distorted, taken out of proportion, and not to mention, non-consensual (The longing of the stranger, World Press Photo). However, Rehab Eldalil, a Bedouin photographer and human rights activist, has formed an oath to break the stereotypes and schema around Bedouin people and their societal representation through her work. Hence, Rehab Eldalil challenges that stigma by empowering these women to take charge of their own depiction. This is manifested through the embroidery which these women formed on their portraits taken by Rehab. Showcasing a glimpse of their culture, customs and traditions of which is usually hidden or shunned from society (The longing of the stranger, World Press Photo). Therefore, this photograph is a substantial illustration of representation as it shows visual language by means of implementing an identity through a different lens that is unusual to the mundane and stereotypical depiction that has been portrayed of Bedouin people over decades. An epitome of an image worth impacting the way people view Bedouin people.

Myth: National Guards stationed - Photographed by Louie Palu

This Image showcases a group of US armies sleeping within the Capitol Building in Washington, DC, USA. The military were called on following the 6 January raid of the Capitol Building to protect politicians and the complex from further attack, and remained stationed until 24 May (Political year zero, World Press Photo). This was when Donald Trump’s presidency was adjourned due to his defeat in the 2020 presidential election to democrat Joe Biden, and hence, exhorted the citizens to break into the Capitol, resulting in Donald’s impeachment. The march took the police five hours to establish order. One rioter was killed by police, another by a heart attack, another by a stroke, and yet another by an accidental overdose. A police officer also died of a stroke later on (Political year zero, World Press Photo). However, evidently, it was discovered that the national guards bodies were moved for the purpose of the photograph, which portrays a false image that did not occur naturally in reality. An unethical subjective form of manipulation and distortion, encouraging people to believe the photograph as a factual reality rather than a deceived one to endorse specific motives. The image feeds into the American hidden agenda of exaggerating a political movement or rally to enforce their own doctrines for governmental and personal benefits. Rather than accentuating realism within an image, it forms a prejudice. It’s an image which doesn’t portray realism; due to the disfiguration of certain aspects to make the shot look a certain way, to receive specific reactions from individuals. Therefore, this image is an exemplary representation of Myth in photography cases.

Ideology: Mohamed Anwar El Sadat Lying on Floor - Photographed by Farouk Ibrahim

This picture portrays President Mohamed Anwar El-Sadat, the third Egyptian president lying on the floor in a bathrobe with his feet placed on top of a stack of towels and his arms outstretched by his sides in his room. After convincing El Sadat to allow an Egyptian to pursue the opportunity of creating a book about the president instead of giving it to a foreign journalist, Ibrahim decided to show a more intimate and personal side of El-Sadaat’s day in life as depicted above. Not to mention, with the strive of deconstructing the obstacles that exist between the cultural and political aristocrats and the Egyptian people physically and metaphorically (Abdel-Halim, 2023). Enforcing the President’s new political openness ideology that debunks Gamal Abdelnasser’s modest and professional image to the civilians, making El-Sadaat seem more relatable, more mundane. The image caused a firestorm of controversy after it was made public. The president had deliberately chosen to be seen in the way that only those closest to him could see him, in contrast to the way that the general public saw him in official photographs, speeches, and public appearances (Abdel-Halim, 2023). Many onlookers saw this as inappropriate behavior. Therefore, I believe this controversial photograph is a perfect instance of Ideology in Photography. This is due to the fact that Farouk Ibrahim’s target was to form into fruition a photograph that breaks the cultural norms, ideological constructions and values through the depiction of El-Sadat Sadat going about his morning rituals in the same way that most people do: shaving in front of a bathroom mirror in his underwear, laying down in his room, and reading the newspaper.

Iconology: Sabrina Darbuka as Dalida - Photographed by Marwan Sabra

This picture depicts Sabrina Darbuka as the infamous Dalida, dressed in an all-white dress with a pink feather scarf and a mic in her hand. Dalida was an infamous Italian-French singer, born and raised on the soil of Egypt in Shubra. Dalida earned 45 gold record awards and two platinum records during her nearly 30-year career for her sales in Europe, the Middle East, and Japan (Dalida biography, Songs, & Albums). Despite an increasingly troubled personal life after the early 1960s, Dalida was a superstar in France and much of the rest of Europe, with hit records in three different decades (Dalida biography, Songs, & Albums). Dalida's ability to record songs in a variety of languages contributed to her reputation as a versatile, global superstar. She has recorded songs in Italian and German in addition to the French and Arabic in which she is best known (5 interesting facts about popstar dalida 2019). An iconic artist who was named Egypt’s sweetheart during the 60’s. After her comeback in 1967, Dalida began wearing only white, earning her the moniker "Saint Dalida'' in the French and Italian press, which can be perceived in the image above. In addition, Sabrina is seen holding the microphone and raising her arms, an iconic hand position which can be often seen mimicked by Dalida on stage during her many popular performances back in the days. Not to mention, the pink feather scarf was a fashion trend during the 60’s, which can be seen being worn many times by the famous blonde, Marilyn Monroe. Hence, I believe this image is a great example of Iconology in photography. This is due to the fact that Iconic photos have similarities with one another and can be altered to create new images that retain characteristics of the original. To further elaborate, the notion of recreating an iconic photo of Dalida as a tribute to her whilst keeping Dalida’s elements included was a perfect example of iconology.

References:

Abdel-Halim, A. (2023, February 17). Remembering Farouk Ibrahim, pioneer of Egyptian photography. Egyptian Streets. Retrieved March 12, 2023, from https://egyptianstreets.com/2023/02/17/remembering-farouk-ibrahim-pioneer-of-egyptian-photography/

Dalida biography, Songs, & Albums. AllMusic. (n.d.). Retrieved March 12, 2023, from https://www.allmusic.com/artist/dalida-mn0000564599/biography

Political year zero. Political Year Zero | World Press Photo. (n.d.). Retrieved March 12, 2023, from https://www.worldpressphoto.org/collection/photo-contest/2022/louie-palu/26

The longing of the stranger whose path has been broken. The Longing of the Stranger Whose Path Has Been Broken | World Press Photo. (n.d.). Retrieved March 12, 2023, from https://www.worldpressphoto.org/collection/photo-contest/2022/Rehab-Eldalil/28

5 interesting facts about popstar dalida. Discover Walks Blog. (2019, January 18). Retrieved from https://www.discoverwalks.com/blog/5-interesting-facts-about-popstar-dalida/

[osarothomprince]

The National Arts Club Continues 125th Anniversary Year, Celebrating Asian-American and Pacific Islander Month with Explorations into Fashion, Music, Dance & More

May 1-June 30. The New Age of Anxiety(dragged) May spotlights such programs as a performance featuring NAC artist fellow Barkha Patel with Barkha Dance Company, a conversation with award-winning photographer Louie Palu, continuing our year-long concert series in collaboration with The National Jazz Museum in Harlem with a performance by Helen Sung Trio, and our Medal of Honor for […]The National…

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East Sullivan Mine, Val d'Or, Quebec, Photo by Louie Palu, 1994

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Louie Palu

https://www.aint-bad.com/article/2017/12/19/louie-palu/

[bulkbinbox]

garotas vestidas como anjos orando em uma cena de crime onde um jovem foi assassinado, ciudad juárez, méxico, louie palu

[nevver]

The Cold War

[thoughtportal]

Fall 2010

The Price of Paperless

Volume 86, Number 4

Matthew Power on the lithium mines of Bolivia

Delphine Schrank on an open-pit tin mine in the Congo

Louie Palu on the hard rock mines of Canada

J. Malcolm Garcia on the effects of lead mining in Kosovo

Nathaniel Miller on the Berkeley Pit in Montana

Fiction by Jennifer Haigh and Samanta Schweblin

Poetry by Amy Beeder, Patrick Phillips, and Qin Xiaoyu

Taken together, these essays reveal the hidden price of the paperless revolution. Every MacBook and iPad, every Kindle and Droid contains the labor of hundreds of invisible workers, uncounted lives foreshortened by poisoned water and air, and a landscape permanently scarred by our voracious scavenging. No matter how sleek and earth-friendly these devices may appear, they rise from the dirt and are mined with sweat and with blood. This is not to say that our information age is inherently bad. The protests after last year’s elections in Iran were largely organized over Twitter and documented via YouTube. Across Africa, farmers are using smartphones to access daily market prices via the Internet, assuring fairer compensation for their crops. This summer our government used Facebook to enlist and organize volunteers for the cleanup of the Gulf oil spill. But in our rush to embrace the new—the smaller, the faster, the more powerful—we must not confuse revolutionary products with revolutions in production. We must not forget that even in this age of enlightenment, much of the world remains stooped in black tunnels, tracing veins deeper into darkness.

[yahoonewsphotos]

'War Is Only Half the Story' — 10 years of the Aftermath Project

"War Is Only Half the Story" (Dewi Lewis Publishing) is a 10-year retrospective of the work of the groundbreaking documentary photography program the Aftermath Project, founded by Sara Terry in 2008 to support postconflict storytelling by some of the world's finest photographers. To mark its 10th anniversary, the Aftermath Project has published a special volume (the ninth in its acclaimed book program) featuring the work of more than 50 photographers from 15 countries who were winners and finalists in its yearly grant competition from 2008 to 2016.

These outstanding photojournalists, among them Juan Arredondo, Nina Berman, Andrea Bruce, Gwenn Dubourthoumieu, Jim Goldberg, Natela Grigalashvili, Stanley Greene, Jessica Hines, Olga Ingurazova, Andrew Lichtenstein, Carlos Justyna Mielnikiewicz,David  Monteleone, Javier Oritz, Louie Palu, Andrew Stanbridge, Simon Brann Thorpe and Danny Wilcox Frazier, are committed to telling the other half of the story of conflict — what it takes for individuals to learn to live again, to rebuild destroyed lives and homes, to restore civil societies, to address the lingering wounds of war while struggling to create new avenues for peace.

Terry writes about the anniversary book's unique concept: "We decided on a fresh approach to the conversation. Instead of a chronological overview of the decade of work that we have supported, designer Teun van der Heijden and I drew on two poems by Nobel laureate Wislawa Szymborska. ... Using her postconflict verbal imagery, we created five themes for the book, and then edited from across our rich archives of 53 grant winners and finalists. With Szymborska's words to guide us ... we let the images speak to each other. ... I believe we've created a dialogue that's never been heard before, a postconflict visual symphony, one that invites you to listen over and over again."

"War Is Only Half the Story" includes an introduction by Terry, two poems by Szymborska — "The End and the Beginning" and "Reality Demands" — and insightful texts by photographer Donald Weber and American literary critic and translator Clare Cavanagh that provide further context for the project.

Photography by Natela Grigalashvili, Olga Ingurazova, Danny Wilcox Frazier, Nina Berman, Stanley Greene, Juan Arredondo, Louie Palu, Simon Brann Thorpe, Gwenn Dubourthoumieu, Andrew Lichtenstein from "War Is Only Half The Story," The Aftermath Project & Dewi Lewis Publishing

"War Is Only Half the Story," released by The Aftermath Project & Dewi Lewis Publishing, will be available Feb. 19.

See more photos of 'War Is Only Half the Story' and our other slideshows on Yahoo News.

[the-land-of-rape-and-honey]

U.S. Marine Lcpl. Damon “Commie” Connell, age 20. Garmsir, Helmand, Afghanistan, 2008.Credit Louie Palu/Museum of Fine Arts, Boston