Support Hyperallergic’s independent arts journalism.
Like many accomplished photojournalists, James Hill’s work exists in a blurred space between reportage and fine art. His independent projects and his work for the New York Times have garnered him a World Press Photo award and a Pulitzer Prize, among others. A 2014 book, Somewhere Between War and Peace, featured selections of Hill’s photo-reportage; Moscow’s the Lumiere Brothers Center for Photography’s current exhibition, Between War and Peace, features an assortment of the works originally selected for that book.
The phrase “between war and peace” evokes Hill’s style well. His images rarely capture events — as the strictest understanding of photojournalism might suggest — but rather depict the undramatic moments in conflict. A 2003 image from Iraq displays a Marine holding a pack of skittles in one hand and shielding his eyes with the other as his convoy is engulfed in a sandstorm. The photo doesn’t convey any details about the invasion of Iraq, only the terrifying yellowness of being submerged in swirling sand, and one soldier’s unthinking attachment to an open pack of skittles.
Perhaps the most conspicuous element of Hill’s style is the particular cohesive color scheme of each image, so unified as to almost seemed staged. The compositions favor hue over geometry. A 2001 photo from Mazar-i-Sharif shows a man feeding doves in front of the Blue Mosque. The doves rise in front of the camera, their white feathers blending with the turquoise architecture and covering the green fatigues. The shade of the sky reflects the translucency of doves’ wings captured in motion. So much beauty amidst war bittersweetly reflects the world’s polarities.
Between War and Peace continues at the Lumiere Brothers Center for Photography (Bolotnaya Emb., 3/1, Moscow) through August 2.
Council often uses humor as a political tool to expose systems of power and inequality in a society in which even death carries a high price tag.
An exhibition at the San Francisco Opera House pairs the work of incarcerated artists with Beethoven’s story of unjust imprisonment.
Many works take disruption and repetition as their themes, and many artists resurface in different sections, creating multiple affinities.
In Cooking with Paris, Hilton capitalizes on her portrayal of being a competent woman, while highlighting its anachronism through her absurd performance. Rosler manipulates the camera in the same way.
A man says Blue Bayou took details of his life without his permission. Several women who appear in the documentary Sabaya say they did not consent to be filmed. How can filmmakers avoid these ethical pitfalls?
Hear from Holly Jean Buck, Carolina Caycedo and David de Rozas, Simon Denny, Elizabeth Hoover, Renee Kemp-Rotan, Joseph Kunkel, and more at this free public event.
There is an official ban against the public mourning of Tiananmen Square victims in Hong Kong and mainland China.
After Pandora Papers Revelations, Denver Art Museum Will Restitute Four Looted Artifacts to Cambodia
The decision follows discoveries in the leaked Pandora Papers regarding antiquities dealer Douglas Latchford.