Tuesday 29 November 2011

ALL's WELL: life in real time

Life in real is like a part of you. You make experience, discover new thing and learn more thing that you don't know like childhood, adult, ...

life in real time

Life in real is like a part of you. You make experience, discover new thing and learn more thing that you don't know like childhood, adult, love, marriage, children, grand parent. This new things is your life time you have to passed those experience to know how life is.When you have passed those things and make your experience you know what your destiny have reserve for you and you can die in peace and know that this is the real life and know how to protect your family from those obstacles and lets who are after you make there experience in peace thats the real life take example and do it now.

Sunday 27 November 2011

TWO PHOTOS THAT I HAVE FORGOT TO PUT WHEN YOU WILL READ YOU WILL KNOW WHERE IT GOES

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HUMANS AND ANIMALS

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For this week’s issue, Alessandra Sanguinetti photographed Aida Battlle’s coffee plantation high up in the El Salvadorian mountains. No stranger to shooting out in countryside, Sanguinetti has spent many years photographing in the agrarian communities of Argentina’s Pampas region. Last year, we talked to Sanguinetti about her book of photographs of a pair of cousins in rural Argentina, “The Adventures of Guille and Belinda and the Enigmatic Meaning of Their Dreams.” These new photographs, though, reminded me of one of her first projects out of school: “On the Sixth Day,” which depicts the relationship between the animals and humans on a farm in the Pampas. “In the rural farmland of Argentina, this relationship is part of everyday life,” Sanguinetti writes. “Small and open land farming, unlike intensive and factory farming, has resulted in a language of traditions that persist over the years, where the cycle of life and death is present every day, from dawn to dust.”
Here is a selection from “On the Sixth Day.”


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A week after the sex-abuse scandal broke at Penn State, Lauren Lancaster spent Saturday in and around Beaver Stadium, documenting the mood among tailgaters, fans, and protesters. “You’d see someone holding a sign for child-abuse awareness, and a minute later they’d be surrounded by a group of smiling, face-painted fans who wanted to pose for a picture with them, so they’d smile for the picture, too,” Lancaster said. “There seemed to be resounding support for Joe Paterno. When asked how he felt about the recent news, one fan said, ‘If your father made a mistake you’d forgive him, wouldn’t you?’ ”
In their first game without their longtime coach, Penn’s Nittany Lions lost to the Nebraska Cornhuskers. Here’s a selection of photographs from Lancaster’s visit.


Read more http://www.newyorker.com/online/blogs/photobooth#ixzz1evP0En6L



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THE PROMISE CARRIES ON

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The New York Historical Society reopens today, following a three-year renovation, and among its new exhibits is “Freedom Now,” by the New Yorker photographer Platon. Each lit individually in the dark gallery, the photographs make for contemplative viewing. Many of these images, including those of the Little Rock Nine, Muhammad Ali, and the Olympians Tommie Smith and John Carlos, first appeared in the pages of this magazine as part of our multimedia Portfolio “The Promise.” The exhibition runs through April 15th, 2012.


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PICTURES FROM AN INVESTIGATION

Finding Fernanda,” the first book by the photojournalist and investigative reporter Erin Siegal, uncovers pervasive fraud in the international adoption industry, specifically between Guatemala and the U.S. It’s not a photo book, but photographs are central to its conception.
The story began in December of 2007, when, on vacation in Guatemala, Siegal found herself surrounded by over a dozen American couples leaving Guatemala City airport with newly adopted children. “There was something very surreal about the scene because of the quantity of children leaving,” Siegal told me. “At first, I thought I’d shoot a simple photo story on international adoption, using images alone, and maybe some audio, but the more clips I read, the more I realized that the subject matter didn’t seem well-suited to visual reportage.” Nonetheless, as her reporting unfolded, Siegal found herself relying more and more on photography as a tool to inform her writing. “I needed to be able to describe scenes visually in the book, to keep things vivid, and it really helped having photos and video to rely on for description,” she said. Photos alone would not be able to tell the complex story Siegal was uncovering, but the story could not be told without them, either. “The road to this book included a lot of reflection on photography and the limitations of the craft, in terms of being able to tell in-depth investigative human rights stories,” Siegal told me. “I never meant to write a book; the story simply demanded it.”
On Saturday, Siegal will celebrate the publication of “Finding Fernanda” at powerHouse Books in Brooklyn. Here’s a selection of photographs from her reporting.


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Mildred Alvarado and one of her daughters during an interview, Villa Nueva,

BATTEN’S TEEN-AGE DAYDREAMS

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For this week’s Food Issue, we asked Julia Fullerton-Batten to photograph Lucy Worsley, the British historian and TV personality, for Lauren Collins’s Profile. The location: the Tudor Kitchen in Hampton Court Palace. “It was so cold,” Fullerton-Batten told me. “We managed to persuade them to have this huge open fire to keep us vaguely warm. Apparently it gets so cold in there it even snows inside.”
Worsley is known for her televised archaeological experiments, in which she explores life in different eras by recreating quotidian tasks, such as laying a fire in period costume, or staging a full-scale Georgian dinner in an unwinterized kitchen. They are works of imagination, making her a fitting subject for Fullerton-Batten, whose photographs often entail staging fantasies and simulating daydreams. Much of her work is focussed on female adolescence and the teen-age mind, a world she has explored in her series “Teenage Stories,” “Awkward,” and “In-Between.” Here’s a selection.


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FASHION WITH A TWIST

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This week in the magazine, Peter Schjeldahl reviews the Guggenheim retrospective of the impish Italian artist Maurizio Cattelan, whose works, Schjeldahl writes, “have provided the international art world with comic relief and the occasional news-making sensation since 1989. Now a hundred and twenty-eight of them—taxidermied animals, veristic wax figures, joke photographs, joke paintings, joke marble sculptures—dangle beneath the museum’s rotunda.” We asked Raymond Meier to capture the scene.
“I am a big fan of both the architecture of the museum and Maurizio Cattelan’s art,” Meier told me. “After walking down the spiral ramp, I knew immediately where I wanted to take my picture. The moment I was at that spot, I started to realize the complexity and the three-dimensionality of the exhibition. But it took me over two hours to find the proper viewpoint and crop.” Meier’s work is often seen on the pages of T Style magazine and Vogue. Though he primarily photographs fashion, his still lifes, architectural images, and portraits share a common spirit which he describes as “strong, simple, powerful graphics with a slight twist of oddness, not excluding humor.” Here’s a selection of some favorite images of Meier’s.


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MAURIZIO CATTELAN’S TOILET PAPER

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On opening night of the Maurizio Cattelan retrospective at the Guggenheim (read Peter Schjeldahl’s review of the show), a Hummer stretch limo with the words “TOILET PAPER” printed on the side was not-so-discreetly parked outside the museum. The insignia referred to Toilet Paper magazine, a bi-annual, picture-based publication co-created by Cattelan and the photographer Pierpaolo Ferrari.
The project began when the two collaborated on a shoot for W magazine’s 2009 Art Issue. “We had so much fun, we said, why don’t we do more of this?,” Cattelan told me. “We then did a shoot for TAR, and then had a baby: Toilet Paper.” It’s not Cattelan’s first periodical. “Other magazines I’ve done, like Permanent Food, were really more radical,” he said. “We would do an issue in twenty-four hours. We’d start by going to the newsstand and buying anything that caught our eye. We would rip out pages, re-edit them, and send it off to the printer.”
In Toilet Paper, the images might appear to have been appropriated from world’s most surreal stock-photograph service, but they’re all made from scratch. “Every issue starts with a theme, always something basic and general, like love or greed,” Cattelan explained. “Then, as we start, we move like a painter on a canvas, layering and building up the issue. We always find ourselves in a place we didn’t expect to be. The best images are the result of improvisation.” Many images are rejected, he said, because they’re “not Toilet Paper enough.” What makes a Toilet Paper photo? “We keep homing in on what a Toilet Paper image is. Like distilling a perfume. It’s not about one particular style or time frame; what makes them Toilet Paper is a special twist. An uncanny ambiguity.”
Here’s a selection from four different issues of the magazine.


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Half Length Portrait of a Girl, Guerin, 2011

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Half Length Portrait of a Girl, Guerin, 2011

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Half Length Portrait of a Girl, Guerin, 2011

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NAN GOLDIN’S SCOPOPHILIA

This week in the magazine, Vince Aletti writes about a video by Nan Goldin called “Scopophilia,” a word Goldin defines as “the intense desire—and the fulfillment of that desire—experienced through looking.” To create the video, Aletti writes, Goldin “photographed paintings by Delacroix, Corot, Zurbarán, and Bronzino, which fed that desire, then paired them with pictures of her friends and lovers, creating startling juxtapositions.” The result is “a sensational paean, at once ecstatic and elegiac, to love, sex, and sensuality.” The video is on view at the Matthew Marks gallery through December 23rd; here’s a peek.

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FINDING OCCUPY WALL STREET ON FILM

The Occupy Wall Street movement started out as a kind of headless dragon, with no apparent leadership or distinct goals; and the Australian photographer Ashley Gilbertson, commissioned to photograph the scene last week for Mattathias Schwartz’s piece in this week’s issue, felt similarly about his own work early on. “Photographing Occupy Wall Street was one of the most difficult stories, visually speaking, that I’ve had to cover in years,” he told me. “My photographs looked as disparate as the motivations of the hundred or so people who lived full time in the park.”
Gilbertson’s earlier projects in the financial district had been more straightforward. “In 2008 and 2009, I examined the mood of the bankers and traders,” he explained of his “Down on Wall Street” project, “and in 2010, I worked on a series, ‘After the Fall,’ about how New York City had been affected by the ensuing chaos. I was missing a similar approach, or statement, in my Occupy work.” In mid-October, Gilbertson showed what he had to his editor at VII the Magazine, Scott Thode. “He was brutal,” Gilberston recalled of the meeting. “‘Seen it before,’ he’d say, before cutting it.” But the small handful of pictures that Thode left on the table became the seeds of an essay that gave the viewer a sense of being in the park, involved in the conversation, among the occupiers.
From that point on, as the Occupy Wall Street gained momentum, so, too, it seemed, did Gilbertson’s project. “I began to respond less to people’s individual reasons to demonstrate, and more to the overriding sense of anger at the financial system,” he said. “It appeared to be what tied the occupiers of Zuccotti to the frustrations of tens of millions of Americans. For the first time since I emigrated here eight years ago, I was getting a sense of what the American Dream meant to the country’s citizens. Above all, the so-called ‘99%’ were committed to creating change whereby they might one day be able to invest in the dream they today felt robbed of.” Gilbertson showed a more recent edit of this work to Thode. “You’re getting somewhere now,” Thode said. “It’s a good start.”


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The view from The New Yorker's photo departement

This week’s Goings On About Town section opens with Gabriele Stabile’s photograph of turkeys roaming the grounds of Stone Barns Center for Food and Agriculture. Stone Barns raises two types of turkeys, and the ones that appear in these photographs, Bourbon Reds, are a heritage breed—according to the farm, “the livestock equivalent of an ‘heirloom’ vegetable.”
Stabile knew going in that there was a chance the turkeys would peck at him. “Thankfully, most of them liked me,” he said. The feeling was mutual: Stabile told me he had planned on “killing a bird” for Thanksgiving, but couldn’t bring himself to do it after meeting them up close.
Here’s a selection of Stabile’s photographs from the day





THE NEW YORKER

Like many young women, Juliet Rylance, an English actor, imagined her wedding long before she identified her groom. “It was quite elaborate,” she said the other day. “It started with a very early dawn ritual at the Globe theatre.” (The Globe’s founding artistic director, the Shakespearean actor Mark Rylance, is Juliet’s stepfather.) “And then going over to Temple Church”—the twelfth-century church associated with London’s Inns of Court—“and getting married in the church,” she went on. “And then having a party in Middle Temple Hall. And then getting everybody in a boat, somehow, and sailing up to Oxford and staying in a barn, with lots of lights and candles, and everyone dancing. Camping out, fires. For a week.”
In the event, Rylance’s wedding was rather less theatrical: she and Christian Camargo, also an actor, were wed in November of 2008, at City Hall in New York. (Both are now appearing as part of the Bridge Project at BAM, in “As You Like It” and “The Tempest,” directed by Sam Mendes.) The other week, while sitting on a couch in their snug, well-curated apartment in Harlem, they explained that their courtship lasted a few months or thirteen years, depending on how you look at it. In 1997, during the Globe’s first season, Camargo appeared in an all-male production of “Henry V.” “I was the Dauphin, and then I came back as Isabelle, the French queen,” Camargo said. “I got to meet the real Queen of England dressed as the Queen of France. She said, ‘Oh, very nice dress, very nice dress.’ With the Queen, you are not allowed to speak, but if she asks you a question you are allowed to respond. I was like, ‘Really nice dress’—is that a question? And that is how I met Juliet—not in the dress but at the Globe.”
“I was eighteen, and he was twenty-six,” Rylance, who has short blond hair and a throaty voice, said. “I remember having a crush on him for about three days, and then he just became goofy old Christian.”
“I lasted three days!” Camargo, who is tall and slender, with floppy dark hair, said.
Rylance and Camargo reconnected in London in March of 2008. “He said, ‘If you are going to be in New York, let me know, because I am there a lot,’ ” Rylance said. “So I called and said, ‘I am going to be in New York on May 2nd.’ ”
Camargo, who lived on the West Coast, moved into gear. “So I called up a friend who has this amazing apartment down on Jane Street, and she happened to be out of town,” he recalled. “It was not a shag pad. But Juliet loves it down in the West Village.”
“We went to dinner at Pastis,” Rylance said. “And we spent the whole weekend together.”
That summer, Rylance was in London, appearing in “Romeo and Juliet” at Middle Temple Hall, while Camargo was appearing on Broadway in “All My Sons.” “He called and said, ‘I got this apartment, come and stay for a month,’ ” Rylance said. “So I came, and at the end of the month he proposed.” She squeezed Camargo’s arm. “You actually proposed about three different times until you got it right,” she said. “We were having dinner at Gennaro’s, and you said, ‘Obviously, if you are going to stay, you are going to need to work, so you will need a green card, so shall we get married?’ And I said, ‘I am not getting married for a green card.’ So you went quiet for a bit, and said, ‘This is the only way I am ever going to get married, so just say yes.’ ”
“That was strike one,” Camargo said.
“I said, ‘O.K., I will consider it, but only if you actually propose,’ ” Rylance said. “So about a week later he rolled me up a tinfoil ring.”
“That didn’t go over so well,” Camargo said.
“That was better,” Rylance said. “And then, finally, he called my dad—my real dad, in London—who flew over with my grandmother’s engagement ring.”
“I can’t remember how I gave it to you,” Camargo said.
“You kind of proposed and then flung it across the couch,” Rylance said.
They got married on the closing night of “All My Sons,” and at the after-party two of Camargo’s co-stars, John Lithgow and Dianne Wiest, sang a wedding song. (Another co-star, Katie Holmes, supplied them with a waffle iron and matching pairs of red long johns.) “She wanted the big carriage and the horse and the four hundred friends and the big party, and she got this,” Camargo said. “I realize the marriage is more important than the wedding,” Rylance said.
In the roles of Rosalind and Orlando, in “As You Like It,” the couple undergo a comically complicated courtship: Rosalind is pretending to be a boy named Ganymede for much of the time she is onstage; only after she reëmerges, dressed as a bride, can she and Orlando marry. “It is such a mirror of what we were going through—getting married, and is it the right thing, and leaping in head first,” Rylance said. “And the thing that Rosalind says to Orlando: I am going to be a nightmare, and I am going to cry when you smile, and I am going to be jumping up and down when you want to sleep, and can you really handle me? That whole question, I think, I have asked you many times.”
“Ganymede really annoys me,” Camargo admitted, with a fond look at Rylance. “You just want to smack him. I can’t wait until she comes back on as Rosalind at the end. I think, There’s my wife, and I love it. I love it when you come back on in that dress.” 


Read more http://www.newyorker.com/talk/2010/03/01/100301ta_talk_mead#ixzz1evHAQrGP