Earth Photo winners announced

From BBC

A project on abandoned spaces reclaimed by nature has won the 2020 Earth Photo competition.

The winning series, by French photographer Jonathan Jimenez aka ‘Jonk’, includes images of a coffee shop and theatre in Abkhazia, a hotel in Portugal and a swimming pool in Italy. The work was chosen from more than 2,600 submissions.

Pulitzer-Prize-winning photojournalist Marissa Roth, who chairs the competition, said of Jonk’s work: “We chose Jonk’s compelling photographs as the overall winner because of the high degree of skill and vision they represent, and also because they exemplify Earth Photo by straddling the duality of human co-existence with nature.”

Forestry England and the Royal Geographical Society selected the winners in six categories from a shortlist of 50 photographs and four films.

The competition attempts to showcase the best in environmental visual media and aims to encourage discussion about the world and its inhabitants.

Yanrong Guo won the People category for her image, titled Miss, taken of a pipe-smoking man in Liangshan Yi autonomous prefecture, the largest settlement of Yi people in China.

Yi Sun won the Nature category for his work Dryland Farming, Study 7, which depicts an aerial view of interlaced tractor lines carved into a Spanish farm suffering from drought.

Charles Xelot won the Changing Forests category for Dead Tree #1, which shows a contorted grey trunk, two years after a forest fire, caused by humans, destroyed the landscape.

Joe Habben won the A Climate of Change category for an image which documents the effects of high water in Venice.

The video category was won by Sean Gallagher for Cambodia Burning, a short film revealing the effects of rampant deforestation in the country.

An exhibition of the winners and shortlisted entries will be on display in Forestry England forests, including Grizedale in the Lake District, Dalby Forest in the Yorkshire Moors, Moors Valley Country Park and Forest in Dorset, between now and spring 2021. The exhibition will also be on display at the Royal Geographical Society in London in early 2021.

John Lennon: I was there the day he died

From BBC

Forty years ago, on 8 December 1980, the former Beatle John Lennon was shot dead as he returned to his home at the Dakota apartment building in New York. The BBC’s Tom Brook was the first British journalist to report live from the scene. Here he recounts how Lennon’s death has haunted him ever since.

In New York as I go about my daily routines I am constantly reminded of John Lennon, of both his life – and death.

I now live just four blocks from the Dakota – I go past the building virtually every day and whenever I go to my gym on West 63rd Street it is part of a complex which also houses a hotel – the very hotel Lennon’s killer, Mark David Chapman, stayed in on his first night in New York.

Lennon also continues to define my career. I have been a broadcast journalist for more than 40 years. In that time I have filed more than 3,000 stories for BBC outlets and have interviewed most of the big names in the movie industry.

But all people want to know about when they meet me is what it was like to cover John Lennon’s death.

Well, I have to admit it was a huge story but the logistics of the reporting were actually quite simple. I commandeered a public phone booth in sight of the Dakota, fielding questions from BBC Radio Four Today presenter Brian Redhead, among others, in London, and providing the latest developments.

When I wasn’t doing that I was interviewing some of the hundreds of Lennon fans who were congregating in the street.

Everyone around me was crying, some of the fans were hysterical. I was a big Lennon follower myself.

The other day I looked back at the photograph on my first official BBC ID card from that era – it’s a scary sight and I’m amazed the corporation ever gave me a job!

But I definitely looked like a John Lennon fan. So, yes, I was emotionally pained that night too but I managed not to choke up on air.

People always ask me to describe what it was like at the Dakota in the immediate aftermath of his death.

I will never forget one young woman who said: “I feel like I’ve just been punched in the stomach.” I think her words summed it up perfectly.

Two years after the former Beatle died I returned to the Dakota to interview Yoko Ono – she had just begun to comment on Lennon’s death – she still spoke of him in the present tense.

She told me: “He’s still alive, he’s still with us, his spirit will go on, you can’t kill a person that easily.”

That is perhaps what is most noteworthy 40 years after Lennon died – just how much his spirit is still alive in terms of the millions of young people who are now migrating to his music.

In the run up to this anniversary I have spent the past few days speaking to some of them.

They tell me they are drawn to Lennon’s music, his lyrics and his particular brand of idealistic pacifism, which they think brings some comfort in these pandemic times.

But to be objective, I know not everything in relation to Lennon was wondrous. He could be mean and nasty – and he admitted that he abused women.

None of this has really affected his legacy – if anything his stature as a musician has grown since he died.

I think what I liked most about Lennon was that he had an authentic voice. Not just musically.

He did and said some controversial things but he he wasn’t a fake – he was always his own person.

He was one of the most significant figures in 20th Century pop culture history, a true British original and I find myself four decades after he died still fascinated by him.

Talking Movies is broadcast on BBC World News and the BBC’s News Channel.

Biden to nominate Janet Yellen as US treasury secretary

From BBC

US President-elect Joe Biden has named ex-Federal Reserve chair Janet Yellen as his nominee for treasury secretary.

If confirmed by the Senate, she would be the first woman ever to hold the post.

She was among several women chosen for top economic positions. The Biden transition team said others were set to break racial barriers if confirmed.

Mr Biden has pledged to build a diverse administration. He earlier appointed an all-female senior press team.

His transition team said his picks for senior economic roles would help “lift America out of the current economic downturn and build back better”.

Mr Biden has also announced the formation of a Presidential Inaugural Committee ahead of his swearing-in on 20 January. The committee will be responsible for organising inauguration-related activities.

Who is Janet Yellen?

  • Chair, Board of Governors, 2014–2018
  • Vice Chair, Board of Governors, 2010–2014
  • President, Federal Reserve Bank of San Francisco, 2004–2010
  • Governor, Board of Governors, 1994–1997

The 74-year-old economist has served as head of America’s central bank and as a top economics adviser to former President Bill Clinton.

She is credited with helping steer the economic recovery after the 2007 financial crisis and ensuing recession.

As chair of the US Federal Reserve, Ms Yellen was known for focusing more attention on the impact of the bank’s policies on workers and the costs of America’s rising inequality.

Mr Trump bucked Washington tradition when he opted not to appoint Ms Yellen to a second four-year term at the Fed. Starting with Bill Clinton in the 1990s, presidents kept on bank leaders appointed by their predecessors in an effort to de-politicise the bank.

Since leaving the bank in 2018, Ms Yellen has spoken out about climate change and the need for Washington to do more to shield the US economy from the impact of the coronavirus pandemic.

In a tweet following Monday’s announcement, Ms Yellen said: “We face great challenges as a country right now. To recover, we must restore the American dream – a society where each person can rise to their potential and dream even bigger for their children.

“As Treasury Secretary, I will work every day towards rebuilding that dream for all.”

President of the European Central Bank Christine Lagarde praised Mr Biden’s choice, writing in a tweet: “Her intelligence, tenacity and calm approach make Janet a trailblazer for women everywhere.”

Republican Chairman of the Senate Finance Committee Chuck Grassley said that he expects Ms Yellen to “get a favourable view” during confirmation hearings before his committee.

In 2020, AP photographers captured a world in distress

Behold, a world in distress:

A 64-year-old woman weeps, hugging her husband as he lay dying in the COVID-19 unit of a California hospital. A crowded refugee camp in Lesbos, Greece, engulfed in flames, disgorges a string of migrants fleeing this hell on Earth. Rain-swept protesters, enraged by the death of George Floyd in police custody, rail against the system and the heavens.

This is the world that Associated Press photographers captured in 2020, a world beset by every sort of catastrophe — natural and unnatural disaster, violent and non-violent conflict.

And, in every corner of that world, the coronavirus.

There are the living: Women cover themselves head to toe with chadors, protective clothing and gas masks to prepare a body for burial in Iran. An octogenarian couple kiss through plastic in Spain.

Agustina Canamero, 81, and Pascual Perez, 84, hug and kiss through a plastic film screen to avoid contracting the coronavirus at a nursing home in Barcelona, Spain, on June 22, 2020. (AP Photo/Emilio Morenatti)

There are the dead: Relatives, traveling by night and by boat, travel down a Peruvian river to bring a body home for burial. Row upon row of new graves are dug in the largest cemetery in Latin America.

And there are those who negotiate the grim space between life and death — among them, 16 Italian doctors and nurses exhausted from their labors, their faces haunted and haunting.

Amid the pandemic, it was sometimes easy to overlook the world’s other turmoil — and its tragedies. A loving uncle carries his 11-year-old niece away from the devastation of a massive explosion in Beirut — her neck was broken, and her older sister died. In Syria, emergency workers pull the body of a boy killed in a government airstrike from the wreckage.

Wildfires gave the American West an eerie glow; a volcano eruption clouded the sky over Manila.

Across the United States, photographers documented an epic and bilious presidential campaign. An exultant Joe Biden, projected on a massive monitor under fireworks after he accepted the Democratic presidential nomination. A dejected Donald Trump, after a sparsely attended rally in Oklahoma.

And perhaps the most appropriate image of 2020? It was captured during the waves of protests and riots in the aftermath of George Floyd’s death. A protester strides past a burning building in Minneapolis; in his hands he holds the American flag.

The flag is upside down — the international signal of distress.

Protesters storm the San Francisco de Borja church, which belongs to the Carabineros, Chile’s national police force, in Santiago, Chile, on Oct. 18, 2020, the first anniversary of the start of anti-government mass protests over inequality. (AP Photo/Esteban Felix)

President Donald Trump holds a Bible as he stands outside St. John’s Church across Lafayette Park from the White House in Washington on June 1, 2020, after law enforcement officers used tear gas and other riot control tactics to forcefully clear peaceful protesters from the area. (AP Photo/Patrick Semansky)

Cuban singer Cimafunk hugs a woman during a music conga through the streets of Cuba’s Old Havana neighborhood during the 35th Havana International Jazz Festival on Jan. 15, 2020. (AP Photo/Ramon Espinosa)

Josefa Ribas, 86, who is bedridden and suffers from dementia, is attended to by nurse Laura Valdes during a home care visit in Barcelona, Spain, on April 7, 2020. Ribas’ husband, Jose Marcos, fears what will happen if the coronavirus enters their home and infects them. “I survived the post-war period (of mass hunger). I hope I survive this pandemic,” he said. (AP Photo/Emilio Morenatti)

Swarms of desert locusts fly into the air from crops in Katitika village in Kenya’s Kitui county on Jan. 24, 2020. In the worst outbreak in a quarter-century, hundreds of millions of the insects swarmed into Kenya from Somalia and Ethiopia, destroying farmland and threatening an already vulnerable region. (AP Photo/Ben Curtis)

Sneakers and a Los Angeles Lakers jersey with the number 8 worn by NBA star Kobe Bryant hang at a memorial for Bryant in Los Angeles on Feb. 2, 2020, a week after he was killed in a helicopter crash. (AP Photo/Damian Dovarganes)

A woman wearing a mask to protect against infection from COVID-19 is reflected in a tinted chapel window, along with a metal casing said to contain the remains of St. Dimitrie of Basarabov, the patron saint of the Romanian capital, in Bucharest, Romania on Oct. 25, 2020. The feast of St. Dimitrie of Basarabov, which usually lasts for a week and draws up to 100,000 people, was cut way back this year due to the coronavirus. (AP Photo/Andreea Alexandru)

An emergency crew recovers the body of a boy killed in a government airstrike in the city of Idlib, Syria on Feb. 11, 2020. (AP Photo/Ghaith Alsayed)

A reveler dressed in a Spider-Man costume strikes a pose at the “Ceu na Terra” or Heaven on Earth street party in Rio de Janeiro, Brazil on Feb. 22, 2020, during the Carnival celebration. (AP Photo/Leo Correa)

One-year-old Yazan has his oxygen mask removed after heart surgery at the Tajoura National Heart Center in Tripoli, Libya, on Feb. 27, 2020. Yazan’s perilous trek from his small desert hometown culminated in a five-hour surgery. He is one of 1,000 children treated by Dr. William Novick’s group since it first came to Libya after the 2011 uprising. (AP Photo/Felipe Dana)

A model wears a creation for the Givenchy fashion collection during Women’s fashion week Fall/Winter 2020/21 presented in Paris on March 1, 2020. (Photo by Vianney Le Caer/Invision/AP)

A child wearing a mask to protect against the coronavirus rests on the bank of the Yangtze River in Wuhan in central China’s Hubei province on April 16, 2020. (AP Photo/Ng Han Guan)

Rescue workers and local residents search for survivors in the wreckage of a plane that crashed with nearly 100 people onboard in a residential area of Karachi, Pakistan, on May 22, 2020. (AP Photo/Fareed Khan)

People stand in their balconies during a nationwide confinement to counter the coronavirus in Barcelona, Spain on March 29, 2020. (AP Photo/Emilio Morenatti)

Martina Papponetti, 25, a nurse at the Humanitas Gavazzeni Hospital in Bergamo, Italy, poses for a portrait at the end of her shift on the front lines of the coronavirus pandemic on March 27, 2020. (AP Photo/Antonio Calanni)

South African National Defense Forces patrol the Men’s Hostel in the densely populated Alexandra township east of Johannesburg on March 28, 2020, enforcing a strict lockdown in an effort to control the spread of the coronavirus. (AP Photo/Jerome Delay)

A protester carries a U.S. flag upside down as he walks past a burning building in Minneapolis on May 28, 2020, during a protest over the death of George Floyd, a Black man who died after a white Minneapolis police officer pressed a knee into his neck for several minutes. (AP Photo/Julio Cortez)

President Donald Trump arrives at a campaign rally in Toledo, Ohio, on Jan. 9, 2020. (AP Photo/Jacquelyn Martin)

Workers move a coffin with the body of a victim of COVID-19 as other coffins are stored waiting for burial or cremation at the Collserola morgue in Barcelona, Spain, on April 2, 2020. (AP Photo/Emilio Morenatti)

Arif Mirbaghi plays a double bass in his backyard during mandatory self-isolation to prevent the spread of the coronavirus in Tehran, Iran, on April 5, 2020. (AP Photo/Ebrahim Noroozi)

what is installation art history artists

To say that 2020 was a year like no other is an understatement. World events, from the COVID-19 pandemic to the Black Lives Matter protests, shaped the way we lived. And, as a consequence, they also shaped the way we saw and consumed art. With many museums and galleries closed for extended periods, artists were more resourceful than ever in getting their messages across. This was particularly true of installation artists.Many artists chose to focus their practice around what was happening in the world, and this often meant striking out on their own. From Dustin Klein‘s spontaneous light projections on the Robert E. Lee Monument to Jammie Holmes‘ powerful airplane banners with the last words of George Floyd, artists were not afraid to use their art to highlight social issues. Some, like flower designer Lewis Miller, even used their skills to give thanks to the brave healthcare workers putting their lives on the line during the pandemic.And while much art was centered around world events, there were also other incredible art installations that managed to come to life, giving people a break from the divisive and depressing realities of the world. From interactive sculptures in the desert to underwater sculptures in the Great Barrier Reef, these installations reflect the incredible creativity of today’s contemporary artists.

2020 was marked by art installations that commented on extraordinary world events.

 

Photo: Banksy

My wife hates it when I work from home by Banksy

Staying at home in lockdown didn’t make legendary street artist Banksy any less productive. He managed to find a space right in his own home to create an installation that exemplified how the whole world was going a little stir crazy. In this piece, which he captioned “My wife hates it when I work from home,” his rats run amok and wreak havoc in the bathroom.

From marking off the days in quarantine to using a roll of toilet paper to get a little exercise, these rats were all of us. And in posting this, Banksy once again showed how he’s able to use humor and irony to get through a tough situation. This wouldn’t be Banksy’s only artistic contribution related to COVID-19. He also painted artwork for a local hospital and his rats took over a subway car with a warning to wear your masks and sanitize your hands.

Photo: courtesy of Jammie Holmes and Library Street Collective

George Floyd Banners by Jammie Holmes

The senseless murder of George Floyd at the hands of Minneapolis police officers sparked outrage across the globe. Many artists used their craft to ensure that what happened to Floyd would not be forgotten, including Jammie Holmes. The artist organized airplanes to fly across five major U.S. cities carrying banners with Floyd’s last words. The results are an in your face, undeniable look at the pain one man suffered that had rippling effects felt by millions. In reflecting his words to the public, Holmes forced us to think about what we can do to ensure this does not keep happening.

“I hope that people will be reminded of the power we can have to be heard and that coming together behind a unified message is key for real change,” Holmes said. “Like countless silenced and fearful young Black men, I have been the victim of police misconduct on a number of occasions in my life. Our mothers are burying us way too early. My fiancée shouldn’t worry every time I’m headed out of the house on my own. Yes, I carry a pistol, Mr. Officer. I carry it to protect myself from you by any means necessary. At some point, you will realize you can’t kill us all.”

Photos: courtesy of Dustin Klein

Reclaiming the Monument by Dustin Klein

In the wake of George Floyd and Breonna Taylor’s deaths, widespread protests in support of the Black Lives Matter movement happened across America. And in many cities, old Confederate monuments were forcibly removed or ordered taken down by the legislature. In Richmond, Virginia the last remaining of these was the Robert E. Lee Monument. So while the city decided what measures to take, light projection artist Dustin Klein took matters into his own hands.

For several months, Klein projected images of Black victims of police violence on the face of the monument as a way to transform the meaning of the statue. As the faces of these victims took center stage, the public was allowed to use the space to mourn and gather their thoughts. Klein then extended the project to also include the faces of important Black citizens throughout history—such as Frederick Douglass and Harriet Tubman—as a way to acknowledge the great contributions they’ve made to our country. Klein’s project is a reminder that the best art can often come spontaneously from matters that move us.

 

Photo: Brian Adams

Bending Arc by Janet Echelman

Artist Janet Echelman is known for her large-scale installations using twine. Her work in St. Petersburg, Florida is no exception. Measuring 72 feet tall and spanning 424 feet, Bending Arc is a focal point of the new Pier Park. Flowing and billowing in the wind, the installation is even more magical at night when it’s lit up.

While the visual of the installation is impressive on its own, the work took on new meaning for Echelman when she discovered that it is located in an area that was important during the Civil Rights Movement. People gathered here in peaceful protest against the segregation of local municipal pools, which continued locally even after it was deemed unconstitutional. Upon learning this, Echelman decided on the title Bending Arc in a nod to a quote by Dr. Martin Luther King Jr.—”the arc of the moral universe is long, but it bends toward justice.“

Flower Flash by Lewis Miller Design

Throughout the COVID-19 pandemic, members of the public have been showing their appreciation for front-line healthcare workers. Floral designer Lewis Miller had his own unique way of giving thanks by placing his Flower Flash installations in strategic locations across New York. One stop included New York-Presbyterian Hospital, where roses, lilies, and cherry blossoms were placed in an ornate arrangement.

Though Lewis’ team was eventually asked to remove the flowers by hospital security, they made the most of it by handing out the flowers to the nurses, doctors, and healthcare workers who passed by. The positive reaction they had shows that even the most simple gestures can be the most powerful.

There were other installations that don’t focus on the pandemic or Black Lives Matter, but they certainly highlight the creativity on display in 2020.

 

Photo: courtesy of Jason deCaires Taylor

Coral Greenhouse by Jason deCaires Taylor

Sculptor Jason deCaires Taylor never disappoints with his underwater sculptures, and his latest installation in Australia’s Great Barrier Reef is no exception. After years of planning and installation, Taylor didn’t let the pandemic get in his way—he was able to open this new underwater park on schedule. Working with the local community, Taylor conceived the Coral Greenhouse. In this installation, the youth are in charge of running a laboratory to investigate the ocean. And as always, the setup makes a wonderful artificial reef for marine life.

“One of the overriding objectives was that we wanted young people to be inspired by marine science and fascinated by it,” Taylor told My Modern Met. “And want to have an active interest in the health of the reef and to be able to explore it in a fun and dynamic way. One of the big objectives was to create this space encompassing many areas, to be not only a space for art and culture but only about marine science and to use it as a portal or access point to explore the Great Barrier Reef.”

 

Photo: courtesy of Kate MccGwire

Discharge by Kate MccGwire

Sculptor Kate MccGwire views the use of repurposed materials as central to her creative practice. Her installation Discharge is an incredible example of how creative reuse can produce striking results. The London-based artist used around 10,000 pigeon feathers to create an explosion trickling from a bookcase.

By carefully sorting the feathers she collected, MccGwire was able to create this dynamic curve filled with abstract shapes. The result is at once mesmerizing and yet could be off-putting for viewers once they realize what the material is. This dual reaction is something the artist looks for, as she attempts to show the public how unexpected materials can be transformed into something aesthetically pleasing and beautiful.

 

Photo: ImagenSubliminal (Miguel de Guzmán and Rocío Romero)

To a raven and the hurricanes which bring back smells of humans in love from unknown places by Petrit Halilaj

When Madrid’s Palacio de Cristal reopened after the initial COVID-19 lockdown, they started with a bang. Kosovar artist Petrir Halilaj put on an incredible display with his installation To a raven and the hurricanes which bring back smells of humans in love from unknown places. Inspired by the mating rituals of bowerbirds, he filled the space with enormous, oversized flowers.

The flowers were made in collaboration with Halilaj’s life partner, Álvaro Urbano; and, in fact, the entire piece is meant to be a celebration of love. By declaring their love openly, they are starting a wider dialogue about acceptance and identity.‘

 

“Mirage” by eL Seed (Photo: Lance Gerber)

Desert X AlUla

Early in 2020, before most of the world was shut down, 14 artists traveled to the Saudi Arabian desert to create their own art oasis. Desert X AlUla is groundbreaking for Saudi Arabia, with a diverse lineup of young artists that included many women. Each artist was asked to use the desert as their canvas, and they all delivered.

Many created interactive pieces that invited visitors to engage with the art. From installations that visitors could swing on to artificial puddles that were meant to be jumped upon, each artwork is a reflection of its artist. Some, like eL Seed even took direct inspiration from the surroundings. His work Mirage is based on a 7th-century love story from the area.

“When I arrived in AlUla, I realized it would be impossible for me to compete with the environment,” eL Seed shared. “So I decided to create a work that would blend into the desert. Jameel and Butheyna were never able to be together. That’s also a mirage. Love is universal. It unites us all.”

 

Photo: courtesy of Arnaud Lapierre

AZIMUT by Arnaud Lapierre

Venice is already beautiful and, by harnessing its beauty, designer Arnaud Lapierre created a memorable installation. Using strategically placed mirrors that rotate, Lapierre’s AZIMUT reflects back fragments of the surroundings. Each mirror contains an unexpected detail of Venice’s historic architecture, which allows viewers to observe them in a new manner.

Unfortunately, this installation was cut short due to the pandemic, but the power of the piece lives on through photos and videos.

Unseen photos provide a sensitive look at America’s early ‘working girls’

From CNN
women in sexual professions have always distinguished themselves from other women, from the mores of the time, by pushing the boundaries of style. The most celebrated concubines and courtesans in history set the trends in their respective courts. The great dames of burlesque — Sally Rand, Gypsy Rose Lee — boasted a signature style on- and offstage, reflecting broader-than-life personalities.
Given that photography was still an emerging technology, an emerging creative medium, when these “working girls” posed for William Goldman in the 1890s at a Reading, Pennsylvania brothel, the entire exercise transcends their initial business liaison. The instantaneous concept of click-and-shoot was still decades away. To be photographed required sitting very still. The women featured in Goldman’s collection obviously caught his eye. Not just anyone is asked to be the subject of artistic documentation.
Courtesy Serge Sorokko Gallery/Glitterati Editions
The local photographer and his anonymous muses appear to straddle an artful titillation, at times striving toward Degas nudes and at another, more in the spirit of a strip and tease. There is a beauty in even the most mundane moments.
Among Goldman’s models, my own gaze zeroed in on the striped stockings and darker shades of their risqué brassieres. These ladies of Reading, Pennsylvania, might not have had the wealth of Madame du Barry, celebrated mistress of Louis XV of France, or the fame and freedom of a silver-screen sex goddess such as Mae West. But they sought to elevate their circumstances, to feel lovelier and more fashionable, with a daring pair of knickers.
Courtesy Serge Sorokko Gallery/Glitterati Editions
To feel special is fundamental to the human condition. Few opportunities outshine a sense of specialness than when an artist asks to record your looks, your beauty. Under the right circumstances, to be the object of admiration — of desire — to be what is essentially objectified is not only flattering. It can also provide a shot of confidence and a sense of strength and power and even liberation, however lasting or fleeting.
Courtesy Serge Sorokko Gallery/Glitterati Editions
For these working girls who were already going against the drudgery of toiling in a factory or as a domestic, who were surviving in a patriarchal world by their wits and sexuality, the opportunity to sit for Goldman was very likely not only thrilling. It was also empowering.
One can only imagine the mutual giddiness prevailing among them all, too, at the possible outcome from all these lost afternoon shoots. In a singular image from this collection appears Goldman striking a pose as proud as a peacock. It’s one of stock masculinity in the canons of classic portraiture (though usually in military uniform), and like his muses, presented in all his naked glory. By sharing in the objectivity of the process, Goldman basks in the specialness his models must have felt. By stepping around the lens, he becomes a true confidante.
Courtesy Serge Sorokko Gallery/Glitterati Editions
It suggests a balance of power between artist and muse, man and woman — at least behind closed doors. Their collective decision to strip and strut for the camera reveals a shared lack of shame for the body beautiful and, in that, a shared, albeit secret, defiance of cultural mores.
Courtesy Serge Sorokko Gallery/Glitterati Editions
By all accounts from curator Robert Flynn Johnson’s devoted research on this once-lost collection, Goldman seems to have kept his treasured collection as a personal trove. As a successful photographer of weddings and social events, it was most certainly not in his interest for the public to know about his private creative pursuits.
Courtesy Serge Sorokko Gallery/Glitterati Editions
The brothel was a necessary evil in town, where men with certain desires visited women who would oblige. In this case, it was the desire of a man to capture the beauty and sensuality of the women he befriended. There is much to learn and (most of all!) take pleasure in with this discovery.
As these lost photographs illustrate more than a century later, one period’s “social problem” is another’s cultural revelation.

In pictures: Soccer legend Diego Maradona

FROM CNN

Diego Maradona is carried around the field after leading Argentina to victory in the 1986 World Cup final. Argentina defeated West Germany at the Azteca Stadium in Mexico City.

Carlo Fumagalli/AP

Diego Maradona, a colorful and beloved soccer icon regarded as one of the greatest ever to play the game, has died after suffering a cardiac arrest at the age of 60, his lawyer confirmed to CNN.

Maradona is best known for captaining Argentina to victory at the 1986 World Cup, where he was named the tournament’s best player and scored two of its most famous goals. In his professional career, he was twice sold for a world-record transfer fee: to Barcelona in 1982 and then to Napoli in 1984. He played 188 games with Napoli, winning two Serie A titles and a UEFA Cup for the Italian club.

Following a failed drug test in 1991 and a 15-month ban from the sport, Maradona’s playing career fizzled out. He would later turn to management.

In 2008, Maradona became Argentina’s manager and led the team at the 2010 World Cup, where it was eliminated in the quarterfinals. He held various managerial jobs over the past decade, including stints in Mexico and the United Arab Emirates. At the time of his death, he was in charge of Gimnasia y Esgrima, a club in Argentina’s first division.

Earlier this month, Maradona underwent successful surgery for a subdural hematoma — more commonly known as a blood clot on the brain.

In photos: Macy’s Thanksgiving Day Parade 2019

From CNN

The Macy’s Thanksgiving Day Parade has been a holiday tradition for nearly 100 years.

The annual parade in New York City started in 1924. Balloons first appeared in 1927, replacing live animals from the Central Park Zoo.

This year’s balloons were nearly grounded due to windy weather conditions.

‘If I’m not in on Friday, I might be dead’: chilling facts about UK femicide

One woman is killed by a man every three days in the UK – a figure unchanged in a decade. A new census analyses this epidemic of male violence

From theguardian/ By /Nov.22

In 2013, Sasha Marsden, a 16-year-old student, went to a Blackpool hotel for what she thought was an interview for a part-time cleaning job. The man she met, David Minto, 23, had lured her there on false pretences. He then sexually assaulted her and stabbed her 58 times. Sasha could only be identified by DNA taken from her toothbrush. Minto was sentenced to 35 years in prison, but for Sasha’s family, their grief has no time limit.

Gemma Aitchison, Sasha’s sister, set up YES Matters UK in response to the killing. “I wanted to know why this happened to Sasha and what I could do about it,” she explains. Part of what her organisation does is to talk to young people about consent, body image, pornography and media influence. “What I know now is that as long as women are treated as objects and not people, we will continue to be disposable.”

This Wednesday is International Day for the Elimination of Violence Against Women, which will see the start of 16 days of activism against gender violence globally. That same day also sees the publication in the UK of a groundbreaking report, Femicide Census, which, for the first time in Britain, analyses the shocking killings of women and girls, from the age of 14 to 100, at the hands of men, over a 10-year period, 2009-2018. The census defines “femicide’” as “men’s fatal violence against women”, and reveals that, on average, a woman was murdered every three days – a horrifying statistic, unchanged over the decade. This is in spite of greater public awareness, increased research, changes in the law and improved training for the police. “Patterns of male violence are persistent and enduring,” the report states.

Gemma Aitchison

Gemma Aitchison at home in Westhoughton, Bolton, where she runs the YES Matters UK programme, set up after the rape and murder of her younger sister, Sasha Marsden, in 2013. Photograph: Christopher Thomond/The Observer

The scandalous lack of progress in reducing femicide in the UK is, in part, because each killing, is treated by various agencies as “an isolated incident” and “giving no cause for wider public concern”. As a result, the report says, information received from the police via, for instance, Freedom of Information requests, can be “sparse, inaccurate or incomplete”; coroners’ reports often fail to reference a history of male violence, while it is difficult to access official documents such as Independent Office for Police Conduct reports and domestic homicide reviews, all of which, along with media coverage, feed into the database of the census.

“To solve a problem, you need to be able to say what it is,” says Karen Ingala Smith, chief executive of Nia, a sexual and domestic violence charity. She and Clarissa O’Callaghan, a former solicitor and now restauranteur, published the first Femicide Census, a six-year review 2009-15, in 2016. Three annual reports have since followed with the help of a small team of part-time researchers and pro bono support from Freshfields Bruckhouse Deringer, an international law firm, and consultants Deloitte.

Now, with a decade of deaths to look back on, the census draws some damning conclusions about patterns of abuse and violence, and what could have been – or should have been – spotted by the authorities.

Karen Ingala Smith

Karen Ingala Smith, chief executive of the sexual and domestic violence charity Nia, and co-founder of the Femicide Census. Photograph: Sophia Evans/The Observer

Of the 1,425 victims, almost half were killed by “a sharp instrument”, sometimes with additional brutal violence (classed as an “overkilling”). “The most common form of femicide is stabbing,” Ingala Smith says. “Yet most knife-crime strategies focus on teenagers and gang crime. Strangulation was the second method. Non-fatal strangulation is often part of a pattern of abuse that is not sufficiently recognised and investigated. Ingala Smith and O’Callaghan support the campaign by the Centre for Women’s Justice to add an amendment to the domestic abuse bill, due to become law next year, to include a new offence of non-fatal strangulation.

Sixty-two per cent of the dead women (888) were killed by a current or former partner, most in their own homes. Four in 10 of these women were preparing to leave or had already separated – a crucial period, and an opportunity missed for police and others on the frontline, such as GPs and mental health advocates, to prevent a killing. “‘Home is where the heart is’ is a bitter lie for many women,” the report says.

A history of abuse was evident in at least 611 cases (59%), including coercive control, stalking, harassment and physical, financial and emotional mistreatment. A third of the women had reported their abuse to the police. They still died.

20-year-old Kirsty Treloar who was murdered in 2012.

Kirsty Treloar was murdered by her boyfriend in 2012, when she was 20.

The Femicide Census originally came about because of Kirsty Treloar, a 20-year-old nursery nurse, who had asked for help. Police had referred her to Nia, Ingala Smith’s organisation. On 2 January 2012, Treloar was stabbed 29 times by her abusive boyfriend, Myles Williams, aged 19. “I googled Kirsty because we were told so little about her death,” Ingala Smith explains. “That’s when I saw the shocking number of reports of deaths already that year.”

Eight women were killed in the first three days of 2012. Ingala Smith created a website, Counting Dead Women (CDW), now replicated across the world. While CDW records every killing, the census team researches and include only cases in which, “it can be legally said: a man has killed this woman”.

“It can’t be the case that we are the only ones collecting data like this,” says Ingala Smith. “But we are. From the outset, it was essential to include all thecircumstances in which men kill women, not just husbands, partner and family femicides.” O’Callaghan adds: “The state is failing to protect women, failing to implement policies, failing to take on board recommendations. You can spend time training but if, on the ground, you don’t implement the tools that are available – including injunctions, non-molestation orders and bail conditions – you are failing to save women’s lives, and that’s a human rights issue. “

Over the decade, sexual motivation ended the lives of 57 women (4%). One perpetrator raped and killed a 50-year-old on their first meeting. She had internal injuries and bite marks. Thirty-two murdered women had been involved in the sex industry. Sixteen per cent of victims were born outside the UK, yet police recorded ethnicity in only a fifth of cases. The domestic abuse bill’s provisions excludes migrant women. “If services are not alert to the reality that violence against women occurs across all backgrounds, then they are less likely to identify those at risk,” the census points out.

Ingala Smith and O’Callaghan say the state’s response is also dangerously gender blind. Globally, while homicide figures are declining, femicide is on the rise. “We have a domestic abuse bill, not an end violence against women and girls bill,” Ingala Smith says. “That minimises sex differences. Men who kill do so within a context of endemic sex discrimination in a society that normalises male predatory behaviour from an early age and is too eager to blame victims.”

The census points out that the UK remains one of few countries in Europe that has not ratified the Istanbul Convention, which draws on the Convention on the Elimination of All Forms of Discrimination against Women (CEDAW). “It recognises that men’s violence against women and girls will not be eradicated without fundamentally addressing sex inequality and the beliefs, attitudes and institutions that underpin it,” the census points out.

Eleven women were killed by their grandsons. “If you focus only on partner violence, you are missing a whole spectrum of violence that may also be generational,” the report says. Excluded from the census are “hidden homicides”. In one case, for instance, it was decided a woman had stabbed herself, even though a witness said otherwise. “There should be more professional curiosity when a sudden death occurs in the context of domestic abuse,” criminologist Dr Jane Monckton Smith says in the report.

Clarissa O’Callaghan

Clarissa O’Callaghan, co-founder of the Femicide Census. Photograph: Gary Calton/The Observer

The subheading of the Femicide Census is, “If I’m Not In On Friday, I Might Be Dead”. These are the words of Judith Nibbs, mother of five, who was beheaded by her husband of 30 years, Dempsey Nibbs. The report is dedicated to her memory and to every victim of femicide over the decade, each name listed. “People say, ‘It’s only a few women a week that die’,” Gemma Aitchison says. “But it’s been a few women a week ever since I was born, and I’m 34. It’s a huge systemic problem. The census says these women matter. ”

The Femicide Census concludes with a series of recommendations, including the thorough collection of sex-desegregated data, ratification of the Istanbul Convention, and improved funding. Domestic abuse costs society over £66bn a year. A report last year calculated that £393m a year is needed to provide safety and support, yet funding is a fraction of that. In lockdown, femicide has escalated.

“If this government is really committed to ending male violence against women, it needs cross-party support for a long-term woman-centred approach that recognises sex inequality is intrinsic to a patriarchal society,” Ingala Smith says. “A start could be made if state institutions did their jobs properly.”

The census is a unique benchmark of accountability. However, it’s future is in doubt. “We are dependent on donations and pro bono support,” Ingala Smith says. “I wish we could say we will be here for the next 10 years but we can’t. If we don’t do this work, who else will?”

Femicide victims from 2019 (main image, at the top of this feature):
Top row, from left: Aliny Mendes, 39; Sarah Henshaw, 40; Rosie Darbyshire, 27; Charlotte Huggins, 33; Jodie Chesney, 17; Leanne Unsworth, 40.
Second row, from left: Sarah Fuller, 35; Amy Parsons, 35; Asma Begum, 31; Elize Stevens, 50; Laureline Garcia-Bertaux, 34; Antoinette Donnegan, 52.
Third row, from left: Lucy Rushton, 30; Kelly Fauvrelle, 26; Dorothy Woolmer, 89; Bethany Fields, 21; Megan Newton, 18; Ellie Gould, 17.
Fourth row, from left: Suvekshya Burathoki, 32; Julia Rawson, 42; Diane Dyer, 61; Kayleigh Hanks, 29; Keeley Bunker, 20; Joanne Hamer, 48.
Bottom row, from left: Sarah Hassall, 38; Nicola Stevenson, 39; Angela Tarver, 86; Leah Fray, 27; Mihrican Mustafa, 38; Sammy-Lee Lodwig, 22.

When love is not enough

No mother wants to leave her child — but in the Philippines, it can feel like there’s no other choice. Unable to earn enough money at home, an estimated 2.2 million Filipinos worked overseas last year, according to the Philippine Statistics Authority. The majority were women, many hoping to give their child a better future.

They work as nurses, hospitality staff, nannies and cleaners. Last year, they sent $33.5 billion back to the Philippines in personal remittances — a record high, according to the country’s central bank.

More than 2.2 million Filipinos worked overseas in 2019The top five destinations were in Asia and the Middle East