12 Haunting Photos of The Last Meals of Death-Row Inmates (INDULGD)

original article here.

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It was customary, in pre-modern Europe, to grant condemned death-row inmates a last meal before their demise. This action was highly symbolic and was believed to be done in an act of superstition to ask for forgiveness to the executioner, the judge and witnesses and absolve any potential acts of vengeance.

Regardless of your opinion on the death penalty, this post, though potentially appetizing to some will turn your stomachs upside-down. The very talented Henry Hargreaves has come up with an eye-opening, yet haunting series of photos documenting death-row inmates last meal requests.

In a recent interview with Indulgd.com we asked…

Can you tell us a little bit about yourself?
I’m a self taught photographer living in Brooklyn originally from New Zealand. My work seems to touch on 4 main themes – food, bright colors, childhood nostalgia and breasts!

What first inspired you to take these shots?
After hearing about the abolishment of the last meal in Texas I read up on what inmates actually requested. As I read about their food tastes it humanized them for a moment in my mind and brought the gravity and unnatural practice of state sponsored executions.

What has been people’s reactions to your work?
I mainly hear the compliments but I’m sure it’s not everyones cup of tea.

What is your personal favorite photo that you have taken?
I’m always looking toward the next photo.

What was the eeriest meal in your opinion?
Ricky Ray Rector when he told the guard he was saving his pie for later. Rector was mentally disabled so I feel he had no idea of what was about to happen to him.

What projects have you been currently working on?
Just finished a series of Gingerbread Art Galleries that were shown at Art Basel and will be exhibited in NY on Wednesday at Dylan’s Candy.

How can people get in touch with you?
They can visit me at HenryHargreaves.com and my Facebook page.

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The Camera as an Afterthought: Defining Post-Photography (Hyperallergic)

by Allison Meier on October 7, 2014 original article here.

Post-Photography: The Artist with a Camera by Robert Shore

Christy Lee Rogers, “The Heart Is a Lonely Hunter” (2012), from “Reckless Unbound” (all images courtesy Laurence King Publishing)

Photography as medium is not dead, but you can argue it is in a contemporary state of flux. In his new book Post-Photography: The Artist with a Camera, released last month by Laurence King Publishing, Robert Shore amasses 300 works by artists who are using photography in an altered state, whether it’s staged, found imagery, or claiming the digital as their own.

Cover of "Post-Photography: The Artist with a Camera" (courtesy Laurence King Publishing)

Cover of “Post-Photography: The Artist with a Camera” (courtesy Laurence King Publishing)

“Post-photography is a moment, not a movement,” Shore writes. The book claims to be the first publication to look specifically at these artists who are now experimenting intensely with the found and distorted in the visuals of photography. Shore sets the current scene in an introductory essay:

“Given the abundance of pre-existing visual material in our hyper-documented world, it’s unsurprising that an increasing amount of photographic art begins with someone else’s pictures. There’s nothing new about appropriating found imagery for fine-art purposes. But the sources, methods, and goals are fast-evolving. If digital culture has transformed photographic practice — that is, how pictures are taken and displayed — it has had no less profound an impact on how found materials are sought and then manipulated.”

Each artist in the large book with its cardboard cover is given space to discuss how and why they work in a “post-photography” mode. There’s Julia Borissova delicately collaging petals on vintage photographs from the St. Petersburg flea market, along with Steffi Klenz concocting volatile chemicals on negatives of furniture she stacks on the verge of collapse. Others create their own bridges between fiction and reality, like Cristina de Middel documenting the 1960s Zambian plan to send astronauts to the moon, giving imagery to a story that lacks it. The augmentation of reality by digital means is on heavy view, especially in appropriation like Clement Valla’s Postcards from Google Earth that show highways bending at unnatural angles, revealing how the layered system of topography and aerial imagery actually works.

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Photographs of paintings with their museum glares by Jorma Puranen (photo by the author for Hyperallergic)

Cristina De Middel, "Iko Iko" from "The Afronauts" (2011)

Cristina De Middel, “Iko Iko” from “The Afronauts” (2011)

Cristina De Middel, "Bongo" from "The Afronauts" (2011)

Cristina De Middel, “Bongo” from “The Afronauts” (2011)

Yet there are all also artists actively working outside of digital manipulation, such as Christy Lee Rogers whose photographs in the water at night of people swirled in colored clothes resemble Old Masters paintings. “My intention is to create something magical that could exist, not something that I feel people will think is fake or false,” she explains.

Back in 2011, as Shore points out in Post-Photography, the World Press Photo awards caused quite a stir when Michael Wolf got an honorable mention for his A Series of Unfortunate Events Google Street View photographs. The continued break down and manipulation of photography as it stretches beyond its definitions is likely just beginning its cascade as more and more we view the world through the digital.

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Work by Brendan Flower in “Post-Photography” (photograph of the book by the author for Hyperallergic)

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Nicole Belle, “Untitled,” from “Rev Sanchez” (2008)

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Michael Wolf, “Tokyo Compression 17″ (2010), a series on commuters on the train

Richard Mosse, "Rebel Rebel" (2010), from "Infra," taken with Aerochrome infrared film

Richard Mosse, “Rebel Rebel” (2010), from “Infra,” taken with Aerochrome infrared film

Benjamin Lowy, "Perspectives II: Nightvision" (2003-08), from "Iraq" taken with night-vision goggles US military issued ISKANDARIYA, IRAQ - JULY 15: US soldiers patrol a marsh-like field as units with the 509th Infantry Division and the 3rd Infantry's Aviation Brigade launch a joint air assault, raiding over 30 targeted areas in a large rural area near Iskanderiyah on July 15, 2007 in Iskandariya, Iraq. The raid targeted IED production and a search for suspected insurgets. The area south of Baghdad has had little US army presence in the last 6 months, and is considered a haven for Al Qaeda in Iraq. (Photo by Benjamin Lowy/Reportage by Getty Images)

Benjamin Lowy, “Perspectives II: Nightvision” (2003-08), from “Iraq” taken with night-vision goggles issued by the US military

80 Photos of Old New York (1970-1989) (Superchief)

Originally posted in the NYTIMES TRAVEL November 8, 2011 –  find the Superchief article here

New York used to be a different town than it is today. People use terms like “Old New York,” and “The Bad Old Days” to talk about the 70s and 80s. In fact, the crime wave that is associated with New York City lasted well through the late 1990s.

For example, in 1977 there were 1,919 murders in New York. By 1991 that number reached an all-time high of 2,571. The murder rate didn’t dip below 1,000 until 1998. To put it in perspective, from 2000-2010, it has been hanging around 800.

I recently stumbled across a treasure trove of photos from this lost era. Some are watermarked, but many are from message boards and peoples flickrs, so it’s hard to give photo credits. Here are a few of the authors I was able to figure out:

Matt Weber
http://www.flickr.com/photos/urbanphotos/
http://weber-street-photography.com/

http://www.flickr.com/photos/dianeworland/ – http://www.flickr.com/photos/wavz13/ – http://www.flickr.com/photos/8mobili/ – http://www.flickr.com/photos/stevensiegel/

If any of these images are yours and you did not receive credit for them, please message me and I would be happy to give you a photo credit and a link