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‘Die Hel is a remote valley in the Swartburg Mountains of the south-western Cape.’
‘Today the Oglala Lakota live in the shadow of Wounded Knee on the Pine Ridge Indian Reservation.’
The violence the retablos depict, the calamities of fate, weather, accidents or of illness, move us because they distil so powerfully what we already know all too well.
Pakistani truck art
‘Truck artists transform village rickshaws, city buses and commercial trucks into a procession of moving colour.’
‘There is of course an absurdity to these censored images since their overt, bold and graphic nature only draws attention to the very sites that are meant to be hidden.’
In her series Observatoires, Noémie Goudal places stairs, pyramids and domes in natural, isolated, timeless spaces.
Olympic Drift: making way for the Games
‘Walking around the perimeter of the Olympic site has become an act of remembrance.’
Zone of Absolute Discomfort
‘The icy hinterland is wretched to live in, but just hospitable enough to allow for the extraction of billions of tons of resources trapped beneath the ground.’
‘Charles Jones took beautiful photographs of vegetables, fruit and flowers.’
Red Space: Promoting a Socialist Destiny
Space posters were ‘visually stunning representations of the promises of the Soviet state’.
A Sparrow Fallen
‘a sparrow fallen; / blackness of pain shimmering / hard in soft white light’
The Structure of Things Here
‘In our structures we South Africans tend to declare ourselves quite nakedly, sometimes eloquently, and rarely with dissimulation.’
Kwangju and After
‘Some people said they were not ‘with’ the students. They were not in favour of the use of arms. But they were of one voice in saying that the students were their sons, and that if the army came in the students would be put to death. That was why they kept saying: “Tell the truth about us.”’
For Granta 102, Paul Farley and Niall Griffiths returned to Netherley, on Liverpool’s north-eastern rim and the fringes of rural Lancashire, and to what remains of the housing estate where they grew up.
‘The moment I see these portraits, my first thought is: Let’s make it for suitable for the twenty-first century.’