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In My Blood It Runs is not just a film, it’s also a campaign for change. The film website has oodles of resources.

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Synopsis

Ten-year-old Dujuan is a child-healer, a good hunter and speaks three languages. As he shares his wisdom of history and the complex world around him we see his spark and intelligence. Yet Dujuan is 'failing' in school and facing increasing scrutiny from welfare and the police. As he travels perilously close to incarceration, his family fight to give him a strong Arrernte education alongside his western education lest he becomes another statistic. We walk with him as he grapples with these pressures, shares his truths and somewhere in-between finds space to dream, imagine and hope for his future self.

"When you go out bush every week, you learn how to control your anger, and you learn how to control your life "

The Making

In My Blood It Runs was shot in Mparntwe (Alice Springs), Sandy Bore Homeland and Borroloola Community, Northern Territory, Australia over three and a half years. However the director, Maya has been making films alongside Arrernte Elders and families at two Arrernte-led NGOs, Akeyulerrre and Children's Ground for over a decade preceding the inception of this film. In My Blood It Runs rose organically from those relationships, and the film team want to acknowledge the deep trust and support from these core partner organisations who backed the telling of this story.

The intimacy of the film and the delicacy with which it has represented the complex struggles of the lives of Dujuan and his family has been achieved through a deep and collaborative process between the filmmaking team and the family. The Arrernte and Garrwa families in the film and the board of Advisors to the film are core partners and have been involved in robust consultation at all stages of production. This has been a deep and ongoing process to ensure that each individual comprehensively understands the terms of involvement and the control they have over how their stories and images portrayed.

This collaborative approach used on this film is not 'new' but draws from a long line of First Nations initiatives, organisations, filmmakers work both within Australia and internationally who have fought for the right to have agency over their own narratives for a long time. Screen Australia has a leading guide ' Pathways and Protocols: A Filmmakers Guide to working with Indigenous Peoples, Culture and Concepts' that we adopted and built upon to create an approach that would work for this film.

We would like to particularly acknowledge the leadership of producer Rachel Naninaaq Edwardson, who drew on her life's work, and many First Nations filmmakers who came before her to support Indigenous communities like her own to have control over their own stories. With this historical foundation, she worked with our core team to lead this approach and face to face consultations on the ground in Alice Springs.

Some of the core pillars of our approach include; partnership with those represented, a team of Advisors, consent as an ongoing process, formal recognition of Traditional Owners of the land we filmed, meaningful and ongoing consultation, shared profit with those represented and a team structure that has equal First Nations and non-First Nations filmmakers as the core creatives.

The film has an adjacent impact campaign driven by our Arrernte and Garrwa advisors and their vision for change.

"We tell our stories in paintings, song and film. This film shows us that consultation and collaboration work. Both parties wanted to do it. Dujuan wanted a film about him and the film team had to give away prescribed story that they had to allow families to have ownership and control and to tell them how they should be doing it. The process gave them agency and produced a very strong film. The film team put aside ego, professionalism, learnings and tried to relearn a new way. I am quite proud of it actually."

- William Tilmouth, Arrernte Elder and Film Advisor

"We all have the ability to heal one another, but sometimes we just don't use it"

William Tilmouth, Chairperson of Children's Ground, Film Advisor

Our Change Goals

In My Blood It Runs is not just a film, we have a multi-year impact campaign that dovetails our film release.

We are working with a range of national partners to deliver an impact campaign that has been strategised in close consultation with Dujuan and his family as well as an advisory group of senior Arrernte and Garrwa Elders and leaders. This has been made possible by the Shark Island Productions, Good Pitch Australia and Documentary Australia foundation and a range of philanthropic partners.

Key Impact Goals:

1. Address racism by sharing lived experiences of First Nations people and challenging structural racism.

2. Build significant support for an Aboriginal and Torres Strait Islander led education system.

3. Mainstream schools become more culturally safe for Aboriginal and Torres Strait Islander students.

4. Amplify evidence-backed restorative youth justice solutions instead of punitive youth justice. Including Raising the age of criminality from 10 to 14/ 16 years old.

Learn more

Key Campaign Messages:

Aboriginal and Torres Strait Islander people love and care for their children

Aboriginal and Torres Strait Islander people should be given the agency to drive their own solutions

Aboriginal and Torres Strait Islander people's knowledge systems and culture are alive and well

Children have agency and can speak truth to power

Aboriginal and Torres Strait Islander people should have the right to determine and lead their own education

Australia needs to be honest about our past in order to build a more just future

Aboriginal and Torres Strait Islander people live with racism everyday and it causes harm

We need restorative approaches to juvenile justice rather than punitive approaches.

Film Team

Felicity Hayes

Executive Producer / Senior Traditional Owner of Mparntwe (Alice Springs)

Felicity Hayes is an Arrernte Elder, educator and the recognised Traditional Owner of Mparntwe/Alice Springs. Felicity has campaigned for decades for social justice for her people, the right to live on her country and the right for Arrernte families to teach their children. Felicity has been instrumental working within the formal education system, sharing and teaching Arrernte language and culture. Felicity is one of the grandmothers who form the backbone of Children's Ground in central Australia, providing leadership and direction on the learning, wellbeing and development of children at her home, Irrkerlantye (Whitegate Town Camp). Read more

Maya Newell

Director. Producer. DOP. Editor. Impact Producer.

Maya is an Australian filmmaker with a focus on social impact documentary. She has directed award-winning short documentaries, Two (AFI Docs, Slamdance, Winner AIDC emerging talent) and In My Blood It Runs was selected for Good Pitch Australia 2016, the Sundance Documentary Fund and Sundance Skywalker Music and Sound Design Labs and is due for release in 2019. Growing Up Gayby (ABC TV) and her feature documentary Gayby Baby (2015). Gayby Baby was selected for GoodPitch² Australia 2014, premiered at Hot Docs, screened at London BFI, Doc Leipzig, Doc NYC, is on Netflix US and reached No. 1 on iTunes doc charts during it's UK release. In Australia, the film famously caused a national stir when it was banned by the Australian State Government and is acknowledged as significant in the fight for Marriage Equality and Adoption Equality in Australia. Read more

Rachel Naŋinaaq Edwardson

Producer. Impact Producer.

Rachel is from Utqiagvik (Alaska) and is a social justice film and digital media writer/director/producer. She has directed/produced 8 documentaries, 2 short dramas and 13 episodes for Television; she is a 2009 alumni of the Sundance Institute Ford Fellowship for her Iñupiaq Fantasy Trilogy and short film. Her history of the Iñupiaq documentary series was the first all native produced and directed history series in the United States. She also works in education and is a cultural safety consultant in Australia and the USA, leading holistic culturally safe and responsive practice in education, film, arts and media, government, health and corporate sectors. She is a Iñupiat/Norwegian/Sami woman. Rachel is married to former land rights lawyer and social justice advocate, David Selvarajah Vadiveloo, and together they have three joyful children. She is the oldest daughter of author, leader and educator, Debby Edwardson and tribal leader and geologist George Edwardson.

Larissa Behrendt

Producer

Prof. Larissa Behrendt is a Eualeyai/Kamillaroi woman. She is the Professor of Law and Director of Research at the Jumbunna Indigenous House of Learning at the University of Technology, Sydney. She is admitted to the Supreme Court of the ACT and NSW as a barrister. She is the author of several books on Indigenous legal issues and won the 2002 David Uniapon Award and a 2005 Commonwealth WriterÕs Prize for her novel Home. Larissa is a Board Member of the Museum of Contemporary Art, a board member of Tranby Aboriginal College and a Director of the Bangarra Dance Theatre. She was named as 2009 NAIDOC Person of the Year. She wrote and directed the Walkley nominated documentary, Innocence Betrayed that aired on NITV in 2014. Her short film, Under Skin, In Blood, screened at Sydney Film Festival and Melbourne International Film Festival in 2015. Her short film Clan won Best Documentary at the Canberra Short Film Festival and the Shorts Film Festival in Adelaide in 2015. She is the host of ABC's Speaking Out on the National Radio network. Her feature documentary, After the Apology, which premiered at Adelaide Film Festival 2017 and screened at festivals internationally. Read more

Sophie Hyde

Producer

Sophie's debut fiction film Her second film 52 Tuesdays (director/producer/co-writer) was set and shot every Tuesday for one year and won the directing award in World Cinema Dramatic at Sundance and the Crystal Bear at the Berlin International Film Festival. Animals, based on the acclaimed novel by Emma Jane Unsworth and staring Holliday Grainger and Alia Shawkat premiered at Sundance in January and will release in 2019. Her first episodic series F*!#ing Adelaide, which she created, produced and directed screened at Berlin Film Festival and Series Mania in 2018 and screened on Australia's ABC1 and was the most watched show made specifically for their Iview platform. She produced and co-directed the acclaimed feature documentary Life in Movement, winner of the Australian Documentary Prize in 2011 and the Cinedans Jury and Audience prizes. She has been commissioned to make made screen based work for the National Portrait Gallery, Carriageworks and the Art Gallery of South Australia. She also works as a Producer and believes strongly in nurturing new voices. She was recently mentor and executive producer on A Field Guide to Being A 12-year-old-girl, the directorial debut of Tilda Cobham-Hervey which won the short film Crystal Bear at Berlin Film Festival last year. She produced Matt Bate's feature documentaries Shut Up Little Man! An Audio Misadventure and Sam Klemke's Time Machine, which both premiered at Sundance. She is creator/director/producer of The Hunting, a 4×1 hour series for SBS. She is a co-founder of film collaborative, Closer Productions. Read more

Alex Kelly

Associate Producer. Impact Producer

Alex Kelly is a filmmaker, artist and communications and campaign strategist committed to social justice. Alex worked for ten years with Big hART as Creative Producer of Ngapartji Ngapartji and was National Producer from 2012-2014. Alex's documentary credits include producing Island of the Hungry Ghosts, THE ISLAND, Nothing Rhymes with Ngapartji and Pay the Rent and co-producing The Namatjira Project, production managing Coniston: Telling it True and directing Queen of the Desert. Alex was the Global Impact & Distribution Producer on Avi Lewis and Naomi Klein's This Changes Everything project. In 2013 she was awarded a Churchill Fellowship and explored at models for social change documentary impact and engagement in UK, Canada and USA. Alex was a 2016-2017 Sidney Myer Creative Fellow. Read more

Lisa Sherrard

Associate Producer. Impact Producer

Lisa came to the film industry after a career in banking and has a strong background in accounting and finance. Lisa worked on the distribution and impact campaign for Gayby Baby (2015) and with Screen Impact on the distribution of Motorkite Dreaming (2016). In 2018 Lisa gained her Diploma in Production Accounting from the Australian Film and Television School.

Georgia Quinn

Impact Producer

Georgia is a creative producer and impact strategist with a specialisation in documentary filmmaking. Georgia's worked on projects locally and internationally with ABC, Al Jazeera English, AFP, SBS, and a number of independent production companies. Her most recent series as director/producer, Studio A, about neurodiverse artists, aired on ABC TV in July and is currently on iview. Georgia comes to the In My Blood It Runs team from Together Films in London, where she worked on the UK release of 2040. In 2017 she received Documentary Australia Foundation's SheDoc grant and in 2019 was a Screen Australia Enterprise People recipient. Read more

Jane Vadiveloo

Advisor

Jane Vadiveloo is the founding CEO of Children's Ground. She has a Masters in Forensic Psychology and has a 20-year history leading reform and services provision with communities experiencing extreme disadvantage and trauma. She has lived in the Northern Territory for 19 years and has over 30 year connections with Arrernte people in Central Australia. In 2000 they founded Akeyulerre, one of the first organisations based on First Nations knowledge systems in traditional healing and wellbeing. She has worked with children, families and communities at high risk, establishing strength and justice based approaches to achieve long term change. She has worked with William Tilmouth for 15 years, culminating in the foundation and direction of Children's Ground. Children's Ground was created as a 25 year approach to ensure that future generations of children are afforded equity, access and justice to determine their futures - to have quality education, health, social and economic opportunities that privilege their first culture within a global context. Jane has consulted to Virgin Unite, the Northern Territory and Federal Governments, and Aboriginal Organisations in the Northern Territory. Jane was one of the Westpac Australian Financial Review 100 Women of Influence in 2014. Read more

Margaret Kemarre Turner OAM

Great Nana / Advisor

M. Kemarre Turner is a respected Eastern Arrernte elder, cultural adviser, translator, teacher, social justice champion, artist and author. In 1997 she was awarded the Medal of the Order of Australia for her service to the Aboriginal community of Central Australia, particularly through preserving language and culture and interpreting. She was born in Harts Range region, north-east of Alice Springs. She is recognised across the region as a 'Professor' - a holder of customary law, practice and knowledge. She is a qualified language interpreter and has taught language and culture and a cross-cultural courses in Alice Springs for 30 years. Ms Turner was one of the founders of Irrkelantye Learning Centre, focusing on intergenerational learning for Arrernte people. She also founded Ingarte Mikwekenhe. She is an elder to the board of Akeyulerre, a Healing Centre in Alice Springs dedicated to Arrernte culture and practice in traditional healing and wellbeing. She is Anangkere (Traditional Healer), law woman and leader. She has fought for the rights of Aboriginal people for over four decades and continues to fight for these rights today. She is dedicated to keeping Arrernte culture, life and language deep and rich for future generations. MK Turner is also a celebrated artist and author and has written three books. Bushfoods and Everything Comes from the Land were published in 2005. Her latest book, Iwenhe Tyrrtye - what does it mean to be an Aboriginal person? was published in 2011. Read more

Kumantye Abbott

Great Nana / Advisor

Vale Kumantye Abbott 2019. Kumantye was a revered Senior Arrernte Elder and Knowledge Holder.

Amelia Turner

Advisor

Amelia was born and grew up at Lytyentye Apurte (Santa Teresa). She went to school at Santa Teresa and in Melbourne. She lived in Maningrida for about 10 years. Amelia's parents were and are both senior cultural leaders. Amelia is following in their footsteps, as a cultural leader, traditional healer (Ngangkere) and leading artist. She sits on a number of boards.

William Tilmouth

Advisor

William was born in Alice Springs and is of Arrernte descent. A member of the stolen generations, William was taken to Croker Island where he lived and attended school with many other children sent there as a result of Government policy of that era. In 1967 he was moved off the mission to Darwin, and in 1969 returned to Alice Springs. He attended the Aboriginal Community College in Adelaide in 1974 and worked in many jobs in South Australia. He returned to Alice Springs in 1980. William has worked in various Government and Aboriginal organisations and was elected the Central Australian ATSIC Regional Chair in the 1980s. From 1988 to 2010 he was the Executive Director of Tangentyere Council. William believes that Aboriginal children and family and communities should have every opportunity to be empowered, and to own and control the decisions that affect them. He is now retired. Read more

"I want our kids to grow up learning in both ways"

Director
Maya Newell

Collaborating Directors
Dujuan Hoosan
Carol Turner
Megan Hoosan
James Mawson
Margaret Anderson

Producers
Sophie Hyde
Rachel Naninaaq Edwardson
Larissa Behrendt
Maya Newell

Executive Producer/Senior Traditional Owner of Alice Springs
Felicity Hayes

Advisors
William Tilmouth
Margaret Kemarre Turner OAM
Agnes Abbott
Amelia Turner
Jane Vadiveloo

Associate Producers
Lisa Sherrard
Alex Kelly

Cinematographer
Maya Newell

Editors
Maya Newell
Bryan Mason
Simon Price

Composer
Benjamin Speed

Additional Music by
Amit May Cohen

Sound Designer
Kim Patrick

Impact Producers
Alex Kelly
Maya Newell
Lisa Sherrard

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Ten-year-old Dujuan is a child-healer, a good hunter and speaks three languages. As he shares his wisdom of history and the complex world around him we see his spark and intelligence. Yet Dujuan is 'failing' in school and facing increasing scrutiny from welfare and the police.

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Clint Smith is a staff writer at The Atlantic. He is the author of the narrative nonfiction book, How the Word Is Passed: A Reckoning With the History of Slavery Across America, which was a #1 bestseller, winner of the National Book Critics Circle Award for Nonfiction, the Hillman Prize for Book Journalism, the Stowe Prize, and selected by the New York Times as one of the 10 Best Books of 2021. He is also the author of the poetry collection Counting Descent, which won the 2017 Literary Award for Best Poetry Book from the Black Caucus of the American Library Association and was a finalist for an NAACP Image Award.

Clint has received fellowships from the Andrew W. Mellon Foundation, New America, the Emerson Collective, the Art For Justice Fund, Cave Canem, and the National Science Foundation. His essays, poems, and scholarly writing have been published in The New Yorker, The New York Times Magazine, The New Republic, Poetry Magazine, The Paris Review, the Harvard Educational Review, and elsewhere. He is a former National Poetry Slam champion and a recipient of the Jerome J. Shestack Prize from the American Poetry Review.

Previously, Clint taught high school English in Prince George's County, Maryland where he was named the Christine D. Sarbanes Teacher of the Year by the Maryland Humanities Council. He is the host of the YouTube series Crash Course Black American History.

Clint received his B.A. in English from Davidson College and his Ph.D. in Education from Harvard University. Born and raised in New Orleans, he currently lives in Maryland with his wife and their two children.

He can be found on Instagram, Twitter, and Facebook.

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Clint Smith is a staff writer at The Atlantic. His first full-length collection of poetry, Counting Descent, won the 2017 Literary Award for Best Poetry Book from the Black Caucus of the American Library Association. His debut nonfiction book, How the Word Is Passed, will be published by Little, Brown in June 2021.

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John Moore is a senior staff photographer and special correspondent for Getty Images.

He has photographed in 65 countries on six continents and was posted internationally for 17 years, first to Nicaragua, then India, South Africa, Mexico, Egypt and Pakistan. Since returning to the U.S. in 2008 he has since focused on immigration and border issues.

Moore has won top awards throughout his career, including the 2005 Pulitzer Prize for Breaking News Photography, World Press Photo honors, the John Faber Award and the Robert Capa Gold Medal from the Overseas Press Club, Photographer of the Year from Pictures of the Year International, the NPPA and Sony World Photography Organization.

In March 2018 powerHouse Books published his book Undocumented: Immigration and the Militarization of the United States-Mexico Border. This work represents ten years of Moore's photojournalism on the issues of immigration and border security in the United States. The goal of the project was to take a comprehensive approach in humanizing the issue of immigration, which is often related in terms of statistics. Moore is a graduate of the University of Texas at Austin, where he studied Radio-Television-Film. He lives with his family in Stamford, Connecticut.

World Press Photo Involvement:
Award-winning photographer 2005 Photo Contest
Award-winning photographer 2008 Photo Contest
Award-winning photographer 2012 Photo Contest
Award-winning photographer 2019 Photo Contest

John Moore on Social Media:
Instagram: @jbmoorephoto​
Twitter: @jbmoorephoto

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John Moore is a senior staff photographer and special correspondent for Getty Images. He has photographed in 65 countries on six continents and was posted internationally for 17 years, first to Nicaragua, then India, South Africa, Mexico, Egypt and Pakistan. Since returning to the U.S.

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It has come a long way over the past almost 85 years - from a small carpenter's workshop to a modern, global enterprise that is now one of the world's largest manufacturers of toys.

The LEGO brick is our most important product. We are proud to have been named "Toy of the Century" twice. Our products have undergone extensive development over the years - but the foundation remains the traditional LEGO brick.

The brick in its present form was launched in 1958. The interlocking principle with its tubes makes it unique and offers unlimited building possibilities. It's just a matter of getting the imagination going - and letting a wealth of creative ideas emerge through play.

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The LEGO Group history - LEGO Group - About us - LEGO.com US

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It has come a long way over the past almost 85 years - from a small carpenter's workshop to a modern, global enterprise that is now one of the world's largest manufacturers of toys. The LEGO brick is our most important product. We are proud to have been named "Toy of the Century" twice.

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AT A GLANCE

Today Benetton Group is one of the best-known fashion companies in the world, present in the most imortant markets in...

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We are always looking ahead to the future, working at the cutting edge: with color, with the revolution of the...

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The development of the United Colors of Benetton sales network, which occupies prime positions in historic town centres...

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The history of Benetton Group since 1965

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Today Benetton Group is one of the best-known fashion companies in the world, present in the most imortant markets in... Read more We are always looking ahead to the future, working at the cutting edge: with color, with the revolution of the...

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The Dove difference

Dove started its life in 1957 in the US, with the revolutionary new beauty cleansing Bar. With its patented blend of mild cleansers and ¼ moisturising cream, Dove's iconic Beauty Bar rinses cleaner than soap, leaving skin clean, soft and smooth. It is the #1 Dermatologist Recommended brand in the US, Canada and France and strongly endorsed by Dermatologists across the world.

Dove's heritage is based on moisturisation - proof not promises grew Dove from a Beauty Bar into one of the world's most beloved beauty brands. Today Dove offers a range of products: body washes, hand and body lotions, facial cleansers, deodorants, shampoos, conditioners and hair styling products, all developed on the universal premise of real care.

Real Beauty

Women have always been our inspiration. Since the beginning, we have been wholly committed to providing superior care to all women and to championing real women and real beauty in our advertising.

As part of the 2004 Dove Campaign for Real Beauty, we featured images of real women in our advertising that represented a broader image of beauty. Together with generations of women, Dove has helped widen the definition of beauty.

Our commitment to redefining beauty remains the same and we will continue to use ad campaigns as an opportunity to redefine beauty, challenge stereotypes and celebrate what makes women unique. In 2017, in celebration of Dove's 60-year anniversary, we are renewing our commitment to women globally by launching the Dove Real Beauty Pledge, consisting of 3 vows:

1. We always feature women, never models.

2. We portray women as they are in real life. We do not digitally distort our images.

3. We are helping 40 million young people build self-esteem and positive body confidence.

A compelling social mission

For over a decade, Dove has been working to make beauty a source of confidence, not anxiety. In a world in which girls are too often held back by low self-esteem and anxiety about their looks, Dove's social mission is to ensure that the next generation grows up enjoying a positive relationship with the way they look, to help them raise their self-esteem and realise their full potential.

The Dove Self-Esteem Project (DSEP) was launched in 2004 when our Campaign for Real Beauty was in its infancy. The project delivers self-esteem education to young people through lessons in schools, workshops for youth groups, and online resources for parents.

Attitudes are slowly changing and debates about beauty, body confidence and women's self-esteem have become more vocal and global. However, Dove's recent global study - The Global Beauty Confidence Report, 2016 - found that, despite a jump in awareness and conversation around the issues, women and girls are more anxious about their bodies and image than ever before, highlighting the need to increase body-confidence education, drive important conversations around the pressures women and girls face, and advocate for change in how appearances are portrayed in the media.

Since the DSEP launch, hundreds of thousands of teachers, parents and youth leaders have engaged and delivered our Dove self-esteem and body confidence education. We've already reached over 20 million young people across 139 countries and we're committed to reaching another 20 million by 2020.

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Dove started its life in 1957 in the US, with the revolutionary new beauty cleansing Bar. With its patented blend of mild cleansers and ¼ moisturising cream, Dove's iconic Beauty Bar rinses cleaner than soap, leaving skin clean, soft and smooth.

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I was born in Slovenia in 1987. As a kid I dreamed of becoming a photographer for National Geographic. Then I forgot all about it.

I studied Management at the Faculty of Economics in Ljubljana before moving to London to study photography. I obtained my MA in Photojournalism and Documentary Photography at the London College of Communication in 2011.​ Since then, I've been working as an independent freelance photographer.

In 2013, I received the Leica Oskar Barnack Award for a photo story called Waiting to Move. In the same year, I also received an award at the Les Rencontres d'Arles, for my photo story On Thin Ice, which also won MAGNUM 30 under 30 in 2015.

I've been working as a contributing photographer for National Geographic Magazine since 2014. So much for childhood dreams ever being naive.

The harmony that I pursue stems from somewhere in between.

Climate changes - Intimate feelings
"I grew up surrounded by nature, by its authenticity and brutality. I assumed nature's graphic style - strong contrasts, clean lines, multilevelness. I feel overwhelmed by nature. By the climate changes it has been showing. By our primal feelings, directing us into the closest intimacy possible.

Tradition - Modernity
"How do traditional communities live? How is their tradition facing the modern world? How can my story become inspiring? How to create a positive, constructive story? How to identify possible solutions? I want to show the world things such as gratitude, solidarity, respect. These things give me drive. Searching for hope that illustrates changes."

Technique - A moment
"The technical side of photography is very important to me. I always try everything my
equipment is able to perform and I always wait for the best capturing moment, of course. Intuition."

The consistency of one story - The dynamics between stories
"I always jumped from project to project. Now I feel it is time for long-term stories. I challenge myself with consistency, I experiment with the pace."

Personal projects - Commercial projects
"It is important for me to find a good balance. Personal projects are an inner journey and an inspiration, the commercial are an exceptional blend of interesting people and dynamics causing the birth of magic."

2021 - World Press Photo, Environment, 2nd Prize
2021 - British Journal of Photography, Decade of Change, Winner
2020 - Tokyo International Photography Competition, Winner
2019 - National Geographic Society, Explorer grant, Winner
2019 - Prix Pictet - 2 Nominations
2018 - VISURA Grant for Visual Storytelling on Climate Change, Winner
2018 - POYI - Pictures of the Year International, World Understanding Award
2018 - American Photography 34, Selected Winner
2016 - PDN'30 New and emerging photographers to watch
2016 - Slovenia Press Photo, Winning photo, People
2015 - MAGNUM 30 under 30, Winner
2015 - Slovenia Press Photo, Winning photo story
2015 - PDN Photo Annual, Selected Winner
2014 - The Other Hundred, 1st Prize
2014 - American Photography 30, Selected Winner
2014 - FIPCOM - Environment category, Winner
2014 - MAGNUM 30 under 30, Shortlisted
2014 - LensCulture Exposure Awards, Finalist
2013 - Les Rencontres d'Arles - Photo Folio Review, Winner
2013 - Leica Oskar Barnack Award, Winner Newcomer
2013 - Eddie Adams Workshop, National Geographic Award
2013 - VISA Pour L'Image - Coup de coeur ANI
2012 - PDN Photo Annual - Student Work, Winner
2012 - AOP Student Awards, Finalist
2012 - Picture The Difference, Winner
2012 - The Royal Photographic Society - Environmental Bursary, Winner

My work has appeared in printed and online magazines - National Geographic Magazine, The New York Times, Smithsonian Magazine, GEO Germany, GEO France, Der Spiegel, The Sunday Times, La Republicca, WIRED UK, Bloomberg Businessweek, Neu Zurcher Zeitung, Leica Fotografie International, Leica M Magazine, Le Monde, NEON, Marie Claire Italy, FOTO8, Reader's Digest, National Geographic Traveler, Bicycling Magazine USA.

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I was born in Slovenia in 1987. As a kid I dreamed of becoming a photographer for National Geographic. Then I forgot all about it. I studied Management at the Faculty of Economics in Ljubljana before moving to London to study photography.

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Director; Atlanta, Childish Gambino: "This Is America"

Hiro Murai is a Tokyo-born filmmaker based out of Los Angeles. He serves as an executive producer and director for the critically acclaimed FX series ATLANTA, which was created by and stars Donald Glover.

Murai has also directed music videos for artists such as Childish Gambino, Earl Sweatshirt, Chet Faker, Flying Lotus, St. Vincent, The Shins and Queens of the Stone Age. His video for Childish Gambino's "This Is America," released last year, became a viral hit and has amassed 520 millions views to date.

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Director; Atlanta, Childish Gambino: "This Is America" Hiro Murai is a Tokyo-born filmmaker based out of Los Angeles. He serves as an executive producer and director for the critically acclaimed FX series ATLANTA, which was created by and stars Donald Glover.

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Arguably the most controversial street artist in the world, Banksy's works have become a subculture in their own right. Banksy's political statements and disruptive vision have impacted cities across the globe at vital moments in modern history, provoking alternative viewpoints and encouraging revolution in the art world. His identity remains unknown, even after more than 30 years of involvement in the global graffiti scene. He has worked in many street art mediums and in many styles, breaking down the boundaries and expectations of street art critics. His work includes powerful, often controversial images, encouraging the rapid spread of his name and work across the internet. Today, his iconic works have been re-shared and repurposed beyond measure.

Banksy's early days in graffiti art

Banksy began his graffiti career by admiring the works of Blek Le Rat. He often recycled the artist's old ideas, moulding his own distinctive voice and style as he went. Initially, he was part of a graffiti crew in Bristol by the name of DryBreadZ Crew or DBZ. Soon after, he began to partner with Inkie, another notable graffiti street artist.

At the age of 18, Banksy was nearly caught vandalizing public spaces by police. As his crew fled from the scene, Banksy was stuck hiding beneath a dustbin van. Banksy noticed stencil letters sprayed onto the truck, and, as he had been looking for a faster way to paint at the time, he decided stencilling would be his new graffiti style.

Banksy's works often take the form of multi-layered stencils combined with other media sources. He sometimes includes objects that already exist on his chosen 'canvas,' such as street signs and fire hydrants, to turn his work into striking street art installations. His artwork is often satirical, combining dark humour with messages about art, philosophy, and politics.

By the early 2000s, Banksy had relocated from Bristol to London, where he began to gain notoriety; but, at the same time, his international work was taking off. He soon decided to travel to Palestine and the West Bank, where he stencilled nine now-iconic images onto the newly-erected West Bank Wall, including 'Love is in the Air.' These images were an instant hit and exploded online.

At this time, Banksy's silkscreen prints and stencil paintings were racking up record-breaking sales in storied art auctions such as Sotheby's and Bonhams of London. These successful sales marked Banksy's dramatic entry into the commercial art world. In 2010, Banksy assumed the role of author and filmmaker for his film 'Exit Through the Gift Shop.'

Who is Banksy?

Very little is known about Banksy himself, as he refuses to be interviewed and carefully maintains his anonymity. A world-renowned mystery man, Banksy has risen through the ranks to become one of the world's greatest street artists partly by cultivating in his collectors an urgency and desire to unveil his character. Street art fanatics are consistently impressed by the far-reaching scope, variety, and bravery of every artwork he delivers, but are always left wanting more. This tactic encourages viewers to explore a completely new perspective or idea, often inspiring both amateur and professional artists. This inspiration is also known as the " Banksy Effect."

A number of claims have been made over Banksy's identity, fuelling media interest. Most recently, many sources, including an entire newspaper publication, suggested he was a Bristol native by the name of Robin Gunninham. Though the prospect of uncovering Banksy's identity would allow for a greater understanding of his motives and mission, no claim had ever been confirmed. His identity has reputedly even been concealed from his family.

Banksy artwork

In October 2013, Banksy undertook a month-long residency in New York entitled 'Better Out Than In. ' During this time, he unveiled a new piece of work every day. On Day 13, the artist disguised himself as a typical street vendor and set up a stand in Central Park, where he sold black-and-white original paintings for $60. Only eight pieces of art were sold. The following day, Banksy authenticated those eight canvases on his website, alongside the message: "Yesterday I set up a stall in the park selling 100% authentic original signed Banksy canvases. For $60 each". A year after, 'Winnie the Pooh', purchased during Banksy's New York residency, sold for £56,250 on July 2nd 2014 at Bonhams in London.

In the summer of 2015, Banksy opened the dystopian theme park Dismaland in the seaside resort of Weston-super-Mare. Prepared entirely in secret, the project unveiled 10 new works by Banksy as well as works from 58 other artists.

Banksy went on to participate in the designing of the Walled Off Hotel in Bethlehem in 2017, opposite the Israeli West Bank Barrier. With nine rooms designed by Banksy himself, guests could literally sleep inside a work of art. Originally intended as a temporary and provocative piece of installation art, the Walled Off Hotel rapidly became a top tourist attraction. Alongside the spot on which Jesus was reputedly born, a traditional pilgrimage site, the controversial 700 km-long wall is now a surprising tourist site.

Banksy's relationship with tourism is a complex one; while he often stimulates it, he also regularly denounces it because of its negative effects. To criticise the mass tourism that is endangering the Italian city of Venice at the Biennale in 2019, Banksy unveiled 'Venice in Oil,' a series of nine oil paintings which, when placed together, depict a large cruise ship.

In October 2018, a painting by the anonymous street artist sold at Sotheby's auction house in London for £1.04 million. Shortly after the hammer came down, the print of Banksy's 2006 'Girl with Balloon' began to pass through a shredder installed in the frame, destroying half of it. "It appears we just got Banksy-ed," reported Alex Branczik, Sotheby's Senior Director and Head of Contemporary Art in Europe. The piece was a famous Banksy print known as ' Girl with Balloon' created back in 2006. Banksy's balloon girl, which was voted UK's best-loved work of art in 2017, became the first instance of a self-destructing painting. Banksy posted a video to his Instagram account to confirm the move was intentional and demonstrate how he built a shredding device into the large golden frame. The work was then given a new title: " Love is in the Bin ". One less than savvy Banksy owner actually shredded their own Banksy print in the hope the stunt would add value to their investment, but was very disappointed.

In October 2019, another Banksy artwork took the country by storm. Amidst the political controversy at the time, Banksy released 'Devolved Parliament;' a painting that depicts the House of Commons overtaken by apes. It sold at Sotheby's for an astonishing £9.9 million, making it the most expensive Banksy painting sold up to this date. In typical Banksy fashion, he responded to the sale on Instagram with a line from Robert Hughes: "But the price of a work of art is now part of its function, its new job is to sit on the wall and get more expensive."

In a move that was characteristically charitable, Banksy donated a series of three paintings to auction in 2020, entitled 'Mediterranean Sea View', to raise money for a hospital in Bethlehem. The oil paintings were in a detailed, traditional style that had grown more prominent in Banksy's work around this time. Of course, the stunning landscapes came with a Banksy twist: life jackets washed up on the shore, intended to highlight the growing European migrant crisis.

Banksy's ability to consistently break and challenge his own records continued to amaze the art market when, in October 2020, Banksy's reinterpretation of Monet's famous waterlilies, entitled 'Show Me The Monet' sold at auction for £7.5 million. This made it the second most expensive of his works to sell at auction. The piece was part of a series of remixed masterpieces and commented on the threat that society's wasteful consumerism poses to the natural world.

In response to the global Coronavirus pandemic in 2020, Banksy hung a brand-new black and white artwork, depicting a young boy playing with a 'superhero' NHS nurse doll, in the foyer of Southampton General Hospital. He released a statement thanking the NHS for their work and hoping that the painting brightened up the hospital. The piece was later titled 'Game Changer.' On the one-year anniversary of the UK entering into lockdown, 'Game Changer' sold at auction for £16.8 million, with all proceeds donated to the NHS. This price far exceeded all expectations and firmly secured this piece as the most expensive Banksy ever sold.

Banksy's artistic endeavours continue to take him around the world. Artworks have cropped up in Australia, France, Italy, the United States, Canada, Jamaica, and Israel, and are instantly protected and revered.

Banksy links

Banksy pictures

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Banksy Biography & Artwork | Artists | Street Art Bio

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Arguably the most controversial street artist in the world, Banksy has developed an entire art subculture devoted to his works.

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Google Arts & Culture

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Banksy, Banksy & More Banksy! - Global Street Art Foundation - Google Arts & Culture

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'Kissing Coppers' famously painted on the side of a pub in Brighton

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Ciril Jazbec is a documentary photographer born in Slovenia in 1987. Before moving to London he studied Management in Ljubljana. He obtained his master's degree in Photojournalism and Documentary Photography at the London College of Communication. He has been working as a contributing photographer for National Geographic Magazine since 2014.

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Photo Essays by Jazbec as part of the Global Oneness Project

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Ciril Jazbec is an award-winning photographer. His work has been published in international magazines, including The New York Times, Der Spiegel, Neu Zürcher Zeitung, GEO Germany, GEO France, The Sunday Times - Spectrum, La Republicca, WIRED UK, FOTO8, Reader's Digest, National Geographic Traveler, and Bicycling Magazine USA.

Photo Essay

Learn the story of Kiribati, where rising seas are forcing this entire island nation to relocate.

Photo Essay

These photographs capture a modern Inupiaq community in Alaska facing evacuation due to climate change.

Photo Essay

These photographs depict refugees as they cross borders on their way to northern Europe.

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Ciril Jazbec is an award-winning photographer. His work has been published in international magazines, including The New York Times, Der Spiegel, Neu Zürcher Zeitung, GEO Germany, GEO France, The Sunday Times - Spectrum, La Republicca, WIRED UK, FOTO8, Reader's Digest, National Geographic Traveler, and Bicycling Magazine USA.

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Project entitled Crossing Borders

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I had never imagined that I would be doing a refugee story practically on my own doorstep. I had been following reports for quite a while on what was happening in Syria and the tragedies in the Mediterranean where hundreds of refugees drowned after their boats sank. The wave of Syrian refugees, however, quickly took a different course-across the Balkans, through Turkey, Greece, Macedonia, Serbia, Croatia, and now Slovenia, my homeland.

As early as September 2015, I decided to spend a week documenting the situation on the Croatian-Serbian border. I simply felt that I had to see and understand the situation with my own eyes. After a four-hour drive, the first scene I witnessed was a shock. A visibly exhausted pregnant woman, with her husband and child, were hurrying alongside a train calling for help. However, the police merely instructed them to keep calm and get on a train to continue their journey towards Hungary.

I began to realize the horrible reality and scale of it all. Every day, hundreds of buses arrived at the border, full of people from different countries-from Syria to Afghanistan, Iraq, and Pakistan. I saw increasing numbers of young men and boys, wishing to find a better life in Northern Europe-Austria, Germany, Denmark, and Sweden.

Then a new wave of refugees hit Slovenia after Hungary closed its borders-a flood of people the likes of which Slovenia had never encountered before. In a single day, over 13,000 people would enter the country.

A colleague and I arrived at the eastern village of Rigonce, where most of the refugees arrived in the late evening. We received quite a shock. At the end of the village, on a meadow next to the Sotla River, a group of at least 1,000 people were waiting. They had entered Slovenia on foot, crossed a bridge from the Croatian side where they had arrived by train, and walked for about 15 minutes to reach the meadow. The scenes were startling, as if from another planet. The village that was once declared the most beautiful village in the Brežice municipality-the village where people tend to their farms, raise livestock, and lead peaceful lives-was suddenly faced with an incoming exodus. In the cold night, people were lying on the ground, trying to catch a few hours of sleep. They kept asking me: Where are we? When would we be allowed to proceed towards Northern Europe?

Mothers asked me for food and blankets, when they would be able to continue their journey, and where the camps were located. They made fires with whatever was at hand-from trash, plastic, and trees, to clothes discarded by previous groups. I walked around the families, sat down at the fire, and watched these faces from faraway lands now gathered in the tiny country beneath the Alps. The fire colored and warmed their faces, and brought to my mind scenes from Bethlehem.

In the first two weeks, 120,000 refugees and migrants crossed Slovenia, most of whom passed through the village of Rigonce in the first ten days. One night, I was traveling with a group of 3,000-4,000 migrants. Many of them were whole families; they were tired and trying to cope with the cold. In such moments, it's hard to come up with words.

The wave of migrants flooding Europe is certainly huge. One wonders where all of these people are going to end up and what the future holds for them.

By far, the most touching moment for me occurred early one morning. A limping mother and son, who didn't speak English, were unable to keep the pace of the group and fell behind. The expression on the woman's face was full of fear and despair. Her son, whose boots were too big, struggled to carry a heavy backpack and at one moment he collapsed. I had no choice but to help him and carry his backpack for a while. Fortunately, a volunteer came along with a car and picked them up.

As of the beginning of 2016, the situation has improved. Croatia has begun to bring refugees to Slovenia by trains so that they don't have to cross the fields and villages on the border on foot. The Schengen border rules have finally changed, and European leaders decided at a crisis meeting that the refugees would be taken into Slovenia by train. They wouldn't have to walk through Rigonce and wait for hours anymore. From just September through December, over 450,000 refugees and migrants crossed Slovenia. The number is still rising.

It's difficult to understand the refugee crisis from the safety of one's home-the images seem so foreign and distant. When you find yourself, as a reporter, among the freezing, exhausted people with children, you're simply a human being touched by the suffering. Children's and human rights come first-nobody deserves to be left without food and a roof over their head. I can't imagine what it must be like to pack your life in a suitcase or backpack and leave on such a long and arduous journey.

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I had never imagined that I would be doing a refugee story practically on my own doorstep. I had been following reports for quite a while on what was happening in Syria and the tragedies in the Mediterranean where hundreds of refugees drowned after their boats sank.

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Project entitled Refugee stream into your town

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Refugee stream into your town | Ciril Jazbec

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El Norte: Migrating to America

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Undocumented

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Getty Images photographer John Moore has won many photojournalism awards throughout his career, bringing a high level of skill, empathy, professionalism, perseverance, and an amazing eye for beauty and color to all of his work. Moore has spent years working along the U.S.-Mexico border, and regularly travels to Mexico and Central America, covering the many issues that surround the ongoing immigration crisis-its root causes in poverty, violence, and hopelessness; the dream of the United States as a better place for individuals and their children; the hazards of the immigrant's journey; the pursuits and arrests at the border; the faces of those who choose to defend the border and of those who decide to risk everything to cross it. Gathered here, to give some visual context to Moore's now-famous image of the young girl crying at the border, a collection of photographs taken by Moore over the past two years along the southern U.S. border, Mexico, Guatemala, Honduras, and more. And, for more in-depth coverage from John Moore, be sure to check out his new book, Undocumented: Immigration and the Militarization of the United States-Mexico Border.

View this page Hints: full screen. Skip to the next and previous photo by typing j/k or ←/→.

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On the Border With Photographer John Moore

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Getty Images photographer John Moore has won many photojournalism awards throughout his career, bringing a high level of skill, empathy, professionalism, perseverance, and an amazing eye for beauty and color to all of his work.

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Undocumented

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John Moore has been photographing immigrants and the hardship and heartbreak of crossing the U.S.-Mexico border for years - but this time, he said, something is different.

The Pulitzer Prize-winning photographer for Getty Images said the Trump administration's policy of separating children from their parents - part of its "zero tolerance" stance toward people who illegally cross into the U.S. - has changed everything about enforcement at the U.S.-Mexico border and resulted in a level of despair for immigrants that Americans can no longer ignore.

"It's a very different scene now," he said. "I'm almost positive these families last week had no idea they'd be separated from their children."

Moore's image last week of a 2-year-old Honduran girl crying as a U.S. Border Patrol agent patted down her mother has become a symbol of the human cost - and many critics say cruelty - of President Donald Trump's hard line on immigration. The crying girl has become the face of the family separation policy, which has been criticized by Democrats and Republicans alike.

"When the officer told the mother to put her child down for the body search, I could see this look in the little girl's eyes," Moore told TIME. "As soon as her feet touched the ground she began to scream."

Moore said the girl's mother had a weariness in her eyes as she was stopped by Border Patrol agents. The father of three said his years of experience did not inoculate him from feeling intense emotions as he watched agents allowed the mother to pick up her child and loaded them both into a van. But, he said, he knew he had to keep photographing the scene.

"This one was tough for me. As soon as it was over, they were put into a van. I had to stop and take deep breaths," he said. "All I wanted to do was pick her up. But I couldn't."

More than 2,000 children have been taken away from their parents since April, when Attorney General Jeff Sessions announced at "zero tolerance" policy that refers all cases of illegal entry at the border for prosecution. The Trump administration has said Border Patrol agents separate children from parents because children cannot be locked up for the crimes of their mothers and fathers.

Moore has followed immigrant families and enforcement efforts since 2014 and recently published a book of some of his most stirring photographs, Undocumented: Immigration and the Militarization of the United States-Mexico Border. He said despite the tough new policy, immigrants are not likely to lose the determination that drives them to make the dangerous journey to the United States.

"It's been very easy for Americans to ignore over the years the desperation that people have to have a better life," Moore said. "They often leave with their children with their shirts on their backs."

Footage released Monday of a detention facility where families arrested at the border and children taken from their parents are held echo a photo Moore took in 2014 of a Honduran child watching Casper in the same facility, alone except for a guard keeping watch. That photo, taken at the same detention center in McCallen, Texas where children are now being grouped inside cages, has stayed with Moore over the years.

While he is not sure if that boy was an unaccompanied minor or what happened to him, he said many of the other children at the facility were without their parents. "That picture is still haunting for me."

Most of the photos below come from Moore's 2018 book, published by powerHouse Books.
Correction (Posted June 19): The original version of this story misstated what happened to the girl in the photo after she was taken from the scene. The girl was not carried away screaming by U.S. Border Patrol agents; her mother picked her up and the two were taken away together.
More Must-Reads From TIME

Contact us at letters@time.com.

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How a Photographer at the U.S.-Mexico Border Made the Image America Could Not Ignore

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Getty Images photographer John Moore made a viral image of a 2-year-old girl being separated from her mother at the U.S.-Mexico border.

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Selection of adverts through the years

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Conor Harrington was born in 1980 in Cork, Ireland. He attended Limerick School of Art and Design and received in 2002 a Bachelor of Fine Arts.

His work draws a fine line between classical and contemporary art, and masterfully creates a world within those boundaries. The Irish-born Harrington, a former graffiti artist, not only still enjoys painting huge outdoor murals but consistently tackles new, inventive forms of art, often in a gallery setting.

Conor Harrington utilizes realistic images of people in his pieces, incorporating abstract elements to accompany his painted subject. His illustration of the human form is mesmerizing: he skillfully hones in on certain parts of the figure while obscuring others through the use of bold line work, superb shading and bursts of color within his creations. There is also a more subdued side to Conor Harrington's art, relying on a darker color palette to convey his intended message to his audience.

Ultimately, the ability to combine unconventional, contemporary techniques while focusing on the more historical human form allows his art to be more revolutionary in nature while retaining a sense of historical importance. An example of this is Harrington's use of male figurative aspects. He frequently depicts conflicts found in the modern male identity and its role in the "gender crisis."

Conor Harrington's works are unquestionably dreamlike, finding a striking balance between the ethereal senses and hard realism behind the dominant themes of today's society. In a sense, Harrington emphasizes the importance of realism in his work by the application of more modern elements, such as feature obfuscation, that bring this style of art to light. This even distribution of both techniques by Conor Harrington allows the viewer to get a sense of the importance of both methods in depicting what he is attempting to communicate with regards to each piece.

The juxtaposition of sharp lines alongside the softer image of the human form is another clever technique used by Conor Harrington to modernize what could be seen as a more classical image. His art is astute in the sense that it takes into consideration the imagery and works of previous classical artists to bring to light what is noteworthy in today's world.

Whether it be murals, paintings, or, as in the case of 2008's Weekend Warriors exhibition, the use of costumes and military re-enactment enthusiasts, the integration of the old and new is what makes Conor Harrington's work so memorable. He is always delicately, definitively tapping into both the historical and the often parallel modern themes of our society to deliver important commentary through his beautiful artworks.

Harrington has held solo and groups shows mostly in London, but also in New York. He has also painted numerous street pieces across the world such as in New York, Miami, Paris, London, Warsaw, Copenhagen, Aalborg, Mallorca, Sao Paulo, San Juan and the Bethlehem Wall.

Conor Harrington is currently based in East London, where he works primarily from his studio.

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Conor Harrington was born in 1980 in Cork, Ireland. He attended Limerick School of Art and Design and received in 2002 a Bachelor of Fine Arts. His work draws a fine line between classical and contemporary art, and masterfully creates a world within those boundaries.

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Article by Smitsonian

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On his way to becoming an international icon, the subversive and secretive street artist turned the art world upside-down

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Benetton

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The Benetton Group corporate website including a Group overview, Investor Relations, Media and Press, Sustainability, Governance and Work with us sections.

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The Benetton Group corporate website including a Group overview, Investor Relations, Media and Press, Sustainability, Governance and Work with us sections.

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Summary of Annie Leibovitz

Possessing a selective eye that can transition between pop stars, politicians, and royalty Annie Leibovitz has the ability to both critique and celebrate celebrity culture in equal measure, and has created some of the most controversial and popular images of the last 40 years. Inspired by the documentary tradition, but equally comfortable with theatrical staging, Leibovitz's photographs bridge commercial and fine art. She has documented countercultural figures and musicians for experimental publications since the late 1960s, and continued the creative artistic photographic legacy of established magazines such as Vanity Fair.

Accomplishments

Annie Leibovitz's is best known for her portraiture and her unique ability to exaggerate and enhance the characteristics of her subjects. Iconic figures spanning celebrity, creative, and intellectual circles have sought to work with Leibovitz in admiration of her interpretive perspective.

Leibovitz was an active participant in the creative communities she documented. Inserting herself in the scene and amongst the subjects she photographed resulted in close personal connections, sometimes at the risk of her own health and safety.

Leibovitz has a distinctive ability to capture the essence of a moment, to perceive details otherwise neglected that communicate an alternative vision of a scene, event, or person.

Leibovitz has shown in international museum exhibitions, and received numerous photographic awards, yet most of her work is accessible and was originally published in commercial venues. The blending of fine art and popular contexts lends her work a unique cultural cachet.

Biography of Annie Leibovitz

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Possessing a selective eye that can transition between pop stars, politicians, and royalty Annie Leibovitz has the ability to both critique and celebrate celebrity culture in equal measure, and has created some of the most controversial and popular images of the last 40 years.

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All Campaigns

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Learn more about Dove campaigns here and watch your favorite videos from Real Beauty Sketches to Choose Beautiful.

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#ShowUs a collaboration with Girlgaze

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70% of women don’t feel represented in media. We’re partnering with Getty Images & GirlGaze – and you, to create a new beauty definition

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#Women Get Told

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Skip to content

Blondes have more fun... Smile more... From an early age women are exposed to statements and clichés, masked as advice, that dictate how we should look if we want to be accepted.

We're showing the world that the only rules we live by are our own. Will you join us?

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Skip to content Blondes have more fun... Smile more... From an early age women are exposed to statements and clichés, masked as advice, that dictate how we should look if we want to be accepted. We're showing the world that the only rules we live by are our own.

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The Benetton Group corporate website including a Group overview, Investor Relations, Media and Press, Sustainability, Governance and Work with us sections.

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The Benetton Group corporate website including a Group overview, Investor Relations, Media and Press, Sustainability, Governance and Work with us sections.

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Article by Vogue

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As the provocative art director Oliviero Toscani returns to Benetton after a 17-year hiatus, Vogue looks back at the Italian photographer's most controversial advertising campaigns IN APRIL 2000 United Colors of Benetton fired its art director Oliviero Toscani over his advertising campaign about the death penalty, entitled "Looking Death in the Face". At the time, Rory Carroll of The Observer speculated that Toscani "almost certainly will never again reach a worldwide audience on the scale of his Benetton billboards" but last week it seemed that he had spoken a little prematurely. Toscani has joined Benetton once again, along with Luciano Benetton, the founder. For 18 years Toscani had been pushing the limits of advertising. With each campaign came a new round of backlash, censorship and, of course, a hefty amount of press. But this final campaign, released in January 2000 and depicting 26 death row inmates staring blankly into the camera behind the inauspicious stamp, SENTENCED TO DEATH, proved to be Toscani's undoing. Murder victims' families lobbied retailers and consumers, and sales consequently plummeted. Department stores dropped the brand; the state of Missouri filed a multi-million dollar lawsuit claiming that pictures of inmates had been taken under false pretences. It was the nail in the coffin for the Italian photographer and marked the end of the partnership between Toscani and the Benetton empire during which some of the most groundbreaking and experimental advertising of the late 20th century had been conceived. From AIDS victims to the bloodstained clothing of a dead soldier, interracial and homosexual relationships, non-white or LGBTQ+ people - Toscani shied away from nothing. It paid off both culturally and financially. Now, he's back, with a new campaign featuring 28 school children from four continents and 13 different countries, all of whom will "shape future society", according to Toscani. Although this partnership doesn't look to be as scandalous (read: exciting) as some of the brand's previous campaigns it still adheres to Toscani's stated principle that advertising should reflect the real world. As he has quipped in the past, "when we talked about AIDS it wasn't controversial, it was the reality". And with fashion in a moment of flux, forced to confront its demons and adapt to a increasingly vocal and diverse customer base, it could be prime time for Toscani to re-enter the conversation. Here, we take a look at some of Oliviero Toscani's most scandalous ad campaigns for United Colors of Benetton.

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As the provocative art director Oliviero Toscani returns to Benetton after a 17-year hiatus, Vogue looks back at the Italian photographer's most controversial advertising campaigns IN APRIL 2000 United Colors of Benetton fired its art director Oliviero Toscani over his advertising campaign about the death penalty, entitled "Looking Death in the Face".

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Article about

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LEGO's claim to fame goes well beyond its famous interlocking plastic bricks. Since its founding in 1932, LEGO has diversified into movies, video games, television shows, popular social media channels, and even major amusement parks. And despite how devastating the COVID-19 pandemic has been for many in the toy industries, LEGO's sales rose 14% in the first half of 2020 compared to the same period in 2019, with its operating profit rising 11% to $622 million.

Much of this success is due to the LEGO marketing strategy, which embraces digitalization and emphasizes knowing its customer base. By staying true to the brand identity it established in its inception and merging it with modern marketing techniques, LEGO has managed to keep at the forefront of the competition. In this article, we'll take a close look at the tactics and tools LEGO uses to market its products successfully, even during the current pandemic.

The history of LEGO

Founded by carpenter Ole Kirk Kristiansen, the LEGO Group remains a private, family-owned company based in Billund, Denmark. While Kristiansen originally produced wooden interlocking bricks, the company continued innovating and experimenting with new designs. Eventually, the traditional plastic LEGO brick was patented in 1958, offering a timeless design that endures to this day. Over the years, LEGO bricks have grown in popularity and have been named "Toy of the Century"-twice.

Although the LEGO brick remains their trademark product, the company expanded into new ways of making toys and marketing during the 20th century. LEGO designed its new playsets to appeal to both boys and girls and released more complex products to challenge older children. Realizing their customer base now included children and adults from older, nostalgic generations, LEGO adjusted its marketing to communicate with its audiences. Lego had even been able to engage its existing customers to influence new product development and nurture an entirely new consumer base.

In the 21st century, LEGO remains a thriving, highly adaptable company. Although its core brand-offering its customers a way to develop their imagination and creativity through free play-remains the same, it continues to innovate by researching and adapting the LEGO marketing strategy to new digital communications. This mix of time-honored ideals and cutting-edge marketing enables them to adjust to societal changes and grow even through challenging times.

Analyzing the retail LEGO marketing strategy

This growth is the result of six key factors in the overall LEGO marketing strategy. Thanks to the LEGO Group's willingness to enter new marketplaces, diversify its merchandise, and embrace social media marketing, their product lines are better suited to adapt in beneficial ways. At the same time, LEGO knows what marketing strategies to always continue, from its educational partnerships and parent-safe brand, and how to use this to develop better customer relationships.

Key marketing strategy #1: LEGO's phenomenal market entry strategy

LEGO products are in 130 countries-but the company is always looking to expand its operations. When LEGO set its sights on China, it entered the market by putting money into opening LEGO stores in major cities as well as cities that showed demand and interest for their products.

LEGO also studied the new market, not seeing a need to create any Asian-specific product lines as Chinese consumers already strongly valued the traditional LEGO creative play experience. On the other hand, they also acknowledged the advanced digitization in Chinese play that would require them to continue creating their own digital LEGO products.

This focused strategy paid off, as LEGO saw a 4% increase in profits and sales in 2018. As China continues to develop a very affluent middle-class numbering in the millions within the coming years, it represents a significant opportunity for LEGO and its market position.

Key marketing strategy #2: Licensing & merchandising mentality

Diversification is an essential part of the LEGO marketing strategy. Aside from its multiple toy sets, it has also branched out into multiple mediums to promote its brand.

The LEGO Movie franchise and The LEGO Batman Movie raised the profiles of its licensed properties while celebrating LEGO's philosophy of play. LEGOLAND theme parks have opened in Billund, California, Florida, Malaysia, Dubai, Windsor, Japan, and Germany. And, seeing the movement toward digitization, it produced video games based on its product line.

LEGO playsets also reflect the company's focus on regular innovation. After research revealed most of their consumers were boys, LEGO developed their LEGO Friends line aimed explicitly at relating to girls.

The company has also partnered with Disney, Marvel, and DC Comics to create its popular Star Wars and superhero-themed playsets-which are vital marketing tools since they generate publicity and drive higher sales.

As both young and old LEGO enthusiasts enjoy displaying their skills as master LEGO builders, LEGO Group became involved in official TV show competitions such as LEGO Masters to build further awareness of their brand.

Key marketing strategy #3: Social media/content marketing strategy

While LEGO is already a well-known brand, its popularity on Facebook, Instagram, and YouTube highlight the effectiveness of using social media channels to engage with customers. LEGO's Facebook page has well over 13 million followers and regularly updates the page with photos and videos of new LEGO releases and innovative creations. Their Instagram page offers similar content, and posts receive numerous likes and comments, showing excellent user engagement.

LEGO is also YouTube's most popular brand channel as of June 2020, with 10.04 billion views. Their channel offers promotional, educational, and how-to videos that promote the company's brand. Its popularity on social media has encouraged fans to create their own LEGO fan channels, such as " Beyond the Brick," a YouTube channel with over 821,000 subscribers who promote additional awareness of LEGO's brand independent of the company's marketing efforts.

Key marketing strategy #4: Integrated customer experience which generates endless UGC

LEGO uses its digital platform to provide each segment of its consumer audience with an integrated customer experience. LEGO Life, a social network app aimed at children under 13, lets users share photos of what they made with LEGOs and leave comments on other people's creations. The online community has over 10 million members, offering an effective way of increasing brand awareness by enabling younger audiences to engage through social media.

However, LEGO also has a sizeable adult consumer base who can join its LEGO Ideas online community and become part of its creative process. This community lets members share their LEGO creations' images and offer proposals for new LEGO Ideas sets that members vote on for the company to produce. In 2017, journalist Maia Weinstock's "Women of NASA" LEGO idea gained the necessary 10,000 votes from supporters, was produced, and became a top-selling product on Amazon.

To put it simply: Throughout the everyday life of an average kid raised in advanced countries of the world, its parents, its teachers, and its friends will encourage it to play with LEGO. Moreover, if someone looks at its surroundings and its (social) networks as well, there is a tremendous amount of LEGO-related user-generated content which also continuously "validates" that this toy is, maybe, one of the healthiest, most educative, and most beneficial addictions of its life. This is something that no other brand has ever achieved.

The levels of passive and organic customer engagement LEGO has reached are out of this world and surely a case study for any brand, in any industry.

Key marketing strategy #5: Strong partnerships with the education sector

LEGO has always promoted its plastic bricks as educational toys that empower children to become imaginative, engaged learners through play. This brand extends to the overall company, which has established strong partnerships with the education industry. In 2020, the LEGO Foundation committed $24 million in educational aid for schools, foundations, and educational programs in multiple countries.

LEGO's stand-alone education company, LEGO Education, has been offering schools educational products since 1986. Its website currently offers many LEGO-based building products specifically designed to help students build STEAM (Science, Technology, Engineering, Art, and Math) confidence in primary and middle school.

Other sections offer homeschool and distance learning resources for children learning during the pandemic. As LEGO's commitment to education is well respected, educators are far more likely to see the value in these products and online resources.

Key marketing strategy #6: Remains "parent-approved" at all costs

Although kids remain a key target audience for LEGO, the company also understands LEGO's marketing strategy needs to appeal to their parents, who are the ultimate purchase maker. By continuing to promote the educational value of their toys and market them as a way to nurture a child's interest in STEAM, LEGO ensures its products are " parent-approved." This approach incentivizes parents to keep buying, which's been key to the LEGO marketing strategy from the start.

Analyzing LEGO's eCommerce website

LEGO's main eCommerce website offers many outstanding features in its category, product, and checkout process pages. Here's our assessment for what we liked best-and what we didn't.

Analyzing LEGO's Category Page

What we liked:

Detailed mega drop-downs: Provided plenty of options for visitors to get to product pages by theme or interest.

Filter navigation useful: "Shop By" drop-down has options to search by age, price, popularity, or even product type, which would be useful when gift-shopping.

Mobile phone friendly: Drop-downs could be seen and used easily on smartphones and mobile devices.

What we didn't:

Ads crowd filter navigation: Promoted LEGO products continue to show up on the screen while using the filter function, making it challenging to separate desired from undesired items.

Analyzing LEGO's Product Page

What we liked:

Easy to navigate: Each page could be easily scanned simply by scrolling down.

Excellent ad copy: Very detailed descriptions of each playset, game, and toy. Copy also did not simply repeat boilerplate text from the Category Page.

Excellent product images: Customers get all the LEGO product images they need, including the box, figurines, and even display options. Images come with zoom views and 360 rotating views.

Product reviews: Multiple written reviews and ratings accompany most products, helping consumers get a sense of past customer satisfaction.

What we didn't:

Images harder to navigate through on mobile devices: Photos harder to zoom in and out of on a touchscreen. The zoom function also did not work when the computer screen was minimized.

Delivery charges not on the product page: Delivery charges are not included on the product pages. Currently, it only offers free shipping and express shipping.

Analyzing LEGO's Checkout Process

What we liked:

Guest checkout option: New customers can check out as guests without becoming members, a step that increases the risk of checkout abandonment.

Multiple payment options: Customers can pay with multiple credit cards or PayPal.

What we didn't:

Shipping costs hidden until after information is submitted: Customers need to submit their addresses before seeing the cost for express and express saver shipping.

Holiday delivery delay not specified: Customers are encouraged to order gifts early to avoid holiday delays, but LEGO does not specify how early gifts should be ordered for on-time Delivery.

How LEGO could have increased its online revenue by +1% with a single automation

Adding a benefit-driven exit-intent pop up on checkout.

Based on our platform's data, during 2020 we've seen that a benefit-driven exit-intent pop up on the checkout process had a median conversion rate of 1.47%. This percentage actually also represents the recovery rate of this tactic. During our tests, we didn't detect such a tactic at Lego's website. So, a brand like LEGO could further increase its revenue, on average, from this automation alone. But how big would the impact be?

Let's write the numbers down:

LEGO's revenue in 2019 was $531.2 million US dollars

During the pandemic the company's sales rose by +14%, resulting in ~605 million US dollars approx.

Even if LEGO achieved a recovery rate of 1% from the benefit-driven exit intent pop up strategy, this means that its additional turnover would be around 6 million US dollars.

Because we know it works. We've seen this tactic working for far smaller and less famous brands than LEGO. So, we strongly believe that a brand with so much content and such brand prestige as LEGO, will surely achieve an even higher conversion rate than 1.47%.

How to setup a benefit-driven Exit-Intent Pop up in ContactPigeon

Log in to your account

2. Go to "Onsite" widgets tab and click the "Dynamic pop ups" option

3. Select "Create new pop up"

4. Pick the ideal template or create your own

5. Define the appear triggers of your exit intent pop up
Tip: You can create different exit intent pop up for returning or new visitors
Tip #1: make sure you have ticked the third box "The visitor has added smth to basket"
Tip #2: You can even add advanced rules such as add filters from specific visited urls, or purchase behavior. To reveal the advanced rules section go to "Edit additional conditions"Tip: Make sure you preview the widget many times on multiple devices before activating your automations.
Tip #2: Remember to be as benefit-driven as possible in order to achieve better than the average CTRs and thus, conversion rates.

6. Set the trigger rules and the settings of the exit intent pop up(s)

7. Last Step! Configure the graphics, the copy and the rest settings of your exit intent pop up
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Impressive LEGO stats you may not know

With an 88-year history, LEGO has accumulated some very impressive statistics, including:

Seven LEGO sets are sold every second in some parts of the world. That calculates to more than 600,000 a day.

Every second, about 1300 LEGO pieces are made around the world.

The LEGO Group's logo was designed in 1973 and has not been changed since.

You can potentially combine six 2X4-inch LEGO bricks in over 915 million ways.

LEGO consumers spend nearly 5 billion hours per year on LEGO products.

There are more than 400 billion LEGO bricks in the world.

Play Hard, like LEGO

The success of the LEGO Group may seem like a phenomenon.

Still, the company continues to thrive after almost ninety years simply because of its willingness to innovate and acknowledge aspects of the LEGO marketing strategy that needed to change over the generations-and which investments needed to be kept stable to sustain a healthy marketing brand. Its well-thought-out assessments and its willingness to execute consistently enables this family-owned company to survive even today.

With the COVID-19 pandemic forcing businesses everywhere to re-evaluate their priorities and marketing strategies, it is more crucial than ever for company owners to be proactive in developing a well-conceived plan. This will not only let your business survive the current pandemic but also thrive for years to come.

Ready to make your business a thriving one? Then book a free retail customer engagement consultation with ContactPigeon. Our experts will help show how to use our platform to engage with customers today and adapt effectively to the new reality.

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LEGO: The Marketing Strategy Behind the Toy Industry Titan - ContactPigeon | Blog

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LEGO's achievements are out of this world and surely a case study for any brand, in any industry. Learn everything about LEGO's marketing strategy here.

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Liza Donnelly is a writer and award-winning cartoonist with The New Yorker Magazine, where she has been drawing cartoons and writing about culture and politics for forty years. She is also a contributor for and , creating political cartoons as well as live-drawing special cultural and political events. Donnelly writes and draws for The New York Times and CNN Opinion pages. She is a designated top writer and cartoonist for in politics and feminism where she writes and draws a regular column.

Donnelly delivered a very popular TED talk, which was translated into 38 languages and viewed over 1.4 million times. She is a return speaker at SXSW, has delivered talks at the United Nations in New York and Geneva, The New Yorker Festival, five TEDxes ( most recently in Charlottesville, Virginia), universities, NGOs and corporate venues in the US and abroad. Donnelly has been a Cultural Envoy for the US State Department, traveling around the world to speak about freedom of speech, cartoons and women's rights.

Donnelly is the creator of a new digital visual journalism called live drawing. For CBS News, CNN and The New Yorker, she covered the DNC in 2016, and the 2017 Inauguration, White House Press conference, political protest marches. According to NBC News, Donnelly is " a pioneer of on-the-fly sketching of live events" wherein she quickly cartoons people and events on her tablet and immediately tweets them out, sometimes with humorous and insightful commentary on the drawing or in the tweet.

In 2016, Donnelly was the first cartoonist to be granted access on location to live draw the Academy Awards and red carpet; she returns every year as the Oscar cartoonist. Both on location and remotely, she covered presidential debates, State of The Union, The Impeachment Trial, election returns, the Emmys, the Golden Globes, the Grammys, the BET Awards, the Tonys, the Olympics, World Cup, Superbowl, literary events, and more. Along with CBS News and The New Yorker, her clients include Fusion, The New York Times, BET, Medium, PBS, Narrative Magazine, ESPN, Stanford University, The Hindustan Times and others. Her innovative approach to reporting and commenting on events with live drawing has been covered in various publications and video profiles in Time, CBSNews.com, NBC News.com, Ad Week, USA Today, CNET, and People Magazine.

Donnelly was profiled on CBS Sunday Morning, MSNBC.com, NBC, has appeared on CBS This Morning, and has been interviewed on radio and in numerous magazines, newspapers and online. Donnelly's cartoons and commentary can be seen on various websites: The New Yorker, Politico, CNN, Huffington Post, Salon, Daily Beast, Fusion, Narrative Magazine. Her work has appeared in print, including The New York Times, Ms., Glamour, Cosmopolitan, The Nation, South Hampton Review, Jerusalem Post, Hindustan Times and The Harvard Business Review. Donnelly is the author/editor of seventeen books. Donnelly is a member of the international project Cartooning for Peace, helping to promote understanding through humor. Her work has been in numerous exhibitions globally, and she has curated exhibits of international cartoonists, here and abroad. Donnelly taught at Vassar College and the School of Visual Arts.

Currently a Distinguished Athena Fellow at Barnard College, Donnelly is a recipient of an honorary PhD from University of Connecticut and delivered the Graduate School Commencement address, was a Thurber Prize finalist (the award for written humor in the United States), and is a recipient of a Reuben Award, the Salon St. Just International Prize, France, the AAUW Women of Distinction Award, and the Forte Dei Marmi, Italy, Satire Award. Her cartoons are in the Library of Congress Prints Collection, The Museum of Illustration and in private collections, and her cartoons are collected in numerous books around the world. A member of PEN America, Donnelly is on the board of the American Association of Editorial Cartoonists.

She lives in New York with her husband, New Yorker cartoonist Michael Maslin.

For inquiries on speaking engagements, original art or assignments contact Liza at liza@lizadonnelly.com

"Donnelly's cartoons are the best kind of funny-sly, smart, and right on the money. [They] are great social commentary as well as great fun." Susan Orlean, 2010

"Liza often steps out from behind her drawing table to make this world not just a funnier place, but a better one too." Planet Green, 2010

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Liza Donnelly | About | New Yorker Cartoonist

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Liza Donnelly is a writer and award-winning cartoonist with The New Yorker Magazine , where she has been drawing cartoons and writing about culture and politics for forty years. She is also a contributor for and , creating political cartoons as well as live-drawing special cultural and political events.

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Editorial Cartoons

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Liza Donnelly | Editorial Cartoons | New Yorker Cartoonist

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New Yorker Cartoons

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Read more from Liza Donnelly on The New Yorker

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Get access to files anywhere through secure cloud storage and file backup for your photos, videos, files and more with Google Drive.

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NBC article

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Ever since Liza Donnelly was a small child, she always wanted to draw cartoons for The New Yorker. And in 1979, at the age of 24, her dream became reality.

Her mother, who encouraged her every step of the way, had been showing her cartoons from The New Yorker since she was a young girl, when she first learned to draw by tracing over others' artwork.

Donnelly - who's since written two books chronicling women cartoonists throughout history - recently spoke to Know Your Value about her rise to become only the fourth female cartoonist to work for the esteemed magazine at the time.

The artist honed her skills throughout high school in Washington, D.C., and went on to major in art at Earlham College, where she graduated with a bachelor's degree in 1977.

Immediately after graduating, Donnelly knew she had to move to New York City to pursue her dreams of supporting herself through her cartoons. She took additional classes in cartooning and captioning at the School of Visual Arts and Parsons School of Design.

These classes, she explained, taught how to submit her work to The New Yorker successfully. Going forward, every week Donnelly would draw a batch of five to seven cartoons with funny captions and drop them off personally at the magazine's offices. If the cartoons didn't get picked up, Donnelly never heard back. And it was months of hand-delivering batch after batch before she had one win.

"My first sale was in '79," she recalled. "There were only three other women drawing cartoons for the magazine at that time [out of 45 men]. I became the fourth."

While Donnelly has been open about being a feminist and featured many of her cartoons on an Instagram account dedicated to the topic, she was only aware of a few women on her industry who were doing similar work at other publications. Donnelly credited Lee Lorenz, who was the cartoon editor at the time, with broadening The New Yorker's voice by hiring more women.

"Once you open up the doors of what is considered the norm, you get different kinds of people - you get women," said Donnelly. "My work was quieter and not so typical, as was Roz Chast's, the person that came in right before me - her work was very different."

Now, the magazine has a female cartoon editor, Emma Allen, who Donnelly believes is responsible for bringing in many more women and people of color to contribute cartoons.

Donnelly became fascinated with the other women in her industry who were breaking down barriers and sharing their unique perspectives on current events. So passionate, in fact, that in 2005 she published a book called, " Funny Ladies: The New Yorker's Greatest Women Cartoonists And Their Cartoons," which profiled all of the women in the magazine's history. And when it came time to promote it, Donnelly decided she would set up her own book tour. "I was doing some talks around at universities and libraries, and I felt great because I was talking about other women," she said.

It was around this time that Pat Mitchell, the curator for TEDWomen, asked Donnelly to come speak on a panel about women in media. After speaking on that panel, Donnelly felt inspired and emboldened: she wanted to deliver her own TED Talk. While the idea was scary, Donnelly was certain she had something worth saying. She decided to find confidence in her own value. She reached out to Mitchell to ask if she could speak at the 2010 TEDWomen talks and successfully advocated for herself.

"I had no idea if I could do this, but I pitched myself and she gave me a chance," said Donnelly. "I knew it was like millions of people watching me, and I wasn't that nervous for some reason. The first time the crowd laughed, I just got addicted. It's so much fun to hear this much laughter at your cartoons that are printed huge behind you. And that was a life changer."

Her talk went viral and reached more than 1.4 million views. Donnelly felt that she found her purpose by using cartoons to help women share their viewpoints in every field.

Now she's releasing an update to "Funny Ladies" called, appropriately, "Very Funny Ladies," expected to come out in November. She's also written, edited and illustrated many other books.

Donnelly said that the feedback she's received from women has been one of the most rewarding parts of her life. "At least one woman said to me that I was a big influence, when they see that you're doing it then they feel like, 'Oh yeah, I could do that too,'" she said.

And that's her message to women - that they're capable of making even their craziest dreams come true - even, and perhaps especially, if the field is male-dominated.

"I just came into it wanting to be a cartoonist, I wouldn't take no for an answer, I just really had a strong feeling about that - I don't know where I got that from," said Donnelly. "I think being a child of the '60s made me feel that way - that I could do anything. And my parents made me feel that way. So you gotta just try to take a deep breath and stay true to what you believe and don't listen to the noise around you and don't listen to anybody tell you, you can't do it."

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How this cartoonist fought for her dream to draw for The New Yorker - and made it happen

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Ever since Liza Donnelly was a small child, she always wanted to draw cartoons for The New Yorker. And in 1979, at the age of 24, her dream became reality. Her mother, who encouraged her every step of the way, had been showing her cartoons from The New Yorker since she was a young girl, when she first learned to draw by tracing over others' artwork.

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TED Talk

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Liza Donnelly: Drawing on humor for change

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New Yorker cartoonist Liza Donnelly shares a portfolio of her wise and funny cartoons about modern life -- and talks about how humor can empower women to change the rules.

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Annie Leibovitz is one of the most influential photographers of our time and without doubt, the most famous photographer working today.

For over five decades, her culture-defining images and distinctive portraits have appeared on the covers of Rolling Stone, Vanity Fair, and Vogue among others, documenting modern society's preoccupation with celebrity and appearance.

Leibovitz is best known for her controlling eye, storybook style, and skill at coaxing unexpected behavior from her famous subjects.

Her body of work is beyond impressive: the photo of John Lennon curled up naked next to a clothed Yoko taken hours before his death; a roped up Clint Eastwood; Demi Moore pregnant and Demi Moore painted; Whoopi Goldberg in a tub of milk and Miley Cyrus topless.

When asked how she sees her job as a photographer she responded with:

To see people as they are, as they imagine themselves, as they wish to be. To be witness, the friend, the judge, the accomplice. To record their moment.
Annie Leibovitz

Fifty years after she first walked into Rolling Stone magazines San Francisco office with a modest stash of black and white pictures under her arm, Annie Leibovitz remains the standard against which other editorial and portrait photographers are judged.

Related: 80 Annie Leibovitz Quotes on Photography

Annie Leibovitz Biography

Name: Anna-Lou Leibovitz
Nationality: American
Genre: Portrait, Editorial, Fashion, Advertising, Photojournalism
Born: 2 October 1949 (Westport, Connecticut)

Early Life

Annie Leibovitz was born in 1949 in Waterbury, Connecticut. Her father was a career Air Force officer, while her mother was a professional dancer.

Due to her father's profession, Leibovitz spent her childhood and youth in different states of the USA moving from one base to another.

In the fall of 1967, Leibovitz began her studies as a painting major at San Francisco Art Institute.

During the summer after her freshman year, Annie joined her parents at Clark Air Force Base in the Philippines, where her father was stationed. Her mother had the opportunity to visit Japan and took Annie with her.

On the trip, Leibovitz purchased her first real camera, a Minolta SRT101.

The first thing she did was take it on the climb up Mt. Fuji.

Climbing Mt. Fuji is a lesson in determination and moderation. It would be fair to ask if I took the moderation part to heart. But it certainly was a lesson in respecting your camera. If I was going to live with this thing, I was going to have to think about what that meant. There were not going to be any pictures without it.
Annie Leibovitz

That summer she continued to experiment with her new camera, and took photos around base, developing the film in the base's hobby shop.

Learning Photography

When Leibovitz returned to San Francisco she signed up for a night photography class. The following summer she took a photography workshop and that's when she decided that photography is what she wanted to do.

Photography suited me. I was a young and unformed person and I was impatient. Photography seemed like a faster medium than painting. Painting was isolating. Photography took me outside and helped socialize me. I felt at homes in the rooms where the photography students worked. There was a lot of angry abstract expressionists in the painting studios. I wasn't ready for abstraction. I wanted reality.
Annie Leibovitz

Leibovitz's earliest role models among prominent photographers were Henri Cartier-Bresson, Robert Frank, and Jacques Henri Lartigue.

We were taught that the most important thing a young photographer can do is learn how to see. It wasn't about equipment we were using. I don't remember being taught any technique. A camera was only a box that recorded an image. We learned to compose, to frame, to fill the negative, to fit everything we saw into the cameras rectangle. We were never to crop our pictures.
Annie Leibovitz

In the fall of 1969, Leibovitz took her camera with her on a trip to Israel, where she worked on a farm and studied Hebrew.

She returned to San Francisco at the beginning of the year and began printing her Israel pictures in the school darkroom and going out every morning to take more pictures.

One of her photos from an anti-war demonstration was used for the cover of a magazine devoted to campus riots and protests.

It was the beginning of my career. Seeing that image on the news-stand is a moment that will stay with me forever.
Annie Leibovitz

Rolling Stone Magazine

That year, she submitted her portfolio, which included a portrait of poet Allen Ginsberg to the art director of the newly launched Rolling Stone magazine, Robert Ingsbury, and scored her first success.

Jann Wenner, who was the publisher of the magazine, took Leibovitz with him to New York, where the young photographer took pictures during an interview with John Lennon.

One month later, Leibovitz's Lennon portraits were published on the cover of Rolling Stone.

..."Rolling Stone" started giving me assignments right away, which made me worry about having crossed over to the other side. I was selling pictures. The photographers I admired were not photographers who worked for magazines on assignment, but people who chose what they did from the inside - or so it seemed at the time. And I wondered if I was betraying something. And then I found out about what it meant to be published, especially what it was to have a photograph on the cover of a magazine, which is what happened a couple of months later.

I can never forget the sensation of being at a news-stand and seeing for the first time my photograph transformed into the "Rolling Stone" cover. It was a lot different from having a photograph floating around in the wash, or pinned on a bulletin board at school.
Annie Leibovitz

Leibovitz became the chief photographer of Rolling Stone in 1973, at the age of 23 and by 1974, had photographed most of the rock artists and many of the major political figures of the time.

Working with Writers

She collaborated with writers including Tim Cahill, Hunter Thompson and Tom Wolfe, taking photographs as they gathered story material. Her initial work consisted of candid shots taken while following subjects.

Writers, particularly writers with newspaper backgrounds, are used to working with photographers who come along with them to illustrate their stories. But a photographer may see different things than the writer does. I don't think it matters whether the photos don't match in a literal way what the writer brings back. The story might be better - fuller - with different points of view. If it's a good story than the photographer and writer won't be that far apart.
Annie Leibovitz

Touring with the Rolling Stones

In 1972, Leibovitz first covered the Rolling Stones for three dates on their tour of America - she also had an opportunity to watch Robert Frank work, who was making a film about the band at the time.

Three years later, Leibovitz received a call from Mick Jagger asking her whether she wanted to serve as the band's official photographer for their 1975 tour.

I went to Jann and told him that I wanted to go on the Rolling Stones tour. He said he couldn't guarantee that there would be a job for me when I came back, but I thought it was too good an opportunity to miss. Robert Frank had photographed the Rolling Stones and now it was my turn.
Annie Leibovitz

While on tour Leibovitz photographed the band on stage and behind the scenes, capturing life on the road and the isolation and loneliness that follows. With the rock and roll photographs also came a rock and roll lifestyle and Leibovitz ended the tour with a crippling drug addiction.

At the time, I thought the way to get the best work was to become a chameleon. To become so much a part of what was going on that no one would notice you were there. Of course, it was unbelievably stupid of me to pick that situation to become part of. I did everything you're supposed to do when you go on tour with the Rolling Stones. It was the first time in my life that something took me over.
Annie Leibovitz

The Famous John Lennon Cover

Following the tour, Leibovitz returned to Rolling Stone magazine and continued her role as chief photographer.

Leibovitz's best-known image from her Rolling Stone period is that of John Lennon embraced by the fully clothed Yoko Ono, taken on the day of Lennon's murder - the Polaroid was taken just a few hours before the former Beatle was murdered by a deranged fan.

I thought about how people curl up together in bed, and I asked them to pose nude in an embrace. They had never been embarrassed about taking their clothes off. There was frontal nudity on the cover of Two Virgins, the first record they did together. They were artists, John had no problem with my idea, but Yoko said she didn't want to take her pants off for some reason. So I said, "Oh, leave everything on." I made a Polaroid of them lying together and John looked at it and said, "You've captured our relationship exactly."
Annie Leibovitz

The picture looks like the last kiss now. Jann decided to publish it on the cover with no type on it except for the Rolling Stone logo.
Annie Leibovitz

Set Up Portrait Photos

While with Rolling Stone, Leibovitz developed her trademark set up portrait technique.

The 1979 Bette Midler cover photo is a perfect example of a Leibovitz set up portrait. The idea of Midler laying on a bed of roses was inspired by the film The Rose which Midler starred in as a the lead character, Rose.

If I were preparing to photograph a dancer, I would watch them dance. I would listen to the musician's record. Somewhere in the raw material was a nucleus of what the picture would become. It didn't have to be a big idea. It could be simple. There's a case to be made that the simpler the better.
Annie Leibovitz

By the time Leibovitz left Rolling Stone in 1983, she had shot 142 covers for the magazine.

Moving to Vanity Fair

That same year, Leibovitz joined the newly re-launched Vanity Fair as a staff photographer. In 1998 she also began working regularly for Vogue.

One of the reasons that I went to Vanity Fair was that I knew I would have a broader range of subjects - writers, dancers, artists, and musicians of all kinds. And I wanted to learn about glamour.
I admire the work of photographers like Beaton, Penn, and Avedon, as much as I respected grittier photographers such as Robert Frank. But in the same way that I'd had to find my own way of reportage, I had to find my own form of glamour. Annie Leibovitz

With a wider choice of subjects, Leibovitz's photographs for the magazine ranged from presidents to movie stars to literary icons and world-class athletes.

Leibovitz's shoots also became known for over-the-top budgets, with Hollywood film production levels. Her locations often looked more like a film set than a photoshoot.

Advertising and Return to Photojournalism

In addition to her magazine editorial work, Leibovitz has created several award-winning advertising campaigns for the likes of American Express (1987) and Gap (1988).

In 1991, a collection of more than 200 of Leibovitz's photographs was exhibited at the National Portrait Gallery in Washington. She was the first woman to be so honored.

Leibovitz's mid-career work also saw a brief return to her early role as a photojournalist.

In 1986, she was worked with FIFA to design and shoot the poster campaign for the World Cup in Mexico, and in 1994, she documented the aftermath of the sieges of Sarajevo, Bosnia.

Leibovitz was commissioned by the Olympic Games Committee to take portraits of participating athletes leading up to the games in 1996. This assignment yielded both a book, Olympic Portraits and a traveling exhibition.

Leibovitz has also collaborated with many art organizations, including American Ballet Theatre, the Mark Morris Dance Group, the Brooklyn Academy of Music, and Mikhail Baryshnikov.

The New Millennium

In 2003, Leibovitz's partner of 15-years, Susan Sontag was diagnosed with leukemia, which ultimately led to her death at the end of 2004. Just weeks later, Leibovitz's father passed away.

Queensgate

In 2007, BBC caused mayhem when they misrepresented the portrait session that Leibovitz had held with Queen Elizabeth. The edited footage was made to look as though she had offended the Queen.

The controversy arose about two months after the pictures were published when the BBC claimed that the Queen had walked out while we were shooting. This was completely untrue, and although they retracted the claim and issued an apology to the Queen and to me almost immediately, the scandal had a life of its own. The story, which came to be referred to as "Queensgate", wouldn't die. Eventually, the head of the BBC resigned because of it.
Annie Leibovitz

Working with Disney

Also in 2007, Leibovitz was hired by Disney to produce images for their "Year of a Million Dreams" ad campaign. For the series, Leibovitz took photographs of several celebrities playing characters from classic Disney films - these include Kiera Knightly as Dorothy from the Wizard of Oz, Scarlett Johansson as Cinderella andRoger Federer as King Arthur. The resulting images are some of Leibovitz's best work.

Leibovitz Today

Leibovitz is as busy as ever and continues to be in demand, working on projects that range from the 2014 Marks & Spencer campaign to the iconic Pirelli calendar in 2016.

To date, Leibovitz has published nine books: Annie Leibovitz: Photographs (1983), Photographs: Annie Leibovitz 1970-1990 (1991), Olympic Portraits (1996), Women (1999), American Music (2003), A Photographer's Life: 1990-2005 (2006), Annie Leibovitz at Work (2008), Pilgrimage (2011), and Annie Leibovitz ( 2014).

She has been the recipient of a number of awards for her work including Photographer of the Year of the American Society of Magazine Photographers in 1984.

In 1991, she was decorated as a Commandeur in the Ordre des Arts et des Lettres by the minister of culture in France for her contribution to Arts.

In 2009 she received The Royal Photographic Society's Centenary Medal in recognition of her contribution to the art of photography.

The New York-based Contact Press Images have looked after her archive and licensing since 1977.

Leibovitz lives in New York with her three children: Sarah, Susan, and Samuelle.

Leibovitz's Photography Style

Set up portraiture

Storytelling, narrative

Painterly quality

Composite images, subjects posed

Soft lighting, Rembrandt like

It's difficult to define Leibovitz's style of photography because she continually adapts her style to reflect the times and the demands of her clients.

Leibovitz today considers herself more of a visual artist who uses the camera as a tool for creating her narrative-driven images.

Her photos have helped popularize a storybook photographic style that playfully mimics reality rather than directly reflecting it - representation by way of fantasy and canny exaggeration.

Leibovitz doesn't shy away from her use of Photoshop to create some of her famous pictures. She even photographed the Queen against a grey backdrop and added a separate image of the palace gardens in post.

I think it's kept my career going for the last ten years, actually. It used to be, oh, you can't tell what's real and what's not anymore. It's not true. We're not stupid. We look at something, we know, oh, that's ridiculous, we know that's not real. I've always believed in the intelligence of us as people. So we know when something - it will go in cycles. It will be like everything looks crazy and cuckoo, and then people will be sick of that and want it to be real again. And it will be real again. But that's how we entertain ourselves.
Annie Leibovitz

How to Shoot like Leibovitz

To understand how Annie Leibovitz's iconic images are made, then we recommend purchasing her brilliant book, Annie Leibovitz at Work which provides an invaluable insight into her working practice.

The book also features a section dedicated to answering her most-asked questions, such as: 'what's your favorite photograph?' and 'how much direction do you give?'

Below we've listed just a few of our favorite Leibovitz excerpts from the book to get you started:

3 Leibovitz Tips for Better Photography

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Preparation and Planning

When it comes to preparation, Leibovitz is very meticulous and usually consults with clients or subjects many weeks (sometimes months) before the date of the shoot. Below Leibovitz explains where she gets her ideas from:

I do my homework. When I was preparing to photograph Carla Bruni, the wife of Nicolas Sarkozy, the president of France, in the Elysee Palace, I looked at pictures of the palace. I looked at pictures of other people who had lived in the palace. Pictures of couples in love. Pictures that other photographers had taken of Bruni. She had been photographed many times before. I thought Helmut Newton had seen something in her that other photographers hadn't. I knew she was a popular musician and I listened to her music.

Of course, I carry around with me, like a backup hard drive in my head, a vast memory bank of the work of the photographers who came before me. I'm a fan of photography. A student, if you will. I collect photography books. Something in the history of photography might contribute to the style I choose to shoot in. The style of the photograph is part of the idea.
Annie Leibovitz

Working with Subjects

By the time the shoot comes round, Leibovitz has already built a rapport with her subjects and put together a concept and often storyboards.

The below excerpt details how she persuades her subjects into the desired, frequently fun and humorous poses:

I've never asked anyone to do something which doesn't seem right to them. And I don't ask them to do something for no reason. There's always some thought behind my pictures. I throw out several ideas and see what they want to do. When I photographed the performance artisy Rachel Rosenthal, for instance, I gave her three or four ideas. The last one was about being buried in the sand in the desert. That's the one she got excited about. I always ask a subject if they have ideas.

Related Article: 150+ Portrait Photography Quotes

It's a collaboration. Especially if you're working with an entertainer, an actor or a comedian. I never make people do anything. But I'm a photographer. It's a photo session. A lot of it is play. Painting the blue brothers blue, for instance. Or giving a subject a role, a fantasy, to act out. I'm interested in getting something unpredictable, something you don't normally see. Even so, when the picture starts to happen, it's often a surprise.
Annie Leibovitz

The Day of the Photoshoot

Leibovitz gives a lot of direction to her subjects leading up to the day of the shoot, especially when doing set-up portraits or cover-shoots.

By the time the subject arrives on location, they've worked out what they can do. Lights, fans and props have been moved and moved again ad everybody is ready to get down to business. Leibobitz also stresses the importance of being adaptable and responding to happy accidents.

You set the stage for them. Once they are there, they like to have some direction. They like to be at least told they're doing all right. I forget that from time to time. A lot of my work is post-decisive moment. It's studied. A kind of performance art. It would be nice to be more spontaneous, but circumstances don't always allow that. Nevertheless, as prepared as you are for one thing, you hope that something else will happen too.

As much as I love pictures that have been set-up, and as important as those pictures are to me, I'd rather photograph something that occurs on its own. The tension between those two kind of photographs is at the heart of what I do. It's not a conflict, but sometimes it's useful to remember that things are happening in front of you and you don't have to complicate the situation. You can take what's given to you. You just need your mind and your eye.
Annie Leibovitz

What Camera Does Annie Leibovitz Use?

Leibovitz's first camera was a Minolta SRT-101, which she replaced in the early '70s with a Nikon F. On her early assignments she would carry three camera bodies along with the following lenses: 35mm, 55mm and 105mm.

In the mid-80s she started using a Mamiya RZ67 medium-format camera - this became her principal camera until she made the switch to digital in 2003.

Leibovitz continued to use Nikon 35mm cameras for candid shots and her photojournalism work throughout the '80's and '90's. She also experimented with a Leica M6 for personal work in the '90s.

Around 2003, Leibovitz made the switch to digital and hasn't looked back.

I believe you are better able to capture what you really see in color with digital. There's a distinctive intensity in a digital file. Digital gives a more honest view of how things actually look, and with the advent of all these possibilities, I still want the pictures to look real. Whatever camera helps me do that is the camera I'm going to use. I'm not nostalgic about cameras.
Annie Leibovitz

Leibovitz first used the Canon 5D and 1DX series digital cameras. She now primarily uses a Hasselblad with a phase-one digital back and occasionally a Mamiya RZ Pro. She has also used various 35mm digital cameras: Nikon, Sony, Leica, and Canon. As of 2018, Leibovitz was shooting a Nikon D810.

When I talk about what the camera means to me, I mean the idea of the camera. What photography does. I'm not in to it because of the equipment, and I'm not concerned with the things that concern more technically acute people. I want to use whatever helps me take a picture in all kinds of light with faster speed and fewer problems. I changed my 35mm digital camera four times in one year. As soon as I hear there's a better one out, I try it.
Annie Leibovitz

Leibovitz's Favorite Focal Length

Leibovitz preferred field of view is 35mm, which allows for the inclusion of contextual and conceptual details.

My lens of choice was always the 35 mm. It was more environmental. You can't come in closer with the 35 mm.

For portraits, she has said she likes to use the 55mm (which is the first lens she owned) and 140mm on the Mamiya (the equivalent of 70mm in 35mm photography). She has called the Sekor 140mm F4.5 L/A Macro her favorite lens to use.

I enjoyed the sense of spontaneity I got from the 35mm digital camera, but after a while I missed the formality of the Mamiya 140mm lens. It's a beautiful lens that I used to to take some of my favorite pictures. It is a long lens but you can make it feel a little wide if you want to. It's similar to the 55mm on the Minolta. It is a graceful portrait lens.
Annie Leibovitz

Other Annie Leibovitz Resources

Recommended Annie Leibovitz Books
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Annie Leibovitz Videos

Annie Leibovitz: Life Through a Lens (2006)

The South Bank Show: Annie Leibovitz (1993)

The Making of the Pirelli Calendar (2016)

Charlie Rose Interview (1999)

View our Annie Leibovitz playlist on YouTube for the Leibovitz behind the scenes videos.

Annie Leibovitz Photos

Fact Check

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Recommended Reading
Annie Leibovitz on Nine Assignments that Shaped Her Career
Life is pretty strange anyway: Annie Leibovitz, Fototapeta
Talking Pictures with Annie Leibovitz, The Independent, 1994
That Old Master? It's at the Pawn Shop, New York Times, 2009
Annie Leibovitz on Nine Assignments that Shaped Her Career, Racked, 2014
The Queen gave me career advice, The Telegraph, 2014
Jann Wenner, John Lennon, and the Greatest Rolling Stone Cover Ever, Vanity Fair, 2017
9 Smart Moves Annie Leibovitz uses to shoot great pictures, Phaidon, November 2018
Annie Leibovitz on the shots that made her, The Guardian, 2019 Annie Leibovitz at Work, Phaidon Press, 2018
A Photographer's Life: 1990-2005, Penguin/Random House, 2010
Annie Leibovitz. The Early Years, 1970-1983, Taschen, 2018 Once upon a time in Vogue
Annie Leibovitz on the shots that made her
Sources

The South Bank Show: Annie Leibovitz, 1993
Charlie Rose Interview, PBS, 1999
Annie Leibovitz: Life Through a Lens, 2006
Leibovitz lecture at John F. Kennedy Presidential Library, November 2011
Charlie Rose Interview with Annie Leibovitz, PBS, November 2, 2017

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Annie Leibovitz: Life Behind the Lens - Photogpedia

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Annie Leibovitz is one of the most influential photographers of our time and without doubt, the most famous photographer working today. For over five decades, her culture-defining images and distinctive portraits have appeared on the covers of Rolling Stone, Vanity Fair, and Vogue among others, documenting modern society's preoccupation with celebrity and appearance.

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The Story of Us & Them

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Conor Harrington - the Storyof Us and Them

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When Donald Glover set out to make "This Is America," he knew it would be easy to fail. "There was a lot of room for it to be bad," Glover told me when I got him on the phone recently. "Like: really, really bad. Like preachy bad. Over-reaching bad. Pretentious, racist-in-a-different-way bad."

When the four-minute music video/mini-polemic that featured his alter ego, Childish Gambino, hit the Internet back in May, it wasn't any of those things. Instead, its allusions to the Charleston church massacre, to Jim Crow-era minstrel shows, and to police brutality seemed a perfect crystallization of our national mood-a grim snapshot of where we are now. But Glover still believes his performance, which has been viewed 435 million times on YouTube, would have fallen short if not for the person I'd called to ask him about: his longtime collaborator, the Tokyo-born, Los Angeles-raised director Hiro Murai.

"You fall into a bad place when you try to preach and be a translator to people," Glover said, explaining that Murai-whom he calls a master of restraint-evokes instead of explicates. "I don't think Hiro believes in translating. He believes the audience has integrity at the end of the day. He believes in a world where we're supposed to make something brand new. And that's where the magic lays."

Magic comes up a lot when people talk about Murai. Partly that's because his body of work-mostly music videos and TV episodes, and maybe someday soon a feature film-is often defiantly surreal. Murai, who is 35, has helmed the most talked-about episodes of Glover's television series Atlanta, whose depiction of the struggling rapper Paper Boi, his cousin-manager Earn, and their friend Darius, has changed the definition of what a half-hour comedy series can be. The show is unpredictable, less tethered to plot than to what it feels like to be young and striving in a city like Atlanta. Its characters live on the outskirts, symbolically if not literally, and Murai's sensibility meshes well with the sense of happenstance and powerlessness that dominates their lives.

The show unfolds according to its own set of rules. Remember the episode in which a celebrity sped by in an invisible car? Or the one that featured a black Justin Bieber? Or the one in which Earn's Uncle Willy keeps an enormous alligator in his house as a pet? Remember how these things were presented without explanation-as unsurprising, even mundane? Murai directed all those episodes, and also the one called "Teddy Perkins," which got him nominated for an Emmy this year.

Bill Hader, who sought out Murai last year to direct a couple episodes of his dark HBO comedy, Barry, told me he especially loved the "Teddy Perkins" episode, in which Darius (Lakeith Stanfield) picks up a piano at the mansion of an aging, reclusive celebrity (Teddy, played by Glover in whiteface). There are echoes of the late Michael Jackson in Glover's unctuous, menacing portrayal, which was achieved with the help of prosthetics and a bob-cut wig. The episode's dimly lit, claustrophobic visuals have foreboding to spare.

"I watched it before we started our first day of shooting on Barry, just to be inspired," said Hader, who wanted his show-about a midwestern hitman who yearns to make it as a Hollywood actor-to have its own edginess. "Teddy Perkins" struck him then, as it does now, as a masterpiece. "It was like the band was playing 'Sergeant Pepper' or something," Hader said. "It was one of the best things I'd ever seen in my life. It was just like, 'Let's aspire to this.'" So awestruck was Hader, he admitted, that it became difficult at times not to be self-conscious around Murai. "What do you say to your friend after that?" he asked. "It's like Hiro just flew. Like: 'Yeah, so you can fly now, huh? You're like a different species of creature.'"

Hiro Murai Breaks Down His Most Iconic Music Videos

Good directors are deciders. They can't hesitate. They must evaluate options and choose among them with speed. Given those prerequisites, it should come as no surprise that many people who succeed at directing are also arrogant, bossy, even domineering. To spend five minutes with Hiro Murai is to see that he is none of those things. Hader is right: He is a different species of creature.

We met for the first time about 30 hours before the Emmys, and Murai-whose black Levi's, striped pullover, and worn white Nikes signaled more art-history grad student than Hollywood A-lister-told me all the pomp surrounding the awards show and his nomination was "very, very strange." What quickly became clear, though, is that to him, "strange" isn't a bad word. When he was 9, his parents moved from Japan to Los Angeles. The result, he said, is that he has always felt like an outsider-a stranger. "Most of the time," he told me, "I'm a little bewildered or sort of feel out of place. Just, even, today."

As a child, wandering around his adopted city with an electronic Japanese-to-English dictionary, Murai didn't know how to process the cultural products he was seeing for the first time. He learned English by watching The Simpsons and Looney Tunes, which he loved because "cartoons felt reality-adjacent." Bingeing on them, he said, "was like an easier way to learn about the culture than just being dropped into it." He was brand-new to schlock. It was the early '90s, and Hulk Hogan posters were seemingly everywhere, but he had no context for them. "I didn't understand what wrestling was, culturally, and why this middle-aged guy with a headband was a movie star," he said. "You know, when you're that age, you kind of roll with it. You're like, 'Yeah, this is America.' It took me so long to realize that L.A. was a very specific place and that I was seeing just a weird corner of popular culture."

In high school, Murai became obsessed with movies. The Japanese director Takeshi Kitano-he made "very stoic, dry, deadpan sort of existential comedies; at least I think they were comedies"-became a touchstone. As fellow film-nerd friends embraced filmmakers like Akiro Kurosawa, the country he'd left behind began to figure more prominently in his thinking. "It felt like something I could sort of claim, identity-wise. A lot of my personality and my affinity for certain pieces of pop culture and art all stem from a sort of Japanese aesthetic and way of thinking," he said. "More so that I thought."

Murai went to U.S.C. film school and was working on music videos for big-name bands even before he graduated in 2006. It wasn't as hard as you might think to land these gigs. The minimal budgets that music videos commanded made it necessary to tap students or recent graduates to get them done, and friends recruited him to help. Later, to pay the bills, he was a storyboard artist and sketched concept art for an ABC reality show called Wipeout, which involved contestants running through obstacle courses, doing face-plants, and being whacked by big red balls. "Drawing a guy falling into a pile of mud is probably not filmmaking," he admitted, but a guy needs to eat. Meanwhile, his work with musicians was getting noticed. Often, he aimed the camera at objects or animals, not at the artists themselves. That frog in Earl Sweatshirt's 2013 "Chum" video, for example, was Murai's idea.

"There was something about the way Earl rapped, especially back then, the felt kind of dazed and detached, with a mumbly, drawn-out cadence that felt sort of non-human," Murai explained. "The frog sort of personified that for me." (Murai still has the frog, which he kept as a pet; he named it FDR, for Frog Delano Roosevelt.)

In 2013, Murai created a video that played during the Grammys behind Frank Ocean's performance of his song "Forrest Gump." Glover saw it-it featured Ocean running down the center of a two-lane highway-and sought out Murai. They met up at the Soho House in L.A., which still makes Murai laugh because it is so unlike either of them to hang out at a members-only club. Shortly thereafter, Glover e-mailed Murai an idea for a short film. It would be filmed at the house of NBA power forward Chris Bosh, where Glover was staying while recording an album, and it would try to depict the listlessness of holing up in a mansion with your buddies to make beats.

When Glover invited Murai to Bosh's place to look around, the actor-writer-rapper-stand-up-comedian half expected the director to balk. "We weren't living in the house right," Glover said. "Like, people were sleeping on the pool table. It was like a vagabond circus-a very weird space, kind of like Lost Boys. And Hiro came in and it didn't feel like he batted as much as an eyelash."

Murai remembers feeling immediately in sync with Glover. "It just felt like we were aiming at the same thing," he said. "Donald was sort of intentionally doing things the wrong way, in a different way, and trying to make stuff that was the opposite of what people were expecting of him." Murai describes himself as a contrarian: If he ever made a film musical, for example, "it would probably be a kind of curmudgeonly musical," he said. So Glover's approach to his art-"there's something sort of punk rock and fun about it," Murai said-was intriguing.

The result of this first collaboration was a 24-minute film called Clapping for the Wrong Reasons. Almost completely plot-free, the film-which follows Glover as he wanders aimlessly from room to room-is an extended meditation on alienation. (People still argue about the meaning of a scene in which Glover pulls on a string he finds in one nostril, only to discover a gold tooth tied to the other end. It was Murai's idea.) Glover released Clapping on YouTube in August 2013, as a prelude to his second studio album, Because the Internet. But Murai has said that the film also contains the DNA that soon would find triumphant expression on Atlanta, which Glover set up at FX not long afterward. Glover insisted on hiring a young, all-black writing staff and the untested Murai to direct most of the episodes.

Murai is fascinated by the workings of the subconscious-for years he hosted "doodle parties," which involved lots of wine, big sheets of paper, and Magic Markers that he urged friends to wield however they saw fit. He loved seeing what was revealed, he told me, when there was "no intent, no promise for what it needs to be." Sometimes, the result was "really weird, dark shit"-and, he admitted, a lot of scribbled portraits of male anatomy. Looking at doodles, he said, felt like peering into someone's diary.

Murai told me those doodle parties are something of a metaphor for what Atlanta seeks to achieve. The show unspools slowly, focusing on little moments. Its tone mimics the absurd, random feeling of dreaming. Similarly, Murai said, a doodle "just is an amorphous thing that sort of naturally happens. And that's the stuff we're always looking for in the show and in everything we make: putting ourselves in a situation where we can thoughtlessly doodle and then make something that feels honest to that moment."

One of the reasons Murai wanted to move on from music videos, he said, is that generally their goal is to make the artist look as good as possible for three minutes straight. "I think that's a totally fine priority," he said, "but the thing that's interesting to me about filmmaking is all the other stuff-the pockets of ambiguity." Atlanta, he said, "is so much about outsiders who are thrown into these situations and confrontations that kind of leave a weird feeling in your chest. Especially the passive, latent racism which we deal with a lot."

How that all comes together on set is not always predictable and is rarely planned out in advance. To some extent, working on Atlanta -which has been renewed for a third season-is "a game of 'How Do We Paint Ourselves into a Corner?' And then: 'How Do We Get Out of It?'" Murai said. Collaborating with Glover, he continued, "I just sort of know that while we're lobbing it around, it will become something, which is not a relationship I have with a lot of people."

Glover feels the same. There are times when it feels like Murai, whom he calls "a very playful soul," is reading his mind. "I think we both have our own issues with being alone, or just feeling like an alien at some level," Glover said. Part of that is that they share visceral memories of the simultaneous wonder and terror of being a kid. "When I was a child," Glover continued, "you could tell me, 'On this day the sun rises twice,' and I'd believe you, because I've only been around six or seven years, and so anything is possible. That's a beautiful thing, and it can be magic, but it can also be really scary. And I think Hiro never really forgot that. He always seems vulnerable in that way, which is hard to find. A lot of people are trying to be too cool."

Murai has a metaphor he uses to describe what a director does. "It's like you're on a stepladder," he said, "with your head sticking up through a hole, looking into an attic. And you're seeing something that nobody else can see. And it's your job to tell the 80 people on the level below you how to re-create it." Murai said that attic view gives him a general vision for how he wants the cinematographer, the actors, and everyone else to use their talents to build something together. He can't do their jobs for them, he stresses-he doesn't know how. But he can push them forward.

Often, what Murai sees at the top of that ladder is a place, as he puts it, "where everything is so new that you don't know where the walls are." In this rule-less world, a man next to you on the bus is as likely to offer you a Nutella sandwich (as happened in the Atlanta pilot) as he is to disappear entirely. Ideally, viewers first experience this as a surprise and then, because real life can be undeniably odd, as something recognizable. "I think to truly not know what to expect out of the story-to create a world where nothing is guaranteed-is sort of the backbone of Atlanta," Murai told me. It was clear he is looking forward to working on the show again, whenever production of season three begins.

In the meantime, Murai has been busy. He's returned to Barry this fall, directing the first two episodes of the second season. (Hader told me the crew popped champagne corks when they heard he was coming back.) And last summer, a photo of Glover and Rihanna on Twitter prompted much Internet chatter about a mysterious project, reportedly directed by Murai and titled Guava Island, that was under way in Cuba. Both Murai and Glover declined to tell me if the production is a feature film, as is rumored. Regardless, Guava Island only amped up speculation about when Murai will make his big-screen debut.

He acknowledged to me that he is helping develop a sci-fi-thriller script called Man Alive, but he insisted, "I'm not in a rush with features. I just want to do things on my own terms as much as possible. So when people tell me, 'This is your opportunity to do this!' my impulse is to be like, 'Well, hold on, though.' Every time I've rushed into something, that's usually when I have regrets."

Which brings us to what happened on Emmy night, back in September: The statuette for Outstanding Directing for a Comedy Series went not to Murai but to Amy Sherman-Palladino, for the pilot of The Marvelous Mrs. Maisel. Hader recalls that when Sherman-Palladino's name was read, he blurted out, "She just beat Hiro? Really? What the fuck?" At which point Alec Berg, the co-creator of Barry, elbowed him. "He was like, 'You're on camera, you fucking idiot.' And I was like, 'Oh God, did I just say that out loud?' He was like, 'Yes.' And I was like, 'I'm sorry,'" Hader said before adding this caveat: "I have not seen Mrs. Maisel, all right? I just want to make that abundantly clear. It could be a very, very, very well-directed show."

The next time I talked to Murai, a few weeks later, the Emmys didn't even come up. Awards are nice, to be sure, but his definition of success, he'd told me, is "having the freedom and resources to work and chase ideas with people I like. No assholes." Besides, the ceremony offered a chance for the kind of reality-bending that Atlanta fans love: Someone who looked just like "Teddy Perkins" was in the Emmys audience, seated down front. It was unclear whether it was Glover donning the plasticine cheekbones to reprise his role or someone else, but whoever it was, cameras captured the moment when Teddy rose and congratulated Hader for winning the Emmy for Lead Actor in a Comedy. (Hader beat out Glover, among others.)

Murai looked on, meanwhile, tricked out in a classic tuxedo. It was his second Emmy ceremony and, it's worth wagering, not his last. The day before, he'd told me, "Part of the fun of the process for me is that I don't want to do something I've done a million times, so I'm always looking for something new and interesting." Of course, that means constantly putting himself in unfamiliar situations that might make others cringe. But he's not only accustomed to that feeling; he welcomes it. "It's the whole fake-it-until-you-make-it thing," he said, smiling. "I just never feel like I'm qualified for the thing I'm working on, but I trust that I'll figure it out."

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'Atlanta' Director Hiro Murai Has the Vision

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When Donald Glover set out to make "This Is America," he knew it would be easy to fail. "There was a lot of room for it to be bad," Glover told me when I got him on the phone recently. "Like: really, really bad. Like preachy bad. Over-reaching bad.

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The Works of Director Hiro Murai: Music Video & Short Films

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9 Amazing Hiro Murai-Directed Music Videos Before 'This Is America' (Videos)

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Murai has worked with artists such as Earl Sweatshirt, Spoon, St. Vincent and Queens of the Stone Age and several times with Childish Gambino

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Donald Glover, aka Childish Gambino, has had everyone buzzing since premiering his powerful new single and music video, "This Is America" just days ago. The politically-charged piece ultimately points a finger at violence and race relations in the U.S.

The man responsible for Childish Gambino's undeniably engaging aesthetic is none other than Hiro Murai, a Tokyo-born filmmaker based in Los Angeles. However, this is far from the first time that Murai and Gambino have worked together. Since 2016, Hiro has directed multiple episodes of Glover's hit show, .

In addition to television and film, Murai is well known for handling music videos for a plethora of artists, ranging from rappers like Childish Gambino and Earl Sweatshirt to artists as varied as Flying Lotus, David Guetta, The Shins, Queens of The Stone Age, and many more. In honor of his latest release, we're taking a look at the cream of the crop of Hiro Murai's music videos.

A Tribe Called Quest - "Dis Generation"

Just last year, Hiro Murai helped A Tribe Called Quest promote 2016's We Got It from Here... Thank You 4 Your Service album with a visual for "Dis Generation". We find the director going with a black and white approach, as the seamless movement and crowd footage are clear draws in this particular piece.

Baauer - "Day Ones" ft Novelist & Leikeli47

In Baauer's video for "Day Ones", Novelist and Leikeli47 are pictured alongside Red Coats and Patriots à la the American Revolutionary War who are going to battle in a parking lot. You'll want to stay tuned until the end of this one, as there is an intense final charge.

Chet Faker - "Gold"

All that Murai needed to bring attention to Chet Faker's "Gold" was an open road and three female roller skaters. Faker himself does appear towards the end of the video, however, after a car accident involving a deer.

Childish Gambino - "Sober"

Again, "This Is America" isn't the first time Childish Gambino joined with Hiro Murai. Years prior in 2015, the renowned director provided his expertise on "Sober". Here, Gambino showcases his quirky dance moves, while also unleashing a little magic, all in attempts to gain favor from a female interest.

David Guetta ft Sia - "She Wolf"

"She Wolf" is as cinematic a music video as you'll see. The clip centers around a team of dog sledders on the hunt for a woman-turned-wolf, thus, "She Wolf". Despite sharing a name with a similarly-themed song by Shakira, this visual inevitably has a lot more to say.

Earl Sweatshirt - "Chum"

Earl Sweatshirt's "Chum" is another black and white masterpiece by Murai. A stationary Earl takes center stage alongside a giant toad, as he contemplates his youth and maturation.

Flying Lotus - "Never Catch Me" ft. Kendrick Lamar

Hiro Murai, Flying Lotus, and Kendrick Lamar is a collaboration that makes perfect sense when you think about each artist's aesthetic focus. The uptempo nature of the FlyLo track is paired perfectly with a tag team dance routine, and the funeral setting is the ultimate juxtaposition of joy and melancholy.

Massive Attack - "Take It There" ft. Tricky & 3D

Massive Attack's "Take It There" is a noticeably haunting affair, so it's only right the coinciding music video match the song's overall eerie vibe. This is where the casting of American actor John Hawkes is key, as he stumbles throughout the city in the wee hours of the morning.

Queens of the Stone Age - "Smooth Sailing"

This is a fun one from Murai, as we see Queens frontman Josh Homme enjoying a night out on the town with a group of businessmen. From arcades and strip clubs, to drifting cars and partaking in a little karaoke, the alcohol was flowing and so were the good (drunken) times, that is until somebody gets clobbered with a golf club.

Spoon - "Do You"

A group of giant children have completely destroyed a city in the Hiro Murai-directed visual for "Do You" by Spoon. Frontman Britt Daniel stars in the clip, driving around town with a female in his backseat. Upon getting a look at the wreckage throughout, the finale shows the aforementioned kids chasing a kickball that's the size of a house.
Still got Murai on the brain? Check out our breakdown of everything you may have missed in the video for "This Is America" right here.

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Donald Glover, aka Childish Gambino, has had everyone buzzing since premiering his powerful new single and music video, "This Is America" just days ago. The politically-charged piece ultimately points a finger at violence and race relations in the U.S. The man responsible for Childish Gambino's undeniably engaging aesthetic is none other than Hiro Murai, a Tokyo-born filmmaker based in Los Angeles.

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Article

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By Valerie Ettenhofer · Published on May 25th, 2018

There are countless metrics that can be employed to judge the quality of whatever you like to watch: novelty, technical quality, satisfaction or joy, relatability, binge-ability, broadness, specificity, context in history, politics, and filmography... the list goes on. Yet for me, none of those things are quite as memorable or unquantifiably awesome as that gut-punch feeling, a moment of pure breathless, speechless surprise. When that moment comes - if it comes - it's less an emotion than an instance of frission; a sharp, inappropriate laugh, a teary tingle behind the nose, or maybe just a sudden shiver.

With less than a decade of IMDb credits to his name and not a single feature film among them, director Hiro Murai has already mastered the gut-punching, "what the fuck just happened?" moment, creating art that forces us to not only engage with our own discomfort, but also to (almost compulsively) rewind, replay, and fixate. With a strong, hypnotic visual voice that comes through in the television shows Barry, Legion, and most of all Atlanta, as well as in music videos for artists including Childish Gambino, Murai is nothing short of a small screen auteur in the making.

The Tokyo-born, LA-based filmmaker has listed everyone from David Lynch and Akira Kurosawa to the Coen brothers and Danny Boyle as erstwhile favorites, and his cocktail of bold, dark, and ambitious inspirations is clear in his work, yet never overshadows his own signature. Meanwhile, his infatuation with dreamlike experimentalism, immaculate technical aspects, and make-it-bleed aesthetics also bring to mind creative greats like Lynne Ramsay, David Fincher, and even Hitchcock. While many consider Donald Glover the genius responsible for Atlanta, Murai's directorial touch has also been invaluable to its success, and throughout the course of Robbin' Season, his name in the credits became an increasingly powerful motivator to tune in.

Murai's work is nearly always absurdist and uncanny, often bringing to mind a dream that edges on nightmare territory. He trades in striking images, slowly creeping unease, and jarring, discordant tonal shifts that hit viewers on a near-primal level. Interestingly, and perhaps most notably, Murai puts intention and suspense in every onscreen motion. The first image of Atlanta 's pilot episode is a shoe stomping down on a car's side mirror, a single-second shot that requires immediate attention and sets us on edge for the rest of the scene (and, if we're smart, the entire series). Later in the opening scene, in the middle of a heated exchange, a character suddenly mentions having deja vu, then points out a stray dog with a white spot in its fur shaped like Texas. Then, after a disorienting switch to an aerial view, a gunshot rings out. One, two, punch. There's no clear meaning behind any of it, which might be the point, but Murai's hypnotic yet kinetic direction sinks its hooks into you nonetheless.

Despite the inevitable rush of intellectualizing that followed his recent Gambino collaboration, " This is America," Murai's work seems designed to be felt in our bones as much as explained away. Of course, the Easter eggs, cultural references, and political significance of his work are meant to be explored (in my experience, this year's Atlanta watercooler discussion has any other watercooler discussion beat by a mile), but when Glover first pulls the gun from his waistband in "This is America," or when Earl Sweatshirt's face morphs into a grinning ghoul sketch in "Chum," or when naked, masked fraternity pledges start ominously dancing to the song "Laffy Taffy" in front of a confederate flag in Atlanta, you feel it in your body long before your brain can catch up.

This style of uneasy participatory entertainment might be Murai's greatest strength. He's refined it publicly in his work over these past eight years. Early collaborations with Glover, such as 2013's Ferris wheel-set apocalypse music video "3005," feel like vaguely less substantial rough drafts of the dark, surprising style Murai would later embrace. Five years later, Murai is capable of communicating a litany of reactions and micro-feelings in an instant. In Atlanta's Season 2 opener, "Alligator Man," two teenage Black boys take a trip to a drive-thru that ends in bloodshed. The image of a second passenger - a bloodied, screaming teen girl kicked out of the car as it drove away, unknown to us before or since - is one that sears itself to the brain. The seemingly random scene of violence looms large over the rest of the season, evoking a rawness and exposing a knot of nerves (both the audience's and Black and white America's) that never goes away.

When viewed alongside "This is America" and Atlanta 's best episode - the fame, race, and family-tackling horrorshow "Teddy Perkins," on which so many great words have already been written - Murai's work on the HBO hitman series proves that the filmmaker has fully mastered audience-implicating tone shifts. In the last seconds of his finale-ramp-up episode, "Listen With Your Ears, React With Your Face," a game-changing scene cuts off a conversation with gunshots through a window, first heard, then seen as they break through glass and flesh. Somewhere in the second between when the shots are fired and when they land lies that now-familiar sudden lump in our throats, Murai's best and most devastating gift.

All three of the titles mentioned above deliver more gut-punches than viewers are likely prepared to take, and stir together levity, violence, and artistry in complex ways that leave us both feeling bad for watching so many times and unequivocally unable to look away. There's no way to quantify that type of reaction, and I have a feeling that in 2018 the world is only beginning to understand it, but there's definitely creative and cultural significance in the art that itself interrogates the way we take in art.

Although he's an artist who has so far built his name on astonishing unpredictability, there's at least one bet worth making on Murai: whatever comes next will pull us in whether we like it or not, and transport us somewhere between a dream, a nightmare, and wake-up call.

Related Topics: Atlanta, barry, childish gambino, hiro murai, this is america

Recommended Reading

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Hiro Murai Has Mastered the Art of the Gut Punch

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By Valerie Ettenhofer · Published on May 25th, 2018 There are countless metrics that can be employed to judge the quality of whatever you like to watch: novelty, technical quality, satisfaction or joy, relatability, binge-ability, broadness, specificity, context in history, politics, and filmography... the list goes on.

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Docu about the genre of street at and Banksy's purpose & style

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DocoBANKSY | Full Movie | Banksy Documentary Movie

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interview w. Leibovitz

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A Talk by John Moore, Pulitzer Prize-Winning Photojournalist

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Atlantic articles

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The Atlantic covers news, politics, culture, technology, health, and more, through its articles, podcasts, videos, and flagship magazine.

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*Atlantic articles for annotating

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Get access to files anywhere through secure cloud storage and file backup for your photos, videos, files and more with Google Drive.

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PBS

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Helpful Definitions and Concepts | In My Blood It Runs Discussion Guide | POV | PBS

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TV's longest-running showcase of independent nonfiction film. Watch Oscar, Emmy, Peabody and duPont award-winning PBS documentaries on TV and online.

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Interview with Harrington

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Sign up for alerts from The Irish Times

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We will send you a quick reminder in the future, in case you change your mind.

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'You wouldn't guess I'm Irish from my paintings'

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Fill in the excel sheet with your 4 BOW choices YOU wish to study.

You must choose a selection of text types/genres to expose yourself to a variety of styles e.g. street art, advert, photography, short videos)

Later you are only allowed use the texts your group chooses, which were studied in class for future assignments so choose an array of texts/themes wisely e.g. 3 texts on femme consciousness, 3 texts on diversity, 3 texts on socio-economic inequality.

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Adverts
Graffiti
Cartoons
Videos 5-6
Film 1

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Padlet

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As you watch the video, look for answers to the following questions:
(you may want to post this video and your responses in your LP)

1. What is the traditional image/perspective of women that Liza Donnelly wants to challenge? How does she show/communicate this tradition? How does she challenge this traditional image/ perspective in her cartoons?

2. Pause the video on one cartoon that you especially find funny and explain why it makes you laugh. Refer to the elements of the table above in your analysis of the cartoons.

3. Not all of Liza Donnelly's cartoons are humorous. Many are autobiographical. How might these cartoons inspire the audience at TEDwomen?

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You should save the following in the BOW section. Make a tab for each BOW you study.

Creator/author info

Genre info

Selected texts w. titles & years etc.

Themes

Global issues > style

Concepts > style

Additional materials of interest (links to articles, videos etc.)

**Later you will go back to your notes in your LP for your ideas for future IB assignments.

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Media

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Winner Best Australian documentary - Stronger than Fiction Film Festival Winner Audience Choice Award - Darwin Film Festival Winner Best Film and Best Documentary - Byron Bay Film Festival Winner Best Documentary - Social and Political Issues ATOM Award Walkley Award Nomination - Best Documentary AACTA Award Nomination - Best Documentary and Best Cinematography Critics Circle Awards - Nomination Winner of Best Feature Documentary - Olympia Film Festival (Greece)

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For future analysis needs

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The defining image imprinted on to my mind after watching director Maya Newell's excellent film In My Blood It Runs is of a child - its 10-year-old subject, Dujuan Hoosan, an Arrernte Aboriginal boy living in Alice Springs - running around at nighttime with a canister of exploding fireworks in his hand. A fantastic discharge of orangey-yellow colours light up the darkness, Hoosan swinging the canister around with an elated look on his face.

Newell has been painting vivid pictures of interesting people since her first documentary, the aesthetically rough but affecting 52-minute film Richard, from 2007, about a toy shop owner and Michael Jackson impersonator. Her previous full-length doco was 2015's Gayby Baby, which depicted the day-to-day lives of children of single-sex parents.

For In My Blood It Runs, the subject is Hoosan - who speaks three languages, addressed the United Nations last September, and yet is "failing" in school, which of course is a reflection of the educational curriculum rather than his obvious intelligence. Made in close collaboration with the boy and his family (Hoosan is in fact a co-cinematographer), it follows him as he navigates the inequality of the education system.

In that early arresting moment, Newell (also a cinematographer) frames the scene beautifully: first with intentional blurriness - bursts of colour appearing like circular baubles, glowing as they float in the air - then with sharp focus, capturing the boy and his countenance. A frosty cynic (not me, ever) might argue this is a simplistic trick: an easy way of achieving visual aplomb by lighting something on fire and making sparks literally fly.

The scene however is about much more than pyrotechnics and sets the mood going forward. As the fireworks fizz and fly, the director cuts to quick shots of archival footage. We see, ever so briefly, as if dancing on the edges of our perception, vision of Arrernte dancers (who are relatives of Hoosan) from Santa Teresa mission in the 1950s, and a clip from On Sacred Ground - a 1980 documentary about the Noonkanbah dispute, in which Indigenous protestors fought against mining in the Kimberley region of Western Australia. Hoosan speaks about memory and history ("I just felt something ... in my blood it runs") before Newell returns to the last sputter of fireworks coming out of the canister.
Cate Blanchett on Australia's 'dislocated' politics: 'You're living in a system that's gone mad'
This moment reminded me of a scene from the director Benh Zeitlin's poetic 2012 drama Beasts of the Southern Wild, set in the backwaters of Louisiana. In it the protagonist - a young girl named Hushpuppy (Quvenzhané Wallis) - also gleefully runs around with light-spitting fireworks in both hands, an image so striking it was used on the poster.

Beasts is a fictional feature and Newell's film an observational documentary. However they share some similarities. Both for instance are steered by young subjects living in impoverished communities, who view privileged, predominantly white society as a fantasy land or bizarro world - somewhere forever in the distance, unattainable and even unvisitable, like the end of a rainbow.

In another early scene from In My Blood It Runs, Hoosan and some friends - who are residents of Hidden Valley Aboriginal Town Camp - look out from a hill on to Alice Springs, observing a side of the town where "all the rich men comes" with their "clean houses" and "good front, good neighbours". Like other portraits of remote Indigenous communities (such as Molly Reynolds' 2015 documentary Another Country and Ivan Sen's 2011 drama Toomelah), Newell makes a powerful point that there is no one version of Australia; no single country we all experience. The Australia each of us knows differs dramatically according to our place and privilege.

Shot in Mparntwe (Alice Springs), Sandy Bore Homeland and the Borroloola community in the Northern Territory, like most ob-docs, In My Blood It Runs has an unhurried, slice-of-life way about it, capturing daily routines such as Hoosan going to school and hanging around at home.

Even at this young age he is acutely aware of social injustice and the harsh treatment of Indigenous youth in the Northern Territory. After watching a harrowing Four Corners investigation into Indigenous youth incarceration, Hoosan's aunt warns her nephew that going to juvenile prison means "you're only going to end up in two places: a jail cell or a coffin" - a hell of a conversation to have with a 10-year-old.

Growing up, a lesbian romcom could have changed my life. This new Australian film made me weep | Rebecca Shaw

Despite such a heavy context, the tone of the film is soft and pensive rather than polemical, constructed with a lightness of touch. It is often inspirational, in a quiet sort of way, and this is derived almost entirely from Hoosan himself.

Building trust and willingness with subjects - leading them to open up to the camera and reflect on their lives and circumstances - is the great unseen art of the documentarian. Almost always the more a film-maker succeeds, the more transparent and effortless the result appears.

In My Blood It Runs is Newell's best film yet. It feels like a turning point: the director's aesthetic choices reflecting the contents of her subject's character in different and exciting ways. Nothing, for me, visually encapsulates the wide-eyed Hoosan's presence more than that early moment with the fireworks. Visually simplistic? Maybe. A beautiful distillation of his young character? Absolutely.

* In My Blood it Runs is in Australian cinemas now

'Stop putting kids in jail': Indigenous boy asks the UN to help end youth incarceration - video
Topics

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In My Blood It Runs review - quietly masterful portrait of growing up Indigenous

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The defining image imprinted on to my mind after watching director Maya Newell's excellent film In My Blood It Runs is of a child - its 10-year-old subject, Dujuan Hoosan, an Arrernte Aboriginal boy living in Alice Springs - running around at nighttime with a canister of exploding fireworks in his hand.

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The Conversation

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In 2019, Dujuan Hoosan travelled from Garrwa country in the Northern Territory, to Geneva where he addressed the United Nations Human Rights Council.

As he sat by his father's side, he stated the purpose of his visit:

I come here to speak with you because the Australian government is not listening. Adults never listen to kids like me, but we have important things to say.

Dujuan, in identifying himself as a "kid like me", signalled to the world his disempowerment as an Aboriginal child by the Australian state.

As one of the youngest people ever to address the UN, as a powerful child healer in his own community and as the subject of the documentary film In My Blood It Runs, Dujuan is exceptional.

But as an Aboriginal child much loved by his family, alienated by the education system, and under the purview of child welfare and Northern Territory youth justice, Dujuan's story is all too common.

The education system

At one point in the film, Dujuan's teacher reads Eve Pownall's The Australia Book, published in 1952. The cover features illustrations of imperial soldiers and a naked Aboriginal man and child. The teacher reads:

Now this one isn't a story. It's information, or non-fiction. It's fact. The Australia Book. It's about the history of our country. At Botany Bay, Cook landed for the first time in the new country [...] On an island in Cape York he raised the English flag and he claimed for the English country the whole of this new land.

Throughout the film we witness the disjuncture between Dujuan's sense of self as a strong Aboriginal child against his mounting disillusion with school.

Read more: Captain Cook 'discovered' Australia, and other myths from old school text books

He is increasingly forced to disengage rather than comply with an education system he experiences as inherently problematic. Like many Aboriginal children and young people - and by extension their families - Dujuan is disciplined for his non-compliance.

Families are disciplined through the suspension of welfare payments and threatened with the removal of children.

Families are told if their kids don't go to school, it is inevitable their children will end up in prison.

The criminal justice system

In this moment where Black Lives Matter gains global traction, it is vital we remember Aboriginal and Torres Strait Islander young people make up a significant proportion of people who are detained and die in prison and police custody.

The 1991 Royal Commission into Aboriginal Deaths in Custody signified a watershed moment in the national sensibility around the relationship between Indigenous peoples and the criminal justice system. The Commission investigated 99 deaths; 27 were under the age of 24.

Read more: Why are so many Indigenous kids in detention in the NT in the first place?

In 2018, on any given night in Australia, Aboriginal young people made up nearly 3 in 5 young people in detention, despite constituting only 5% of the population under the age of 25.

In May 2019, all children and young people in detention in the Northern Territory were First Peoples.

In my research, I have found the incarceration and deaths in custody of Aboriginal young people is overwhelmingly framed in policy and the media as "inevitable".

This "inevitability" is directly tied to whether a young person is compliant with the demands of the school system - a system often experienced as violent and exclusionary.

In 2018, two Noongar teens aged 16 and 17 drowned in the Swan River attempting to escape police. The two young men were labelled truants, their failure to attend school implied as an underlying reason for their death.

Questioning narratives

Directed by Maya Newell, in collaboration with the Arrernte and Garrwa families it represents, In My Blood It Runs challenges the way Aboriginal young people's educational disadvantage and engagement with the criminal justice system is understood as inevitable.

The film represents Dujuan's life as full, complex and dignified. It counters the dehumanising way Indigenous young people are often depicted as statistics; as criminal and almost (if not already) as at-risk; as educationally deficient.

The film reveals the violence of the education and criminal justice systems. But it also shows how families navigate through, negotiate with, and refuse to comply with these systems.

The punitive and assimilatory state intervention into the lives of Aboriginal young people is the problem - not Aboriginal young people themselves. The focus needs to shift from locking up our kids to supporting on-the-ground initiatives, keeping young people safe and families together.

In knowing the importance of a future where Aboriginal children and young people are free of state violence, Dujuan closed his address to the UN:

My film is for all Aboriginal kids. It is about our dreams, our hopes and our rights.

In My Blood It Runs is currently in select cinemas, and airs on Sunday, July 5 at 9.30pm on ABC and iView.

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In My Blood It Runs challenges the 'inevitability' of Indigenous youth incarceration

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In 2019, Dujuan Hoosan travelled from Garrwa country in the Northern Territory, to Geneva where he addressed the United Nations Human Rights Council. As he sat by his father's side, he stated the purpose of his visit: I come here to speak with you because the Australian government is not listening.

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Article

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Samin Nosrat, Hiro Murai and more on what makes a good tale

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Vice Article

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Hiro Murai is a fascinating dude. If you've ever seen Earl Sweatshirt's "Chum" video (above), followed by "Hive," you'll notice his tendency to favor random visuals ranging from gigantic frogs to Odd Future members riding bikes in scary-as-fuck masks. That's just the kind of imagery you'll find through the lens of Hiro.

Growing up, he was fed a healthy diet of Takeshi Kitano Japanese mobster flicks plus David Lynch, which has, as a result, informed his unpredictable output where no video bears a resemblance to each other. Check St. Vincent's "Cheerleader" and then chase it with the Sia-featuring "She Wolf" by David Guetta " to see how crazy his ideas vary.

It was hard to decide which video for Hiro to dissect, so I picked two: the simple (yet complex) video for Childish Gambino's "3005" and the scary, full of symbolism visuals for Cults' "High Road." Hiro had a lot to say about both. The Tokyo-born, LA bred director chops it up about his videos, his upcoming mixtape (jokes), and how full-length feature films are next on his to-do list.

Childish Gambino - "3005"

Noisey: So in the "3005" video, where did you get that hipster teddy bear?
Hiro: The hipster teddy bear? Well it was my production designer. He went on a hunt for one. We were just looking for a stuffed animal in general. We found one that was wearing a hat that was really similar to what Donald [Glover] was wearing on talk shows and whatnot. So we picked that one. He's hipster because of the hat right?

And you like weird things anyway, and that's kind of a weird concept. It feels like your lane anyway.
[Laughs] Yeah, exactly! Totally. He wasn't pitching me like daisies and bubblegum. What he was pitching was definitely in my wheelhouse.

Cults - "High Road"

So this video scared the shit out of me. I felt like I was watching The Ring. Where did the concept come from of flashing these random images on the screen?
[Laughs] I think a lot of the original inspiration came from old Hitchcock movies, with the scenes of hallucination. There's a very consciously retro thing happening there. We wanted to kind of connect all of these abstract images without having a literal destination for it. It's more about how these images fit together and how they feel together. We were kind of pushing through it so fast that we didn't really have time to register the specifics.

The TV screen reminded me of Poltergeist...
Haha yup! The TV screen in particular was specifically lifted from their album is called Static. I was thinking the staticky TV, old TV image was on their line when they were doing that album. So the TV was directly off of what they had already been marketing, using for press. But it's supposed to be mysterious and it's supposed to be ominous, strange...

How do you develop the treatments for these videos? Do you listen to the song a million times or do you have random concepts in your head that you've been wanting to use?
I definitely listen to the song A LOT. Like in the course of writing the treatment and then seeing it and editing it, I've probably listened to the song like 1,000 times. It's a lot. Most of the time I can't listen to the song after the video's done. Sometimes I'll hear a song that I've worked on at a restaurant or on the radio and I'll have this visceral physical reaction. I'll start shuddering and I won't know why[laughs]. So yeah the videos come out of the music a lot. I like the idea of creating something to the music. I also think there are specific things that I'll be into at any given moment. I think that shows up in the videos. Even with "3005" and "High Road," I was completely into...fire [laughs] or things deteriorating into fire. It's whatever is in my head.

Are you guys gonna like put out a mixtape or something?
[Laughs] Yeah. We're working on it. I'll be making the beats.

Oh hey Hiro! This picture is making me feel weird.
Kathy is cool because she knows you should three olives in your pre-1pm martini. She's also on Twitter - @Kath3000

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Behind The Lens: Inside the Weirdly Wired Brain of Director Hiro Murai

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Hiro Murai is a fascinating dude. If you've ever seen Earl Sweatshirt's "Chum" video (above), followed by "Hive," you'll notice his tendency to favor random visuals ranging from gigantic frogs to Odd Future members riding bikes in scary-as-fuck masks. That's just the kind of imagery you'll find through the lens of Hiro.

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Childish Gambino's powerful video for " This Is America" has earned universal acclaim since its May 5 premiere, garnering a whopping 107 million views on YouTube. Its success is also credited to Tokyo-born director Hiro Murai, Donald Glover's most important artistic collaborator. Murai has worked with Glover on other music videos, in addition to multiple episodes of the popular FX series, .

In a recent interview with , Murai shared details about his creative process and specific influences on "This Is America." Check out a few takeaways from the conversation below.
On the process of making the video with Childish Gambino
HM: "We worked on music videos together before Atlanta, and the way we work on Atlanta came from how we worked on music videos, so it was sort of a fluid, intuitive process... Donald took the creative charge on the initial conceit [of the video] because he knew what the song was going to be, and I came on when he was mixing down the final pieces of the song. But the creative process for the video was like we were playing hot potato with ideas - even while we were shooting it."
On his inspiration for "This Is America"
HM: "[I was inspired] by the idea of a dance video that took place in the last 20 minutes of the movie mother!, or in the world of [Brazilian movie] City of God."
On what they wanted to emphasize in the visuals
HM: "Ultimately, it was about putting all of the pieces in the frame and figuring out what we wanted to emphasize and what felt like the tone we wanted to hit."

Murai also said that Glover prioritized mixing light and dark visual elements to "give the audience something to digest and to hopefully discuss."
On the overwhelmingly positive response to the video
HM: "Pleasantly surprised... When we're working on something, I'm just trying to make it interesting for us and hope that whatever's interesting for us will connect with people watching it."

For the full story, head on over to .

In case you haven't seen it yet, watch "This Is America" in the video below.
Now, here's a look at the best music videos that Hiro Murai has directed.

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Hiro Murai Explains Making Childish Gambino's "This Is America"

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Childish Gambino's powerful video for " This Is America" has earned universal acclaim since its May 5 premiere, garnering a whopping 107 million views on YouTube. Its success is also credited to Tokyo-born director Hiro Murai, Donald Glover's most important artistic collaborator.

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Harrington on his poetry inspiration for some Irish street Art.

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Hookedblog - Street Art from London and beyond

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Black Herds of The Rain is a film documenting Irish artist Conor Harrington's trip home to Ireland in the summer of 2011 to paint 3 walls. The journey and subsequent paintings were inspired by Austin Clarke's poem 'The Lost Heifer'.

This is the second short film that Conor Harrington has made with London based filmmaker Andrew Telling. The First saw the artist visit the Middle East back in 2010, to make the Crossing Lines film. Black Herds of The Rain also sees the return of talented colour grader Chloe Hayward.

We at Hookedblog are really looking forward to seeing Conor's new body of work, which he has been working on over the last few months for his upcoming show next month at Lazarides Gallery. We have seen a few teaser photos that have been posted online and can't wait to see the works in person. More details on the forthcoming exhibition when we have it.

Image via Conor Says Boom.

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Conor Harrington's - Black Herds of the Rain Film

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Black Herds of The Rain is a film documenting Irish artist Conor Harrington's trip home to Ireland in the summer of 2011 to paint 3 walls. The journey and subsequent paintings were inspired by Austin Clarke's poem 'The Lost Heifer'. This is the second short film that Conor Harrington has made with London based filmmaker Andrew Telling.

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Juxapos, 2016

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"Any real change should make you feel, at first, afraid," author Nathan Hill writes at the conclusion of The Nix. "If you're not afraid of it, then it's not real change." About an hour after leaving a London pub with Conor Harrington on a cool October evening, I found myself in the hotel lobby, nightcap in hand, and this book, which I have been enjoying over the course of a few trans-Atlantic flights now. It hit me, the idea of real change and the fear that comes with it is exactly what Conor was telling me without really outright proclaiming, "Change is the necessary scary one needs in their life!" If a leap in your art career doesn't make you feel just a bit nervous and fearful, it's probably not a leap at all in the first place. This fall, Conor made the leap, hit it straight on, and it's starting to look beautiful on the other side.

The line from Hill provided a bit of synergy to this idea that Conor Harrington, already an established contemporary painter and one of the world's most successful street artists, was beginning a new phase in his career. From his newest monograph to an exhibition with Pace Gallery in London, it feels as though, unassuming and humble as he is, Conor is making a major statement about not only his talent, but the relevancy of painting and street art in 2016. Even the title of both the show and book, Watch Your Palace Fall, alludes to politics and contemporary culture, but perhaps, even to his personal challenge to reimagine and reassert himself on the gallery walls of one of Mayfair's finest galleries.

Conor and I have sat down previously for two cover stories, ironically, in 2008 and 2012, as the American presidential elections were coming to a head. When we got together last month, we had Trump, Brexit, and the refugee crisis on our minds, but mainly, we had this new body of work to discuss. Masterful in execution and culturally relevant in so many ways, it left the indelible impression that my friend embraced the challenge of change and triumphed in the face of the unknown.

Read this feature and more in the issue of January 2016 Juxtapoz Magazine.

Evan Pricco: Looking through your new book, where an interview sits right in the middle of the whole thing, when asked, "What's the weakest part of your art?" you respond, "My difficulty in letting go." I want to start there because, after our two previous cover stories, I have the feeling that doing press is not your favorite task. Letting go in this instance can mean letting go of work in terms of being finished, but I also think it means a little bit of letting go of yourself when it comes to describing what you do and what you mean by your work.
Conor Harrington: A friend of mine recently sent a clip of the Cuban-American painter Carmen Herrera being interviewed on the run-up to her 100th birthday. She said, "You cannot talk about art, you have to art about art." I think that quote pretty much sums up my attitude too; I like to paint and let that be it. I don't know if talking helps or hinders the reading of my work. Painting, as a medium, attracts people who are a bit less fond of the spotlight, and conversely, graffiti is a great way of getting attention without people knowing your identity. Nowadays, we're seeing the rise of the artist as a brand and personalities coming to the fore, but I think I'll try and hide for a while longer.

Detail of "Rubble Kings," 2016

I think, in a way, your paintings contain a narrative where people want confirmation that they are correct in their reading into what you do. Let me read into something: I sense that this has been quite a year for you. Decisions had to be made, hard decisions that didn't have some sort of formulaic answer. You left your longtime gallery and sort of stepped into the unknown. As an artist making work, and sort of challenging yourself in a way that relates to your personal life, was this a good year?
It has been a good year, but a very strange year at the same time. It's always the case when you're embarking on something new and unknown that the doubts set in, and in a way, this has been a bit like taking a jump into the dark. But as the year comes to a close, I think it has all worked out nicely. It definitely feels like a new chapter.

Do you doubt yourself when you begin a new body of work? Because when I see the new works you are doing, there seems to be a lot of confidence and command. Are you a self-doubter?
I think most artists are full of doubt, generally. I'm quite confident at the start, and then full of dread as the painting comes to a finish, because I realize it's not the piece I had hoped it would be. At the start of every painting, I have this feeling of unbridled excitement that this piece will be the one, the one that I'll look back on in years to come as a breakthrough piece, but in the end, I usually just shrug my shoulders and say I suppose it'll do.

Did you have a specific work for this last show that you really feel like kickstarted your whole approach?
There wasn't a particular piece in the show, but there are two mugshots that I did a couple of years ago that were the beginning of this body of work. I had exhibited a large group of quite-detailed, time-consuming works in New York in 2014, and as soon as I got back to my studio, I launched into two blown-up portraits. They were never exhibited, but I think they may be my two favorite paintings, and they really kickstarted what I'm doing now.

Copenhagen, 2015. Photo by Ian Cox.

Did making your monograph, Watch Your Palace Fall, give you a sense of confidence? Making new work, then seeing work that you had done in the past, did you recognize how you had evolved? It must have helped to realize that if you ran into artistic stalemates, you had at least worked yourself out of jams before?
I felt quite nostalgic, really. I hadn't realized how much time had passed or how much work I had done. There's some dodgy work in my back catalogue, but generally it's not as bad as I seem to think. Although my main focus of interest hasn't really switched theme-wise, I think I jumped around quite a lot over the last ten years or so. The main relief is realizing I'm quite happy with the way I've developed and that I'm not looking back on any period wishing I could achieve that again. I'm quite happy moving forward and I think my best work is still ahead of me. Also, I think it's important to stop and take stock and get a good overview. It has been 14 years since I finished art school, and the book feels like it has come at an appropriate time.

As you made a bit of a transition gallery-wise this year, were there any new observations about your paintings that you really liked hearing?
It's hard to know. I'm not sure if people are always honest when they give you feedback but it's been quite positive. It sounds like such a simple observation but I think people quite like my use of color in this show. I used it in a more simplistic, symbolic way. I've always liked working in monochrome. It allows me to focus on the marks instead of always trying to get the colors right, so in the preparatory shoot, I color-matched the floor and backgrounds with the clothing for some of the paintings. I wanted the figures to emerge out of a pool of color, so the color becomes the subject of the piece, as well as the figure itself.

Everything in the new work flows a little less tightly but is still very painterly and well-executed. You talked about how, when making this body of work, you gravitated toward a more loose style. How would you define this looseness?
I'm no longer layering up to achieve a certain level of polish. I'm trying to hit everything once and move on. I remember being shocked that Luc Tuymans never spent more than one day on a painting, but I'm beginning to see his logic. I call my new approach "one hit wonder." If I can achieve the desired finish in one hit, then it works, and if I have to go back into it, I might kill it. So this means if a painting goes well, I get it finished much quicker than before, but now, a day's painting is much more taxing than before because I know if I don't get a section right first time 'round, I probably won't be able to go back in and save it later.

Collaboration with Maser, Fort Smith, Arkansas, 2015. Photo by Maser

Let's put the serious aside and do the music question before I become Charlie Rose. You and I have similar musical taste, and that's definitely come up in our conversations. Knowing it influences what you do in a painting, where's your head at in terms of music and how it relates to your art?
I'm still big on rap, although as I get older, I'm being less of a purist in my tastes and enjoying some of the more disposable acts. I'm listening to a lot of online mixes too, a lot of Latin tropicalia and African funk. Soundtracks are really nice to paint to, so I like a lot of slower, meandering music like Nils Frahm or Nicolas Jaar. But in the mornings, I have to be boring and listen to the news or podcasts to wake myself up in the studio. There's something about listening to other people talking that gets me going.

Do you still use actors and models and fully staged photography for reference in your paintings? Has this evolved over the years, and how does that "set the stage" for what comes next when you paint alone in the studio?
Yes, but the shoots have become much less elaborate. I've probably done eight to 1ten shoots over the last few years, and funnily enough, I started with the most extensive shoot and they've slowly but surely become a lot simpler. I don't think it's because I'm more confident with them, but probably because what I want from them has changed. I wanted to create a new world before, but now I just want to create a moment that I can attack. A lot of the narrative now is coming from the painting process as opposed to the set.

I was having a conversation with a mutual friend about you showing at Pace Gallery, and he mentioned what a big step it was for a street artist to show in such a blue chip space. That threw me off. Not the blue chip thing, but I guess I have never considered you a street artist, despite having done some really brilliant street works in the past, and dedicating the second half of your book to all the great walls that you've done. Am I off? In terms of your career, what does street art mean to you?
Graffiti has by far had the biggest effect on my work. When I was a teenager, it was all I wanted to do. I think I always felt like it could go further than just being a fringe genre, and that's basically what I (and many others) have been trying to do. For a long time, I retained an "urban" aesthetic in my work, mainly by running tags through the figure, but after a while, I felt like a fraud tagging on canvas, especially as I hadn't done the real thing in over ten years. I think that now, if someone who didn't know anything about my background was to see my most recent show, they wouldn't be able to see a trace of graffiti; in fact, it is still the backbone to what I do, both in terms of process and narrative. My process is all about painting on, while simultaneously taking off, much like a conversation between a tag and the buff. My narrative stems from the male ego, and though it might look more historical or political, it is rooted in graffiti and hip hop. As far as painting outdoors goes, I still paint walls. I'm not super competitive about it, trying to out-paint everyone. I spend far more time in the studio, but I try not to differentiate between inside and outside. As long as I'm painting, I'm happy.

London, 2015. Photo by Ian Cox

I can't wait to ask you this. Who is your artistic hero?
Ok, to totally contradict something I said in a previous Juxtapoz interview-Kanye. I've always been a big fan of his music but not necessarily of his attitude. But in order to succeed as an artist, you need two things: ability and confidence. There are so many people with bags of talent but for some reason they see a barrier between them and what they want to achieve. We all have mental roadblocks lying ahead, and I think fear can be one of the biggest problems for an artist. Someone like Kanye, it goes without saying, doesn't let anyone or anything stop him from achieving his creative goals. I'd like to be a bit more like that... but I'd probably keep my mouth shut along the way.

And strictly from a painting point of view, I'd pick Jenny Saville. I don't think there's anyone on the planet that can paint like her.

You and I talked about how you have wanted to move to NYC and be a working artist there. The history of NYC as an art place is significant, but I think of London being the same type of place. Being that you are from Ireland but have lived in London for over a decade now, does London still have a romanticism for an artist?
It probably does for a lot of people, but I think I've been here too long. Similar to New York, I imagine, London is becoming a very difficult place for artists. The cost of living, even while we await the impact of Brexit, is too much for a lot of people, and every week I hear about artists having to leave. The flip side about all this is that the regions will benefit, but I think a creative scene always needs a hub or a concentration of artists in order for the arts to flourish. But for me, NYC is still the one. Of all my cultural interests, jazz to hip hop, mid-century painting to graffiti, New York is the mecca.

I recently realized that during each of the three times I've interviewed you, an American president was being elected. What's funny is that I think I went from optimistic, to sort of optimistic, to horrified about the process of campaigning. Your work has spoken to the moods of America's political arena even though you are painting from a different place. Maybe there isn't a question here, but I was definitely intrigued thinking about that today.
Yeah, my work is definitely becoming more political, but I think the rise in extreme political discourse isn't just unique to America at the moment. We've got a similar narrative here in the UK and it looks a bit bleak across Europe too. The only hope I can offer is that I've been on the shelf in Juxtapoz in US stores when a Democrat has been voted in on the last two occasions, so it should all work out this time 'round. Anybody with an interest in conspiracy theories and The Illuminati need look no further than right here.

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Originally published in the January 2016 issue of Juxtapoz Magazine, on newsstands woldwide and in our web store.

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Juxtapoz Magazine - Conor Harrington: Stakes Is High

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"Any real change should make you feel, at first, afraid," author Nathan Hill writes at the conclusion of The Nix. "If you're not afraid of it, then it's not real change."

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Spraying bricks

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Exhibition

Watch Your Palace Fall, 2016

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Murals

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Conor Harrington was born in 1980 in Cork, Ireland. He attended Limerick School of Art and Design and received in 2002 a Bachelor of Fine Arts.

His work draws a fine line between classical and contemporary art, and masterfully creates a world within those boundaries. The Irish-born Harrington, a former graffiti artist, not only still enjoys painting huge outdoor murals but consistently tackles new, inventive forms of art, often in a gallery setting.

Conor Harrington utilizes realistic images of people in his pieces, incorporating abstract elements to accompany his painted subject. His illustration of the human form is mesmerizing: he skillfully hones in on certain parts of the figure while obscuring others through the use of bold line work, superb shading and bursts of color within his creations. There is also a more subdued side to Conor Harrington's art, relying on a darker color palette to convey his intended message to his audience.

Ultimately, the ability to combine unconventional, contemporary techniques while focusing on the more historical human form allows his art to be more revolutionary in nature while retaining a sense of historical importance. An example of this is Harrington's use of male figurative aspects. He frequently depicts conflicts found in the modern male identity and its role in the "gender crisis."

Conor Harrington's works are unquestionably dreamlike, finding a striking balance between the ethereal senses and hard realism behind the dominant themes of today's society. In a sense, Harrington emphasizes the importance of realism in his work by the application of more modern elements, such as feature obfuscation, that bring this style of art to light. This even distribution of both techniques by Conor Harrington allows the viewer to get a sense of the importance of both methods in depicting what he is attempting to communicate with regards to each piece.

The juxtaposition of sharp lines alongside the softer image of the human form is another clever technique used by Conor Harrington to modernize what could be seen as a more classical image. His art is astute in the sense that it takes into consideration the imagery and works of previous classical artists to bring to light what is noteworthy in today's world.

Whether it be murals, paintings, or, as in the case of 2008's Weekend Warriors exhibition, the use of costumes and military re-enactment enthusiasts, the integration of the old and new is what makes Conor Harrington's work so memorable. He is always delicately, definitively tapping into both the historical and the often parallel modern themes of our society to deliver important commentary through his beautiful artworks.

Harrington has held solo and groups shows mostly in London, but also in New York. He has also painted numerous street pieces across the world such as in New York, Miami, Paris, London, Warsaw, Copenhagen, Aalborg, Mallorca, Sao Paulo, San Juan and the Bethlehem Wall.

Conor Harrington is currently based in East London, where he works primarily from his studio.

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Conor Harrington was born in 1980 in Cork, Ireland. He attended Limerick School of Art and Design and received in 2002 a Bachelor of Fine Arts. His work draws a fine line between classical and contemporary art, and masterfully creates a world within those boundaries.

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National Geographic

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On his most recent trip to Greenland, photographer Ciril Jazbec witnessed something magical-a photographic experience that made his "hairs stand on end." He was there working on his project, On Thin Ice, a chapter in a larger body of work chronicling the effects of climate change on communities in low-lying regions.

While in Uummannaq, (which is surprisingly the eleventh-largest town in Greenland, even with a population of about 1,200 people) Jazbec came across Children's Home Uummannaq. Speaking with the director, he learned that one of the ways the facility helps children is by "involving them in the traditional way of life, connecting them with hunters and fishermen"-the sort of cultural traditions often affected by changing weather patterns and globalization, and right in the crux of Jazbec's goal of putting a human face on climate change.

One night, Children's Home arranged to take the kids on a special outing-"We decided to head to the ice-to the frozen-over sea-to project Inuk, a Greenlandic language film, onto an iceberg," Ciril says. The film is especially relevant because of its cast of "nonprofessional Inuit actors"-seal hunters and youth from a local children's home-and its narrative highlighting the tension between tradition and modernity present in contemporary Greenland.

"In a visual sense, it was one of the craziest things I've ever experienced. It's hard for me to describe how much it inspired me and how touched I was. Just coming onto the ice with snowmobiles was immensely exciting. Before the projector was set up, the children did a couple of dances and sang some Greenlandic songs. I only watched the first 10 minutes of the movie and then I decided to use the tripod to discreetly shoot multi-second exposure photos, trying to capture the images illuminated by the projection. I remember a moment where I laid down on the ice, I was watching the stars and the northern lights, and I thought to myself, 'this is a very special moment.'"

Screening a film onto an iceberg sounds logistically complicated . . . and cold. Jazbec says the preparation took a few days. "We did some recon on the ice to find a suitable iceberg and prepared a DVD player and sound system powered by a gasoline-fueled generator. The seats were just sleds covered with deer and musk ox skin." And as for the temperature? "The weather was provided by some higher power . . . It was perfect, about -4 degrees Fahrenheit, with no wind and the most beautiful starry night sky sprayed with northern lights."

As children caught between the old ways and the new sat transfixed by the film, their faces illuminated with light from the digital projector, Jazbec felt he was able to record images that "don't just tell the story of a moment, but also capture a larger story about modern Greenland-remote towns caught up in globalization, about young people leaving for the cities."

"I'm not interested in merely taking pretty pictures of communities undergoing momentous changes, I'm looking to create a long-term life's work that stands as a document of a time and a people who lived in this time, reminding us of how things used to be and cautioning us that our planet is delicate and fragile."

Learn more about the film Inuk
Ciril Jazbec's project, Follow Becky Harlan on Twitter and Instagram. On Thin Ice, will be on view in an exhibition at the Les Rencontres Arles Photographie from July 7-September 21, 2014. See more of Jazbec's work on his website. Follow him on Instagram and Twitter.

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On his most recent trip to Greenland, photographer Ciril Jazbec witnessed something magical-a photographic experience that made his "hairs stand on end." He was there working on his project, On Thin Ice, a chapter in a larger body of work chronicling the effects of climate change on communities in low-lying regions.

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Banksy: A guide to his ‘Great British Spraycation’

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New murals that have appeared on England’s east coast are confirmed as the work of the elusive artist.

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Through color, composition, and code, she invites audiences into new worlds filled with wonder
and belonging.

Born in Atlanta to Thai and Indonesian immigrants, Amanda studied neuroscience at Columbia and worked at an Alzheimer's research lab before becoming a full-time artist, educator, and STEM advocate based in Brooklyn, NY. Her explorations of feminism, science, and community have appeared in museums and galleries, at protests and rallies, on buildings and highway tunnels, as well as on the mainstage of two TED conferences. Her work has appeared in Forbes, Smithsonian Magazine, and the New York Times. NBC has named her one of 26 Emerging Asian American Voices and her AR-enabled portrait series Beyond Curie was named by Fast Company as one of the most innovative products in 2019. She is currently in residence with the NYC Commission on Human Rights.

She has received recognition from

I STILL BELIEVE

As artist-in-residence with the NYC Commission on Human Rights, Amanda created public art campaign, "I Still Believe in Our City", to address the rise in anti-Asian racism during the COVID-19 crisis. The series took over all the ad space at Atlantic Terminal, and over 75 bus shelters and LinkNYC kiosks in neighborhoods where anti-Asian bias incidents have occurred. The series is a celebration of everything Asian American people contribute to New York City, from working the frontlines as essential workers to building coalition with the Black Lives Matter movement. Learn more here.

FINDINGS

In partnership with the Heising-Simons Foundation, Amanda is creating an AR-enabled mural series celebrating women and science, appearing in cities across the country beginning in Fall 2020. As much as FINDINGS reimagines science through vibrant public artwork, it also serves as a moving tribute to womankind. Learn more here.

CONNECTIVE TISSUE

Amanda opened her first large-scale solo exhibition, Connective Tissue, at the Marjorie Barrick Museum of Art last September. The work sits at the intersection of art, design, science, tech. 10 new works use scientific phenomena to explore the human experience, and investigate the different ways we form relationships and leverage interactions to create motion, meaning, and impact. Experience the exhibition here.

ATOMIC by Design

Amanda is the creator of ATOMIC by Design, a fashion line and community for girls and women who aren't afraid to wear their smarts on their sleeves. The line is based on the 118 ATOMIC elements. Like the women who wear them, every element plays a unique role is shaping our world. Amanda believes that every girl should have the opportunity to express her love for STEM and find her tribe.

ATOMIC by Design won a WeWork Creator's Award.

The Leading Strand

Amanda is the founder and CEO of The Leading Strand, an organization that explores the power of discovery and human ingenuity. It pairs scientists and designers to co-create experiences that translate research in rigorous and visually compelling ways.

The Storytelling of Science

Helping the world appreciate the people, stories and ideas behind the important but often inaccessible institution that Science is one of Amanda's missions. Find out why in her TED Residency talk and her mainstage TED talk.

Beyond Curie

She is the creator of Beyond Curie, an award-winning design project that celebrates the rich history of women kicking ass in STEM fields. She hopes to inspire the next generation of kids to go into STEM fields by showing that our world was built by brilliant women, not just men, of all backgrounds.

Creative Habit

Fond of experiments, Amanda set out to test whether she could train creativity with her project Creative Habit. For a year, she released an image daily created in 1 hour. Read her findings here.

Experiments

Amanda's curiosity takes her to all sorts of places, and often that work-whether commissioned by a client or initiated on her own-does not fit neatly into a box. From visualizing particle physics to developing augmented-reality experiences to enabling creative breakthroughs, these experiments have allowed her flex different muscles and explore new possibilities.

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Born in Atlanta to Thai and Indonesian immigrants, Amanda studied neuroscience at Columbia and worked at an Alzheimer's research lab before becoming a full-time artist, educator, and STEM advocate based in Brooklyn, NY. Her explorations of feminism, science, and community have appeared in museums and galleries, at protests and rallies, on buildings and highway tunnels, as well as on the mainstage of two TED conferences.

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Full bio

Amanda Phingbodhipakkiya is a multidisciplinary artist, educator, and activist. As artist-in-residence with the NYC Commission on Human Rights, Amanda's art series celebrating the resilience of the AAPI community, "I Still Believe in Our City'', reached millions in New York City and worldwide through her Atlantic Terminal billboard, subway domination, and social media amplification. In the wake of the Atlanta shootings in March 2021, art from the series appeared on the cover of TIME magazine. From large-scale murals, augmented reality (AR) experiences, 3D printed sculptures, and interactive installations, Amanda makes the invisible, visible. She has explored microscopic universes, familial memories, and the power of collective action, challenging viewers to rethink the world around them and revealing the often unseen depth, resilience, and beauty of marginalized communities. Her work has been shown at the Cooper Union, Times Square, Google, Lincoln Center, and recognized by The New York Times, Fast Company, and the Guardian. She has received support from the Sloan Foundation, the Café Royal Cultural Foundation, and the Jerome Foundation. Her work is held in permanent collections at the Goldwell Open Air Museum, the Library of Congress, the Museum of Chinese in America (MOCA) and the Victoria and Albert Museum in London. Earlier in her career, Amanda worked as a researcher studying Alzheimer's Disease at Columbia Medical Center and received her MFA from Pratt Institute. She is currently working on FINDINGS, a national mural series celebrating women and science, in partnership with the Heising-Simons Foundation.

Through writing, speaking and art, she is trying to challenge audiences to rethink the world around them.

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Amanda Phingbodhipakkiya is a multidisciplinary artist, educator, and activist. Her explorations of feminism, science and community have reclaimed space in museums and galleries, at protests and rallies, on buildings, highway tunnels and on the mainstage of two TED conferences. Her work has been fea

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FINDINGS is a public art series celebrating women and science. Appearing in cities across the United States starting Fall 2020.

As an internationally recognized artist, Amanda Phingbodhipakkiya is best known for work that showcases the amazing women who have pushed science forward. In partnership with the Heising-Simons Foundation, she brings her flair for large-scale murals to her deep passion for gender equality to create her most ambitious work yet. As much as FINDINGS reimagines science through vibrant public artwork, it also serves as a moving tribute to womankind.

At its best, technology is able to shrink the distance between time and space, allowing us to revel together in ways that would have been impossible before. Findings will launch with a free augmented reality (AR) mobile app for iOS and Android. The AR features both allow in person visitors to have a deeper experience, seeing 3D animations and additional context on the science and story behind the art. It also allows those who cannot visit in person to bring the art into their classrooms and homes, using just their phone.

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FINDINGS-A public art series celebrating women and science

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As an internationally recognized artist, Amanda Phingbodhipakkiya is best known for work that showcases the amazing women who have pushed science forward. In partnership with the Heising-Simons Foundation, she brings her flair for large-scale murals to her deep passion for gender equality to create her most ambitious work yet.

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Beyond Curie-a design project celebrating women in STEM

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Beyond Curie-a design project celebrating women in STEM

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Beyond Curie is a design project that highlights badass women in science, technology, engineering + mathematics.

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How design can help make science accessible | Amanda Phingbodhipakkiya

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How can encountering art in communal spaces be a powerful tool for public health? Meet multidisciplinary artist Amanda Phingbodhipakkiya, who reclaims urban areas to uplift underrepresented communities.

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Content Warning: This film includes discussions of eating disorders, body dysphoria, self-harm, sexual assault, and suicide. While we have done our best to explore these topics conscientiously, remember that we are looking through the lens of a single person's experience. Please take care of yourself as you watch and use the resources provided at the bottom of this page to find support if you are struggling with any of these topics.
For Lor Sabourin, climbing is more than a sport; it's a way of exploring identity and building resilience in the face of adversity. They/Them follows Lor, a trans climber, into the sandstone canyons of northern Arizona, on a journey to piece together one of the hardest and most inspiring routes of their life. By embracing the strength in vulnerability, Lor has found the space to thrive and build a climbing community that others like themself can call home.

If you or a loved one is experiencing a mental health crisis, there are organizations that can help:
The Trevor Project: 1-866-488-7386
Trans Lifeline: 1-877-565-8860
National Suicide Prevention Lifeline: 1-800-273-8255
National Eating Disorders Association Helpline: 1-800-931-2237

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Content Warning: This film includes discussions of eating disorders, body dysphoria, self-harm, sexual assault, and suicide. While we have done our best to explore these topics conscientiously, remember that we are looking through the lens of a single person's experience.

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To the untrained eye, the Sedona rock-climbing route called “East Coast Fist Bump” looks like a sheer cliff drop of craggy rock. Back in February, Lor Sabourin was celebrated on Rock and Ice, a popular climbing site, for becoming the first non-binary climber to scale the route in traditional climbing gear. Some of the comments on the post inevitably veered into debating the legitimacy of both their achievement and the very idea of non-binary and gender identification.

For Sabourin, it was an emotional experience that embodied the daily challenges of many in the trans community, and illustrated what it means to be a highly visible member of that community. Now, the 28-year-old is taking that visibility further in a new film with Patagonia called They/Them, which debuts online today.

Patagonia has long used film and the excitement and allure of adventure sports to address broader issues, from fish farming (Artifishal) and regenerative agriculture (Unbroken Ground) to wilderness protection (Jumbo Wild) and renewable energy (We The Power). Here, it takes that approach to gender identity and inclusion: showing how climbing and the climbing community is a microcosm of the adversity faced by a marginalized group, and how that group is treated in the wider world.

The film follows Sabourin as they plan and attempt a particularly challenging climb in the sandstones of northern Arizona, while telling the story of how they grew up and found comfort and community in climbing. Sabourin knows that a film from Patagonia will only extend the spotlight started by that Rock and Ice article, as well as the potential backlash. But they also know that this kind of visibility is a necessary way to change attitudes.

“When you look at the people in the trans community who are hurt or murdered, it tends to be Black trans people,” says Sabourin. “The fact that I am masculine of center and also white makes it so that when I experience violence, it’s more likely to be micro-aggressions than it is to be a threat to my life. I’ve experienced physical violence, but I’m much less likely to experience it from this film than someone else. So if I can start the conversation, and use some of my privileges to get the story told to change some hearts and minds and ultimately create more protection in the climbing community, that opens space for other people in some of these more marginalized identities to tell their stories.”

In teaming with Patagonia, Sabourin says they’ve seen firsthand how the company practices what it preaches—for instance, by training hundreds of people on gender inclusivity in the workplace. It’s also made significant strides in creating safe spaces in retail stores and offices for gender inclusivity. “What I’ve really noticed about Patagonia is that they’re willing to look at an issue, and rather than get defensive about what they’re already doing, they’re looking for ways that they can do better,” says Sabourin. “That inspires me to approach my own beliefs and limitations, and makes me feel really safe to give feedback and explore ways in which we can all do better.”

As specific as Sabourin’s story is, they see the message of the film as a broad one. “At face value it could be seen as just a story about the experience of a trans person,” says Sabourin. “But really, what we talk about in the film are things that are universal human experiences: the desire to belong, the way we learn how to deal with our relationships, going through tough times, taking care of your mental health. These are not unique to the trans experience. I hope people who are watching it don’t just see it as a statement on how to be more supportive of trans people, but maybe to be more compassionate toward everyone in their lives, and see our stories as a way to remember that everyone is human, and how to support one another in more affirming ways.”

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Patagonia's new film 'They/Them' celebrates a trans climber's inspiring journey

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Brand ambassador Lor Sabourin tells their story through personal challenges, building a climbing career, and the pursuit of empathy and dignity.

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Outdoor clothing brand Patagonia has today (7 October) launched new film, They/Them, which is a 70-minute documentary about Lor Sabourin, an Arizona-based climber, guide and coach who identifies as trans and uses the pronouns "they"/ "them".

Patagonia and Lor Sabourin

For Lor Sabourin, climbing is more than a sport, it's a way of exploring identity and building resilience in the face of adversity.

They/Them follows climber Lor into the sandstone canyons of northern Arizona, on a journey to piece together one of the hardest and most inspiring routes of their life.

By embracing the strength in vulnerability, Lor has found the space to thrive and build a climbing community that others like them can call home.

Commenting on the brilliant, though vertigo inducing film, Lor Sabourin, who is Patagonia's Climb Ambassador, said: "I was introduced to climbing when I was about 12 years old.

"I started to realise it was a powerful resource for learning how to deal with stress, learn how to push the edge of my comfort zone and gain the resources that I needed to build a supportive community.

Climbing safe space

"Climbing has this amazing opportunity to provide safe space for gender non-conforming people to participate in sports because our sport isn't as highly gendered as others, especially in the outdoor realm. "These types of sports are really special at a time when so many trans people are being pushed out of sports, as they can create a framework for showing how we can be more inclusive.

"I hope that this film paints a story of what sports can mean to a person who has experienced systems of oppression, and how it can give them a sense of safety in their body - and how being outside can be really liberating.

"I hope that you leave the film questioning what you can do to make your community feel safer, not just for trans people but for anyone that might be wondering whether they're going to be safe."

Justin Roth, Global Marketing Manager, Alpine & Rock Climbing, Patagonia, said: "At Patagonia, we look to highlight stories that show the beauty of our planet and the athletes and activists that embrace its gifts.

"They/Them embodies each of these themes and goes one step further in opening our eyes to communities that are often overlooked in the outdoors space.

"It's well documented and understood within the LGBTQ+ community that climbing, and the outdoor movement at large, has a lot of room to become more inclusive of marginalised groups.

"We are so excited to use our platform to help Lor share their story and mission.

"Our ambition is that it might help expand the idea of what it means to be a climber, foster a climbing community where all people are welcome, safe; and free to be their authentic selves.

"Patagonia understands the scale of the work we still have to do to make our sport and outdoor communities inclusive uplifting for all - but we are committed to this goal."

Watch They/Them online at eu.patagonia.com/they-them .

You can also view a global launch event at the same address featuring Lor, the filmmakers, and professional climber and advocate for the LGBTQ+ community in the outdoors, Nikki Smith (available for one month).

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Patagonia releases stunning 'They/Them' film exploring identity and the outdoors -

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Outdoor clothing brand Patagonia has today (7 October) launched new film, They/Them, which is a 70-minute documentary about Lor Sabourin, an Arizona-based climber, guide and coach who identifies as trans and uses the pronouns "they"/ "them". For Lor Sabourin, climbing is more than a sport, it's a way of exploring identity and building resilience in the face of adversity.

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Get full access to Outside Learn, our online education hub featuring in-depth fitness, nutrition, and adventure courses and more than 2,000 instructional videos when you sign up for Outside+ Sign up for Outside+ today.

, which premiered on October 6, is a top-notch climbing film and an intimate piece of portraiture. The film follows Lor Sabourin, the first known non-binary climber to send 5.14 on gear , in their season-long siege of Cousin of Death , a sustained five-pitch 5.13+ gear line in Sedona, Arizona. In between amazing footage of Sabourin working on and ultimately redpointing the route, Sabourin talks about life as a trans climber, their role as a highly visible member of the trans climbing community, their outreach work with queer teens, and their ongoing recovery from an eating and exercise disorder.

Sabourin grew up in Detroit and started climbing in the gym in the early 2000s. "I was just a super stoked little gym rat," they told . "Imagine that sidekick kid that basically lives at the gym and just wants to absorb all the things-that was my upbringing in climbing." They spent a lot of time at the Red River Gorge and the New River Gorge as a teenager, learning to trad climb and ultimately sending several 5.13+ sport routes. Then, after four years in Michigan's Upper Peninsula, where they climbed a lot of ice and graduated from Northern Michigan University, Sabourin relocated to the desert Southwest and "just got super stoked on crack climbing."

When Sabourin and I spoke over Zoom, they were in Moab, where they planned to spend much of the fall. "It's my type-one fun climbing area. I just love being here," they said. After putting a lot of hard work into the film, "I carved out some time to do something that just felt really nourishing for my own climbing."

They/Them was filmed by Blake McCord and Justin Clifton and released by Patagonia Films. You can watch the film here.

What was it about the sport of climbing that was initially attractive to you? Was it apparent right away that climbing was something you were going to shape your life around?
I think from the beginning, I was really attracted to the challenge of climbing. I was never a very gifted climber. I struggled to climb my first 5.7 and my first 5.8, and I struggled a lot with fear from an early age. So it wasn't like "Oh my God, Lor is this amazing climber." But I was getting that satisfaction that we all get when we try something that feels impossible and then all of a sudden it becomes possible-those moments where you work through a challenge and realize that all the effort you put in is allowing you to achieve what you set out to achieve. So I was really attracted to the learning process from the beginning. Also, the climbing community in Detroit is super accepting and welcoming. You see climbers of all levels climbing with all kinds of different people. So I was really welcomed into the community from a young age. I think that was a huge part of why I stuck around.
How has that attraction evolved over the course of your career?
One of the big shifts is where my motivation comes from. In the beginning, when I was like 12, I loved climbing something, sending it, lowering down, and then running to tell one of my friends what I had done. I liked celebrating that with them and feeling loved and accepted by them. Now when I go and pick out a project and send it, my motivation is more directly tied to the learning experience. I'm more internally motivated. But I think that's just a matter of maturing. As you get older you learn that the real value is in all the things you experienced along the way.
In the film you talk about how you've structured your life around food, around training, around goals: what kind of role does all this structure play in your life?
When you're in recovery from an eating and exercise disorder, the structured component of it is what keeps you sane. Recovering from an eating disorder, in my case, is largely about learning how to get rid of the structure that I wanted, which was very much oriented around minimum food input and maximum energy output, and instead focus on taking care of my body and having fewer rules. I've worked a lot with an anti-diet nutritionist, trying to find a way to eat that isn't so structured, but which still gives me all the things I need in my body. I'm still eating a lot of healthy foods, but I don't do it in this super scientific way anymore, I don't count it, I don't track it. Being able to have more freedom around food has been really healing for me. But as for anyone that's in ED recovery, it's a daily practice. There's always going to be things that scares you, there's always going to be a desire to control, and you just have to work with that day by day.

It's the same with exercise. I train quite a bit. I like training almost as much as I like rock climbing. I really enjoy the process. But since I've been in recovery, I have just stopped making my own training plans. I always either work with a friend or with a coach, which helps me make sure my training is based around what's going to get me stronger at climbing, not around doing the maximum amount of activity that I can do.
There's this moment in They/Them when you talk about some online hate that got stirred up by a In the film you mention that it can feel strange to serve as a visible representation of a wider community-in your case the non-binary climbing community-and I was wondering if that has changed your own engagement with the sport. Rock and Ice article about your send of What do you know now that you wish you could have told your 15-year-old self? Do you have any advice for younger queer or non-binary climbers you wish you could pass on? East Coast Fist Bump (5.14a, trad). Could you talk a little bit about that experience and how you've processed it?
So much of that experience was shaped by the fact that, as a trans person, I felt from a really young age that if people knew about my identity, they would hurt me in some way. To hear that message as a kid, then spend a ton of years unlearning it, then to have people witness your identity and say these terrible things online-that can feel like a confirmation of something you've spent years trying to leave behind. And at the same time, though, I know that those are just people on the internet and they're looking for attention.

I don't have a ton to say to internet trolls other than that I hope they get the love and belonging that they need in other ways. The more important group to speak to are the people that read that hate online-who received it and were hurt by it. To them I'd say you should find some way to ground yourself in the people that love you. Personally, I had to remember that those are people in their basement, making hateful messages, and they're not with me right now; they can't hurt me right now; and I should refocus on the people around me that keep me safe.

When you know people are watching what you do, there's a temptation to change what you do. But I try not to be super concerned with trying to represent everyone in the trans community . It's just not realistic. The best thing I can do for a community that tends to get grouped together as one thing is to promote the idea that everyone in that community has their own identity and we can't make assumptions about people until we know them.

But I have also realized that it's important to take care of myself. If I'm visible, then I want the visible representation of someone who's doing their best to live a life that is fulfilling. I work with a lot of trans youth, and those kids don't often see representations of people like them who are healthy in middle age and in older adulthood. So I guess I've been a little bit more reflective about how I'm taking care of myself and how I advocate for myself, because I know it gives other people the framework to do the same thing.

I would tell myself that I didn't need to have things all squared away. I'd tell myself that things wouldn't get easier but that I was going to get stronger and was going to end up with the resources I needed to deal with scary things when they came up.

I would also urge my younger self-and other trans and non-binary people-to be really patient with figuring out identity questions. We're not given the tools to talk about these things at a young age, so it makes total sense that it feels ridiculously confusing and that it takes a ton of work and that it's sometimes really frustrating. The process takes a lot of patience, a lot of humor, and a lot of compassion. And it takes humor and patience and compassion from the people that are in the lives of trans people; there are going to be times when a trans person tells you something about their identity, but then what they told you changes because they're still figuring it out. I think the more we can create a lightness around identity, the less scary it will feel to explore. If they go easy on it, it can actually be really fun.

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Interview: Trad Crusher Lor Sabourin on Patagonia's Latest Film, "They/Them."

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Get full access to Outside Learn, our online education hub featuring in-depth fitness, nutrition, and adventure courses and more than 2,000 instructional videos when you sign up for Outside+ Sign up for Outside+ today. , which premiered on October 6, is a top-notch climbing film and an intimate piece of portraiture.

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We are a collective of storytellers who make films on behalf of our home planet. Watch our trailers and full-length films here.

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During the Crimean War, the ILN pioneered the birth of early photojournalism by printing pictures of the war that had been taken by Roger Fenton. Fenton was the first official war photographer and his work included documenting the effects of the war on the troops, panoramas of the landscapes where the battles took place, model representations of the action, and portraits of commanders, which laid the groundwork for modern photojournalism.

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Documentary photography usually refers to a popular form of photography used to chronicle events or environments both significant and relevant to history and historical events as well as everyday life. It is typically covered in professional photojournalism, or real life reportage, but it may also be an amateur, artistic, or academic pursuit.

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From Wikipedia, the free encyclopedia

Celebrity photography is a subset of photojournalism where the subjects are celebrities in the arts, sports and sometimes politics. There are three main types of celebrity photographs used by magazines and newspapers: event photography, celebrity portraiture, and paparazzi.

Event photography

Photographers who work Celebrities Photographers related events, such as film premieres, parties and award shows. Event photographers also cover other events such as music festivals, weddings and private functions.

Controversy has surrounded event photography. One of the bigger controversies occurred in 2000 at the wedding of Catherine Zeta-Jones and Michael Douglas. The couple sued magazine for $800,000 after they printed photos from the couple's wedding. They claimed that Hello! invaded their privacy and damaged their career. In 2003 the court in Douglas v Hello! Ltd ruled in favor of Zeta-Jones and Douglas.

Event photographers at red carpet events have been known to sometimes shun certain celebrities. At first, they will boo the celebrity as a warning, and the second time, they will refuse to take pictures of the celebrity. This happens when the photographers are angry at the celebrities actions. For example, if a celebrity decides not to stop for the photographers or doesn't acknowledge them, than that celebrity will be shunned. In recent years stars such as George Clooney, Jennifer Lopez, and Sharon Stone have all been shunned.

Celebrity portraiture

Photographers may be assigned portrait sessions with celebrities, shot on location or in a photo studio.

Paparazzi, or "pap", are photographers who shoot candid photos of celebrities with or without their consent, in the hope of capturing an exclusive image. Sometimes they resort to very long telephoto lens shots, or secret photography.

The paparazzi have a mostly negative outlook because they tend to do whatever it takes to capture the celebrities off guard. Celebrities have been known to give a heads up to the paparazzi about what they will be doing that day. Paris Hilton has said that the paparazzi has only helped her career, that all publicity is good publicity.

Teenage Paparazzo is a HBO documentary directed by Adrian Grenier. The film is about the everyday life of Austin Visschedyk, a 14-year-old paparazzo. The film interviews many celebrities who talk about Visschedyk and the paparazzi as a whole. It also shows the relationships that Visschedyk has made with his fellow paparazzo. The documentary aired on HBO in 2010.

Some photographers make a living following actors and models. When they get a scoop, many magazines will pay high fees to run the images. The Paparazzi will do almost anything to capture "the money shot". Eva Longoria knows how the paparazzi can be annoying but she understands that they are just trying to make a living like everyone else.

Music photography is another form of celebrity photography. Most music photographers focus on capturing the energy of live music performances and some also get to work backstage or on tour with bands.

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From Wikipedia, the free encyclopedia Celebrity photography is a subset of photojournalism where the subjects are celebrities in the arts, sports and sometimes politics. There are three main types of celebrity photographs used by magazines and newspapers: event photography, celebrity portraiture, and paparazzi.