#weanimals

[antoniopasolini]

Photojournalist Jo-Anne McArthur believes the stories of animals are worth telling and WOW her amazing images are certainly breathtaking

Listen to this!

[antoniopasolini]

WeAnimals Media

I started working for We Animals Media, an amazing photographic initiative by Toronto-based Jo-Anne McArthur. This was my first post, re: the culling of minks in Spain because of COVID-19

Ver essa foto no Instagram

The killing of mink on fur farms due to #COVID19 outbreaks is set to continue after an outbreak was discovered at a mink farm in Aragón province, Spain. . The mink were isolated and monitored closely after a number of workers became infected, but tests show that 87% of the animals have the virus. Health authorities have ordered 92,700 individuals to be killed, or 'culled', as the industry and media euphemistically name the process of ending innocent lives exploited for profit. . The coronavirus pandemic is a direct consequence of the unnatural and violent ways we interact with and treat animals. It should be a wake-up call for humanity to improve its relationship with other species and the natural world. As stated by Claire Bass (executive director of @hsiukorg) via @bbcnews: "One of the lessons we must learn from Covid-19 is that we cannot carry on pushing animals to the limit of their endurance without serious consequences for both animal and human health." . Prior to this recent order, the Netherlands carried out a culling program that terminated the lives of tens of thousands of mink. As we noted in a previous post, press photographer Olivier Middendorp lost his court case to be allowed to photograph the cull. Via @dutchnewsnl: "Judges sided with the Netherlands Food and Consumer Product Safety Authority, who argued the presence of the photographer would present ‘too great a danger to public health’. Middendorp had argued photographing the mass cull had ‘social significance’ given that it is likely to happen again." . Lack of transparency is one of the many strategies this industry employs to keep the general public in the dark about the violence that is inherent to these operations. . Visit the We Animals Archive for more mink farming images to help you tell this story: www.weanimalsarchive.org (link in our bio ➡️ @weanimals) . . 📷: Mink on a fur farm. Sweden, 2009. Jo-Anne McArthur/@djurrattsalliansen

Uma publicação compartilhada por We Animals Media (@weanimals) em 24 de Jul, 2020 às 7:24 PDT

[aleksandarfotograf]

Mirjana Ognjanović, naš pisac i prevodilac o kolekciji fotografija Aleksandra Damnjanovića "Mi, životinje" na izložbi u galeriji Nikola Radošević u Beogradu

(Srpski i Engleski)

У први мах, када сам погледала фотографије из календара Александра Дамњановића, помислила сам: ох, ми овде имамо нешто баш бизарно! Кажем бизарно, јер српски превод француске речи bizarre – необичан или настран, не пружа у овом случају одговарајуће значење. Преводу недостаје извесна ознака хумора, па и опомене. Можда сам се баш зато већ следећег тренутка сетила речи Федерика Фелинија:

„Ма тај моралистички циљ да се одрасте! Шта то заиста значи? И под претпоставком да је могуће одрасти, шта дакле бива кад се одрасте? Да ли сте икада срели одрасле? Ја нисам. Додуше, можда одрасли избегавају овакве као што сам ја.”

Да, можда одрасли избегавају и Александра Дамњановића. 

Или он њих?

Како год, Александар је одлучио да фотографијама фигурица-играчака животиња ликовно прикаже проток времена у трајању од једне године, 2024. Прошлост се може обликовати, будућност замишљати, али са садашњим тренутком је најтеже. Садашњост нас увек погађа јаче, будући да управо у тренутку садашњости ми недвосмислено и најснажније – осећамо. 

Одмах је јасно да је аутор желео да заогрне читаву слику двоструким симболом. Зашто животиње? Зашто играчке? Шта чини битну разлику између човека и животиње? Шта у нашем односу према другим бићима говори да можемо да будемо милостиви, или опаснији од најокрутнијих звери? Присетимо се уосталом питања Џорџа Бернарда Шоа: „Док смо ми сами живи гробови убијених животиња, како можемо да очекујемо савршене услове за живот на планети?” 

А ево и зашто Фелини. Када је човек дете, или док дете живи у човеку, оно заиста верује и понаша се као да су играчке живе. Храни их и разговара са њима. Увече их покрива, да им не буде хладно. Ако су играчке колекција фигура животиња, дете улази у њихов свет чинећи га стварним, испуњеним брижношћу и једнакошћу. И тамо латинска реч anima (душа) има безмало исти корен као animal (животиња).

То поистовећивање није хипноза коју помиње Умберто Еко и у чијем окриљу беспомоћно проводимо значајан део нашег живота. Реч је о чаролији због чије благотворности осећамо слободу да критички размишљамо о свему.

Мирјана Огњановић

English translation

We, the Animals

At first, when I looked at the photos in Aleksandar Damnjanović's calendar, I thought: “Oh, we have something really bizarre here!” I say bizarre, because the Serbian translation of the French word bizarre–unusual or atypical, does not provide the appropriate meaning in this case. The translation lacks a certain mark of humor, and even a warning. Maybe that is why I remembered Federico Fellini's words the very next moment:

"What a moralistic goal–to grow up!" What does that really mean? And assuming it is possible to grow up, what happens when you grow up? Have you ever met adults? I have not. Although, maybe adults avoid people like me.”

Yes, maybe adults avoid Aleksandar Damnjanović too. 

Or does he avoid them?

Anyway, Aleksandar decided to depict the passage of time lasting for one year, 2024, with photos of toy animal figurines. The past can be shaped, the future can be imagined, but the present moment is the most difficult. The present always affects us more strongly, since it is precisely at the moment of the present that we feel unequivocally and most strongly. 

It is immediately clear that the author wanted to cloak the entire picture in a double symbol. Why animals? Why toys? What makes the essential difference between a human and an animal? What in our relationship to other beings says that we can be merciful, or more dangerous than the cruelest beasts? After all, let's recall George Bernard Shaw's question: "While we ourselves are the living graves of murdered beasts, how can we expect any ideal conditions on this earth?" 

And here's why Fellini. When a man is a child, or while a child lives in a man, he really believes and acts as if the toys were alive. Feeds them and talks to them. In the evening, he puts a blanket over them, so they don't get cold. If the toys are a collection of animal figures, the child enters their world making it real, filled with care and equality. And the Latin word anima (soul) has almost the same root as animal. 

This equation is not the hypnosis mentioned by Umberto Eco, under the cover of which we helplessly spend a significant part of our lives. It is about a spell whose beneficence makes us feel free to think critically about everything.

Mirjana Ognjanović

[k00250550]

Joanne McArthur is an animal rights activist. She captures so much emotion through photography. She is also an author, having published two books to date. (We Animals 2013 and Captive 2017) We Animals is a very strong photography project of hers which documents the relationship between humans and other animals. She is also an author, having published a book entitled ‘We Animals’ in 2013, linked to the photography project. Joanne published another book in 2017 called ‘Captive’ which is also linked to a series of photographs (of the zoo).

[torontoguardian-blog]

"A Day in the Life" with We Animals Filmmaker Kelly Guerin

Filmmaker Kelly Guerin is a vital and irreplaceable creative member of the Toronto-based We Animals team.

Our latest featured artist is a creative member of the Toronto-based We Animals team. Meet filmmaker Kelly Guerin. 

[ritware1850]

#Repost @weanimals ・・・ #HurricaneFlorence has been a disaster in every sense - for the humans displaced, for the millions of animals drowned in barns and rivers, and for the environment. Florence has shown us how quickly the already toxic systems of factory farming can leak into the rivers and the soil, poisoning not only the animals we farm for food, but also fish, wildlife, and of course we animals. The irony is that factory farming is a primary cause of climate change and linked to a the increased severity of natural disasters such as hurricanes. Not only were those millions of animals victims of the flooding, but if it was not for their existence the flood may never have happened. Disasters like #HurricaneFlorence show us that when we cause animals to suffer, we suffer too. #factoryfarming #animalrights #weanimals #climatechange . 📸: Cows finding refuge from the floodwaters on a front porch. USA, 2018. Jo-Anne McArthur/We Animals #cows #moo #animals #flooding #disaster #climatechange https://www.instagram.com/p/Boafcx6FKL1/?utm_source=ig_tumblr_share&igshid=whl9xcscsfh7

[animalsoffarmsanctuary]

Hero of Compassion Jo-Anne McArthur Bears Witness to Animals as Someone, Not Something

Photography for photojournalist Jo-Anne McArthur is not about securing a “pretty” shot – it’s about documenting conditions as they are, and inviting her audience to challenge the scenarios that have been normalized. She seeks to share what she, herself sees, while allowing the viewer make his or her own discovery.

One of Jo-Anne’s biggest a-ha moments fittingly occurred from behind the lens. It was the second day of her Farm Sanctuary internship, her shift was over, and she was wandering our New York Shelter grounds with her camera. “I was photographing my feet next to [a steer named] Arbuckle’s feet,” she recalls. “But I was wearing leather hiking boots – at the time that’s all I owned, so that’s what I was wearing. It was such a visceral reaction – from happily taking pictures and then having that connection happen. Recognizing that what’s on my feet is the actual animal next to me: this beautiful, beautiful being. I wish everyone could have that experience. We all think, ‘Oh, leather’s just a byproduct, it doesn’t really matter.’ But I gained a greater understanding that day by having that experience.” 

 And in that instant, she clearly saw how her choices made a direct impact on those around her and realized just how connected we animals – human and non-human alike – truly are. “That’s why sanctuaries are so important,” says Jo-Anne. “People have the opportunity to meet the individuals we eat, and who we wear by extension. And you cannot possibly see an animal as some ‘thing’ in a situation like that. It becomes clear that they’re a someone, not a something.”

Jo-Anne with her pal Sonny. To this day, Farm Sanctuary offers Jo-Anne a haven between trips worldwide, bearing witness to the harsh realities of animal abuse and exploitation.

“Farm Sanctuary is a life-changing place,” says Jo-Anne. “And it altered the course of my life and career. It was a place that solidified my beliefs and deepened my understanding of animal rights. It confirmed my commitment to them. And these sanctuaries are not only places for animals, but for humans as well. Sanctuaries are places that validate how we feel about compassion and changing the world. They are places to commune with like-minded people and present the kind of education that you cannot get in a classroom.”

Farm Sanctuary recently featured Jo-Anne with a “Hero of Compassion” award  for selflessly devoting her life to motivating others to stand up and act on behalf of the animals we serve. “[Compassion] means looking beyond our own needs and desires, and considering how our actions affect others,” Jo-Anne explains. “It means always trying our best to live in a way that doesn’t cause harm to people, animals, and the environment.” People respond to injustice in different ways – and though her approach differs depending on the project she takes on, Jo-Anne effectively turns the lens inward, helping us understand how intertwined the human and non-human worlds really are.

Kelly O’Neil goes nose-to-nose with Sophie pig. 

Maggie Stewart places a kiss on Ted steer’s nose.

Jo-Anne’s most acclaimed endeavor is We Animals, an extensive archive depicting humans’ relationships with animals in various settings. “We Animals aims to break down the barriers that humans have built which allow us to treat non-human animals as objects and not as beings with moral significance,” Jo-Anne explains on her website. “The objective is to photograph our interactions with animals in such a way that the viewer finds new significance in these ordinary, often unnoticed situations of use, abuse, and sharing of spaces.” 

Shante and DiMaggio at the apple tree.

While Jo-Anne’s work brings her around the world, it’s important to note that animals are subjected to terrible abuse every day – even, and especially, in our own backyard. It’s easy to categorize these horrific actions as belonging to places away from ourselves, and outside of our own involvement. Contrast that with animal agriculture, an industry largely successful because corporations keep the animals we raise for food largely hidden from public view; the animals’ experiences are sanitized with industry labels like “organic” and “cage-free,” descriptions that tap into the hearts of well-meaning individuals who are interested in making more compassionate choices.

Ben’s friend Katherine was born at a “humane” facility that advertised grass-fed lambs. Sadly, her mother was one of dozens of sheep found in wretched conditions, emaciated, and afraid. This is why it’s so important for people who want to make more compassionate choices to research the industries they support.

What makes Jo-Anne so influential, however, is her emphasis on seeing – on entreating her viewers to give the animals that society tends to overlook the attention and acknowledgement that all beings deserve. “I hope you’ll take the time not just to look but to see – if only as a mark of respect for the billions of animals whose lives and deaths we don’t notice,” Jo-Anne explains in her book, also titled We Animals. “To look…is to bear witness with me, which means also that we confront cruelty and our complicity in it. As a species, we have to learn new behaviors and attitudes and unlearn the old ones.”

One way of doing so is by inspiring individuals to connect with the individual animals themselves – to enter into their world, empathize with their plight, and commit to making a difference. While some of Jo-Anne’s photos cover animal abuse on a grand scale – depicting thousands of turkeys crammed into one barn, for example – she also finds it important to engage with an animal on his or her own level, to help her viewers understand the severity of the issues at hand. 

All acts of compassion, no matter how small, make a huge difference in an animal’s life. A Farm Sanctuary guest befriends Grace sheep.

While Jo-Anne’s images prompt us to address our own involvement in systems that promote cruelty and suffering, she is also sensitive to the fact that acknowledging our contributions can be so paralyzing that we do nothing to change it. Jo-Anne recognizes that most people inherently want to do good, but evidence suggesting they are doing otherwise can be disconcerting. So she meets people where they are, gently encouraging them to at least bear witness to the suffering that exists.  

Chickens being loaded into crates for transport.

Pigs at Finland factory farm

Jo-Anne’s photojournalism takes a different direction than the animal photographs that society is used to seeing. Jo-Anne remarks that there are markets for exotic and domesticated animals – groups that we tend to revere from afar or with which we are more familiar. “The images must provide the viewer with the opportunity to gain insight,” she explains in We Animals. “They should draw the viewer in and let her linger on what she sees, to feel disturbed or intrigued in a way that would compel her gaze ultimately to turn inward, where questions and changes begin. It’s my firm hope that once that happens the viewer will make the decision not to support the industry that brought about that animal’s misery. I also want viewers to share the photographs with others. In this way, an individual experience becomes the catalyst for a dialogue about the rights of animals and our responsibilities towards them.” And Jo-Anne graciously makes her work available for anyone to use through the We Animals archive, so we can work collectively to enact positive change for animals and the humanimals who love them.

Yoda llama says, “May the force be with you.”

Nilla goat delivers a smile.

Reuben sheep in the pose that won placement on Farm Sanctuary’s 2016 calendar cover.

Rose in slumber.

Antoinette turkey stands tall.

Despite the heartbreaking evidence Jo-Anne frequently shares, she also works hard to empower people by featuring inspiring tales of triumph over adversity – such as through her photos of our rescued residents and the individuals who care for them. “I often try to give viewers hope and happiness. I show images that depict happiness, change, and the change-makers themselves. This is because we see ourselves in others – images of other advocates inspire us to be a part of the change. If we show people taking part, taking action, many of us will think I can do that too, I can see myself doing that.”

Blue comes in like a wrecking ball.

Maybelle pig snuggles up with a friend during last year’s Hoe Down.

Jo-Anne emphasizes this in a number of ways, including and apart from the We Animals project. For example, Jo-Anne is the featured human subject in the animal rights documentary, The Ghosts in Our Machine. While Ghosts depicts the horrors she routinely faces in her line of work, it also showcases the individuals and organizations – including National Shelter Director Susie Coston and Farm Sanctuary – who impart hope and change after tragedy. 

Filming for The Ghosts in Our Machine.

Susie is also featured in Jo-Anne’s latest endeavor, the Unbound Project – a collaboration with co-author Keri Cronin honoring women’s accomplishments in the animal rights movement.  Combined, Jo-Anne’s work covers a spectrum, disclosing ignorance and abuse at one end and love and triumph at the other.

Susie with Lucille turkey.

Many of the subjects on the positive end include our own rescued residents, whose individuality and inner beauty Jo-Anne captures each time she visits the farm. She establishes unique bonds with each being she encounters, her lens serving as a medium through which others can see what she sees – that each animal has a story of his or her own, and how we may learn about ourselves by seeing the world through their eyes. 

Susie gets some love from Francis sheep.

Blitzen steer enjoys a grassy hideaway.

Nikki really enjoys a snack.

Ramsey studies his photographer’s lens.

Lizzie goat snags a mouthful.

The experiences that truly resonate with Jo-Anne the most are the opportunities she has to truly get to know her subjects – from the Asiatic black bears’ journeys from bear bile farms to sanctuaries, to Farm Sanctuary residents like Fanny and Sonny, whose rescues are documented in The Ghosts in Our Machine. “I always personally prefer full photo essays to single images,” Jo-Anne explains. “I like to be able to spend time with the subject and the issue. And I like doing stories of rescue where you can see a before and an after. We Animals is an analysis of human behavior, not just photos of animals themselves. The photos show our treatment of animals, and how that has to change. Creating compassion and change is the point of the We Animals project.”

Sonny’s ear tag; a cruel reminder of the cruelties these living, feeling beings endure each day.

Growing up into the strong, healthy boy he is today. Here, Sonny enjoys  a chin scratch from his best humanimal pal, Susie.

Beautiful Fanny, safe at sanctuary.

But getting to know animals like Julia, whom Jo-Anne met shortly after her rescue, helps Jo-Anne realize that these changes are indeed happening, and that more is on the horizon. “I fell madly in love with her. She’s so special. The resilience of the Farm Sanctuary animals amazes me. They teach us that all animals deserve our respect and help.”

Bonding time for Julia and her babies.

Of course, it is still difficult to leave the beings we cannot save behind. However, while the industries these animals are entrapped in view them as invisible cogs in a machine, Jo-Anne’s work ensures that they will always be remembered. This makes Jo-Anne’s relationships with our rescued residents all the more valuable – it is comforting for her to bond with the individuals who have made it, and who are continuing to change hearts and minds through their resilience and incredible personalities.

Farm Manager Mario Ramirez helps out during a large rescue involving 1,150 “spent hens.” Jo-Anne honors their new lives at sanctuary, where they will always be recognized as the unique individuals they are finally free to be.

Lila goat sneaked a peek. 

Roxy pig’s water dish doubled as a bath. 

Twins Ingrid and Marilyn will spend the rest of their lives side by side, just as life should be.

Gene Baur with his beloved pal, Opie steer.

Susie escorts a Lucky Lady home to safety.

Turpentine bonds with friend Carlos during a Celebration for the Turkeys event at our New York Shelter.

 “When organizations like Farm Sanctuary rescue animals and they are then able to live in conditions which allow them to thrive and be happy, you really get to know just how sweet cows are, and how funny chickens are, for example, and that turkeys love affection,” Jo-Anne says. The rescued animals become ambassadors for those locked away in terrifying confinement. We get to know them, and then we can understand that they all deserve our help, our care, and our respect. 

Three-legged Zoop let nothing stand in her way.

“Some of the Farm Sanctuary residents who have been most special to me are Mayfly the rooster, Arbuckle and Thunder steers, Zoop the three-legged goat, and Fanny and Sonny. [They] are extra special to me because I was there to document their rescues. Others, like Mayfly, will always be in my heart because he was just so charming. He LOVED being with people and did that 'attack dance’ around your feet, but he wouldn’t attack – he just wanted cuddles. I’d pick him up all the time and stroke his perfect, handsome plumage. He made me laugh, and so do the chickens and turkeys. They have such big personalities, which is why I spend hours and hours under the willow tree in the turkey enclosure when I’m visiting.”

Susie and Jo-Anne enjoy a lighthearted moment while filming “The Ghosts in Our Machine.”

From her investigative work documenting the horrors that exist to her evidence of the beautiful relationships that animals and humanimals share, Jo-Anne is an inspiring proponent of change. Her advice to aspiring activists: “Think about what your skills are, and what you enjoy doing, or what you’re good at, and employ those specific skills to make the world a better place,” Jo-Anne advises. “If you haven’t figured out what that is yet, help an organization or person who is doing great work for animals. Organizations need volunteers and all manners of support. Be that person. The world needs volunteers!” Together, we can make long-lasting change for animals and humanimals everywhere – and every positive action, no matter how small, makes a difference.

Dino was known for his winning smile.

We are incredibly grateful for Jo-Anne’s friendship over the years, as she shares how animals like our beloved friends at sanctuary are someone, not something. Jo-Anne’s support helps us reach more and more individuals about the rich, emotional lives of the animals at our sanctuaries and everywhere – and it is an honor to be a part of her incredible journey. Thank you, Jo-Anne, for including Farm Sanctuary in your work, and for being a treasured friend to animals everywhere.

Sonny gets a smooch from his biggest fan.

To learn more about Jo-Anne, check out her recent “Heroes of Compassion” interview on Farm Sanctuary’s Compassionate Communities Campaign blog.

Jo-Anne and her work were recently featured in the music video for “A Hymn” by Revolution Harmony.

[anml-us]

.EGGS.