The Party's Crashing Us

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Very rare photos of North Korea by David Guttenfelder.

The last photo is at the summit of the majestic Mount Paekdu, the setting of many Korean folklore. What a sight to behold  

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Max Ernst

Napoleon in the Wilderness, 1941

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Comme des Garçons S/S 2015

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Wonderful from James Jean

James Jean

  Mizu. Ink and Digital, 9 x 12”, 2014.

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The three peaks of Lavaredo by Weisimel

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"Gulliver" by Chris Beatrice

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Kerið crater, Iceland (by Grégoire Sieuw)

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TRENT PARKE

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Hashem El Madani’s photographs document the residents of the southern Lebanese city of Saïda, where he has lived and worked for over sixty years. El Madani’s collection of over one million images charts the function of the studio portrait as an item of intrinsic value as well as a telling record of social identity and status.

In El Madani’s studio, individuals could portray themselves the way they wished to be seen, assuming various identities, showing off, posing with accessories and props, or acting out characters. The photographer’s collection was recently unearthed by the Arab Image Foundation, which was founded in 1997 by artists Fouad Elkoury, Samer Mohdad, and Akram Zaatari with the goal of preserving and researching photographic collections in the Arab world. Zaatari went on to create the Madani Project, a series of exhibitions, publications, and videos focusing on El Madani’s career. The project examines the ways in which his archive creates a shifting collective portrait of his community, illuminating social, political, and economic aspects of Lebanese society in the flux of time.

“Here and Elsewhere" is on view through September 28.

Images: Courtesy the artist and Sfeir-Semler Gallery, Beirut/Hamburg

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Henri de Toulouse-Lautrec in his studio

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Henri de Toulouse-Lautrec poops on the beach. Photographed by Maurice Joyant in 1898.

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Henri de Toulouse Lautrec

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Fouad Elkoury grew up with a passion for photography, and after finishing an architecture degree in London, he returned to photography and to Beirut in 1979. At that time, the city was four years into its civil war, a sectarian conflict that lasted until 1990. For the following five years, and throughout the Israeli siege on Beirut in 1982, Elkoury reported daily for international agencies, documenting, sometimes inadvertently, the city’s disintegration into an ever-worsening conflict. Although Elkoury published numerous photos from this time, many of his images frustrated the agencies’ desires for conspicuous trauma, combat, and carnage. Elkoury began calling these his “VAT (value-added time) pictures,” knowing that their significance would increase after an extended period. In them, he captured aspects of daily life that were otherwise unknown outside of the city, such as civilians sunbathing at a beach club, pictured in the above image titled Sporting Club a few days before the Israeli invasion (Beirut 1982).

“Here and Elsewhere" is on view through this Sunday. 

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EIKOH HOSOE