Retrospective, Union of Photojournalists, Moscow, Russia; Sala del Canal Museum, Madrid, Spain; Rupertinum Museum, Salzburg, Austria. Nobody will mourn the overexploitation of man and nature when the last colliery closes. But the warmth of the miners, their traditions and the very special identity of this region: this will be missed. The families – the homes – first of all the intimacy need to be documented more. Pictures like metaphors – Freedom, Clean Air/ Space in contradiction to the claustrophobic feeling inside the mine, as softness/ gentleness in contradiction to the hardness in the mine. Morath sought out, befriended, and photographed artists and writers. During the 1950s she photographed artists for Robert Delpire's magazine L'Oeil, including Jean Arp and Alberto Giacometti. She met the artist Saul Steinberg in 1958. When she went to his home to make a portrait, Steinberg came to the door wearing a mask which he had fashioned from a paper bag. Over a period of several years, they collaborated on a series of portraits, inviting individuals and groups of people to pose for Morath wearing Steinberg's masks. Another long-term project was Morath's documentation of many of the most important productions of Arthur Miller's plays.

Pipe Dreams evolved from a long-term documentary project documenting my country’s post-Soviet turmoil in which I saw how corruption, poverty, and war were all related to and fed by oil and gas. Over the past two years the story has developed into a chronicle extending across three countries, through five active conflict zones, and links governments, oil corporations, and the citizens of Azerbaijan, Georgia and Turkey in an experiment not only in engineering, but manipulation of human lives. Bring Forth the Children: A Journey to the Forgotten People of Europe and the Middle East. McGraw-Hill, US.

Retrospective, Neue Galerie Linz, Austria;America House, Frankfurt, Germany; Hardenberg Gallery, Velbert, Germany; Galerie Fotogramma, Milano, Italy; Royal Photographic Society, Bath, UK; Smith Gallery and Museum, Stirling, UK; America House, Berlin, Germany; Hradcin Gallery, Prague, Czech Republic. Ingeborg Hermine Morath ( German: [ˈɪŋəbɔrk ˈmoːraːt] ⓘ; 27 May 1923 – 30 January 2002) was an Austrian photographer. [2] In 1953, she joined the Magnum Photos Agency, founded by top photographers in Paris, and became a full photographer with the agency in 1955. Morath was the third wife of Pulitzer Prize-winning playwright Arthur Miller; their daughter is screenwriter/director Rebecca Miller. Coal mining had once attracted countless people from all over Germany, as well as migrant workers from Turkey, Greece and Poland, all with the hope of a better life. As many of the images, and indeed Morath’s remembrances, attest – the photographers and the actors enjoyed a degree of camaraderie in spite of the film’s widely reported troubled production – one aspect of which was the deteriorating marriage between Miller and Monroe that came to an end that summer. When I look at her work, I see a great storyteller,’ says John. ‘Inge wrote about everything she photographed and I see a strong narrative impulse in her. I think she had a great sense of humour – she saw things in the world that were unusual, funny or contradictory, which could be pulled out and framed by photography.’

The Danube, Neues Schauspielhaus, Berlin, Germany; Leica Gallery, New York; Galeria Fotoforum, Bolzano Bring Forth the Children: A Journey to the Forgotten People of Europe and the Middle East. McGraw-Hill, USA.The evaluation of her work has suffered from misguided comparisons,” says Jacob. “The failure of some critics to see more in her work than the shadows of her better-known male colleagues veils a sexism that is endemic to both the practice and the study of photography.”

Bring Forth the Children: A Journey to the Forgotten People of Europe and the Middle East, McGraw-Hill, USA John Huston’s 1961 movie, ‘The Misfits’, was to be the last completed production for two of its stars: Marilyn Monroe and Clark Gable. Gable died shortly after the film wrapped, while Monroe died in August 1962 having worked on the uncompleted movie ‘Something’s Got to Give’. https://www.bundeskanzleramt.gv.at/agenda/kunst-und-kultur/preise/staatspreis-fuer-kuenstlerische-fotografie.html , accesat în 14 noiembrie 2019 Lipsește sau este vid: |title= ( ajutor) All applicants must be under the age of 30 on April 30th, 2020 (in other words, if April 30th is your birthday, and you’re turning 30, then you’re no longer eligible to submit a proposal).

All applicants must be under the age of 30 on April 30th, 2019 (in other words, if April 30th is your birthday, and you’re turning 30, then you’re no longer eligible to submit a proposal). The recovery of Inge Morath’s color work provides the opportunity to greatly expand our knowledge of Morath’s working techniques as a photographer. In some cases, although their original sequences have been lost, it is now possible to restore photo-essays from which the color pictures had been removed. In so doing, we gain a deeper insight into Morath’s method as we watch her decide when and where to use color film. We see when she recognized that only color could relay the message she wanted to send. Inge Morath: Danube, Neues Schauspielhaus, Berlin, Germany; Leica Gallery, New York, US; Galeria Fotoforum, Bolzano, Italy.