For her series BOY, Parisa Taghizadeh photographed a young boy and the fairy-tale world he’s created for himself, filled with things that are typically associated with girls: glitter, nail polish, jewelry, pink. Having not yet reached the age when he’s concerned with gender roles and gender politics, the boy plays within the liberty of childhood – a liberty that will all too soon be shaped by external expectations. Taghizadeh recently won first prize at Pride Photo Award 2014 for her project BOY, and she speaks here with Katherine Oktober Matthews about the baggage and complications of photographing your children, and pride of all kinds.
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Throughout the history of photography, whether in the name of science or art, people have been travelling far and wide in order to take pictures of remote places. In this issue of GUP Magazine, we pay tribute to the human tendency – or should we say ‘attitude’ – to size up all of space.
Articles from GUP Magazine
Australian photographer Louis Porter documents evidence of urban unrest in his project The Small Conflict Archive. We interview him on failed attempts at improvement, the transition of an object from usefulness to uselessness and the way that city streets show evidence of those who live there.
Emily Kinni has been researching the history of former execution sites since 2011 and capturing the results in her series Where Death Dies. She spoke with GUP about researching sites that don’t exist anymore, repurposing sites of death into mundane spaces and the narratives of the people who keep history alive.
Since her graduation from the International Centre of Photography (ICP) in 2009, Evgenia Arbugaeva (1985, Russia) has gained worldwide recognition for her work on Tiksi, a small town in Northern Russia resting on the coast of the Arctic Ocean.
Alisa Resnik’s (b. 1976, Russia) gloomy photos of dark interiors, people in bars and streets at night, have received a lot of attention recently.