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Matches in DBpedia 2014 for { ?s ?p Gilles Peress (born 1946) began working with photography in 1970, having previously studied political science and philosophy in Paris. One of Peress' first projects examined immigration in Europe, and he has since documented events in Northern Ireland, Lebanon, Palestine, Iran, the Balkans, Rwanda, the US, Afghanistan and Iraq. His ongoing project, Hate Thy Brother, a cycle of documentary narratives, looks at intolerance and the re-emergence of nationalism throughout the world and its consequences.Peress' books include Telex Iran; The Silence: Rwanda; Farewell to Bosnia; The Graves: Srebrenica and Vukovar; A Village Destroyed; and Haines. Portfolios of his work have appeared in the New York Times Magazine, the Sunday Times Magazine, Du magazine, Life, Stern, Geo, Paris-Match, Parkett, Aperture and the New Yorker.Peress’ work has been exhibited and is collected by institutions including: the Museum of Modern Art, the Metropolitan Museum of Art, the Whitney Museum of American Art, PS1, all in New York; the Art Institute of Chicago; the Corcoran Gallery of Art, Washington, D.C; the San Francisco Museum of Modern Art; the Getty Museum in Los Angeles; the Walker Art Center and the Minneapolis Institute of Arts; the V&A in London; the Musée d'Art Moderne, the Picasso Museum, Parc de la Villette and Centre Georges Pompidou in Paris; the Museum Folkwang, Essen; the Sprengel Museum in Hannover, among others.Awards and fellowships Peress has received include: The Guggenheim Fellowship, National Endowment for the Arts grants, Pollock-Krasner and New York State Council of the Arts fellowships, the W. Eugene Smith Grant for Humanistic Photography and the International Center of Photography Infinity AwardPeress is Professor of Human Rights and Photography at Bard College, NY and Senior Research Fellow at the Human Rights Center, UC Berkeley. Peress joined Magnum Photos in 1971 and served three times as vice- president and twice as president of the co-operative. He and his wife, Alison Cornyn, live in Brooklyn with their three children.---"Over the past four decades, in one ambitious project after another, Gilles Peress has creatively transformed and reinvigorated photography's tradition of engaged reportage. Perhaps the most ambitious and sustained of all of those projects is his richly textured and deeply moving visual essay on two decades of bitter conflict that devastated Northern Ireland in the wake of Bloody Sunday in 1972. That extended essay has the gripping immediacy and epic sweep of a novel by Tolstoy."-Peter Galassi, Chief Curator, Department of Photography,The Museum of Modern Art, New York"For Peress, photography is a way to think about the world. His photographs seem to be arguments with and about what he is seeing rather than documentations of it. Peress's philosophical background, with its reverence for critical inquiry, seeps into, even defines, his images. As David Rieff observed, "Peress' photographs are exercises of mind as much as of sensibility. Looking at his pictures, one often has the sense that, if the occasion seemed to call for it, he would put down his camera and write or make a film." Peress's pictures are often hard to decipher, but they are never about the absence of reality. His subject is more complex: the difficulty of finding, conveying, and, most of all, making meaning from reality.His genius has been to accomplish just what the post-moderns couldn’t: to incorporate a critique of photography’s objectivity into that obstinate bit of bourgeois folklore formerly known as truth. He embraces postmodern scepticism, but uses it to enlarge photographic possibilities rather than to discredit the medium. Peress has taken the alienated sensibility typical of, and prized by, modern photographers and fused it to a passionate engagement with the world outside himself. Like a good psychoanalyst, he knows that reality is fluid, contested, indeterminate. But a good analyst also knows that though diverse viewpoints complicate actuality, they can’t unmake it. Peress’s photographs reject the transparent, positivistic realism subscribed to by some earlier photographers and critics, but they never veer into the moral, political, or epistemological relativism on which so many postmoderns insist. Peress doesn’t live in Baudrillard’s world; he knows, as did Capa, that we human beings are trapped in reality."– from Susie Linfield's book Cruel Radiance. }

• Gilles_Peress abstract "Gilles Peress (born 1946) began working with photography in 1970, having previously studied political science and philosophy in Paris. One of Peress' first projects examined immigration in Europe, and he has since documented events in Northern Ireland, Lebanon, Palestine, Iran, the Balkans, Rwanda, the US, Afghanistan and Iraq. His ongoing project, Hate Thy Brother, a cycle of documentary narratives, looks at intolerance and the re-emergence of nationalism throughout the world and its consequences.Peress' books include Telex Iran; The Silence: Rwanda; Farewell to Bosnia; The Graves: Srebrenica and Vukovar; A Village Destroyed; and Haines. Portfolios of his work have appeared in the New York Times Magazine, the Sunday Times Magazine, Du magazine, Life, Stern, Geo, Paris-Match, Parkett, Aperture and the New Yorker.Peress’ work has been exhibited and is collected by institutions including: the Museum of Modern Art, the Metropolitan Museum of Art, the Whitney Museum of American Art, PS1, all in New York; the Art Institute of Chicago; the Corcoran Gallery of Art, Washington, D.C; the San Francisco Museum of Modern Art; the Getty Museum in Los Angeles; the Walker Art Center and the Minneapolis Institute of Arts; the V&A in London; the Musée d'Art Moderne, the Picasso Museum, Parc de la Villette and Centre Georges Pompidou in Paris; the Museum Folkwang, Essen; the Sprengel Museum in Hannover, among others.Awards and fellowships Peress has received include: The Guggenheim Fellowship, National Endowment for the Arts grants, Pollock-Krasner and New York State Council of the Arts fellowships, the W. Eugene Smith Grant for Humanistic Photography and the International Center of Photography Infinity AwardPeress is Professor of Human Rights and Photography at Bard College, NY and Senior Research Fellow at the Human Rights Center, UC Berkeley. Peress joined Magnum Photos in 1971 and served three times as vice- president and twice as president of the co-operative. He and his wife, Alison Cornyn, live in Brooklyn with their three children.---"Over the past four decades, in one ambitious project after another, Gilles Peress has creatively transformed and reinvigorated photography's tradition of engaged reportage. Perhaps the most ambitious and sustained of all of those projects is his richly textured and deeply moving visual essay on two decades of bitter conflict that devastated Northern Ireland in the wake of Bloody Sunday in 1972. That extended essay has the gripping immediacy and epic sweep of a novel by Tolstoy."-Peter Galassi, Chief Curator, Department of Photography,The Museum of Modern Art, New York"For Peress, photography is a way to think about the world. His photographs seem to be arguments with and about what he is seeing rather than documentations of it. Peress's philosophical background, with its reverence for critical inquiry, seeps into, even defines, his images. As David Rieff observed, "Peress' photographs are exercises of mind as much as of sensibility. Looking at his pictures, one often has the sense that, if the occasion seemed to call for it, he would put down his camera and write or make a film." Peress's pictures are often hard to decipher, but they are never about the absence of reality. His subject is more complex: the difficulty of finding, conveying, and, most of all, making meaning from reality.His genius has been to accomplish just what the post-moderns couldn’t: to incorporate a critique of photography’s objectivity into that obstinate bit of bourgeois folklore formerly known as truth. He embraces postmodern scepticism, but uses it to enlarge photographic possibilities rather than to discredit the medium. Peress has taken the alienated sensibility typical of, and prized by, modern photographers and fused it to a passionate engagement with the world outside himself. Like a good psychoanalyst, he knows that reality is fluid, contested, indeterminate. But a good analyst also knows that though diverse viewpoints complicate actuality, they can’t unmake it. Peress’s photographs reject the transparent, positivistic realism subscribed to by some earlier photographers and critics, but they never veer into the moral, political, or epistemological relativism on which so many postmoderns insist. Peress doesn’t live in Baudrillard’s world; he knows, as did Capa, that we human beings are trapped in reality."– from Susie Linfield's book Cruel Radiance".