If grandmothers around the world had a rallying cry, it would probably sound something like “You need to eat!”
Photographer Gabriele Galimberti’s grandmother said something similar to him before one of his many globetrotting work trips. To ensure he had at least one good meal, she prepared for him a dish of ravioli before he departed on one of his adventures.
“In that occasion I said to my grandma ‘You know, Grandma, there are many other grandmas around the world and most of them are really good cooks,” Galimberti wrote via email. “I’m going to meet them and ask them to cook for me so I can show you that you don’t have to be worried for me and the food that I will eat!’ This is the way my project was born!”
The project, “Delicatessen With Love”, took Galimberti to 58 countries where he photographed grandmothers with both the ingredients and finished signature dishes.
He acted as photographer and stylist during each shoot with the grandmothers, taking a portrait of both the women and the food they made for him.
From top to bottom:
Inara Runtule, 68, Kekava, Latvia. Silke (herring with potatoes and cottage cheese).
Grace Estibero, 82, Mumbai, India. Chicken vindaloo.
Susann Soresen, 81, Homer, Alaska. Moose steak.
Serette Charles, 63, Saint-Jean du Sud, Haiti. Lambi in creole sauce.
The photographer’s grandmother Marisa Batini, 80, Castiglion Fiorentino, Italy. Swiss chard and ricotta Ravioli with meat sauce.
Normita Sambu Arap, 65, Oltepessi (Masaai Mara), Kenya. Mboga and orgali (white corn polenta with vegetables and goat).
Julia Enaigua, 71, La Paz, Bolivia. Queso Humacha (vegetables and fresh cheese soup).
Fifi Makhmer, 62, Cairo, Egypt. Kuoshry (pasta, rice and legumes pie).
Isolina Perez De Vargas, 83, Mendoza, Argentina. Asado criollo (mixed meats barbecue).
Bisrat Melake, 60, Addis Ababa, Ethiopia. Enjera with curry and vegetables.
Artist Aakash Nihalani points out simple math problems in urban environments for a project titled ‘Sum Times’.
Mostar, Bosnia (© Trevor Wong)
Gordon Parks took these pictures on assignment for a September 1956 Life magazine photo-essay, “The Restraints: Open and Hidden,” which documented the everyday activities and rituals of one extended black family living in the rural South under Jim Crow segregation.
While 20 photographs were eventually published in Life, the bulk of Mr. Parks’s work from that shoot was thought to have been lost. That is, until this spring, when the Gordon Parks Foundation discovered more than 70 color transparencies at the bottom of an old storage box, wrapped in paper and masking tape and marked, “Segregation Series.”
These quiet, compelling photographs elicit a reaction that Mr. Parks believed was critical to the undoing of racial prejudice: empathy. Throughout his career, he endeavored to help viewers, white and black, to understand and share the feelings of others.
More than anything, the “Segregation Series” challenged the abiding myth of racism: that the races are innately unequal, a delusion that allows one group to declare its superiority over another by capriciously ascribing to it negative traits, abnormalities or pathologies. (read more)
EXHIBITION “THE RESTRAINTS: OPEN AND HIDDEN”
“THE YELLOW WALLPAPER No.1” 40x26 inches and “THE YELLOW WALLPAPER No.2” 40x26 inches by Julia Callon
“Whether domestic spaces are depicted as places of confinement or refuge, the private sphere is an evident preoccupation for many nineteenth-century female writers. Often a reflection of women’s ‘place’ in society, the stories depicted in this series demonstrate the metaphorical and literal significance of space.” - Julia Callon on her Houses of Fiction series.
London based artist works investigating the relationships between people and abandoned structures. Placing these huge prints onto walls of derelict spaces, seemingly opening gateways to perfect serene little glimpses of nature, they seem to blend so effortlessly into the harsh human formations.
Juxtaposing Vietnam’s incredible past and present.
Vietnamese photographer Khánh Hmoong combines visuals from two eras within one frame. By holding a superimposed photograph from the past over his chosen landscape, Hmoong merges two periods of time, juxtaposing their similarities and differences. Each photograph is meticulously aligned within its original destination, exposing the changes that have occurred in the area. The effects of time are visible through the environment’s shift in architecture, the people’s fashion choices, and the transformation in transportation - whether it be a modernization from horses to vehicles or simply from dated automotive models to modern design.
Regardless of location, comparing the past and present through images is always a fascinating look at history and change. Hmoong’s series reveals so much about the history of Vietnam without words and actually makes the viewer want to learn more.
Via My Modern Met.
Okay, so here’s a question: HOW?!
“Nothing Gold Can Stay” by Robert Frost
Nature’s first green is gold,
Her hardest hue to hold.
Her early leaf’s a flower;
But only so an hour.
Then leaf subsides to leaf.
So Eden sank to grief,
So dawn goes down to day.
Nothing gold can stay.
Happy Meerkat Monday!