Andreidignart

Last weekend the art world descended on Venice for the 55^th International Art Exhibition of the Venice Biennale. In addition to the thematic exhibition “The Encyclopedic Palace,” curated by Massimiliano Gioni, there are national pavilions from dozens of countries. The Irish Pavilion, located at Fondaco Marcello, is given over to The Enclave, a new six-screen film installation by artist Richard Mosse. Aperture is pleased to publish the artist’s book accompanying this installation. The book is available now in Venice, and will be available soon via Aperture.org and other outlets.

For the last three years, Mosse has photographed in eastern Democratic Republic of Congo, a region in which a long-standing power vacuum has resulted in a horrifying cycle
of violence. Shooting with both still- and 16 mm-cameras, he uses a discontinued military surveillance film, which registers an invisible spectrum of infrared light. Mosse has captured the landscape in disorienting psychedelic hues of scarlet, lavender, cobalt, and puce, creating images that are deceptively seductive andalluring. Ultimately, however, the resulting images and film map the otherwise invisible edges of violence, chaos, and incommunicable horror
of isolated, jungle war zones. At the heart of the project, as Mosse states, is his exploration of the contradictions and limits of art’s ability “to represent narratives so painful that they exist beyond language—and photography’s capacity to document specific tragedies and communi- cate them to the world.”

The book is an extraordinary object, and is printed in a limited run. There will be only one thousand copies of this title, 250 of which have been released as part of a limited-edition boxed set. The boxed set includes a 45 rpm record with sound and music design by Ben Frost; a poster featuring an image by Richard Mosse and a transcription from the film; and a signed-and-numbered copy of the book.

Our friends at Frieze magazine profiled Mosse on the occasion of his presentation in Venice. Watch the video below.

—
Aperture also published Infra, Richard Mosse’s first book, in Spring 2012.

It's a familiar image to anyone with even cursory exposure to surf and skate culture: shirtless, long-haired dudes shredding empty concrete bowls on skateboards in the razor-sharp California sunshine. But when I leafed through POOLS by skate/surf photo legend Craig Fineman, which depicts a single day's skate session in the late 1970s, I saw this well-documented visual trope from an interesting new angle,.

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In California's Empty Pools, Skateboard Photos Become Epic Landscapes

California’s ‘Dwarf’ Fox Is Back From the Brink

Fox has one of the fastest recoveries in the Endangered Species Act’s history.

One of America’s rarest mammals, found only on six Channel Islands, the island fox was driven nearly to extinction in the 1990s by predatory golden eagles. By 1999, there were only about 85 island foxes left on Santa Cruz Island, while nearby San Miguel and Santa Rosa Islands were each down to about 15.

Today, the species is on the verge of a dramatic recovery—one of the fastest in the history of the Endangered Species Act—with nearly 2,500 on the Channel Islands.

---"The average smartphone user checks his or her device 150 times per day, or about once every six minutes."

---"Google will interpose itself, and hence the United States government, between the communications of every human being not in China (naughty China). Commodities just become more marvelous; young, urban professionals sleep, work and shop with greater ease and comfort; democracy is insidiously subverted by technologies of surveillance, and control is enthusiastically rebranded as “participation”; and our present world order of systematized domination, intimidation and oppression continues, unmentioned, unafflicted or only faintly perturbed." --Julian Assange

---an interview with James Brown

---"the proper way to tame all those Yemeni kids angry about the drone strikes is to distract them with—ready?—cute cats on YouTube and Angry Birds on their phones" --Evgeny Morozov

---the modern surveillance state

---"the logic justifying drone attacks comes full circle: we kill them because they are our enemies, and they are our enemies because we kill them."

---"what if computers were able to learn from us to the point they could instantly draw on every interaction we’ve ever had online?"

---media attention after a murder in Woolwich

---"every movie I have mentioned and many more besides, from mega-budget spectacle out to the indie fringe, is just a mechanism for deflecting actual political resistance into the symbolic realm. And, hey, having a godlike quartet of prankster-magicians increase my bank balance several times over sounds like a lot more fun than contemplating the impossible or implausible social changes that would be required in order to divert Wall Street’s zillions to better purposes." --Andrew O'Hehir

---“If you want to make an anarchist film, make it with a corporation”  --Zal Batmanglij, director of The East

---social media-fueled protest in Turkey and in Zuccotti Park

---White One Hundred

---discussing Samuel Fuller

---"Male charm is all but absent from the screen because it’s all but absent from our lives."

---"poverty is what makes the rich, rich."

---"A higher-up declared that, forthwith, every story in the magazine had to answer at least one of two questions: 'How do I dress?' and 'How can I get laid?'" --Peter Rainer

---"How to make an indie movie"

---Richard Brody considers Howard Hawks' Scarface

---trailers for The Act of Killing, Ain't Them Bodies Saints, and Machete Kills

---"Nasser al-Awlaki told me that, when he found out that his son was on a kill list, he wrote a letter to President Obama and said basically 'Can’t we resolve this some other way? If my son did something, can’t you present the evidence?' He got no response."

When his village is massacred by elves, Evan is plunged into a series of deadly quests.
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hammpix: For those of you who don’t understand archaeology, I have made a diagram.

The exhibition Karl Blossfeldt, on view at the Whitechapel Gallery in London through June 14, brings together a wealth of material from the archives of the eponymous German artist. On display are more than eighty gelatine silver prints dated from 1900 to 1926, working collages for Blossfeldt’s famous photo-book Urformen der Kunst (1929), and ample documentation of its reception among avant-garde circles. The exhibition sheds light on Blossfeldt’s central role in reshaping the conditions of optical perception at a moment when the boundaries between unconscious, embodied, and mechanical vision were being fundamentally redrawn.

 

A sculptor, photographer, and teacher, Karl Blossfeldt has come down in history for his extreme close-ups of botanical specimens. In the early decades of the twentieth century, Blossfeldt devised a technique to magnify photographic details up to thirty times with the aid of a microscope. Initially, he had intended these floral enlargements for the classroom, as blueprints for biomorphic sculptural and architectural design. When he published them in the book Urformen der Kunst (1929), his name became an international bestseller almost overnight. Blossfeldt introduced the audience to a completely new and visceral order of vision. Hence, in his essay  “Short History of Photography” (1931), Walter Benjamin used Blossfeldt’s close-ups to illustrate his idea of the “optical unconscious” opened up by photography and film.

What immediately strikes the viewer upon entering the Whitechapel Gallery is that Blossfeldt’s photographs reproduce the anatomy of plants and flowers so graphically that, paradoxically, the works’ veneer of objectivity gets lost in the excess of detail. As one moves from one close-up of an artichoke to another, the status of these specimens starts to oscillate between animist totems, anthropomorphic assemblages, and carnal organs. In the process, the medium looses definition too. Blown-up foliage turns into the stone of gothic architecture. The fluffy texture of a celery stick rendered in black and white gives the illusion of frottage. It is not surprising that after seeing Blossfeldt’s prints in 1927, the art critic Franz Roh compared them to Max Ernst’s Surrealist rubbings.

 

It was in the context of French Surrealism that these photographs were most emphatically embraced for their uncanny eroticism. In the exhibition, a copy of Bataille’s essay  “The Language of Flowers” bears witness to this history. Originally published inside Documents I (1929) with illustrations by Blossfeldt, the essay deconstructed the meaning of flowers as at once ideal symbols of love and sordid earthly shoots.

The graphic quality of Blossfeldt’s photographs holds together Surrealism’s erotic imaginary and the extreme realism of Neue Sachlichkeit photography—from Albert Renger-Pazsch’s straight photographs of nature and industry to August Sander’s portraits of each and every German profession in the photo-book Faces of Our Time (1929). If some of the blossoms on display resemble uncanny anatomical drawings, their taxonomic organization also aligns them with Sander’s social typologies. The significance of Blossfeldt’s oeuvre lies in the tension between these different modes of vision—one embodied and striving for the irrational, the other mechanically precise. Benjamin captured something of it when he wrote that Blossfeldt’s prints stood at the junction of magic and technology.

–Giulia Smith, Guest Contributor

 

Jens Sundheim and Bernhard Reuss

In the very early 1990s, a simple coffee pot became the first object to be recorded by a webcam. With the coffee pot located too far from the offices of the people interested in its content, two scientists trained a video camera on the pot and fed the resulting image into their computer network. You were then able to check the status of the pot, to see whether there was coffee to be had, from your desk (As someone who has worked in academia and who is familiar with the atrocious drip coffee produced and consumed by scientists, this makes perfect sense to me: You’re really interested in the coffee, too busy to think about how to improve its quality, but not busy enough to worry about technical stuff like that). A little while later, the coffee pot cam made it onto the internet. That was in late 1993.

Almost twenty years later, webcams are ubiquitous, some public and many more inaccessible to the public. People love to refer to the latter as “security cameras,” even though in reality they do not provide much of a security at all – typically, they’re only good at catching things after the fact. In other words, they deter those criminals who are worried about being caught later, while, at the same time, turning us all into potential suspects (an ugly mob is then only a Reddit post away).

It seems safe to say that most people aren’t particularly interested in being photographed by surveillance cameras. Jens Sundheim, however, is. As der Reisende (the Traveller), Sundheim has put himself into the frames of surveillance cameras that can be accessed online, for Bernhard Reuss to take, well, grab his picture: A often lone man, his hands in his pockets and facing the camera, posing for the camera. Given the real-time transmission of the images, Sundheim needs his collaborator to grab the image from a (remote) computer screen. It wouldn’t be too far off to call Sundheim a photographic performance artist.

Seen as a group, these images become absurd and unsettling at the same time. The presence of the one figure very much aware of the presence of the camera puts the focus of the image on the way it was made – a camera in a public (or private) space recording a steady stream of images that might or might not be stored in some database, to be possibly used for all kinds of purposes later. At the same time, the single repeating figure itself is unsettling – it is as if there was someone who knows more than we do, someone staring back at us, making us viewers feel uncomfortable.

If that discomfort translated into us thinking a little bit more where we are currently moving, in this, to repeat the trite and dangerous phrase, “post 9/11 world” we might actually gain something: Do we really have to sacrifice all that privacy to try to achieve an unachievable sense of security?

Der Reisende is part of a new book I served as the guest editor for. Observed, published by Ivorypress, collects the works of visual artists investigating the use and creation of images that deal with ideas of privacy, surveillance, or observation. As it turns out, things aren’t quite as simple or black and white as one would imagine. With Observed I am hoping to expand an often narrow discussion into something wider. In some form, a lot of  photography involves an act of intrusion into someone’s life. With cameras being ubiquitous in an era where civil liberties are being eroded in the name of security it’s high time for us to start thinking about this aspect of photography.

House of Mirth asked dedicated vernacular photo collectors to share their favorite vintage snapshots with an insect theme. Above is Robert Jackson's pick. Right is a snap from Pat Street's archives. "Bugs - They fly, bite and pester & sometimes people take photos of them"

[Image: This surreal, Planet of the Apes-like image, taken in 1982, shows sand dunes seemingly at the foot of the World Trade Center towers, when Manhattan's Battery Park was still a beach; photo by Robin Holland, via Tribeca Trib and Curbed NY].

 SOLD!
Via Flickr:
I apologize in advance to Will Castelli's dreads

Back in November 2012, the New York Department of Transportation released a report called Measuring the Street: New Metrics for the 21st Century, which had some compelling figures on the way that local business benefits from bike-lanes, for the fairly obvious reason that cyclists find it easy to stop and shop, as compared to drivers, who are more likely to continue on to a mall with a big parking lot, or shop online.

In many ways, these data come as no surprise. We know that when towns invest in bicycle infrastructure, people will ride more — the number of people traveling by bicycle increases when there is infrastructure to make traveling by bike safe and easy.

We also know that people who travel along a street by bicycle have fewer barriers to stopping at a local business than people who travel along the same street by car. It's very easy to hop off a bicycle and find a place to secure the bike; not so with finding parking for an automobile. In fact, a recent study suggest that bicycle riders tend to spend more at local businesses over the course of a month.

This new study makes it clear: investing in bicycle improvements boosts small businesses. And what town or city doesn't want to boost activity at local businesses?

NYC Study Finds Protected Bicycle Lanes Boost Local Business (via Kottke)

Detroit's Robocop statue, crowdfunded two years ago, is finally taking shape. And it's pretty damned amazing.

Watch your back or get your trap splat

David Alan Harvey has documented Brazil many times before, but in "(based on a true story)," he nakedly reveals his thoughts and experiences in a tale of passion, mystery and danger.

After failing to capture his vision for a project, Ivan Sigal unmoored himself from his preconceived story and went on a dizzying trek through Russia and Central Asia.

Mr. Winogrand was so prolific that he could hardly be bothered to edit his work. A new retrospective explores the relentless output of a complicated artist.

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Collettivo FX sent us these great shots from Italy. We love the clever use of space and larger than life characters.

 

[Image: A Galveston house on stilts, courtesy of the Galveston County Museum, Galveston, Texas, via Science Friday].

Following the catastrophic hurricane of 1900, the city of Galveston, Texas, was vertically raised up to 17 feet from its original ground level using "hand-cranked janks and mules," NPR's Science Friday explained last week.

In order to "protect itself from future storms," Dwayne Jones of the Galveston Historical Foundation told the radio program, the city set about constructing a defensive seawall. "And the city began to be raised behind it," he adds, "so everything was lifted up... Houses, out-houses, sidewalks, fences—everything was raised."

[Image: "One hundred men worked to raise the church, one-half inch at a time, for 35 days. Once the correct height was reached, a new concrete foundation was poured." Image courtesy of the Galveston County Museum, Galveston, Texas, via Science Friday].

The whole town, in effect, was "lifted up and put on blocks," including huge masonry structures, such as Galveston's St. Patrick Catholic Church. The church was held off the earth by nearly 700 separately hand-operated jacks. The church was kept level as it was raised only one half-inch a day for 35 days, lifted off the ground as if you were changing its tires.

The description brings to mind the truly extraordinary photographs of North Moore High School being moved across Los Angeles, posted here back in 2011.

[Images: Moving Fort Moore High School in Los Angeles, 1886; photos courtesy of the Title Insurance and Trust/C.C. Pierce Photography Collection, USC Libraries].

Commenting on the seven-year time span of the overall town-lifting operation, Jones describes how the soil there in Galveston is "all sand." These soft ground conditions meant that the engineers could "put canals through, and they had barges and pumps that took the soil or the fill from Galveston Bay and pumped it underneath the properties. So they would go kind of block by block, lift the properties up in that block, pump underneath it, and keep going across the island." The city dredged itself.

In any case, the short but interesting radio segment goes on to discuss contemporary structure-moving operations in New Orleans, Chicago, and beyond, with the ultimate implication that perhaps the inhabited coastal periphery of the greater New York City area might also someday see itself on the rise.

(Thanks to Ed Porter for the tip!)

Great post over at Everyday I Show, photos by Jamel Shabazz.

View the whole post: Jamel Shabazz over on BOOOOOOOM!.

Prints by Marc Nagtzaam Title: Gilles Deleuze, A Thousand Plateaus Previously on Marc Nagtzaam Folkert

Motivado pela onda de movimentos criados no Facebook por torcedores que desejam combater a homofobia no futebol, fui atrás da legislação brasileira que possa enquadrar os cânticos homofóbicos, entoados por toda e qualquer torcida país afora. Embora fossem bem-vindas alterações na lei para tornar mais fortes as punições a essas atitudes, há, sim, pena prevista para cantos homofóbicos, tanto para os clubes quanto para os torcedores. Parece faltar mesmo é energia para punir.

A possibilidade de punição aos cantos homofóbicos aparece pelo menos duas vezes na legislação brasileira. A mais clara delas se encontra no Código Brasileiro de Justiça Desportiva, no artigo 243-G: “Praticar ato discriminatório, desdenhoso ou ultrajante, relacionado a preconceito em razão de origem étnica, raça, sexo, cor, idade, condição de pessoa idosa ou portadora de deficiência”.

Embora não fale especificamente em homofobia, o caso emblemático do jogador de vôlei Michael, do Vôlei Futuro, hostilizado de maneira acintosa pela torcida do Cruzeiro em 2011 por ser homossexual, foi enquadrado neste artigo. O problema foi a punição extremamente branda. O Cruzeiro foi apenas multado pelo STJD em R$ 50 mil, por ser réu primário, de acordo com o tribunal.

A multa poderia ter sido de até R$ 100 mil e os torcedores, se identificados, poderiam ficar proibidos de ingressar na praça esportiva pelo prazo mínimo de 720 dias. Além disto, se o caso fosse considerado de “extrema gravidade”, poderia se aplicar as penas dos incisos V, VII e XI do art. 170, que são perda de pontos, perda de mando de campo e exclusão do campeonato.

A advogada Miriam Simões, que defendeu o Vôlei Futuro, pleiteava justamente a perda de mando de campo. “Foi uma decepção esta decisão. É inadmissível que só se multe o clube em uma questão tão grave, porque a discriminação foi absurda. Venceu o preconceito”, afirmou ela, à época, em entrevista ao site Justiça Desportiva.

Pela experiência com brigas nos estádios e objetos atirados em campo, sabemos bem que sem perda de mando de campo, ou perda de pontos, nada vai mudar. O torcedor não se sente atingido com uma multa ao clube. E aí vem o problema da interpretação do STJD sobre a lei. Se nem o caso ultrajante de Michel foi considerado de “extrema gravidade”, é porque nada vai gerar perda de mando ou de pontos para os clubes – por isto é que seria interessante uma mudança na legislação, para torná-la mais clara e severa.

Mas de nada adiantaria também se continuarmos com a completa omissão dos procuradores desportivos quanto aos cânticos homofóbcos. Precisou um jogador de vôlei ser ofendido por um ginásio inteiro toda a vez que ia para o saque para que alguma atitude fosse tomada (e era só quando ele ia para o saque, então não vale dizer que era uma ofensa “genérica” ao time adversário). No caso, a atitude foi do Vôlei Futuro, que denunciou, não da procuradoria. No futebol, não é diferente: os promotores preferem ficar assistindo VTs de jogos, tentando reinterpretar decisões dos árbitros, em vez de se preocupar com o fato de os estádios serem um território livre para a homofobia.

Voltando à legislação, outra punição prevista ao preconceito está no Estatuto do Torcedor. O artigo 13-A estabelece as condições para um torcedor permanecer em recinto esportivo. O inciso V deste artigo estabelece que uma das condições é “não entoar cânticos discriminatórios, racistas ou xenófobos” (no inciso IV também há proibição para cartazes e bandeiras com mensagens ofensivas). “ O não cumprimento das condições estabelecidas neste artigo implicará a impossibilidade de ingresso do torcedor ao recinto esportivo, ou, se for o caso, o seu afastamento imediato do recinto”, determina a lei.

Falta ação dos clubes e do policiamento para fazer cumprir o estatuto. Quando eram estendidas faixas contra Ricardo Teixeira, as polícias militares não hesitavam em enquadrá-las como proibidas pelo Estatuto do Torcedor – uma interpretação equivocada, a meu ver – e ordenar que os torcedores recolhessem as manifestações de protesto. Quanto a manifestações homofóbicas, não se vê a mesma vontade (aliás, a administração do Mineirão foi rápida em proibir um cartaz CONTRA a homofobia).

É claro que hoje o número de pessoas que entoam cantos homofóbicos nos estádios é enorme e seria impossível tirá-las todas do estádio de um dia para o outro. Cabe aos clubes, polícias e Justiça Desportiva se mobilizarem e avisarem a todos: a partir de hoje o preconceito acabou, os clubes serão punidos, torcedores flagrados serão retirados dos estádios. Esse dia há de vir.

Acostumado com ouvir ofensas, Michael naquele dia de abril de 2011, decidiu não calar mais. Pela proximidade que a quadra de vôlei tem com as arquibancadas, o jogador viu que até crianças participavam do uníssono que o ofendia, cena para lá de comum nos estádios de futebol, e que muitas vezes “orgulha” os adultos que estão em volta. Sem querer ser muito piegas, mas será que é isso mesmo que as crianças devem aprender com o esporte?

Algo a copiar dos gringos

Na onda de deslumbramento com o futebol europeu, bem que os clubes brasileiros podiam copiar uma ação simples feita pelo Arsenal, o Arsenal For Everyone. Segundo o clube, é uma iniciativa para assegurar que todos os torcedores sintam igual sensação de pertencimento. As ações vão desde oportunizar que portadores de deficiência consigam assistir plenamente às partidas, até a promoção da igualdade e da diversidade.

Quando estive no Emirates Stadium, os painéis eletrônicos em volta do campo passavam reiteradamente propagandas com os dizeres Arsenal For Everyone, ao lado da imagem de algum ídolo do clube. As cores da bandeira LGBT cercavam o jogador e o slogan, circundando todo o gramado. Como Londres é uma cidade multicultural, a preocupação é também contra a xenofobia. Assim, os dizeres Arsenal For Everyone eram replicados também em diversas línguas. Não tirei fotos e não consegui encontrar uma imagem da campanha, mas achei uma nos rincões da internet na qual o Arsenal promove em pleno estádio o LGBT History Month, celebrado todo mês de fevereiro no Reino Unido (foto acima).

Pode ser uma medida pouco útil, mas certamente é bem mais producente que os clubes ficarem de braços cruzados, e ajuda a desencorajar torcedores preconceituosos além de, como bem colocado pelo Arsenal, a aumentar o “sentimento de pertencimento” dos torcedores LGBT. Afinal, os grandes clubes brasileiros são ou não são para todos? É isso que as diretorias precisam responder.

Um abraço,
Felipe Prestes

Dancing on Thin Ice, Happy End #9.1, Canada, 2012 / Bristol freighter broke through ice while landing in 1956, all survived.

Bamboo in the Wine, Happy End #31.1, USA, 2012 / Cessna T50 bamboo bomber ran out of fuel in the 60s, all on board survived and walked over frozen river to Fort Yukon.

The Scenic Route to Nowhere, Happy End #3.1, Mexico, 2010 / Grumman Albatross, no official report as used for drug trafficking, locals say all survived.

Forces at Work, Happy End #2.1, Canada, 2010 / Douglas C3 stalled at take-off on skis in deep snow, all 6 survived. February 1950.

Knock on Wood, Happy End #11.3, USA, 2012 / Fairchild C-82 with total electrical failure, all survived for three days at -50°F (-45°C).

Passion is Rebel to Reason, Happy End #4.1, West Sahara, 2011 / Avro Shackleton Pelican, 25y SAAF, forced landing on flight to UK, all 19 saved by Polisario Rebels in July of 1994.

Never Eat More than You Can Lift, Happy End #5.1, Canada, 2011 / Curtiss C46 Commando, nicknamed Mrs. Piggy as she could load so much freight, including pigs. All survived, 1979.

Fuel of Life, Happy End #6.1, Canada, 2011 / Curtiss C46 Commando, lost engine power on a fuel run, all survived in 1977.

Life is a Tide, Happy End #8.1, USA, 2012 / The pilot swam to shore with favorable tides in 1947 and is still alive 65 years later.

I would be remiss if I failed to mention this post made my palms sweat a bit while writing the details, but despite the unnerving visuals of these downed aircraft, each one of these photographs by Dietmar Eckell tells the story of a genuine miracle. In his series Happy End Eckell captures incredible moments in aviation history where planes went down and everyone walked away or was rescued shortly thereafter. Above are just a selection of photos, many more of which can be found over on his website, where you can also explore Eckell’s unceasing fascination with abandoned locations and objects. He’s currently raising money over on Indiegogo to print a 96-page book complete with 50 photos and accompanied by facts about each plane and the story of the survivors. (via laughing squid)

Punk Press. Edited by Vincent Berniere and Mariel Primois. Abrams Books, 2013.

Punk Press
Edited by Vincent Bernière and Mariel Primois.
Abrams Books, 2013. Softcover. 240 pp., 160 color illustrations, 9x13-1/4".
There are two kinds of photo books, those concerned with the primacy of the image -- in which the book is merely a secondary vessel -- and those more concerned with the book itself as an artistic form.

And I suppose there's a third kind too, books that aren't concerned with being photo books at all. The recent Abrams book Punk Press falls into this category. Yes, the book contains photos, but they are incidental to the content and poorly reproduced. If you're looking for a volume of finely toned art prints to fawn over, this ain't it.

And that's as it should be. Punk is unpolished. In fact that's sort of the point of it. Grainy half-tones from old magazines bleeding into the gutter are completely appropriate. String a few hundred together in herky-jerky order, number the pages by hand, and you've got Punk Press the book, a wonderful assortment of posters, essays, rants, and clippings from old punk magazines circa 1968-1980.

Punk Press, by Vincent Bernière and Mariel Primois. Published by Abrams Books, 2013.

Punk Press, by Vincent Bernière and Mariel Primois. Published by Abrams Books, 2013.

Punk Press, by Vincent Bernière and Mariel Primois. Published by Abrams Books, 2013.

Punk Press, by Vincent Bernière and Mariel Primois. Published by Abrams Books, 2013.

In the midst of the national struggle for civil rights, James Karales, born into an immigrant Greek family in Ohio, turned his camera on the individuals fighting for rights and respect.

Modified version of image from Dzhokhar Tsarnaev's account on Russian social network vk.com.

Below, an array of perspectives on what legal rights the 19-year-old American citizen suspected of co-executing the Boston Marathon bombings has, and whether law enforcement is obliged to honor those rights under the circumstances:

• "If captured, I hope [the] Administration will at least consider holding the Boston suspect as [an] enemy combatant for intelligence gathering purposes. If the Boston suspect has ties to overseas terror organizations he could be treasure trove of information. The last thing we may want to do is read Boston suspect Miranda Rights telling him to 'remain silent.'"—Republican senator Lindsay Graham, on Twitter.

• "There's no way an American citizen committing a domestic crime in the city of Boston could be tried as an enemy combatant. It could never happen. And that shows absolute ignorance of the law."—Alan Dershowitz, prominent defense attorney and Harvard law professor, speaking on CNN.

• "The next time you read about an abusive interrogation, or a wrongful conviction that resulted from a false confession, think about why we have Miranda in the first place. It’s to stop law enforcement authorities from committing abuses. Because when they can make their own rules, sometime, somewhere, they inevitably will."—Emily Bazelon, Slate.com, on citizen and suspect Tsarnaev not being read his Miranda rights before interrogration.

— "Not surprising that Carmen Ortiz, who refuses to read Tsarnaev his rights, is same DA who pursued aggressive tactics against Aaron Swartz."—Heidi Moore, Guardian.

• "Needless to say, Tsarnaev is probably the single most hated figure in America now. As a result, as Bazelon noted, not many people will care what is done to him, just like few people care what happens to the accused terrorists at Guantanamo, or Bagram, or in Yemen and Pakistan. But that's always how rights are abridged: by targeting the most marginalized group or most hated individual in the first instance, based on the expectation that nobody will object because of how marginalized or hated they are. Once those rights violations are acquiesced to in the first instance, then they become institutionalized forever, and there is no basis for objecting once they are applied to others, as they inevitably will be."—Glenn Greenwald, in the Guardian.

• "The capture of the Boston Marathon bombing suspect raises a host of freighted legal issues for a society still feeling the shadow of Sept. 11, including whether he should be read a Miranda warning, how he should be charged, where he might be tried and whether the bombings on Boylston Street last Monday were a crime or an act of war."—Ethan Bronner, Charlie Savage, and William K. Rashbaum in the New York Times.

• Law enforcement is reportedly questioning him today, despite his compromised, critical physical condition. He cannot talk, but he "has been responding sporadically in writing to questions."