Google Street View extraordinaire Halley Docherty is back with a set of images that seamlessly match album covers with views from everyone’s favorite mapping service.
See more of the world through famous album covers over at The Guardian below!
Photo in black and white, minimal structures and geometric lines. Des photo en noir & blanc; des structures minimales et des lignes géométriques.
"I did not want to fight anymore, but if they said to go to the front line, you had to go. We had to walk for days without getting any sleep or food. I was very sad when I had to see my friends die. Within the group, I experienced war, hunger, and cold."
- Mercedes, former child soldier in Colombia
As armed conflict proliferates, an increasing number of children are exposed to the brutalities of war. Boys and girls around the world are recruited to be child soldiers by armed forces and militant groups, both forcibly and voluntarily. Some are tricked into service by manipulative recruiters; others join to escape poverty or discrimination. Still others are abducted from school, the streets, or their homes.
Aside from participating in combat, many are used for sex and as spies, messengers, porters, or servants. They are even ordered to plant and clear land mines. Kids have become the ultimate weapons and targets of 21st Century war.
To purchase the book
Dancing in the Dragon Jaws.
Dancing in the Dragons Jaws is Los Angeles-based photographer Thomas Alleman’s profound and nuanced body of work taken of San Francisco’s broader gay community during the mid-1980s. Working as a newspaper photographer for The Sentinel at the time, he was given the time and liberty that all sociopolitical relevant issues—including those of the present day—deserve. After shelving this work for over a decade, Alleman went back in 2009 to uncover and scan images that he’d previously overlooked.
Intermixed with images of galas, glitter, and glam are also images that show the severity of the struggle facing San Francisco’s gay community in the mid-80s. Alleman recalls, “We reported and photographed a blizzard of protests and demonstrations, vigils and marches and sit-ins, as the community struggled for social and political recognition of the crisis. But not every drumbeat was martial, of course. Often it was syncopated and disco-y, and I watched countless partiers dance to it with a shimmy and a bounce, and with life-affirming joy. While many of the pictures demonstrate a community in lamentation, many others are about anger and resolve, and most are about love and life. And disco and drag.”
Because of this range in depiction, because of the patience shown for the fight, because of the far-reaching concern shown for one another—whether dressed in a suit or in drag—Alleman shows us a human issue, not just an LGBT one. Therein lies this collection’s heart. Furthermore, Alleman reminds us of “that moment in our social history—so long ago, and so very recent—when the first wave of the AIDS epidemic crashed onto one of our country’s most vibrant neighborhoods. And, while that tribe convulsed with well-earned fear, heartbreak and anger, some still found the courage and the will to celebrate the dream of life they’d come to San Francisco for, and they danced in the dragon’s jaws.”
For a public installation entitled Magic Carpets 2014, French artist Miguel Chevalier transformed the floor of the Sacré Coeur cathedral in Casablanca, Morocco into an interactive psychedelic light show choreographed to music by Michel Redolfi.
Visitors walk across a massive carpet of light that first appears as an unstable monochromatic display before giving way to vivid blocks and whorls of color. The trajectory of the kaleidoscopic shapes and colors changes in response to visitors’ footsteps.