Tag: The Aftermath Project

The Aftermath Project: 2012 Grant Winner & Finalists Announced

The Aftermath Project

“This year, 183 applicants around the world applied for the Aftermath Project’s sixth year of judging, a nearly 15 percent increase in the number of applicants from the previous year.  A first round of screening was done in Los Angeles in mid-November by Lesley Meyer of the Annenberg Space for Photography, and Sara Terry, photographer and founder/director of The Aftermath Project. Final judging took place on November 19, in Houston. The judges were Anne Wilkes Tucker, photography curator at the Museum of Fine Arts, Houston; Stephen Mayes, director of VII; and Sara Terry.”

Congratulations to the 2012 Grant Winner:
Andrew Lichtenstein (USA) American Memory, a series of landscape photographs of important historical sites across America that are startling in their exploration of memory and conflict, and the intersection of the past and the present. At the core of Lichtenstein’s work is his belief that ‘the first step towards healing a deep wound is acknowledgement. Without that, it is impossible to move forward.’ Among the many photos in Lichtenstein’s work-in-progress that impressed the judges was a photo of three women in Confederate-era dress seated on a bench at the exact bus stop where Rosa Parks began her historic ride in 1955, launching the American civil rights movement (the women were participants at a recent Confederate Flag rally in honor of the 150th anniversary of the inauguration of Jefferson Davies, the Confederate leader). The judges found Lichtenstein’s project to be a highly original take on aftermath issues, and also found his images to be sophisticated and thought-provoking.”

And Congratulations to 2012 Finalists: (in alphabetical order)
Christopher Capozziello (USA) – For God, Race and Country, a work-in-progress about “America’s first terrorist organization, the Ku Klux Klan,” and Capozziello’s
exploration of why KKK members continue to believe in white supremacy. The judges were impressed by the access Capozziello has gained to his subjects, as well as the
strength of his photos.

Michelle Frankfurter (USA) – Destino, a work-in-progress about the unprecedented wave of emigration by Central Americans to the US, triggered in the 1980s by bloody civil wars in the region. The judges were impressed with Frankfurter’s journey with these migrants in dangerous conditions on freight trains – and again, by the strength of her images.

Simon Thorpe (UK) – Toy Soldiers, a work-in-progress involving a creative partnership with a Sahrawi military commander – and Polisario soldiers from the 4th
military region of Liberated Western Sahara and who Thorpe posed in the desert as life size toy soldiers. The judges were impressed with the creativity of Thorpe’s concept and the surprising images that resulted.

Michael Zumstein (France) – Bon Amis, a project about the Ivory Coast’s journey to reconciliation after the post-election crisis of 2010-11. The judges were impressed with Zumstein’s portrayal of an Africa not often seen in the media – and by his strong compositions and sense of place.”

Deadline October 1st: The Aftermath Project: Grant Opportunity for Conflict Photographers and Fixers/Translators

The Aftermath Project
Special Grant Opportunity for Conflict Photographers and an Honorarium for Translators/Fixers

Deadline: Saturday, October 1, 2011
$20,000 grant for one conflict photographer
$5,000 grant for on fixer/translator
If a conflict photographer AND a fixer/translator wish to apply together, they will be eligible for the combined sums of $25,000.


“The Aftermath Project was created to help photographers cover the aftermath of conflict, and was founded on the understanding that war is only half the story. But for quite some time I’ve been thinking about how the Aftermath Project could engage more meaningfully with conflict photographers – who, after all, are the ones telling the first half of the story….

When Tim Hetherington and Chris Hondros were killed, I found myself listening to the conversations and reading the postings that poured out from photographers and colleagues about the incredible sense of loss we all felt, and also about the many costs of covering conflict. It occurred to me that it might be the right time to offer a grant for conflict photographers who wanted to engage in a conversation about aftermath.

It is a testament to how deeply moved people were by the loss of Tim and Chris that I was able to raise $16,000 in the first 72 hours after I asked a handful of people to support this grant, people who had never even met Tim and Chris. Another $4,000 quickly followed, bringing the total to $20,000.

We are able to offer this year-long grant to conflict photographers who want to pursue a project about the aftermath in their own lives of covering conflict. The subject can be approached in any way – portraits, landscapes, reportage, collaboration with a family of someone who has been killed, anything that explores the personal aftermath of covering war, whether that be PTSD, the aftermath of sexual assault, the aftermath of being wounded. This is a very open and fluid call for proposals on this subject, and we welcome any and all approaches.

I’m also very pleased to announce a special $5,000 honorarium for a fixer or translator, who has worked with a conflict photographer, and who wants to tell a story (written or visual) about their own aftermath experience.

-From The Aftermath Project Director & Founder, Sara Terry

Click here to download a pdf of the application and submission guidelines.


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