Exposition: l’humanité selon Steve McCurry

Al Ahmadi, Kuwait, 1991, KUWAIT-10001. CAPTION: Camels and Oil Fields. Al Ahmadi, Kuwait, 1991. MAX PRINT SIZE: 40X60 DO NOT LICENSE OR DISTRIBUTE Sandwiched between blackened sand and sky, camels search for untainted shrubs and water in the burning oil fields of southern Kuwait. Their desperate foraging reflects the environmental plight of a region ravaged by the gulf war. Canby, Thomas Y. (August 1991) National Geographic, Vol. 180, No. 2, pgs. 2-3, August 1991, The Persian Gulf: After the Storm NYC107607, MCS1991003K213 Phaidon, 55, Iconic Images, final book_iconic, final print_milan, iconic photographs As his army retreated from Kuwait, Saddam Hussein ordered the ignition of the oil fields that scatter the country. The effect was an ecological disaster of unimaginable scale. These camels are running from the fires. It is a futile effort: soon they will covered in oil that rains down from the sky. Struggling camels silhouetted against the oil-fire, al-Ahmadi oil field, Kuwait, 1991. Pg 88,89, Untold. Steve Mccurry_Book Iconic_Book Untold_book Milan_Exhibit_’09 final print_Sao Paulo final print_MACRO final print_HERMITAGE Stern Portfolio_Book Book_Riotta Biography 2016 Fine Art Print Graphic Novel_book MAX PRINT SIZE: 40X60 Retouched_Sonny Fabbri 03/25/2014

DO NOT LICENSE OR DISTRIBUTE _PBS3554; Bamiyan; Afghanistan; 05/2007; AFGHN-12997, MCS2007005G13685, NYC127398. Women mourn at a grave in Afghanistan, 2007. CAPTION: Two Women Mourn in Cemetery. Bamiyan, Afghanistan, 2007. MAX PRINT SIZE: 40×60 Two Hazara women mourning at a gravestone, Afghanistan, 2007. Pg 238, Untold: The Stories Behind the Photographs. final book_iconic final print_Genoa Stern Portfolio_Book final print_Zurich Book_Riotta Biography 2016 retouched_Sonny Fabbri 06/03/2017

_SM15987, Havana, Cuba, 2010, CUBA-10021. CAPTION: Man Walks in Alleyway. Havana, Cuba, 2010. MAX PRINT SIZE: 40X60 IG: I photographed this colorful scene in La Habana Vieja with a vintage Russian car. 03/16/2017 IG OLD: Silhouette of a man walking down a green hallway in Havana, Cuba. 12/11/2014 Street scene in downtown Havana with vintage Russian car. final print_UrbanArt’12 retouched_Sonny Fabbri 08/04/2016, Chris Cox 08/23/2017 MCS2010009G10021, NYC134155

485000, Kabul, Afghanistan, 1992, AFGHN-10128. MAX PRINT SIZE: 40×60 CAPTION: Afghan Women at Shoe Store. Kabul, Afghanistan, 1992. IG 6/14/2019: 4th image: Women shop for shoes, Kabul, 1992. OLD IG: Women shoppers dressed in the traditional burqa stand in front of a shoe shop in Kabul. 01/12/2015 « McCurry was amazed. He couldn’t believe his eyes. The chance of seeing five Afghan women together, wearing five differently coloured burkhas, is miniscule, he thought. Seeing the women together in a bazaar, shopping for modern-day sneakers from the West, is even more extraordinary. McCurry made this picture. The bonus is the little girl wearing red sneakers on the right – and the women with red slipper on the left. » – Phaidon 55Bannon, Anthony. (2005). Steve McCurry. New York: Phaidon Press Inc., 21. Covered Head to heel in the traditional chadri, shoppers in Kabul signal Afghanistan’s return to fundamental Islam. Until 1989, women were pressured to conceal their bodies from all but close relatives; by the time women won the right to vote five years later, the chadri was becoming rare in major cities. Today’s leaders urge women to wear the full-length garment; although Western fashions are still for sale in the bazaars. Mackenzie, Richard. (October 1993). Afghanistan’s Uneasy Peace. National Geographic. 184 (4),. 60-61 Phaidon, Iconic Images, final book_iconic, page 36. Kabul, Afghanistan, 1992 (South Southeast, pg. 85) South Southeast_Book In The Shadow of the Mountain_Book Steve Mccurry_Book Iconic_Book Afghanistan_book final print_MACRO final print_Sao Paulo final print_birmingham final print_Beetles and Huxley final print_HERMITAGE final print_Zurich final print_Ankara final print_Michener final print_Utica Fine Art Print Magnum Photos, MCS1994002K002, NYC5931 Retouched_Eli Durst, Sonny Fabbri 3/31/2017

00958_19, 10120, AFGHN-10120. CAPTION: Shrine of Hazrat Ali, Blue Mosque. Mazar-i-Sharif, Afghanistan, 1991. MAX PRINT SIZE: 40X60 « Doves in front of Mazar-e Sharif’s famous ‘Blue Mosque,’ the Tomb of Hazrat Ali. Revered by Muslims as the tomb of the son-in-law of the Prophet Mohammed, this 15th-century mosque near the border of Uzbekistan is named for the cobalt blue and turquoise colors of its minarets and domes. Mazar-e Sharif, Afghanistan, 1991. »- George Eastman House « The white doves are a tourist attraction for Afghans. They are fed and cared for by travelers – by traders and farmers who come to market, and by residents of the northern region who come to the city to pray at the large mosque. In a country not given to leisure travel, the doves provide a symbol of peace. » – Phaidon Mazar-e Sharif, Afghanistan, 1991 (South Southeast, pg. 45) final print_HERMITAGE final print_milan final print_Zurich South Southeast_Book Steve Mccurry_Book Afghanistan_book final print_MACRO final print_Genoa final print_Sao Paulo final print_Birmingham final print_Beetles and Huxley final print_Ankara 55NYC5926, MCS1994002 K046 retouched_Sonny Fabbri 1/7/17

L1020555, Baobab Avenue, Morondava, Madagascar, Silversea, 11/2019, MADAGASCAR-10025NF5 Silversea Final Select IG 02/19/2020: Boys running with hoops along Baobab Avenue, #Morondava, #Madagascar, 2019. Retouched_Morgan Shortell, Emily Rogers, Eolo Perfido, Ashley Crabill 04/22/2020

AFGHN-10260, Nuristan, Afghanistan, 1979. CAPTION: Mujahideen Watch a Soviet Convoy. Nuristan, Afghanistan, 1979. Mujahideen fighters watch convoy, 1979″After this photograph was published in The New York Times (in a vertical format), McCurry’s career took off. Its publication identified McCurry as a photographer with inside knowledge and contacts as the conflict between the Soviet Union and Afghan nationals expanded. The image also heralded the photographer’s intense, poetic approach to telling stories with an economy of means, strategically employing composition, light, and space as narrative tools. Here, for instance, the story is more powerfully told without seeing the Russian convoy the Mujahadeen fighters are so intensely observing, leaving the threat of their presence in mist outside the frame. » – Phaidon 55 Mujahideen observe a Russian convoy, Nuristan, Afghanistan, 1979. Pg 16,17, Untold: The Stories Behind the Photographs Magnum Photos, NYC21021, MCS1980002 W00052/00A Steve Mccurry_Book Untold_Book Book_Riotta Biography 2016 final print_Beetles and Huxley Graphic Novel_book Afghanistan_book Bonnie Book FINAL SELECT Fine Art Print MAX PRINT SIZE: 40X60 IG: Flashback: I took this photo in Nuristan Province during the Soviet invasion of Afghanistan in 1979. I was traveling with this group of Mujahideen who stopped on a rocky ledge high in the mountains to watch and track a convoy of soldiers on the road far below below. retouched_Eli Durst, Sonny Fabbri 11/14/2016

_DSC1116, Papua New Guinea , 11/2017, Silversea, PAPUA_NEW_GUINEA-10001NF5. IG: Mudmen, #PapuaNewGuinea, 2017. 07/23/2018 Retouched_Chris Cox, Sam Wallander, Morgan Shortell 01/21/2020 A Life in Pictures_Bonnie Book Final Select

CAPTION: Sharbat Gula, Afghan Girl. Peshawar, Pakistan, 1984. MAX PRINT SIZE: 40×60′ Sharbat Gula, at Nasir Bagh refugee camp near Peshawar, Pakistan, 1984 -Untold (pg. 81) National Geographic Magazine, Vol. 167, No. 6, June 1985, Along Afghanistan’s War-torn Frontier. « The green-eyed Afghan girl became a symbol in the late twentieth century of strength in the face of hardship. Her tattered robe and dirt-smudged face have summoned compassion from around the world; and her beauty has been unforgettable. The clear, strong green of her eyes encouraged a bridge between her world and the West. And likely more than any other image, hers has served as an international emblem for the difficult era and a troubled nation. » – Phaidon 55 The iconic image does not stand outside of time. Rather, it connects with the moment in a deeply profound way. Such as images are imbued with meaning, a significance that resonates deeply with a wide and diverse audience. McCurry’s photograph of the Afghan girl is one such image. For many, this beautiful girl dressed in a ragged robe became a worldwide symbol for a nation in a state of collapse. Haunted eyes tell of an Afghan refugee’s fears. — Bannon, Anthony. (2005). Steve McCurry. New York: Phaidon Press Inc., 12. NYC5958, NN11480593, MCS1985002 K035 Afghan Girl: Found National Geographic, April 2002 Phaidon, Iconic Images, final book_iconic, page 33. National Geographic Magazine, Along Afghanistan’s War-torn Frontier, June 1985, Vol. 167, No. 6 Afghan girl, Pakistan, 1984 (Looking East, pg. 28) South Southeast_Book In the Shadow of Mountains_Book Steve Mccurry_Book Looking East_Book Iconic_Book Untold_book PORTRAITS_APP final print_MACRO final print_Sao Paulo final print_Milan final print_Birmingham Fine Art Print final print_HERMITAGE final print_Zurich final print_Ankara, Michener, Utica Graphic Novel_Book Retouched_ Eli Durst, Sonny Fabbri 03/30/2015

Dal Lake, Srinagar, Kashmir, 1996, KASHMIR-10016. Flower Seller at Dal Lake National Geographic, October 1999, Kashmir: Trapped in Conflict « Each morning for two weeks during his 1996 visit to Lake Dal in Kashmir, McCurry travelled with the flower sellers. He had established a ritual for the morning hours, when the sun was at its best. Shortly after dawn, he would begin the day in the market; then he would ride with the boatmen. He knew these were the places for strong pictures. He also knew he needed to work for his pictures, to look and to wait for the right light and action to come together. And then, that morning, from a boat filled with flowers, he caught the boatman’s hand in the reflected light of the V of the trees on Lake Dal. » – Phaidon 55 Magnum Photos, NYC5901, MCS1999005K017 Phaidon, 55, South Southeast, Iconic Images, final book_iconic, milan frame, final print_poster, iconic photographs A flower seller paddles through Dal Lake’s quiet waters. Few observers expect diplomacy to restore equal serenity to his homeland. Buffeted from within and without by waves of seemingly intractable strife, Kashmir faces a stormy future. Good pictures take time and work. When visiting Lake Dal in 1996, McCurry travelled with the local flower sellers as they journeyed down the river. For two weeks he would ride with the merchants during the morning. On this day the vibrant flowers and boatman, arm raised in mid-paddle, combine with the morning light to create the perfect composition. Flower seller, Dal Lake, Srinigar, Kashmir, 1996. Pg 125. Untold: The Stories Behind the Photographs. Phaidon, Iconic Images, final book_iconic, page 141. South Southeast_Book Steve Mccurry_Book Iconic_Book final print_MACRO final print_Genoa final print_Sao Paulo Untold_book final print_Birmingham Retouched_Eli Durst 11/15/2016

00958_12, Agra, Uttar Pradesh, India, 1983, INDIA-10203. Magnum Photos, NYC5903, MCS1983002 K201 « Trying to tell India’s story in pictures, I spent time in it’s stations, watching the swirl of life each time a train pulls in. People endlessly wait, they camp out in the stations, goods and services are exchanged. Cha-wallahs ply the carriages with their wares. Cows and monkeys forage for food. The entrance halls reverberate as passengers compete for tickets-the clamor of crowds is a constant assault on the senses. I was working an magazine assignment on a train journey across South Asia and by chance was walking down the track from Agra Fort Station. India’s stations are a microcosm of the country beyond. Here in the commotion of travel, you can feel the continuity between past and present. » « This photograph recorded in 1983 the contrast between a mighty technology – the steam locomotive – and the transcendent aesthetic of the Taj Mahal, with its light-reflecting surface. The steam engine, once an important symbol of indian national culture, is now a thing of the past. So in addition to staging a powerful rhetoric, McCurry’s photograph captures a lost moment in culture. Even the tracks near the Taj Mahal have now been removed. The character of McCurry’s work, then, lies in the power of its record and its rhetoric. The photograph of engine set against architectural spender holds fast an idea – a way of thinking about contrast and culture that can be carried forward to other images in other times. » – Phaidon 55 Bannon, Anthony.(2005).New York: Phaidon Press Inc., 7. National Geographic: Paul Theroux. (June 1984). By rail across the Indian subcontinent, National Geographic (165(6)), 696-743.55, final book_iconic final print_milan final print_Genoa final print_Birmingham final print_Sao Paulo final print_MACRO The Imperial Way_book South Southeast_Book India_Book retouched_Sonny Fabbri 01/12/2015

_DSC0397, Wadi Rum, Petra, Jordan, 02/2019, Silversea, JORDAN-10033 Silversea Final Select IG 4/17/2019: Wadi Rum, Jordan. 2nd image: Portrait of a shepherd, Jordan. 3rd image: Two shepherds herding their flock, Jordan. 4th image: Hejaz railway built in 1908, during the Ottoman Empire, Jordan, 2019. Retouched_Scott Mclane, Morgan Shortell , Emily Rogers, Eolo Perfido, Emily Rogers, Ashley Crabill 05/13/2020