Booklyn Artists Alliance

Stephen Dupont, Sydney, Australia

Booklyn is proud to represent the artists books and photography of the internationally acclaimed and award winning photojournalist & war correspondent Stephen Dupont.

Works of Art--

"Why am I a Marine?" 2009

Panorama, 2007

Guns and Arrows: The Detribalization of Papua New Guinea, 2007

Axe Me Biggie, 2007

Tsunami, 2005


News & Reviews--

"Aperture" Magazine, Summer 2010, issue

Dupont wins Harvard's Gardner Fellowship, 2009

Afghanistan, or The Perils of Freedom: Photographs by Stephen Dupont at The New York Public Library, 2008

Stephen Dupont survives suicide bombing in Afghanistan, 2008

Stephen Dupont Wins W. Eugene Smith Grant, 2007


Artist's Documents--

Artist's Biography

Resume


NEWS & REVIEWS--

Summer 2010, Aperture, Issue #199: Weapons Platoon: Portraits and Notes from the U.S. Marine Corps Base in Afghanistan, by Stephen Dupont

A collaboration with Marines stationed in one of Afghanistan's most volitale areas.

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"From the confessions in their eyes to their handwritten testimonies, I believe there is an important message that prevails here. There are no tricks or lies in these documents, just a small piece of truth within the massive U.S. military machine. I saw naivete and fire inside these men, but I also saw devotion and questions and mighty hearts."

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"These soldiers of the Weapons Platoon survived; many others did not. These men are all back home now, with their wives, their girlfriends, their families. Some will leave the Marines and start new lives, and others will go back to Afghanistan to fight again. All of them have to contend with demons inside."

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Stephen Dupont was the recipient of the 2007 W Eugene Smith Grant for Humanistic Photography for his ongoing project on Afghanistan. His handmade photographic books are in such collections as the National Gallery of Australia, the New York Public Library, and Joy of Giving Something, Inc.

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Dupont wins Harvard's Gardner Fellowship, 2009

The Peabody Museum of Archaeology and Ethnology has announced that Booklyn artist Stephen Dupont has been awarded the 2010 Robert Gardner Fellow in Photography for support of a project entitled Guns and Arrows: The Detribalization of Papua New Guinea.

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Afghanistan, or The Perils of Freedom: Photographs by Stephen Dupont, The New York Public Library, 2008

From November 7, 2008 through January 25, 2009 Booklyn coordinated in the presentation of Stephen Dupont's first solo exhibition in the US. Afghanistan, or The Perils of Freedom: Photographs by Stephen Dupont at The New York Public Library in the Stokes Gallery (Third Floor) of the Humanities and Social Sciences Library at 42nd St in New York City.

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Catalog now available.

Review of Stephen Dupont's solo exhibition at the New York Public Library from The New Yorker, January 5th, 2009--

Afghanistan, or The Perils of Freedom surveys photographs taken by Stephen Dupont between 1993 and 2008, a period of almost constant conflict as forces both inside and outside the Afghan republic fought for control. Though Dupont witnessed these power struggles up close, the most interesting images focus on the collateral damage to ordinary citizens. The best pictures here are twenty black-and-white Polaroid portraits of people posed before a portable cloth backdrop on the streets of Kabul on May 13, 2006. The tension between spontaneity and staging gives Dupont's subject--a man with a fistful of cash, a girl with cartons of eggs, a B-boy wannabe in a bucket hat--a heightened presence. And the observers crowding around, peering into the camera, turn each photograph into an event. --Vince Aletti

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Stephen Dupont survives suicide bombing in Afghanistan, 2008

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Read the story in the New York Times

Two days after the April 27, 2008 assassination attempt on President Hamid Karzai of Afghanistan, the photojournalist Stephen Dupont and the journalist Paul Rafael, both Australian, were traveling with an opium eradication team in eastern Afghanistan's Nangarhar Province. A suicide bomber attacked their convoy. The Taliban claimed responsibility for the attack, which killed at least 15 and wounded 14. Both journalists were among the injured: Mr. Dupont suffered minor injuries to his head, and Mr. Rafael had serious ones.

To view the Australian Broadcasting Corporation's video about the bombing link here.


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Stephen Dupont Wins 2007 W. Eugene Smith Grant, 2007

October 17, 2007
By Holly Stuart Hughes

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Australian photographer Stephen Dupont has been awarded this year's W. Eugene Smith Grant in Humanistic Photography, which carries a $30,000 prize. The grant was to be awarded at a ceremony Wednesday. The jury gave the award to Dupont to support his project, "Narcostan: The Perils of Freedom." Dupont, who has been shooting self-funded projects in Afghanistan for the past 15 years, plans to use his grant to continue the toll drug trafficking takes on the country, as well as the problems faced by Afghanistan's addicts.Link to the PDN online article.

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WORKS OF ART--

"Why Am I a Marine?" 2009

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"I choose to take a simple and intimate path in this project and simply asked all the Marines in the platoon to write their answers to the question 'Why are you a Marine?' in a small journal that I kept while I was embedded with them. While in the field I took the Polaroids of each Marine and gave them the positive as a reciprocal gesture for their participation and honesty and later back in Sydney printed from the negative."

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"Its an up close and personal window into the lives of a Marine platoon in Afghanistan's most remote and lawless war zone. "Why Am I a Marine?" is with the US Marines Expeditionary Brigade 2nd Battalion's Delta Company and have recently fought there way through the deserts of Helmand province to a forward operating base (F.O.B. Castle) located inside and ancient fortress overlooking the poppy enclave of Khan Neshin. This small mainly Pashtun and Balouch town lies 120km north of the Pakistan border and has been until recently a Taliban stronghold and poppy paradise."

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"This small platoon of Marines faces each day as they patrol the badlands of southern Afghanistan where IED's and IDF are a daily ritual. The enemy plays with the young US marine's minds and souls with games of cat and mouse. The backdrop is a dusty and harsh desert landscape where temperatures sour daily to over 50 degrees celcius. A wild west like land of bazaars, poppy fields and small compounds where insurgents hide and plan attacks from. A classic guerilla insurgency where the Taliban have resorted to the planting of roadside bombs bigger enough to rip open the best APC's the Americans have, rather than stand up and fight them directly. Fatalities facing American and British forces in Helmand are mainly caused by IED's and IDF, approximately 80%."

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"Weapons Platoon served in Iraq and were immediately transferred to operations in Afghanistan along with 20,000 other Marines making up President Obama's new military strategy and his most costly and ambitious foreign policy to date . . . 'Operation Khanjar' So many US servicemen have been killed in the past two months that it has become the deadliest time period since 2001."

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"The Marines of Weapons Platoon reflect on life on the frontline, their ideals and missions, their personal feelings and how the transition from Iraq to Afghanistan is the right path. Their mission? To secure the areas in and around Khan Neshin and rid it of insurgents and drug dealers. To build trust in the local population into returning to their homes and fields. Only then will they leave . . . so they say!"
--Stephen Dupont

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A portfolio set of 35 hand-printed on silver gelatin paper prints from original Polaroid negatives and medium format photography of a handwritten journal. Each photograph has been taken by the artist and copyrighted to the artist. The portfolio box is designed and handmade by the artist. This portfolio is made in an edition of 15 only.

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Panorama--Vol. 1, 1999–2007

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A six-year monograph of the artist's personal favorite panoramic photographs. It is a visual diary and cinematic journey.

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Edition of 50, 2007, 7 x 18 inches, accordion fold, 88 pages, 80 photographs, 135 feet long when unfolded, $7,800.

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PANORAMA is war, chaos, revelation, entrapment, isolation and peace. It is Humanity and Inhumanity.

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Originally shot in medium and 35mm formats with various films, all photographs are scanned from original film negatives and ink jet printed with a 12 color Roland D'Vinci.

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On acid free 300GSM archival art paper with pure pigment archival pigment ink. All photographs are taken by the artist and fully copyrighted to the artist.
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Guns and Arrows

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A portfolio set of 30 hand printed photographs on 24 by 18 inch silver gelatin paper from original Polaroid B+W 665 film negatives. Each photograph has been taken by the artist and copyrighted to the artist. The portfolio is designed and handmade by the artist. An edition of 15, 2007.


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The photographs portray the Highlands people of Papua New Guinea, one of the oldest continuous agricultural cultures in the world and a street gang of Port Moresby, Papua New Guinea, often cited as the most dangerous city in the world. The contrast between these groups is amplified by their common background and the fact that they are separated by less than 100 miles.


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"I travelled to the Highlands of Papua New Guinea in August 2004. I was in Mount Hagen for the annual ‘Sing–Sing’ festival (13 -15 August ). This event brings people from many tribes around the country to celebrate custom and indigenous culture. The three-day show becomes a wild party of singing, dancing and feasting.


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I hired local youths to build me a traditional hut that I used as my photo studio. From there I made hundreds of Polaroid portraits. The negatives were preserved in a chemical solution and later washed, dried and archived in my hotel room. The Polaroids were either given to my subjects or used for documentation so I would have each person's tribe and village name. My subjects volunteered to be photographed as they chose to be. These photos look at a cross section of some of Papua New Guinea's tribes as they appear in 2004.


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I first heard about Raskols about 5 years ago through a friend Mark Worth. Mark was a film maker and a very good story teller. He had grown up in PNG and his stories from there were inspirational. After years of hearing about the place I decided to head up there on New Years Eve 2003 and decided to do a story on urban gangs in Port Moresby. Finding the access slow and difficult, we were fortunate to stumble on a tribal war in a Port Moresby settlement called Kaugere.


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A drunken highlander man had speared a Papuan lady through the head that killed her. This was enough to spark off a riot and clashes between the local Papuan residents and Tari Highlanders. Police were nowhere to be found and the only security for the settlement came from the local Raskol gang, Kips Kaboni (Red Devils). The gang members and all the men of the community were armed to the teeth with homemade guns and traditional weapons.


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They watched Ben and I walk straight into their community uninvited and were so shocked to see two white guys. They thought we were totally insane. This is a notorious settlement that not even the police will risk entering. We immediately found respect from the community and they were so happy that foreigners were interested in their lives and struggles. Over the week we spent around Kaugere slowly I began to get the confidence of the gang and began to take photographs. They would not allow me to come on operations with them for obvious reasons and so I decided I would make a series of portraits, all taken in their 'Safehouse'. This was a new challenge in my photography as I would normally shoot mostly documentary street pictures. With the exclusive access and trust of this one gang I decided to make as many portraits as I could and so over 3 days I photographed whoever turned up at the safehouse.


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No instructions were given to my subjects, just that they would stand in front of the camera. I captured whatever they did. After the first trip in January I could see I had something special and unique in these portraits but felt the work was not completed. I went back again in August 2004 and spent another few days shooting. This time I was greeted like an old friend and I could spend longer getting to know the guys. I could also give them photographs and show them the work I was doing on the book production, talk about an exhibition, etc. Raskols are known to be violent thugs and are notorious for armed robberies, rapes and armed hold-ups. In Port Moresby, two thirds of the population live in shanty towns and unemployment stands at around 70%. I do sympathise with the guys when they say we only go out and rob to feed their families. Like the bandits of Robin Hood the raskols distribute the wealth across their community. In the 29 years since PNG gained independence from Australia, the country has gone backwards in almost every respect, from health and education to corruption and crime. Many locals believe that the PNG police is corrupt and violent. They are just as scared of them as they are of the Raskols. I did the project so my photographs could bring humanity, dignity and honesty to the Raskols. I wanted to allow them to have the opportunity to express themselves in front of the camera and bring me into their world and allow me to learn about their situation." --Stephen Dupont

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Axe Me Biggie

("Mister, take my picture!")


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A portfolio set of 15 hand printed photographs on 24 by 18 inch silver gelatin paper from original Polaroid B+W 665 film negatives. Each photograph has been taken by the artist and copyrighted to the artist. The portfolio is designed and handmade by the artist. An edition of 15, 2007.


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"First the big picture, on March 13, 2006--the day Stephen Dupont made the photographs in this portfolio--the big picture in Kabul is more bombs, more drugs, and more poor. It's an old story by now: the foreign promise unfulfilled, the failed reforms, a country immune to money, schools, and eight-part programs, always reverting to its savage nature. It doesn't help that Stephen and I spent the better part of the last three weeks in a mental hospital. Whatever other effects that may have had, it turned this city into a sort of violent burlesque and in my mind's eye I see, as undoubtedly he does too, a kaleidoscopic cascade of junkies, electroshock patients, and amputees.

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This volume is not about the big picture. It's about all the small ones, the ninety-three particular, like-no-one-elses you see here. As journalists we use individuals as emblems, symbols, small faces to make big judgments. But obviously, any single Afghan, any single story, is more ambiguous, more murky than that. Take the man I met at the orthopedic hospital six hours before these images were shot. About forty years old, he was from Madianshar. I'd been there once in 2001, a kind of Wild West ghost town over which the Northern Alliance and the retreating Taliban were trading missiles. That day, listening to the whistling shells, the journalists hunkered down inside a yellow house. It might have been his, this house, the one that every night he ringed with nine landmines for protection. Every morning he dug them up again. But one morning, not thinking, he dug up only eight. The ninth he stepped on, blowing both his legs off. Imagine, he stepped on his own landmine. 'We have an expression for this,' the doctor in the hospital said slyly, 'He dug his hole . . . then he jumped into it.' What does this story tell us? Neither nothing nor everything. And that's the way it usually is.

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Having been in many places where pictures were taken, many times I'd seen the images that emerged and didn't recognize them. Inevitably they made the incidental appear central, manipulated light and angle to overstate drama, homed in on every spot of violence and destruction until completely erasing the less photogenic truth surrounding--and in short, had almost no relation to the scenes that I myself had witnessed.

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But there's no sleight of hand here, neither from photographer or subject. It's merely a record of how it was. The images can't convey the carnival atmosphere we created along that dusty roadside bus stop strip with our western faces and magic Polaroids, how after ten minutes we were surrounded by a hundred people pushing and pleading to get into the chair with the attached curtain backdrop that Stephen rented from one of the local photographers, how the excitement of the crowd would grow until it inevitably climaxed with a policeman swinging a steel truncheon, chasing us farther down the road. But what they do convey, what they document, is that there is always a moment. The finger pointed, the next subject selected, the die cast, it doesn't matter if it's a young boy, a cop, or the man with elephantitis. He sits in the chair and as if by some secret signal the crowd goes silent and the man squares himself toward the lens. The cop checks his swing. The buses stop. The movement of the world is frozen as if anticipating its place in this book some months later, out of time, timeless.

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One and all, the subjects of Stephen's photographs seem to understand eternity and they have a certain look for it, each one, even among the blowing dust and the swelling crowds, finding this "center," this patch of downtown Kabul magically transformed into a royal portrait studio, the rickety chair a throne on which the formal sitting takes place.

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If you let it in, this sudden sensation of time arrested is a slap in the face. That's eternity slapping you now.

A writer couldn't do it; I couldn't do it. And I'm sure that not a little of this is because on this day, a Monday, there is an exchange. Everyone gets a picture. Stephen is shooting 665 black and white Polaroids, one per person. After his shot, he pulls out the cartridge and separates the positive from negative. One for them, one for him. How different this is. Usually photography is a theft, or else, conversely, it is commissioned, a paid advertisement. Today it is neither; no one is told what to do. In a place where 'freedom' is fast becoming a dirty word, this is a real thing. And it isn’t just talk. You get a picture to take home for nothing, so it really is 'free.'

"Axe Me Biggie"--a crude Anglo phonetic rendering of the Dari for 'Mister, take my picture!'--is Stephen's answer to the plea he's heard all over town the previous three weeks. It seems to mean something in English, 'axe' being just a more visceral and violent version of the camera verb 'to shoot,' returning all its original aura of surrender. And because Stephen has that pulverizing Aussie-rules rugby body, 'Axe Me Biggie' also seems a request addressed to him personally. Stephen is Biggie. And on this day Biggie finally answers them all, en masse, saying, 'Yes, alright. I will axe you, shoot you, take your bloody picture. Have a seat!'

Here, speed acts as the slayer of editorialization . . . of bullshit. The entire session unfolds over a cluster of locations within two hundred yards of each other, unfolds in three hours, between three and six PM, or roughly one picture every two minutes. Now ordinarily we prefer our art to be long suffered over, if only to feel we've gotten our money's worth. This is the opposite. And it gives all the benefits of the opposite: no time to fuck around, to prevaricate. The photographer, as he should, becomes irrelevant. Only that moment, that eternal moment that the Polaroid Land Camera creates, tearing a space in the continuum of time.

In the gap, these faces. The faces the Afghans present to you, and to themselves. They confound, rejecting every attempt to be tidily stored away in the mental filing cabinet, and yet strike that deep-timbered tone: recognition. It says, I don't know that man; I know that man. I don't know that place; I know that place. I know, in that soul way of knowing birth and death, that look . . . when I am, you are, he is, staring life in the eye and in the tripping shutter of the camera life blinks first."
--Jacques Menasche, New York, August 2006

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Tsunami

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January 9, 2005--Banda Aceh Military Airport


A unique book in the collection of Stanford University.


"What a way to start the New Year. I'm in Banda Aceh, close to the epicenter of the earthquake that struck Asia on the 26th of December 2004. I can hardly hear myself think. The shock of the last six days has numbed my mind. It is chaos. Rescue workers, military personnel and aid workers running around trying to make sense of this place. The constant roar of C-130's and helicopters landing and taking off. The displaced are fighting their way on to planes. Any flight any place to take them away from this hell. The smell of decay, rotting flesh, not sure if it in the air or in my clothes . . . or is it in my head? People around me are chain smoking kretek cigarettes and drinking bad coffee. Journalists and photographers argue with soldiers to get on choppers to go cover the story. I'm exhausted and relieved to be heading home.

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"Banda Aceh, capital city of Aceh province. More then half the city has been wiped out. What remains resembles the aftermath of a WWI battlefield on the Somme. Everything is DEAD! This place is Apocalyptic, fuck, I can’t even describe what this place looks like . . .fear of whoever reads this will go insane . . . I’m already frightened to look at my pictures. This place is indescribable. How it feels and smells. I can’t think of anything to compare it with. It’s Hell, fuck! Looking at it, looking at the devastation makes me think of Hiroshima after the bomb was dropped . . . and I can’t get this quote out of my head by Wilfred Burchett as he described the aftermath of Hiroshima . . . ” I write this as a warning to the world . . .”

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"I’ve seen nothing on this scale and I’m likely to never see it again. It’s been a chaotic week and covering this story has been a serious challenge to my profession and my humanity. I sat at home glued to the TV over Christmas and felt compulsion and a sense of duty to cover the tsunami aftermath. After a wild drug induced New Year’s party with friends I jumped on a plane and headed for Indonesia.

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"How do I photograph the carnage, the living dead, the ghosts? How do I capture humanity, when the humanity has been sucked out of this place? There is no emotion left. People walk around, trauma smashed into their minds. In shock they stumble through the wreckage of what was their homes, their shops, their work places, their Life! I can see one lonely figure sitting on a plastic chair, on a green tiled foundation, what was once beautiful home. What is he thinking? There are no tears left to cry . . . he sits in silence. Maybe his family still lies under the rubble, or maybe they were washed away to some other part of the city, deposited like garbage.

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"Fathers are searching for children; husbands are searching for wives, sisters looking for brothers . . . entire families obliterated in seconds. A generation wiped out, a nation’s population sliced by a quarter . . . a new map of a new land. The force of this tsunami must have been incredible. Eighteen meters high, an ocean of water pounding the west coast of Aceh at 500 kms per hour. I just can’t believe anyone could have survived at all. It’s miserable, heartbreaking numbness on a biblical scale. The only way I can describe this place is to rant and rave like a crazy person . . . it’s insanity, it’s Cancer!

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"The smell of death is everywhere. I walk through the valley of death . . . the stench of rotting corpses in my nose, I can even taste it in my mouth . . . thousands and thousands of bodies everywhere. Who will ever know how many people died here . . . over 100,000 they say…double it and triple it I reckon. How can you count what is no longer there. Bodies are being buried in mass graves so quickly; there is no way to keep track of numbers. They are dumped, truck load after truck load, thrown into large holes in the earth like sacks of garbage, one on top of the other…until the hole is full . . . 600 should fill it ok. Limbs poking out from the ripped plastic bags remind you that there are people in those sacks. There is no dignity for the dead…no time for dignity, no time for prayers. They’ll be pulling out bodies for months to come and filling more and more holes. A nearby school has closed down because of the stench, the children complain of being sick . . . the mass graves are right alongside the road to the airport…you don’t need directions as my friend Phil Blenkinsop said . . . ”Mate, you’ll smell it well before you see it”

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"Back in the city I’m walking around the devastation. I can smell the pungent decay of dead people everywhere. I see dead people everywhere, spread out like Christ nailed to a roof, on cars, hanging out of windows, crushed between rubble, impaled by a fence, still peddling rickshaws, hiding in shops, stuck in bedrooms, in attics, all disgustingly deposited where the water left them. Frozen in time, caught naked in undignified positions, their clothes ripped from their bodies from the shear pressure and impact of the waves. Eyes bulging and facial expressions caught in the moment of total fear and then death. Mud is spewing out of their mouths, their eyes, their privates. It looks like Pompeii. Frozen expressions of agony and torture…like images from a Horonumous Bosch painting.

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"One day the ocean just rose up and sucked the life out of everything: Cows, dogs, ducks, cats, fish, crabs, lobsters, horses . . . nothing survived, no man made structure, no living structure . . . not even trees survived the impact. I walked for days through the destruction photographing everything I felt represented what happened here. It’s a shocking blur and overwhelming. How can I do this tragedy justice, when there is no justice?

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"I photographed hundreds of bodies, destruction and personal possessions. Photos, pots, pans, plates, cups, glasses, cutlery, couches, chairs, guitars, computers, keyboards, tables, beds, wardrobes, cars, buses, noodle stands, motor bikes, bicycles, wheels, motors, washing machines, fridges, buckets, toilets, clothes, hats, bras, underwear, shoes, watches, bracelets, rings, glasses, teddy bears, toy dolls, sewing machines, tools. There were boats shoved inside houses, ships sitting in front of shops down the main commercial street like a giant had picked them up and placed them there. It was all so surreal, my imagination taken to the outer limits! Bricks, concrete and planks of wood were everywhere you could see. It was the end of the world, I walked around overwhelmed and in shock. Roads had just been cleared in some areas and body bags were being lined up on these access areas for the body trucks to get to. People starting to return to look for homes that were no longer there. Picking through rubble in the hope of finding some small possessions or a miracle of some dead family member they could give the time for a proper Muslim burial. Everyone was walking around in a daze, in utter shock and disbelief. Not much public emotion…just an eerie silence. It’s as though the living are dead too. A man is burying his mother and brother in graves right where their house used to stand. He hammers in a small handwritten plague that reads their names and date of death, 26-12-04. Two palm leaves are the only indication that two people lay in the ground.

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"It’s all so fucking surreal. Internally displaced people moving around like lost souls . . . searching for a life that isn’t there anymore. There is nothing left here for these people. Many will never recover from this disaster and there is no one to blame . . . how do you blame the planet from ruining your life? The trauma is on such a large scale, it’s unbelievable. The hospitals are overflowing with the wounded . . . patients dropping dead like flies. I saw one family gathered around a body draped in a colorful sarong. A woman sits weeping uncontrollably while one man reads frantically from the Koran. The hallway behind me another body is covered up with an old lady singing Koranic verses . . . hard to hear with the sounds of the dieing all around here. Screams of pain from people with amputated limbs, screams for ‘Allah’ echo throughout the wards. A young boy cradles his dead father, no tears, just utter shock. In the maternity ward a woman breaks down sobbing and wailing after seeing some newborn babies. She sits down in a traumatic mess looking up at me as I shoot pictures . . . four fingers raise in front of her face . . . as she wails again. The stench of gangrene is everywhere. I cannot help feeling relief for these survivors. I’m glad they cannot see there mothers, fathers, brothers and sisters being dragged out in strips of flesh from homes and mosques.

"I’m writing without thinking, my head is crammed with images of death and destruction. Where does life lead to from hell? Where do you go from here? Even now as I type my diary entry I am putting off editing my pictures . . . hundreds of contact sheets still lie untouched in boxes. They are like the dead in the ground. It’s time to open the vault and hope the world can see what I have just witnessed.

All photographs taken by and copyrighted to Stephen Dupont in Banda Aceh, Aceh Province, Indonesia. (January 1–9, 2005)

All photographs taken with Leica M6, Hasselblad X-Pan and Rolleiflex. All photographs taken on Kodak Tri-X film stock.

Book designed and printed by Stephen Dupont at Bondi Beach, Australia. (May 2005)

Book printed with Epson archival pigment ink on Hanemuehle photo rag paper stock.

Book hand bound by Newbold & Collins Bookbinders, Sydney, Australia. (May 2005)

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Biography

Award-winning photographer Stephen Dupont was born in Sydney, Australia in 1967. Since beginning his photographic career in 1989, he has produced photo essays from dozens of countries, including some of the world’s most dangerous regions: Afghanistan, Angola, Burma, Burundi, Cambodia, India, Israel, Iraq, Rwanda, Somalia, and Zaire.

Dupont’s reportage has been featured in The New Yorker, Newsweek, GQ, French and German GEO, Le Figaro, Liberation, The Sunday Times Magazine, The New York Times Magazine, Stern, Time, The Financial Review Magazine, The Fader and Vanity Fair, and has earned him photography’s most prestigious prizes, including a Robert Capa Gold Medal citation from the Overseas Press Club of America in 2006, and first places in the World Press Photo in 1994, 1995 and Pictures of the Year International 1997, 1998, 2005. In 2006 he was awarded a 2nd place in the coveted Bayeux-Calvados War Correspondent’s Award and won Best Photojournalism in the Australian United Nations Peace Awards.

Having exhibited his work in London, Paris, New York, Sydney, Tokyo, Shanghai, and at Perpignan’s Visa Pour L’Image Festival in 1995, in 1999 Dupont was a founding member of the first festival of photojournalism in Australia: REPORTAGE- A Celebration of Australian Photojournalism.

Dupont has been chosen as an Official Photographer with the Australian War Memorial and much of his war photography is archived there.

He is also the author of several books, STEAM--India’s Last Steam Trains published by Dewi Lewis and FIGHT--a global retrospective on traditional wrestling by Marval and Braus Publishers.

A documentary filmmaker as well as a photographer, Dupont’s first film, in 2001, concerned a solo trek across Afghanistan’s Hindu Kush Mountains by horse and foot. In 2005, his footage of US soldiers burning the bodies of dead Taliban sparked international outrage, a criminal investigation, and changes to US military policy. His 2006 report on heroin use in Afghanistan, "The Brothers of Kabul" made with writer Jacques Menasche, is currently a finalist for the Rory Peck Award for Features. His US Forces Embed in Afghanistan camera work is also a finalist for the Rory Peck Sony Impact Award.

Dupont’s artist books are found in some of the world’s most important collections including Stanford University CA, National Library of Australia and Berlin State Art Library.

Stephen Dupont’s photographs are archived in many Australian Institutions and galleries and at Contact Press Images in New York City. His films are distributed through Journeyman Pictures in London, UK. Editioned Artists Books are available from BOOKLYN, New York City. Dupont’s work can be seen at www.stephendupont.com, www.contactpressimages.com and www.booklyn.org

Please visit Stephen's website for an overview of his work.

For questions regarding acquisitions, exhibition or bookings please contact Marshall Weber at Booklyn.

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Artist's resume

AWARDS
2006
Festival International du Scoop – Prix de l’Actualite Psych Ops in Afghanistan
Australian Walkley Awards - Photography Essay Commendation Taliban Burnings
UN Media Peace Awards Australia – Best Photojournalism Award Taliban Burnings
Bayeux-Calvados War Correspondent’s Award – 2nd Prize Photo Embeded with US Forces Afghanistan

2005
Robert Capa Gold Medal--Citation Embedded 173rd US Airborne Afghanistan
Pictures of the Year Internationa--l1st Prize Spot News US Troops Burn Dead Taliban
NPPA The Best of Photojournalism 2006--Honourable Mention International News Embedded With US Forces Afghanistan

2004
China International Press Photo--Bronze Prize Portraits Raskols
Pictures of the Year International--2nd Prize Portrait Raskols
Sasakawa Sports Foundation Award Japan--SSF Special Prize Sumo
Sportel Monaco Prize—Best Illustrated Sports Book LUTTE

2001
Pictures of the Year International—3rd Prize Sports Cuban boxer
Pictures of the Year International—3rd Prize Magazine Photographer of the Year USA

2000
Pictures of the Year International – Award of Excellence Sport’s feature Sumo Wrestlers
Communication Arts Annual Awards – Award of Excellence East Timor
Pictures of the Year International – 2nd Prize Sport’s Stories Australian boxer Anthony Mundine
Pictures of the Year International – 3rd Prize Feature Stories Tibet

1999
Pictures of the Year International—Award of Excellence Best Photographic Book STEAM-India’s Last Steam Trains
Pictures of the Year International—3rd Prize Sport’s Stories Horse Racing Australia

1998
World Press Photo—3rd Prize Sport’s Stories Gambia’s Wrestlers
Sasakawa Sports Foundation Award Japan – Best Culture Photograph Gambia’s Wrestlers
Pictures of the Year International—1st Prize Sport’s Stories Australian Aborigines in Sport
Pictures of the Year International—1st Prize Feature Stories Afghan leader Massoud
Pictures of the Year International—2nd Prize Sport’s Action Aboriginal Rodeo
Pictures of the Year International—2nd Prize Sport’s Stories Women’s Soccer in China
Pictures of the Year International—3rd Prize Issue Reporting Baku Azerbaijan

1997
World Press Photo Awards—2nd Prize General News Environment Protester UK
Pictures of the Year International—1st Prize Sports Gambia’s Wrestlers
Pictures of the Year International—3rd Prize Magazine Photographer of the Year USA

1996
World Press Photo—2nd Prize Sport’s Stories category Turkish Wrestlers
World Press Photo—2nd Prize Daily Life category India’s Last Steam Trains
La Revista Magazine International Award Spain – 1st Prize India’s Wrestlers
Observer Hodge Award UK—2nd Prize Africa’s Refugees in Europe
Pictures of the Year International—Honourable Mention Environment Protestor UK
Pictures of the Year International—Special Jury Prize Canon Photo Essay Award India’s Last Steam Trains

1995
World Press Photo – 1st Prize Sport’s Stories Indian Wrestlers
David Hodge Memorial Prize – Honourable Mention India’s Last Steam Trains

1994
World Press Photo – Children’s Jury Prize Philippines

EXHIBITIONS
Solo Shows
2007 FIGHT – Monash Gallery of Art Melbourne
2006 Raskols – Another Asia Noorderlicht Festival Holland
2006 Raskols Ping Yao International Photography Festival China
2005 Panoramas Lianzhou International Photography Festival China
2005 Raskols Australian Centre for Photography Sydney
2004 Wrestlers Moores Building Contemporary Art Gallery Fremantle
2003 Kumbh Mela India Point Light Gallery Sydney
2003 Havana Particular Hill On Hargrave Gallery Sydney
2000 STEAM – India’s Last Steam Trains Lens Gallery Sydney
1997 STEAM – India’s Last Steam Trains Tom Blau Gallery London
1995 STEAM – India’s Last Steam Trains La Galerie Mise au Point Paris
1995 STEAM – India’s Last Steam Trains Visa Pour L’Image Festival Perpignan France

Selected Group Shows
2007 LOVERS – Alliance Francaise Sydney
2006 FOCUS Photography and War 1945 – 2006 – The Australian War Memorial, Canberra
2006 Walkey Awards Finalists ( US Forces in Afghanistan ) – Blender Gallery, Sydney
2006 Degrees SOUTH – Brisbane Powerhouse
2006 IN TRANSIT – Alliance Francaise Sydney
2006 Contact Press Images 30th Anniversary Retrospective Ping - Yao International
Photography Festival China, Visa Pour L’Image Festival Perpignan France, Chobi Mela
Festival Bangladesh
2006 Chroniques Australiennes Galerie Photo Montpellier France
2006 PANORAMAS – Landscapes of Conflict EastLINK Gallery Shanghai China
2005 MURMURS – Photographs of France Alliance Francaise Sydney
2005 TSUNAMI – Traces and Omens Noorderlicht Festival Holland
2005 Josephine Ulrick & Win Schubert Award-Raskols Gold Coast City Art Gallery Australia
2005 Head On-Raskols Michael Nagy Gallery Sydney
2005 TSUNAMI Mori Gallery Sydney
2005-6 Witness To War-Australian War Memorial Collection, Official Art and Photography
S.H.Ervin Gallery and Regional Galleries around Australia
2005 Woman Point Light Gallery Sydney
2004 Wrestlers (Sasakawa Sports Award) Tokyo Metropolitan Museum of Photography
2004 Wrestlers (Amsterdam Photo 2004), Canvas International Art Gallery
2003 HIV/AIDS in Thailand (Positive Negative -An Exhibition exploring HIV/AIDS in the
Asia Pacific region) A travelling exhibition around Australia.
2003 Afghanistan (Representing the Real Documentary Photography) Stills Gallery Sydney
2002 Freestyle Bondi Beach Cole Classic State Library of NSW Sydney
2002 East Timor (Behind Tears; Triumphant Voices) Central Post Office Melbourne
2002 Afghan Women Behind the Veil French Cultural Centre New York
2002-4 Afghanistan (WITNESS-Australian Photojournalism) Australian Centre for
Photography Sydney and regional galleries around Australia
2000-1 Aborigines in Sport (Leica/CCP Documentary Award) Contemporary Centre of
Photography Melbourne and regional Australian Galleries
1999 Every Dog has Its Day Photographica Gallery Sydney
1998 Keep the Light on Human Rights (Contact Photographers) Fujita Vente Museum Tokyo
1998 Women’s Soccer Around the World (Contact Photographers)
Cathedral Montpelier France
1998 Gambia’s Wrestlers World Press Photo Amsterdam and Worldwide
1996 Africa’s Refugees in Europe (David Hodge Memorial Prize) The Photographer’s
Gallery London
1996 Turkish Wrestlers World Press Photo Amsterdam and Worldwide
1995 War in Angola (For Amnesty International) Myers Gallery Melbourne Australia
1995 STEAM – India’s Last Steam Trains (David Hodge Memorial Prize) The
Photographer’s Gallery London

COLLECTIONS
University of California, Irvine – Monograph Artist Book A / P 2005
Minneapolis Institute Of Art – SING-SING Artist Book A / P 2006
RASKOLS Original Book Dummy 2005
Dartmouth College – PANORAMAS Artist Book A / P 2005
Boston Athenaeum – AXE ME BIGGIE Artist Book A / P 2006
Berlin State Art Library – PANORAMAS Artist Book A / P 2006
Stanford University CA USA – TSUNAMI Artist Book A / P 2005
National Library of Australia – RASKOLS Artist Book A / P 2005
National Gallery of Victoria Australia – Angola Civil War 1993 Photographs
State Library of NSW Sydney Australia – Sydney Harold Park 1999 and Wentworth Park
2003 Photographs
Australian War Memorial Canberra – Afghanistan, East Timor, Tsunami Aceh, Solomon Islands
1993 – 2005 Photographs. Afghanistan Video 2005
Henry Buhl New York – Afghanistan 1995, India’s last Steam Trains 1994 Photographs
Rotterdam Photo Institute Holland – Urban Aborigines Australia 1994 Photographs
Sasakawa Sport’s Foundation Tokyo Japan – Wrestling Mongolia, India, Gambia, Japan
1993-2000 Photographs
Gunter Braus Germany – Wrestling 1993-2001 Photographs
Lianzhou Photography Museum China – Panorama Monograph Series 1999-2005 Photographs
Greenpeace – Papua New Guinea 2006 Photographs
Amnesty International – War Archives 1993-1997 Photographs

FILMS – DOCUMENTARIES - NEWS
2006 - Brothers of Kabul ABC Foreign Correspondent Australia and Worldwide
2006 - First Contact Indus Films / BBC 2 Television
2005 - Psych War in Afghanistan SBS Dateline Australia and Worldwide
2004 - IRAQ – Recruiting For Resistance SBS Dateline Australia and Worldwide
2003 - Policing Papua New Guinea SBS Dateline Australia and Worldwide
2001 - War on Terror in Afghanistan BBC World Service Television


LECTURES AND WORKSHOPS
Asia Workshops Kathmandu Nepal
Monash Gallery of Art Melbourne
Ping-Yao International Photo Festival, China
London College of Printing England
Australian Centre for Photography Sydney
Rotary Club of Sydney CBD
Powerhouse Museum Sydney
State Library of NSW Sydney
Australian War Memorial Canberra
McDonald College of Performing Arts Sydney
Art Gallery of NSW Sydney

BOOKS
STEAM – India’s Last Steam Trains, Dewi Lewis Publishing UK (1999)
Background
This is an extraordinary photographic record of the last steam trains in India. Dupont captures not only India’s fascination for the steam engine but also the sense of past which will never be revisited. This is not simply a book for railway enthusiasts. These photographs also portray an industry on the edge of extinction, the pivotal role of the railways in Indian life and the drama of the Indian landscape.

Awards
1999 – Pictures of the Year International – Award of Excellence for Best Photography Book of the Year
1996 – World Press Photo Awards – Second Prize for Daily Life Stories Category
1996 – Pictures of the Year International – Special Jury Prize Canon Photo Essay
1995 – David Hodge Memorial Prize, UK – Honourable Mention

FIGHT, Marval Publishing Paris France (2003)
Background
A visual anthology of traditional wrestling around the world, Dupont spent a decade photographing wrestling in eight countries. Wrestling is the world’s oldest known sport and the most globally far-reaching. It is combat in its most primal form, pitting one man against another, in a contest of physical and mental domination. The project began in India and continued around the globe to Turkey, Gambia, Switzerland, USA, Mexico, Japan and Mongolia.

Awards
2004 – Sportel Monaco Prize/International Olympic Committee – LUTTE Editions Marval
2004 – Sasakawa Sports Foundation Award Japan – SSF Special Award Sumo Wrestlers
2000 – Pictures of the Year International – Award of Excellence Sumo Wrestlers
1998 – World Press Photo Awards – Third Prize for Sport’s Stories Category Wrestling in Gambia
1998 – Sasakawa Sports Foundation Award Japan – Best Culture Photograph Wrestling in Gambia
1997 – Pictures of the Year International – First Prize for magazine Sport’s Story Wrestling in Gambia
1996 – World Press Photo Awards – Second Prize for Sport’s Stories Category Wrestling in Turkey
1996 – La Revista Magazine Award Spain – Fist Prize for Wrestling in India
1995 – World Press Photo Awards – First Prize for Sport’s Stories Category Wrestling in India

CONTACT – Photographs from the Australian War Memorial Collection
Background

Contact presents a history of Australian war photography and of the Australian War Memorial’s collection of photographs. It delineates the photograph’s very particular function in providing an account of Australian military history and the sacrifice of Australians at war. Supporting this account is a selection of some 200 images that reflect the historical scope of the Memorial’s collection.

REVIEWS - LUTTE Editions Marval
Le Photographe, March 2004
This imposing work abundantly illustrated with big format images will remain as testimony to traditions which, unfortunately, are disappearing, victims of an irreversible cultural “globalisation”.

Belgium, Vif/L’Express 20 February 2004
It lets you discover secret worlds, thousand-year-old events, through photos, which try to extract the human element rather than just skim over the spectacular.

Ulysse, March-April 2004
In sumptuous black and white, with the blacks muted and precise at the same time, Stephen Dupont shows the dreams and the suffering, the passion that casts young people in sudden outbursts of rage against each other.

Le Monde February 2004
Photographed in all its aspects, this primitive clinch, both physical and metaphysical, sends us back to the rituals of the primeval sacrifices.

En jeu March 2004
A splendid journey of initiation which, through beauty and power, serves to remind us that fighting with bare hands reflects societies just as much as it reveals the men.

L’Express February 2004
From Japanese sumo wrestlers to the Greco-roman wrestlers of Mongolia, while passing by the university world champions of Iowa or the voodoo combatants of Gambia, the Australian photographer Stephen Dupont has cast his lens over all continents, from 1994 to 2003, to bring back a “visual anthropology” of wrestling.

Reviews - Exhibitions
The Sydney Morning Herald (May 26 2003) – Robert McFarlane
“Stephen Dupont has an impressive reputation for taking difficult options. His photographs of East Timor’s convulsive birth were remarkable for their blend of humanity and composition. In Afghanistan, Dupont showed he could photograph a tank not as a machine of war, but transformed into a malevolent kind of metal insect. Using his trademark Hasselblad X-Pan camera, Dupont also photographed the Afghan people with surprising physical intimacy.”

“In Dupont’s photographs from Havana, it is young Cuban boxers training that are most triumphant in their sense of observation. British boxer Henry Cooper once told me he always looked at his opponent’s eyes, not his fists, and so it is with Dupont’s photographs of people – there is always something to be seen and felt in the eyes of his subjects.”

“Dupont plays with at least three visual styles in this exhibition (Havana Particular) – a recipe that might have courted artistic disaster. But in Dupont’s two-metre panoramas of Cuban athletes there is a sense almost of an abbreviated documentary, so cinematic do these images feel.”

The Sydney Morning Herald (27 March 2002) – Robert McFarlane
WITNESS – Australian Centre of Photography
“Stephen Dupont’s panoramic photographs from the Afghan conflict are engaging and curiously cinematic in composition. Dupont used the Hasselblad X-Pan camera to contain the sprawling, almost biblical scenes encountered in Afghanistan. In his images of the Northern Alliance soldiers praying before battle, this photographer was clearly only centimetres from their intense, devout faces. It is a tribute to Dupont’s subtle vision and the subjects’ acceptance of his presence that this image rings true.”

METRO – The Sydney Morning Herald (7 April 2000) – Sebastian Smee
STEAM – India’s Last Steam Trains – Lens Gallery, Sydney
“Dupont’s photographs primarily bear witness to the people who work on these incredible beasts. The images have the documentary force and humanistic dignity of, say, Sebastiao Salgado – but they’re free of rhetoric, keenly attuned to specifics.”

India Today (May 31 1997) – Vijay Rana
“Stephen Dupont’s exhibition at the Tom Blau Gallery in London, The Last Star: India’s Last Steam Trains provides a fitting epitaph for these work horses. A keen observer of human concerns, Dupont has transformed ordinary subjects into intense images.”

The Sydney Morning Herald (19 April 2005) – Robert McFarlane
RASKOLS – Australian Centre for Photography, Sydney
“These portraits have an almost 19th – century complicity with camera, and Dupont illuminates their fragile morality with surprising tenderness. There are also reminders of Bruce Davidson’s formalist coverage of East 100th Street’s minority communities in late 1960’s New York.”

TIME (11 April 2005) – Michael Fitzgerald
RASKOLS – Australian Centre for Photography
“ ...it is Dupont’s 30 portraits that are more likely to challenge the way Australians see their neighbours. The images were so arresting for Alasdair Foster, director of Sydney’s Australian Centre for Photography, that he decided to base an exhibition around them.”

Capture Magazine (July-Aug 2006) – Tim Page
FotoFreo Festival - 2006
“...I had the privilege of sitting with Stephen Dupont, just back from Afghanistan, to unfold his new oeuvre; 75 x 25 hand bound, Hahnemuhle printed, beyond awesome. The controversy of burning Taliban bodies smouldering into our minds was arresting.”

The Sydney Morning Herald (July 22-23 2006) – John McDonald
Witness To War – S.H.Ervin Gallery, Sydney
“Easily the most striking image in this exhibition is Stephen Dupont’s Dilli Burning (1999). The ramshackle cart gives the impression of extreme vulnerability against a backdrop of billowing clouds of smoke. The cart may be a means of escape, but with its cage-like construction it could just as easily be a tumbrel, carrying the child to some bleak fate. The image is also emblematic of East Timor – a small, young, fragile nation, trying to escape from a cycle of spiralling violence.”

"Nothing else in Witness to War is as edgy as this photograph."

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