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Coroner’s Report on Tom Petty’s Death January 20, 2018

Posted by bohdan.warchomij in : Los Angeles Times, Metaphor Online , comments closed

Grammy-award winning rocker Tom Petty at his home in Malibu in September. (Genaro Molina / Los Angeles Times)

Rocker Tom Petty died last year from “multisystem organ failure” caused by accidental drug toxicity, the Los Angeles County coroner said Friday.

An autopsy found that Petty had several drugs in his system, including fentanyl, oxycodone, temazepam, alprazolam, citalopram, acetylfentanyl and despropionyl fentanyl, the agency said.

“A lot of these are found in prescription drugs,” said Brian Elias, a coroner’s spokesman.

Petty, 66, also had coronary artery atherosclerosis and emphysema.

Found unconscious at his Malibu home, Petty was taken to UCLA’s Santa Monica hospital in full cardiac arrest and died Oct. 2.

Petty had just completed an extensive tour to mark the Heartbreakers’ 40thanniversary. It concluded Sept. 25 with a three-night homecoming stand that sold out at the Hollywood Bowl.

His family released a statement addressing the findings on the musician’s official website Friday:

“Unfortunately Tom’s body suffered from many serious ailments, including emphysema, knee problems and most significantly a fractured hip.

“Despite this painful injury he insisted on keeping his commitment to his fans and he toured for 53 dates with a fractured hip and, as he did, it worsened to a more serious injury.


“On the day he died he was informed his hip had graduated to a full on break and it is our feeling that the pain was simply unbearable and was the cause for his over use of medication.

“We knew before the report was shared with us that he was prescribed various pain medications for a multitude of issues, including fentanyl patches, and we feel confident that this was, as the coroner found, an unfortunate accident.

“As a family we recognize this report may spark a further discussion on the opioid crisis and we feel that it is a healthy and necessary discussion and we hope in some way this report can save lives. Many people who overdose begin with a legitimate injury or simply do not understand the potency and deadly nature of these medications.

“On a positive note, we now know for certain he went painlessly and beautifully exhausted after doing what he loved the most, for one last time, performing live with his unmatchable rock band for his loyal fans on the biggest tour of his 40-plus-year career. He was extremely proud of that achievement in the days before he passed.

“We continue to mourn with you and marvel at Tom Petty and the Heartbreakers incredible positive impact on music and the world. And we thank you all for your love and support over the last months.

“Thank you also for respecting the memory of a man who was truly great during his time on this planet both publicly and privately.

“We would be grateful if you could respect the privacy of the entire Heartbreaker family during this difficult time.”

The statement was signed by the musician’s wife, Dana Petty, and his daughter Adria Petty.

Sealing the Ashes: Photos Bohdan Warchomij January 10, 2018

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The dynasty: Sean, Mitch and Geoff Marsh Photo Bohdan Warchomij

Privileged to photograph the Marsh brothers Shaun and Mitch with their father at the Third Test between England and Australia which sealed an Ashes victory for Australia at the WACA. Here are some of the photos:

Mitch Marsh acknowledges his father in the stands Photo Bohdan Warchomij


Mitch Marsh and His father Geoff Marsh hug at the end of play Photo Bohdan Warchomij

The WACA crowd celebrates Australia’s domination of England Photo Bohdan Warchomij

Austin Marsh 18 months, son of Sean and Rebecca Marsh with Geoff Marsh and Rebecca Marsh, his mother Photo Bohdan Warchomij

Hasselblad Masters 2018 January 9, 2018

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Ben Thomas Street Urban Category Winner Kyneton Australia


Made up of past Masters winners, experienced photographers and members of the photographic press, the Hasselblad Masters Awards 2018 jury members were:

  • Tom Oldham – Photographer
    • Kevin Then – Photographer
    • Bara Prasilova – Past Master
    • Damien Demolder – Journalist
    • Blair Bunting – Photographer
    • Hans van Ommeren – Past Master
    • Mads Nissen – Photographer
    • Kevin Raber – Journalist
  • Ali Rajabi – Past Master
  • Martin Hausler – Photographer
  • Katrina Belkina – Past Master
  • Swee Oh – Past Master
  • Lars van de Goor – Past Master
  • Tim Flach – Photographer
  • Masters Jury member and professional photographer Tom Oldham said:

    “It really struck me how progressive many of the entries were this year and how far the entrants were willing to push the brief. These were the photographers who caught my eye – the ballsy, out-there risk-takers who make compelling pictures that refuse to be ignored. I’m proud to have helped to get this great kit into their hands – their images deserve it.”


    JORGE DE LA TORRIENTE USA Aerial Category Winner

    The Hasselblad Masters is a biannual and one of the world’s most prestigious professional photographic competitions and gives acclaimed professionals, as well as aspiring newcomers, the chance to make their mark in the world of photography.


    Photographers around the world were invited to submit three images that best demonstrate their photographic ability for the chance to be named a Hasselblad Master. The Hasselblad Masters 2018 competition featured 11 categories and received a record breaking 31,500 entries. The number of participating photographers has seen an increase of 175% this year compared to the Hasselblad Masters 2016.


    KARIM ILIYA USA Wildlife Category Winner

Rohingya Crisis: the work of Patrick Brown and Thomas Nybo for UNICEF January 3, 2018

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Thomas Nybo

Photo Thomas Nybo

Thomas Nybo is a filmmaker and photographer who has been working with UNICEF since 2004. He’s been on assignment with UNICEF Bangladesh since September 10th and was previously covering the situation of Rohingya refugee children here in May 2017. You can follow him on Facebook and on Instagram.

The scale of the Rohingya crisis is staggering. I’ve worked in more than 100 countries and I’ve never seen suffering on this scale. Half a million people were forced out of Myanmar into Bangladesh in just five weeks. You might drive past a hill covered in bushes and trees on Monday, and by Friday, the vegetation is gone, replaced by hundreds of makeshift tents made of plastic and split bamboo. The daily need for food and clean drinking water is almost impossible to comprehend. Imagine a city of half a million people. Now imagine that city being created in just a few short weeks, with no pre-existing stores or water lines or toilets or hospitals. Every single day is a struggle when you are Rohingya. For me, what makes this crisis different than other crises I’ve covered, is the magnitude of the suffering.

Patrick Brown

Photo Patrick Brown

Patrick Brown is a photographer with Panos Pictures and has been covering the Rohingya crisis for UNICEF since September 6. You can follow him on Instagram. In May 2017, he photographed UNICEF’s Myanmar Child Alert.

I photographed a lot of things like this around the world but I just can’t mentally put myself in a position where the only thing you can put on your back is pots and pans and you’re dumped on a beach and it’s survival. Some have travelled in open waters on the Bay of Bengal in monsoon season in a boat that’s no bigger than a bus – imagine, if you’re willing to put up with that danger, imagine what you’re running from.

What is striking for me is how it’s like they’re on another planet. The very Viking-esque structure of the boat. It’s like they’ve come from another continent. The girl gets a brother to safety, gets stuff out. She’s been a powerhouse. You don’t see a mother or father there. The odds of this girl having a childhood are slim to none.

The recovery of drowned victims. Photo at Cox’s Bazaar Patrick Brown

Drowned children. They almost made it to safety. That evening got me really upset. It happened pretty close to the shore. How many boats didn’t make it that night in the storm? We’ll never know.

On the flipside, I have met some amazing characters. Robust characters starting to set up businesses, managing to support families, coming together as a community. Starting to gather the pieces of their past existence and make the best of what they have. They have dreams, aspirations. Take the young girl I met at a learning centre who wants to be a businesswoman–she has dreams just like any other child in the world.

A girl in the mud carrying a boy. My first day here. We’d walked two and half hours through flooded paddy fields. I’m a fairly fit male with food in my belly. Some of these people have walked 6-10 days with a tiny bit of rice. Here is this girl carrying her brother to safety and she looks absolutely exhausted. The mum and dad are carrying pots, pans, and Grandma.

Photo Patrick Brown



New Year Perth 2018 Photos Bohdan Warchomij January 1, 2018

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Amos Chapple writing about Max Penson: The Forgotten Photographer of Soviet Uzbekistan December 23, 2017

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Amos Chapple’s interesting career intercepted with Uzbek photographer Max Penson. Here are photographs from both photographers.

Colour Photographs Amos Chapple

Amos Chapple is a New Zealand photographer who makes news-flavored travel photos. He started off at New Zealand’s largest daily paper in 2003. After two years chasing news, he took a full-time position shooting UNESCO World Heritage sites. In 2012, he went freelance but kept up the travel. Since then, he has been published in most major news titles around the world. You can find more of his work on his websiteFacebook, and Instagram. This article was also published Radio Free Europe/Radio Liberty and Peta Pixel.


As Central Asia was transformed under Soviet rule, Max Penson made a remarkable record of life in the fledgling Uzbek S.S.R. before being driven from his career and toward tragedy. Born in Belarus his life was spent in Uzbekistan where haunted by anti Semitism and poverty he eventually took his own life.

Max Penson Self Portrait

Gerhard Richter: THE LIFE OF IMAGES First Major Australian Exhibition Brisbane’s Gallery of Modern Art December 10, 2017

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For more than fifty years, Gerhard Richter has proven his remarkable command of almost every style and genre of painting. From tender personal portraits to visceral overpainted photographs, romantic landscapes to monumental abstracts, this exhibition gives a detailed insight into the work of one of the world’s most influential living artists.


Exclusive to Brisbane’s Gallery of Modern Art, ‘Gerhard Richter: The Life of Images’ is the German artist’s first major Australian exhibition, with loans from public and private collections in Europe, North America, Asia and Australia, including the artist’s own collection.

Exploring Richter’s endless capacity to shift form, this unprecedented exhibition is a testament to his technical virtuosity, rigorous work practices and unparalleled influence on contemporary art.

Among the artworks are the iconic portraits Reader (804) 1994 and Ella (903-1) 2007, still-life paintings including Two candles (499-4) 1982 and Orchid (848-9) 1997, and the evocative landscape Meadowland (572-4) 1985. The four panels of Birkenau (937-1–4) 2014, monumental abstracts painted over chilling photographic images taken in Nazi extermination camps, grapple with the national and global trauma of the Holocaust.


The exhibition  is built along the spine of a long room devoted to ATLAS Overview, an extensive 400-panel extract from Richter’s encyclopaedic archival project ATLAS 1962-ongoing, a collection of photographs, sketches, collages and cuttings that he has drawn on for his paintings throughout his career. ATLAS reflects Richter’s deep interest in the currency of images, and the artist has personally nominated and arranged the selection of images on display at GOMA.

Looking for greater insight into Richter’s creative process? Every Sunday throughout the exhibition see either Michael Blackwood’s Gerhard Richter: 4 Decades 2002 or Corinna Belz’s Gerhard Richter – Painting 2011 at the Gallery’s Cinémathèque.

The exhibition is curated by Dr Rosemary Hawker, Senior Lecturer in Art Theory, Fine Art, Griffith University, with Geraldine Kirrihi Barlow, Curatorial Manager, International Art, QAGOMA, in consultation with the artist and his studio.


14 OCT 2017 – 4 FEB 2018

‘Gerhard Richter: The Life of Images’ is an unmissable show’ — The Conversation

‘…the exhibition itself is a standout for both its rigour and range of work’ — The Guardian



4 NOV 2017 – 11 FEB 2018


Japanese artist Yayoi Kusama is an international phenomenon. Her beguiling creations and unique perspective, irrepressibly expressed across a career of more than 60 years, have made her a pre-eminent figure in 21st century contemporary art.

A focused survey of Kusama’s vast body of work since the 1950s, ‘Life is the Heart of a Rainbow’ explores her key motifs, her engagement with the body, and her conception of space.

It includes early painterly experiments, a multi-decade presentation of her celebrated ‘net’ paintings, performance, soft-sculpture, assemblage, the iconic ‘infinity rooms’ and large-scale installations of her later career. It culminates in an encompassing presentation of Kusama’s most recent paintings from the visually arresting ‘My Eternal Soul’ series (2009 – ongoing).

During the exhibition, Kusama’s iconic work in Gallery’s Collection Narcissus Garden (1966/2002) is on display in the Watermall at QAG, and the Children’s Art Centre at GOMA hosts the immersive interactive The obliteration room (2002 – ongoing), a collaboration between the artist and QAGOMA which debuted at ‘The 4th Asia Pacific Triennial of Contemporary Art’ and has since been experienced by more than five million people at venues around the world.

Photographer Kate Geraghty shares 2017 Gold Walkley with journalist Michael Bachelard December 4, 2017

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Photo of Tabarek Kate Geraghty

Fairfax Media collected more than double the awards of News Corp at the 62nd annual Walkley Awards last night, with Australian photojournalist Kate Geraghty picking up three awards, including the Gold Walkley.

In total, Fairfax collected 11 awards, while News Corp managed five and the ABC picked up seven.

The result was much more successful for Fairfax than last year’s ceremony, which was its worst performance in 23 years. 

The awards were also evenly divided between both male and female journalists and production staff, with 41 men named as winners compared to 40 women.

The ABC’s Liz Jackson received a standing ovation for her documentary with Martin Butler, Bentley Dean and Tania Nehme about Parkinson’s disease.

Louise Milligan won of the Walkley Book Award for her investigation into Cardinal George Pell and sexual abuse in the church.

Geraghty and Michael Bachelard’s Surviving IS: Stories from Mosul picked up the Gold Walkley, as well as the prize for feature writing (under 4,000 words). The Fairfax Media multimedia team also took out the Walkley for production on the same project and Geraghty was awarded the Nikon-Walkley Press Photographer of the Year.

Bachelard told the audience: “First of all, Kate Geraghty, you’ve just seen her work in press photographer of the year. You don’t see all the work she puts in behinds the scenes to get to the places she gets to go. She is relentless, as the editors of the Sydney Morning Herald and The Age will attest. If she wants to go somewhere she will work tirelessly to get there.

“We cooked up a mad idea to go to Mosul and then an ever madder one to go back a second [time] and see the final days of the liberation of Mosul and what we found there was incredible, devastating, an appalling waste of human life and a terrible situation which made obviously for incredible rich photographs,” he said.

The moving photo of Tabarek by Kate Geraghty is a rarity in journalism. There is little investment on the ground in truth and reality.

Barefoot and filthy, Tabarek cries in pain as she lies at a military screening point in the rubble of the ancient city of Mosul.

She’s 15. Her injury means she can’t walk, and her father is gathering his strength before picking her up again to piggyback her to safety in 45-degree heat.

Tabarek’s bright red dress obscures the fluids seeping from a mortar wound to her stomach. Her wound was stitched up a month earlier in an Islamic State hospital before she was kicked out to make way for military casualties; the wound has since reopened.

Her body is like a bundle of twigs. For a month, as war has raged around her, she’s eaten nothing, a saline drip helping her cling to life.

Her father picks her up to continue their journey out of the city. She screams in agony as they walk. Neither the journalist nor the photographer know if Tabarek lived or died.

Meanwhile, The Age’s Michael Gordon was recognised for his outstanding contribution to journalism.

Gordon said he was “overwhelmed”, “humbled” and “delighted” to receive the honour.

“45 years ago, I walked into The Age building as a 17 year old, naive and shy, and I want to thank everyone who has been part of a wondrous journey ever since.

“My biggest debt is to those whose stories I’ve told, whose courage and honesty and integrity in the face of great hardship and discrimination has been an inspiration.”

Lisa Wilkinson, former Today Show co-host, editor at large of HuffPost Australia and host of the awards ceremony also recognised the demise of HuffPost’s joint venture with Fairfax Media.

The story in The Canberra Times:


The Return of Bill Henson to Australia’s Art Houses November 22, 2017

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Bill Henson

After making its debut as part of Melbourne’s Festival of Photography this year, Bill Henson, an exhibition of cinematic portraits and landscapes from the eponymous Australian fine art photographer, came to Perth in September.

The images showing at the Art Gallery of Western Australia were taken between 2008 and 2013 and selected by the artist himself. The human body – often captured in vulnerable, dramatically lit poses – features prominently as do vignettes of nature that are by turns lush, haunting and otherworldly. Presented as an entire body of work, the exhibition offers myriad opportunities for viewers’ minds to both wander and wonder.

Bill Henson

“For Henson, meaning comes from feeling, so projecting an empathy, a sense of the intimacy between himself and his subjects in front of the camera is critical to the emotional allure of his work,” says Jenepher Duncan, AGWA curator of contemporary Australian art and the exhibition’s coordinating curator. “Each luminous image suggests some imaginative possibility within its dark beauty.”

AGWA director Stefano Carboni was excited about the coming show.

“Bill Henson is one of Australia’s most renowned artists,” he says. “The works in this exhibition are animated by an individual beauty while projecting a universal meaning. I’m delighted that AGWA can share the works with Western Australians.”

Bill Henson opened at the Art Gallery of Western Australia on Saturday September 16. I discovered the exhibition this morning while looking for a Heath Ledger exhibition that has had far more publicity. Entry is free to both exhibitions.

Bill Henson


Portraiture via Gunpowder: Photographer Dewey Keithly and artist Cai Guo-Qiang November 20, 2017

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Photo Dewey Keithly

Salt Lake City-based photographer Dewey Keithly recently came up with an unusual way to edit the look of portraits: he creatively burned them by igniting gunpowder across the surface of the giant prints.

Kiethly originally came up with the idea after watching the documentary Sky Ladder and seeing the work of Chinese artist Cai Guo-Qiang, who’s known for creating art with controlled gunpowder explosions.

To create the portraits for an event put on by SilencerCo, a manufacturer of firearm silencers, Keithly shot digital photos and then printed each portrait in both color and B&W using a large format Epson printer.

Photo Dewey Keithly

Next, Keithly tore and layered the color and B&W versions of the prints together using artist glue. Finally, he lined the tears and gaps in the works with different types of gunpowders and ignited them, sealing them and using the explosions to blend the prints together.


Cai Guo-Qiang

Cai Guo-Qiang

While living in Japan from 1986 to 1995, Cai Guo-Qiang began exploring the properties of gunpowder in his drawings. Cai’s use of gunpowder has become central to his practice, leading to his experimentation with explosives and the development of his signature ignition events. Drawn to the medium for its myriad of associations, his gunpowder work, in addition to his repertoire of large-scale installations and social projects, draws upon Eastern philosophy, Maoist sentiment, and contemporary social issues. Though his fireworks are immediate signifiers of Chinese culture, Cai’s aim is to transcend these boundaries, establishing dialogue between viewers and the world around them. His site-specific work often alludes to the culture or history of the city or region where his work is presented, as in his series of ignitions “The Century with Mushroom Clouds: Project for the 20th Century” (1995-96), conducted at symbolic locations in the United States to, as Cai has said, “depict the ‘face’ of the nuclear bomb that represents modern-day technology.”


Cai Guo-Qiang