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61 images Created 16 Apr 2013

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  • Large format transparent print installation of Garmsir Marines images in Amsterdam, Netherlands.
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  • Large format transparent print installation of Garmsir Marines images in Amsterdam, Netherlands.
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  • Exhibition of Garmsir Marines work in the Houston Center of Photography with personal diaries by Louie Palu. This was part of a group show named "Soldier, at Ease" with Erin Trieb and Tim Hetherington's work.<br />
(Credit Image: © Louie Palu/ZUMA Press)
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  • Exhibition of Garmsir Marines work in the Houston Center of Photography with personal images taken by marines below Portraits taken by Louie Palu. This was part of a group show named "Soldier, at Ease" with Erin Trieb and Tim Hetherington's work.<br />
(Credit Image: © Louie Palu/ZUMA Press)
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  • Exhibition of Garmsir Marines work in the Houston Center of Photography with personal images taken by marines below Portraits taken by Louie Palu. This was part of a group show named "Soldier, at Ease" with Erin Trieb and Tim Hetherington's work.<br />
(Credit Image: © Louie Palu/ZUMA Press)
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  • Louie Palu's personal objects from Afghanistan in an exhibition of Garmsir Marines work in the Houston Center of Photography. This was part of a group show named "Soldier, at Ease" with Erin Trieb and Tim Hetherington's work.<br />
(Credit Image: © Louie Palu/ZUMA Press)
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  • Mira Mexico installation for the 2013 Sondheim Prize Exhibition at The Walter's Art Museum in Baltimore Maryland.<br />
(Credit Image: © Louie Palu/ZUMA Press)
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  • Mira Mexico installation for the 2013 Sondheim Prize Exhibition at The Walter's Art Museum in Baltimore Maryland. <br />
(Credit Image: © Louie Palu/ZUMA Press)
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  • Mira Mexico installation for the 2013 Sondheim Prize Exhibition at The Walter's Art Museum in Baltimore Maryland.<br />
(Credit Image: © Louie Palu/ZUMA Press)
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  • Mira Mexico installation for the 2013 Sondheim Prize Exhibition at The Walter's Art Museum in Baltimore Maryland. Newspapers on a rack for visitors to the museum to take away and hang in public and also interact with in the gallery space adjacent to Louie's prints.<br />
(Credit Image: © Louie Palu/ZUMA Press)
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  • Mira Mexico installation for the 2013 Sondheim Prize Exhibition at The Walter's Art Museum in Baltimore Maryland. Newspapers on a rack for visitors to the museum to take away and hang in public and also interact with in the gallery space adjacent to Louie's prints.<br />
(Credit Image: © Louie Palu/ZUMA Press)
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  • Mira Mexico installation for the 2013 Sondheim Prize Exhibition at The Walter's Art Museum in Baltimore Maryland. Newspapers on a rack for visitors to the museum to take away and hang in public.<br />
(Credit Image: © Louie Palu/ZUMA Press)
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  • Public editing of the Mira Mexico newspaper and exhibition project at the University of Toronto Latin American Studies program.<br />
(Credit Image: © Louie Palu/ZUMA Press)
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  • Mira Mexico installation for the 2013 Sondheim Prize Exhibition at The Walter's Art Museum in Baltimore Maryland. Mira Mexico newspapers hung by visitors at the museum in a part of the installation created for interaction with the public with in the gallery space adjacent to Louie's prints.
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  • "Mira Mexico", newspaper exhibition installed on a wall in Tbilisi, Georgia  adjacent to the Museum of Modern Art. May 7, 2013.(Credit Image: © Louie Palu)<br />
<br />
Curators<br />
Jann Hoefer, Gaga Lomidze, Dina Oganova, Felix Von Der Osten.<br />
<br />
Using photographs taken by Louie Palu relating to the Mexican drug war, this project challenges the reader to take apart this newspaper to see the full photographs and view the content. The goal is to force the reader to dismantle the vehicle used to deliver news and facts and thereby empower the reader to begin to think more critically. There are 16 photos in total, eight that do not relate to violence and eight that focus on violence or the drug business. Each photograph is printed on a single sheet of newsprint, so if you take the newspaper apart each sheet of paper will have only one photograph on each side. Only eight pictures can be viewed at one time No photo can be entirely seen unless the reader opens and takes the newspaper apart. Once the newspaper comes apart it can be put back together in any order the reader wishes. The page spreads can also be hung as an exhibition. With violent images on one side and non-violent images on the other, the reader must become editor, curator or even censor, choosing how many violent photos are seen vs. how many non-violent photographs are seen. This forces the reader to face up to the fact that all delivery of news involves choices, of what to show and tell and what not to show and tell. It also forces the reader to face up to the system of institutions that serves as the gatekeepers in journalism and the visual arts. The questions are obvious. Is the editor censoring? Is the edit a true depiction of the news and the issue? Are violent images being used effectively to tell a story, or to sensationalize the story? The actual newspaper as an object forces the reader to engage in a a multidimensional exercise in journalism, art, and the politics of representation and message manipulation.
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  • "Mira Mexico", newspaper exhibition installed on a wall in Tbilisi, Georgia  adjacent to the Museum of Modern Art. May 7, 2013. A bystander who claimed the exhibition was a "political action", tore down the work, then called the Tbilisi police who deemed the exhibition as a legal activity and he then attempted to convince the police officer that the work and activity was illegal.(Credit Image: © Louie Palu).
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  • "Mira Mexico", newspaper exhibition installed on a wall in Toronto, Canada in an alley east of Bathurst St. and South of Queen St. June 3, 2013.<br />
(Credit Image: © Louie Palu)<br />
<br />
Curator<br />
Louie Palu (Canada/USA)<br />
<br />
Using photographs taken by Louie Palu relating to the Mexican drug war, this project challenges the reader to take apart this newspaper to see the full photographs and view the content. The goal is to force the reader to dismantle the vehicle used to deliver news and facts and thereby empower the reader to begin to think more critically. There are 16 photos in total, eight that do not relate to violence and eight that focus on violence or the drug business.. Each photograph is printed on a single sheet of newsprint, so if you take the newspaper apart each sheet of paper will have only one photograph on each side. Only eight pictures can be viewed at one time No photo can be entirely seen unless the reader opens and takes the newspaper apart. <br />
<br />
Once the newspaper comes apart it can be put back together in any order the reader wishes. The page spreads can also be hung as an exhibition. With violent images on one side and non-violent images on the other, the reader must become editor, curator or even censor, choosing how many violent photos are seen vs. how many non-violent photographs are seen. This forces the reader to face up to the fact that all delivery of news involves choices, of what to show and tell and what not to show and tell. It also forces the reader to face up to the system of institutions that serves as the gatekeepers in journalism and the visual arts. The questions are obvious. Is the editor censoring? Is the edit a true depiction of the news and the issue? Are violent images being used effectively to tell a story, or to sensationalize the story? The actual newspaper as an object forces the reader to engage in a a multidimensional exercise in journalism, art, and the politics of representation and message manipulation.<br />
<br />
This project was supported
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  • DETAIL of "Mira Mexico", newspaper exhibition installed on a wall in Toronto, Canada in an alley east of Bathurst St. and South of Queen St. June 3, 2013.<br />
(Credit Image: © Louie Palu)<br />
<br />
Curator<br />
Louie Palu (Canada/USA)<br />
<br />
Using photographs taken by Louie Palu relating to the Mexican drug war, this project challenges the reader to take apart this newspaper to see the full photographs and view the content. The goal is to force the reader to dismantle the vehicle used to deliver news and facts and thereby empower the reader to begin to think more critically. There are 16 photos in total, eight that do not relate to violence and eight that focus on violence or the drug business.. Each photograph is printed on a single sheet of newsprint, so if you take the newspaper apart each sheet of paper will have only one photograph on each side. Only eight pictures can be viewed at one time No photo can be entirely seen unless the reader opens and takes the newspaper apart. <br />
<br />
Once the newspaper comes apart it can be put back together in any order the reader wishes. The page spreads can also be hung as an exhibition. With violent images on one side and non-violent images on the other, the reader must become editor, curator or even censor, choosing how many violent photos are seen vs. how many non-violent photographs are seen. This forces the reader to face up to the fact that all delivery of news involves choices, of what to show and tell and what not to show and tell. It also forces the reader to face up to the system of institutions that serves as the gatekeepers in journalism and the visual arts. The questions are obvious. Is the editor censoring? Is the edit a true depiction of the news and the issue? Are violent images being used effectively to tell a story, or to sensationalize the story? The actual newspaper as an object forces the reader to engage in a a multidimensional exercise in journalism, art, and the politics of representation and message manipulation.<br />
<br />
This project was
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  • "Mira Mexico", newspaper exhibition installed on a wall in Baltimore, Maryland June 22, 2013.<br />
(Credit Image: © Dennis Drenner)<br />
<br />
Curator<br />
Dennis Drenner (USA)<br />
<br />
Using photographs taken by Louie Palu relating to the Mexican drug war, this project challenges the reader to take apart this newspaper to see the full photographs and view the content. The goal is to force the reader to dismantle the vehicle used to deliver news and facts and thereby empower the reader to begin to think more critically. There are 16 photos in total, eight that do not relate to violence and eight that focus on violence or the drug business.. Each photograph is printed on a single sheet of newsprint, so if you take the newspaper apart each sheet of paper will have only one photograph on each side. Only eight pictures can be viewed at one time No photo can be entirely seen unless the reader opens and takes the newspaper apart. <br />
<br />
Once the newspaper comes apart it can be put back together in any order the reader wishes. The page spreads can also be hung as an exhibition. With violent images on one side and non-violent images on the other, the reader must become editor, curator or even censor, choosing how many violent photos are seen vs. how many non-violent photographs are seen. This forces the reader to face up to the fact that all delivery of news involves choices, of what to show and tell and what not to show and tell. It also forces the reader to face up to the system of institutions that serves as the gatekeepers in journalism and the visual arts. The questions are obvious. Is the editor censoring? Is the edit a true depiction of the news and the issue? Are violent images being used effectively to tell a story, or to sensationalize the story? The actual newspaper as an object forces the reader to engage in a a multidimensional exercise in journalism, art, and the politics of representation and message manipulation.
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  • "Mira Mexico", newspaper exhibition installed on a fence by a boatyard by a former U.S. Navy Base in Seattle, Washington July 5, 2013.<br />
(Credit Image: © Kelly Mallahan)<br />
<br />
Curator<br />
Kelly Mallahan (USA)<br />
<br />
Using photographs taken by Louie Palu relating to the Mexican drug war, this project challenges the reader to take apart this newspaper to see the full photographs and view the content. The goal is to force the reader to dismantle the vehicle used to deliver news and facts and thereby empower the reader to begin to think more critically. There are 16 photos in total, eight that do not relate to violence and eight that focus on violence or the drug business.. Each photograph is printed on a single sheet of newsprint, so if you take the newspaper apart each sheet of paper will have only one photograph on each side. Only eight pictures can be viewed at one time No photo can be entirely seen unless the reader opens and takes the newspaper apart. <br />
<br />
Once the newspaper comes apart it can be put back together in any order the reader wishes. The page spreads can also be hung as an exhibition. With violent images on one side and non-violent images on the other, the reader must become editor, curator or even censor, choosing how many violent photos are seen vs. how many non-violent photographs are seen. This forces the reader to face up to the fact that all delivery of news involves choices, of what to show and tell and what not to show and tell. It also forces the reader to face up to the system of institutions that serves as the gatekeepers in journalism and the visual arts. The questions are obvious. Is the editor censoring? Is the edit a true depiction of the news and the issue? Are violent images being used effectively to tell a story, or to sensationalize the story? The actual newspaper as an object forces the reader to engage in a a multidimensional exercise in journalism, art, and the politics of representation and message manipulation.
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  • "Mira Mexico", newspaper exhibition (DETAIL) installed on a wall in Rochester, New York June 30, 2013.<br />
(Credit Image: © Alysia Kaplan)<br />
<br />
Curator<br />
Alysia Kaplan (USA)<br />
<br />
Using photographs taken by Louie Palu relating to the Mexican drug war, this project challenges the reader to take apart this newspaper to see the full photographs and view the content. The goal is to force the reader to dismantle the vehicle used to deliver news and facts and thereby empower the reader to begin to think more critically. There are 16 photos in total, eight that do not relate to violence and eight that focus on violence or the drug business.. Each photograph is printed on a single sheet of newsprint, so if you take the newspaper apart each sheet of paper will have only one photograph on each side. Only eight pictures can be viewed at one time No photo can be entirely seen unless the reader opens and takes the newspaper apart. <br />
<br />
Once the newspaper comes apart it can be put back together in any order the reader wishes. The page spreads can also be hung as an exhibition. With violent images on one side and non-violent images on the other, the reader must become editor, curator or even censor, choosing how many violent photos are seen vs. how many non-violent photographs are seen. This forces the reader to face up to the fact that all delivery of news involves choices, of what to show and tell and what not to show and tell. It also forces the reader to face up to the system of institutions that serves as the gatekeepers in journalism and the visual arts. The questions are obvious. Is the editor censoring? Is the edit a true depiction of the news and the issue? Are violent images being used effectively to tell a story, or to sensationalize the story? The actual newspaper as an object forces the reader to engage in a a multidimensional exercise in journalism, art, and the politics of representation and message manipulation.
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  • "Mira Mexico", newspaper exhibition installed on a wall in Rochester, New York June 30, 2013.<br />
(Credit Image: © Alysia Kaplan)<br />
<br />
Curator<br />
Alysia Kaplan (USA)<br />
<br />
Using photographs taken by Louie Palu relating to the Mexican drug war, this project challenges the reader to take apart this newspaper to see the full photographs and view the content. The goal is to force the reader to dismantle the vehicle used to deliver news and facts and thereby empower the reader to begin to think more critically. There are 16 photos in total, eight that do not relate to violence and eight that focus on violence or the drug business.. Each photograph is printed on a single sheet of newsprint, so if you take the newspaper apart each sheet of paper will have only one photograph on each side. Only eight pictures can be viewed at one time No photo can be entirely seen unless the reader opens and takes the newspaper apart. <br />
<br />
Once the newspaper comes apart it can be put back together in any order the reader wishes. The page spreads can also be hung as an exhibition. With violent images on one side and non-violent images on the other, the reader must become editor, curator or even censor, choosing how many violent photos are seen vs. how many non-violent photographs are seen. This forces the reader to face up to the fact that all delivery of news involves choices, of what to show and tell and what not to show and tell. It also forces the reader to face up to the system of institutions that serves as the gatekeepers in journalism and the visual arts. The questions are obvious. Is the editor censoring? Is the edit a true depiction of the news and the issue? Are violent images being used effectively to tell a story, or to sensationalize the story? The actual newspaper as an object forces the reader to engage in a a multidimensional exercise in journalism, art, and the politics of representation and message manipulation.
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  • "Mira Mexico", newspaper exhibition installed on a wall in  Utsunomiya, Tochigi Prefecture, Japan July 6, 2013.<br />
(Credit Image: © Rachael Cerrotti )<br />
<br />
Curator<br />
Rachael Cerrotti (USA)<br />
<br />
Using photographs taken by Louie Palu relating to the Mexican drug war, this project challenges the reader to take apart this newspaper to see the full photographs and view the content. The goal is to force the reader to dismantle the vehicle used to deliver news and facts and thereby empower the reader to begin to think more critically. There are 16 photos in total, eight that do not relate to violence and eight that focus on violence or the drug business.. Each photograph is printed on a single sheet of newsprint, so if you take the newspaper apart each sheet of paper will have only one photograph on each side. Only eight pictures can be viewed at one time No photo can be entirely seen unless the reader opens and takes the newspaper apart. <br />
<br />
Once the newspaper comes apart it can be put back together in any order the reader wishes. The page spreads can also be hung as an exhibition. With violent images on one side and non-violent images on the other, the reader must become editor, curator or even censor, choosing how many violent photos are seen vs. how many non-violent photographs are seen. This forces the reader to face up to the fact that all delivery of news involves choices, of what to show and tell and what not to show and tell. It also forces the reader to face up to the system of institutions that serves as the gatekeepers in journalism and the visual arts. The questions are obvious. Is the editor censoring? Is the edit a true depiction of the news and the issue? Are violent images being used effectively to tell a story, or to sensationalize the story? The actual newspaper as an object forces the reader to engage in a a multidimensional exercise in journalism, art, and the politics of representation and message manipulation.
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  • Sondheim Prize Finalists Exhibition of Louie Palu's Fighting Season work at the Baltimore Museum of Art.
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  • "The Fighting Season", exhibition 30 x 40 inch large format silver gelatin landscape prints at Kinsman Robinson Galleries in Toronto, Canada.
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  • "The Fighting Season", exhibition small format 8x10 inch and 30 x 40 inch large format silver gelatin landscape prints at Kinsman Robinson Galleries in Toronto, Canada.
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  • Sound and print installation in a grid for "Zhari-Panjwaii: Dispatches from Afghanistan" exhibition at Dalhousie University Art Gallery in Halifax, Nova Scotia, Canada in 2009. Also exhibited at Gallery TPW in Toronto, Canada, curated by Blake Fitzpatrick.
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  • Image edit for print installation in a grid for "Zhari-Panjwaii: Dispatches from Afghanistan", exhibition at Dalhousie University Art Gallery in Halifax, Nova Scotia, Canada in 2009. Also exhibited at Gallery TPW in Toronto, Canada, curated by Blake Fitzpatrick.
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  • Sound and print installation in a grid for "Zhari-Panjwaii: Dispatches from Afghanistan" exhibition at Dalhousie University Art Gallery in Halifax, Nova Scotia, Canada in 2009. Also exhibited at Gallery TPW in Toronto, Canada, curated by Blake Fitzpatrick.
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  • War at a Distance Exhibition at Gallery TPW in Toronto
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  • Exhibition of Garmsir Marine prints at Fotofest New Discoveries exhibition curated by Wendy Watriss and Fred Baldwin in Houston, Texas.
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  • Garmsir Marines exhibition at the Southeast Museum of Photography at Daytona University, Florida.
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  • Garmsir Marines exhibition at the Southeast Museum of Photography at Daytona University, Florida.
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  • Garmsir Marines exhibition at the Southeast Museum of Photography at Daytona University, Florida.
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  • Front vetrine of Gallery 1401 at the Sol Mednick Gallery in Philadelphia at the University Of The Arts in 2012.
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  • 2012 exhibition plan for show at the University of The Arts in Philadelphia.<br />
photo © Louie Palu
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  • Installing of Kandahar The Fighting Season work at the Honfleur Gallery in Washington DC. Curated by Beth Ferraro.<br />
(Credit Image: © Louie Palu/ZUMA Press)
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  • Reproductions from Louie Palu's personal diaries from Kandahar, Afghanistan 2009-2010 included in an exhibition of his Fighting Season body of work at the Honfleur Gallery in Washington, DC.
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  • Reproductions from Louie Palu's personal diaries from Kandahar, Afghanistan 2009-2010 included in an exhibition of his Fighting Season body of work at the Bluesky Gallery in Portland, Oregon.
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  • Installation of prints from the Fighting Season body of work hanging in the Honfleur Gallery in 2011 in Washington DC
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  • Installing of Kandahar The Fighting Season work at the Honfleur Gallery in Washington DC. Curated by Beth Ferraro.<br />
(Credit Image: © Louie Palu/ZUMA Press)
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  • Detail of installation of prints from the Fighting Season body of work hanging in the Honfleur Gallery in 2011 in Washington DC
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  • Installing of Kandahar The Fighting Season work at the Honfleur Gallery in Washington DC. Curated by Beth Ferraro.<br />
(Credit Image: © Louie Palu/ZUMA Press)
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  • Detail of installation of prints from the Fighting Season body of work hanging in the Honfleur Gallery in 2011 in Washington DC
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  • Louie Palu editing for 2nd floor installation of laser prints from the Fighting Season body of work hanging in the Honfleur Gallery in 2011 in Washington DC
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  • Edit for 2nd floor installation of laser prints from the Fighting Season body of work hanging in the Honfleur Gallery in 2011 in Washington DC
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  • Installation in the Blue Sky Gallery in Portland, Oregon of The Fighting Season exhibition. Showing print outs of Louie Palu's diaries in entrance and prints in the main space.<br />
(Credit Image: © Louie Palu/ZUMA Press)
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  • Installation in the Blue Sky Gallery in Portland, Oregon of The Fighting Season exhibition.<br />
(Credit Image: © Louie Palu/ZUMA Press)
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  • Installation in the Blue Sky Gallery in Portland, Oregon of The Fighting Season exhibition.<br />
(Credit Image: © Louie Palu/ZUMA Press)
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  • Installing reproductions of war zone graffiti taken by Louie Palu in Afghanistan being hung in alleys in Toronto, Canada with local graffiti art for the 2009 Contact Photography Festival.
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  • Installing reproductions of war zone graffiti taken by Louie Palu in Afghanistan being hung in alleys in Toronto, Canada with local graffiti art for the 2009 Contact Photography Festival.
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  • Installed reproductions of war zone graffiti taken by Louie Palu in Afghanistan being hung in alleys in Toronto, Canada with local graffiti art for the 2009 Contact Photography Festival.
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  • Installed reproductions of war zone graffiti taken by Louie Palu in Afghanistan being hung in alleys in Toronto, Canada with local graffiti art for the 2009 Contact Photography Festival.
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  • Louie Palu with one of his special one off special large format prints in the collection of the Marine Corps Archives & Special Collections in Quantico, Virginia.<br />
(Credit Image: © Louie Palu/ZUMA Press)
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  • Guantanamo Operational Security Review concept newspaper seen at the Maryland Institute College of Art (MICA) in the Sondheim Prize Semi Finalists exhibition at the Decker and Meyerhoff Galleries in Baltimore.
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  • Guantanamo Operational Security Review concept newspaper seen at the Maryland Institute College of Art (MICA) in the Sondheim Prize Semi Finalists exhibition at the Decker and Meyerhoff Galleries in Baltimore.
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  • Guantanamo Operational Security Review concept newspaper seen at the Maryland Institute College of Art (MICA) in the Sondheim Prize Semi Finalists exhibition at the Decker and Meyerhoff Galleries in Baltimore.
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