ARGONAUT ONLINE | http://argonautnews.com/women-and-war/
From Michael Aushenker’s review of the exhibition at Venice Arts (on-view through March 12, 2015), and an interview with Marissa Roth: “Roth’s stark photos put a face on the fallout, whether it’s My Lai Massacre survivor Pham Thi Thuan or Vietnam War Army nurse Sarah Blum, who incurred Agent Orange-related health problems. There’s a poignant 2009 shot of Kosovar Albanian refugee Sebanate Berisha, who lost all of her children in a bombing raid, with a boy at a Tirana refugee center. There are also powerful images of Hiroshima survivor Setsuko Iwamoto; Alice McNally, a Catholic mother caught in the Northern Ireland conflict; and Auschwitz survivor Cathy Weiss, who once faced the infamous Dr. Josef Mengele.”
January 28, 2015
PHOTOGRAPHER’S FORUM | http://pfmagazine.com/2014/magazine/marissa-roth-chosen-by-a-project/
Chosen by a Project: Profile & Portfolio Marissa Roth | May 2014
The Summer 2014 edition of Photographer’s Forum explores the notion of the project choosing the photographer, in an in-depth article about “One Person Crying.”
Here’s an excerpt:
“Some photographers consciously choose what they want to shoot — landscapes, rodeos, city skylines, the faces of aging — but for a few, the creative process is reversed. The project chooses them. Their subject becomes an irresistible, driving force, propelling them forward for unfathomable reasons, even against logic, to shoot all dimensions and angles, no matter what sacrifices it takes. Marissa Roth is one such photographer. In 1999, she was invited to document a medical mission to Albania after the NATO bombing of Kosovo. The ethnic war between Serbs and Kosovar Albanians had lasted a year and a half, destroying Kosovo, killing thousands of civilians, and sending hundreds of thousands of frightened refugees into Albania.
“It was not Roth’s first time visiting a former war zone or disaster area. Working as a freelance photojournalist since 1981, she had already used her camera to document numerous tragedies. She had covered the aftermath of the 1984 Union Carbide gas leak in Bhopal, India that killed thousands of people; civilian casualties during the 1989 coup d’état in the Philippines; the 1991 eruption of Mount Pinatubo in the Philippines that wiped out over 300 people; gang shootings and the Los Angeles riots in 1992; and numerous other sites of death and destruction. Roth was certainly not afraid to look horror straight in the eye. “I tempted fate many times in my life,” she says. “I wasn’t reckless, but I challenged my fears.”
“On that medical expedition to Albania, Roth found herself taking environmental portraits of women refugees. Their many losses — homes, children, husbands, security — were evident on their faces. Using her favorite equipment — manual Nikon FE-2 cameras and Kodak’s richly saturated black-and-white Tri-X film — she captured the stark reality of the toll war takes on innocent mothers, sisters, grandmothers, little girls. Talking with Kosovar Albanian women, she heard first-hand accounts of terror, rape, suffering and death — all caused by angry and brutal men who could not find a way to make peace with their neighbors.”
INTERVIEW | i24 NEWS | JAFFA, ISRAEL
In honour of International Women’s Day, Marissa Roth was interviewed by Israeli news channel i24 News, via Skype from Los Angeles. “My project is really about women who have chosen life after war.”
March 4, 2014
INTERVIEW | LE MONDE | FRANCE
Marissa Roth donne à la guerre un visage feminine (Marissa Roth gives war a feminine face)
February 24, 2014
INTERVIEW | LA REPUBBLICA
April 11, 2014
INTERVIEW | FOTORITIM e-FOTOGRAF DERGISI | TURKEY
September 23, 2013
Excerpt from interview with Z. Pinar Unal:
ZPU: You have worked for many newspapers and magazines like The New York Times, Los Angeles Times, Time and Newsweek. Thus you've photographed a large scale of themes in many different parts of the world, like “the overthrowing of the government in Philippines”, “the first elections in the post-communist Hungary”, “the homeless in Japan”, “the survivors of the chemical disaster of the U.S. company in Bhopal, India” together with your 28-year photo project “Women and War” that has been executed in different countries. So, can you tell me which one of these is your favorite or has influenced you the most?
MR: Ah….that’s a tough question. I don’t think that I could have arrived at this point in my life without having experienced the many stories and photographic chapters that you mention. Each subject at the time I was photographing it, had a significant impact on me. I learned something that I didn’t know before, or felt something that I had never felt before. “One Person Crying”, has of course, been hugely significant, as it represents not only a fulfilled long-term photographic project, but has been intertwined with my life’s journey. Creatively, I can honestly say that my recent project on Tibet, which was photographed with the last of the glorious Kodachrome film and which I am now about to begin production on a book, is a breakthrough for me.
I try to stay in the present moment as a photographer, always keeping my sense of wonder acute and open. And I suppose, at heart, I’m still that impatient, slightly wild young photojournalist, looking forward to the next photographic experience with hope and excitement.
INTERVIEW | UCLA MAGAZINE |http://magazine.ucla.edu/depts/quicktakes/picture-this-women-and-war/
Picture This: Women and War | Interviewed by Mary Daley
April 1, 2013
Excerpt from interview:
"I found my peace through war," says Marissa Roth '79, who recently completed a 28-year exploration of how war impacts women. The award-winning photojournalist's journey took her to Yugoslavia, France, Germany, Northern Ireland, Pakistan, the Philippines, Kosovo, Japan, Cambodia, Bosnia and Vietnam.
A crowning moment came when Roth, the daughter of Hungarian refugees from the Holocaust, discovered her grandparents' names on a memorial in Yugoslavia, where they were massacred on their own doorstep in 1942. Her quest was ignited in Pakistan in 1988 when Roth, on a freelance assignment for the Los Angeles Times, learned that 100,000 Afghan war widows had been all but forgotten.