Simon Norfolk
Omaha Beach

Omaha Beach

© Simon Norfolk / Gallery Luisotti

Omaha Beach
Omaha Beach
ArtistBritish, born Nigeria, 1963
CultureBritish
Titles
  • Omaha Beach
  • from the series The Normandy Beaches: We Are Making A New World
Date2004, printed 2006
PlaceFrance
MediumChromogenic print
DimensionsImage: 20 × 24 in. (50.8 × 61 cm)
 Sheet: 28 × 33 in. (71.1 × 83.8 cm)
 Frame (outer): 32 7/8 × 36 7/8 × 1 3/4 in. (83.6 × 93.7 × 4.4 cm)
Credit LineMuseum purchase funded by Bari and David Fishel, Brooke and Dan Feather, and Hayley Herzstein in honor of Max Herzstein and a partial gift of the artist and Gallery Luisotti, Santa Monica
Object number2006.554
Non exposé

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Department
Photography
Object Type
Provenance[Gallery Luisotti, Santa Monica, California]; purchased by MFAH, 2006.
Exhibition History"WAR/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath," The Museum of Fine Arts, Houston, 11 November, 2012 - 3 February, 2013.
Inscriptions, Signatures and Marks
Signed in ink on verso lower right within a stamped mark: "Sam Norfolk"
Rectangular stamp on verso lower right with ink additions: "printed under my direct supervision / archival digital c-type print / [signature] / edition number 2/10"

Cataloguing data may change with further research.

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printed 2000
Chromogenic print
2002.299
Historically, Kuchis were strongly pro-Taliban; feelings made more intense by being bombed by NATO off their traditional grazing lands in Helmand. They are allowed to set up camp here on Kabul’s periphery only because it is below a large, new Afghan Army base.
Simon Norfolk
Historically, Kuchis were strongly pro-Taliban; feelings made more intense by being bombed by NATO off their traditional grazing lands in Helmand. They are allowed to set up camp here on Kabul’s periphery only because it is below a large, new Afghan Army base.
2010–2011, printed September 2011
Chromogenic print
2016.224.46
A Shia cemetery on the flanks of Kohe Asmai.
Simon Norfolk
A Shia cemetery on the flanks of Kohe Asmai.
2010–2011, printed September 2011
Chromogenic print
2016.224.43
At Wasalabad high above West Kabul. It has taken 26 men from the Mine Detection Centre and four de-mining dogs more than three months to clear mines from an area the size of a few soccer pitches. Kabul’s rapid expansion has increased pressure for building land. Mined areas that were once marginal are now in demand for house construction.
Simon Norfolk
At Wasalabad high above West Kabul. It has taken 26 men from the Mine Detection Centre and four de-mining dogs more than three months to clear mines from an area the size of a few soccer pitches. Kabul’s rapid expansion has increased pressure for building land. Mined areas that were once marginal are now in demand for house construction.
2010–2011, printed September 2011
Chromogenic print
2016.224.44
The entrance to a small, western-backed NGO.
Simon Norfolk
The entrance to a small, western-backed NGO.
2010–2011, printed September 2011
Chromogenic print
2016.224.41
Before dawn, construction workers warm themselves over burning plastic and cardboard before beginning the job of attempting to get hired for a day’s work.
Simon Norfolk
Before dawn, construction workers warm themselves over burning plastic and cardboard before beginning the job of attempting to get hired for a day’s work.
2010–2011, printed September 2011
Chromogenic print
2016.224.42
‘The Museum Of The Jihad’ in Herat. In the centre of the tableau of anti-Soviet mujahedeen guerrillas is Ismail Khan, one-time Governor of Herat and minister in the national government. Mythologising their role in the Jihad helps justify their control and ownership of Afghanistan’s modern warlord economy.
Simon Norfolk
‘The Museum Of The Jihad’ in Herat. In the centre of the tableau of anti-Soviet mujahedeen guerrillas is Ismail Khan, one-time Governor of Herat and minister in the national government. Mythologising their role in the Jihad helps justify their control and ownership of Afghanistan’s modern warlord economy.
2010–2011, printed September 2011
Chromogenic print
2016.224.12
The entrance to one of the dining halls at the Sham-e-Paris wedding complex.
Simon Norfolk
The entrance to one of the dining halls at the Sham-e-Paris wedding complex.
2010–2011, printed September 2011
Chromogenic print
2016.224.40