As an academic dealing with the former Yugoslavia, I understand that there are a myriad opinions on the topic and that any essay will be construed as false in some way, from some direction. It’s too bad, and one reason why honest dialogue is missing on the issues that plagued–and still plague–the former Yugoslavia.

On your work, which is excellent, I have nothing but good things to say. I think that it deals with the “hangover” from the 1990s (and 1980s, in many ways) and the “post-traumatic stress” of the recent conflicts there. While it cannot be exhaustive–and I don’t think the artist claims it to be, nor was it intended to be so–it is visually excellent, and emotionally haunting.

http://digitalmag.pdnonline.com/pdnonline/201209/?pg=15&pm=2&u1=friend

It would be nice if Burn were able to provide interviews like this to go along with essays. I know it’s most likely impossible given the realities of the operation, but I’ve often thought it might be possible to put together a small stable of potential writers/interviewers and offer them to the photographer whose work is going to be published. Any fee arrangements would be between the writer and the photographer. But for the EPF, I think it would be nice if it were part of the ritual for David or someone interview the winner about the work to accompany the publication of the essay. Big money is involved and much attention is paid. I think something like that would further the award’s, and Burn’s, reputation.

What appalled me the most is that Americans are still obsessed with these faux humanitarian crusades and that they continously send back skewed impressions of the world. Mr. Lutton is clearly concerned only with showing off that he went to a place off the beaten path for most Americans, and in turn painted it as a backwards hellhole to make his photos seem more important. The fact that the essay claims to tell story of Serbia in the wake of the the wars that broke apart Yugoslavia is laughable, laughable.

There are of course struggling backwaters, but they are not representative of an incredibly vibrant culture that – flashes of ugly nationalism aside – is hard to match in the Balkans. The energy and sophistication of Belgrade is completely ignored in this essay, and while one might argue this is not its point, I find it a little sad that those who know nothing of Serbia will view the essay and come away with the impression that the country is a triste and melancholic place – it is not.

I can well imagine the trademark warmth and hospitality with which Matt was welcomed by the locals, and I fear they would be disappointed to discover that this was how he viewed them. Pictures can be a bit dangerous in this way.

Absolutely brilliant! The award went just where it should have gone.

Well deserved and congratulations!