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Gregory Colbert
Gregory Colbert
Gregory Colbert

Gregory Colbert

Country: Canada
Birth: 1960

Gregory Colbert (born 1960 in Toronto) is a Canadian film-maker and photographer best known as the creator of Ashes and Snow, an exhibition of photographic artworks and films housed in the Nomadic Museum. Colbert sees himself as an apprentice to nature. His works are collaborations between humans and other species that express the poetic sensibilities and imaginations of human and animals. His images offer an inclusive non-hierarchical vision of the natural world, one that depicts an interdependence and symmetry between humanity and the rest of life. In describing his vision, Colbert has said, "I would define what I do as storytelling... what’s interesting is to have an expression in an orchestra—and I’m just one musician in the orchestra. Unfortunately, as a species we’ve turned our back to the orchestra. I’m all about opening up the orchestra, not just to other humans, but to other species."

Colbert began his career in Paris in 1983 making documentary films on social issues. Film-making led to fine arts photography. Colbert's first exhibition, Timewaves, opened in 1992 at the Museum of Elysée in Switzerland to wide critical acclaim. For the next ten years, Colbert did not publicly exhibit his art or show any films. Instead, he traveled to such places as Antarctica, India, Egypt, Burma, Tonga, Australia, Malaysia, Sri Lanka, Namibia, Kenya, Tanzania, Thailand, China, the Arctic, the Azores, and Borneo. Elephants, whales, manatees, sacred ibis, cranes, eagles, gyrfalcons, Rhinoceros Hornbills, cheetahs, leopards, African wild dogs (Lycaon pictus), caracals, baboons, eland, meerkats, gibbons, orangutans, penguins, pandas, polar bears, lions, giant Pacific manta rays, and saltwater crocodiles are among the animals he has filmed and photographed.

Human collaborators include San bushmen, Tsaatan, Lisu, Massai, Chong, Kazakhs, and people from other indigenous tribes around the world. Colbert, who calls animals "nature's living masterpieces," photographs and films both wild animals and those that have been habituated to human contact in their native environments. The images record what he saw through the lens of his camera without the use of digital collaging.

Source: Wikipedia


Photographer/filmmaker Gregory Colbert is the creator of the exhibition Ashes and Snow, an immersive experience of nature that combines photographic artworks, films, and soundscapes, housed in a purpose-built traveling structure called the Nomadic Museum. To date, Ashes and Snow has attracted over 10 million visitors, making it the most attended exhibition by any living artist in history. Colbert was born in Toronto, Canada, in 1960. He began his career in Paris in 1983 making documentary films on social issues. His first exhibition, Timewaves, opened to wide critical acclaim in 1992 at the Museum of Elysée in Switzerland. For the next ten years, Colbert went off the grid and did not publicly share his art or show any films. He began traveling the world to photograph and film wondrous interactions between animals and humans. After ten years passed, Colbert returned to present Ashes and Snow at the Arsenale in Venice, Italy, in 2002. With his debut, Photo magazine declared, "A new master is born." The New York Times, in an article by Alan Riding, stated, "The power of the images comes less from their formal beauty than from the way they envelop the viewer in their mood... They are simply windows to a world in which silence and patience govern time." Ashes and Snow has been described as "extraordinary" by the Economist, and "distinctive... monumental in every sense" by the Wall Street Journal. Stern magazine described the photographs as "fascinating," and Vanity Fair named Gregory Colbert in its "Best of the Best."

Source: gregorycolbert.com

 

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August Sander
Germany
1876 | † 1964
August Sander was a German portrait and documentary photographer. Sander's first book Face of our Time (German: Antlitz der Zeit) was published in 1929. Sander has been described as "the most important German portrait photographer of the early twentieth century." Sander was born in Herdorf, the son of a carpenter working in the mining industry. While working at a local mine, Sander first learned about photography by assisting a photographer who was working for a mining company. With financial support from his uncle, he bought photographic equipment and set up his own darkroom. He spent his military service (1897-99) as a photographer's assistant and the next years wandering across Germany. In 1901, he started working for a photo studio in Linz, Austria, eventually becoming a partner (1902), and then its sole proprietor (1904). He left Linz at the end of 1909 and set up a new studio in Cologne. In 1911, Sander began with the first series of portraits for his work People of the 20th Century. In the early 1920s, he came in contact with the Group of Progressive Artists (Kölner Progressive) in Cologne, a group as Wieland Schmied put it, "sought to combine constructivism and objectivity, geometry and object, the general and the particular, avant-garde conviction and political engagement, and which perhaps approximated most to the forward looking of New Objectivity [...] ". In 1927, Sander and writer Ludwig Mathar travelled through Sardinia for three months, where he took around 500 photographs. However, a planned book detailing his travels was not completed. Pure photography allows us to create portraits which render their subjects with absolute truth, truth both physical and psychological. That is the principal which provided my starting point, once I had said to myself that if we can create portraits of subjects that are true, we thereby in effect create a mirror of the times in which those subjects live. -- August Sander Sander's Face of our Time was published in 1929. It contains a selection of 60 portraits from his series People of the 20th Century. Under the Nazi regime, his work and personal life were greatly constrained. His son Erich, who was a member of the left-wing Socialist Workers' Party (SAP), was arrested in 1934 and sentenced to 10 years in prison, where he died in 1944, shortly before the end of his sentence. Sander's book Face of our Time was seized in 1936 and the photographic plates were destroyed. Around 1942, during World War II, he left Cologne and moved to a rural area, allowing him to save most of his negatives. His studio was destroyed in a 1944 bombing raid. Sander died in Cologne in 1964. His work includes landscape, nature, architecture, and street photography, but he is best known for his portraits, as exemplified by his series People of the 20th Century. In this series, he aims to show a cross-section of society during the Weimar Republic. The series is divided into seven sections: The Farmer, The Skilled Tradesman, Woman, Classes and Professions, The Artists, The City, and The Last People (homeless persons, veterans, etc.). By 1945, Sander's archive included over 40,000 images. In 2002, the August Sander Archive and scholar Susanne Lange published a seven-volume collection comprising some 650 of Sander's photographs, August Sander: People of the 20th Century. In 2008, the Mercury crater Sander was named after him.Source: Wikipedia I never made a person look bad. They do that themselves. The portrait is your mirror. -- August Sander
Dilla Djalil-Daniel
Indonesia
1966
Dilla Djalil-Daniel is a Jakarta based documentary photographer who was born in 1966. Her first introduction to the camera was when her father gave her a boxy Kodak camera as her 9th birthday present. Ever since then she has been something of a shutterbug. Dilla obtained her bachelor degree from The University of Indonesia, majoring in English Literature. Dilla's first photography mentor was her late father, and for many years she shot her objects intuitively, relying on her feelings, sensitivity and a good eye. In 2010 she decided to join a photojournalism workshop in Bangkok. She had finally found the genre that suited her the most, which is story telling using her camera. One workshop inevitably leads to another, and she found herself attending more and more documentary and photojournalism workshops. Dilla is an alumnus of the Foundry Photojournalism workshop, the Momenta Documentary workshop and the Obscura Workshop. These overseas workshops also suited her well since she loves adventurous travelling. In the course of these workshops she has been fortunate to have had an impressive list of various award-winning photojournalists as her mentors. For Dilla photography is the medium that enables her to express her feelings. It is an art form that sees the camera as a brush and light as paint and the intent is always to narrate a story. It is her wish to carry on telling stories through her pictures, the stories she feels like telling, for as long as she can. Orphans of the Forest As a documentary photographer who also happens to be an animal lover, my main motivation has been to explore the different facets of the relationship between mankind and the animal kingdom. What speaks to me most is trying to capture the mysterious forms of communication that can and do exist between us. I tend to spend a considerable amount of time portraying domestic and wild animals in the form of a photographic narrative. It is most certainly not just a matter of trying to capture images of animals looking cute. The relationship between animals and humans is complex even if there is a dependency with domesticated animals, let alone with animals in the wild, whose existence is threatened by human presence or activities. What I find particularly poignant is where the relationship between animals and humans involves both abuse and dependency. Domestic and increasingly animals in the wild can and do benefit from compassionate intervention by humans. Much of my work attempts to depict this in action. The people involved are often rather under appreciated but it does not affect their devotion and passion in helping their charges by trying to improve their welfare and health. My intention is to try and speak on behalf of the animals and those who care for them.
Newsha Tavakolian
Newsha Tavakolian (born 1981) is an Iranian photojournalist and documentary photographer. She has worked for TIME Magazine, The New York Times, Le Figaro, and National Geographic. Her work focuses on women's issues and she has been a member of the Rawiya women's photography collective which she co-established in 2011. Tavakolian is a full member of Magnum Photos. Born and brought up in Tehran, at age 16, Tavakolian took a six-month photography course, after which she began working as a professional photographer in the Iranian press. She started at the women's daily newspaper Zan, and later worked for other nine reformist dailies, all of which have since been banned. She covered the July 1999 student uprising, using her Minolta with a 50mm lens, and her photographs were published in several publications. However, she was forced to go on hiatus from her photojournalist work following the "chaos" of Iran’s presidential election in 2009. During this time, she began other projects focusing on art using photography as well as social documentary. Tavakolian’s photographs became more artistic and involved social commentary. She got her international break in 2001 at age 21, when she met J.P. Pappis, founder of Polaris Images, New York at a photography festival in Perpignan, France. She began covering Iran for Polaris Images, in the same year, and started working as a freelancer for The Times in 2004. Tavakolian has worked internationally, covering wars, natural disasters and social documentary stories in Iraq, Lebanon, Syria, Saudi Arabia, Pakistan and Yemen. Her work has been published by international magazines and newspapers such as TIME Magazine, Newsweek, Stern, Le Figaro, Colors, New York Times Magazine, Der Spiegel, Le Monde, NRC Handelsblad and National Geographic. Common themes in her work are photo stories of women, friends and neighbors in Iran; the evolving role of women in overcoming gender-based restrictions; and contrasting the stereotypes of western media. Her photo projects include Mother of Martyrs (2006), Women in the Axis of Evil (2006), The Day I Became a Woman (2010) and Look (2013). Tavakolian was part of the 2006 Joop Swart Masterclass organized by World Press Photo. In 2007 she was a finalist for the Inge Morath Award. Her work has been exhibited and collected at institutions such as the British Museum, the Victoria and Albert Museum, the Los Angeles County Museum of Art, the Museum of Fine Arts, Boston and Somerset House, London. (April 2014), where she was one of eight Iranian photographers featured in the critically acclaimed Burnt Generation exhibition. In June 2015 Tavakolian became a nominee member of Magnum Photos and in 2019 a full member. She lives and works in Tehran and is married to the Dutch journalist Thomas Erdbrink. In 2019, the Iranian authorities barred her from working in the country.Source: Wikipedia Newsha Tavakolian is known for her powerful work covering wars in Iraq and social issues in her native Iran. With clarity and sensitivity, Tavakolian has photographed female guerilla fighters in Iraqi Kurdistan, Syria and Colombia, prohibited Iranian female singers and the lives of people living under sanctions. Over the years, her practice has shifted from photojournalism to photography as art. A self-taught photographer, Tavakolian began working professionally in the Iranian press at the age of 16, at women’s daily newspaper Zan. At the age of 18, she was the youngest photographer to cover the 1999 student uprising, which was a turning point for the country’s blossoming reformist movement and for Tavakolian personally as a photojournalist; a year later she joined New York-based agency Polaris Images. In 2003, she started working internationally, covering the war in Iraq. She has since covered regional conflicts, natural disasters and made social documentary stories. Her work has been published in international magazines and newspapers such as Time Magazine, Newsweek, Stern, Le Figaro, Colors, The New York Times, Der Spiegel, Le Monde, NRC Handelsblad, The New York Times Magazine and National Geographic. Commercial clients include Qatar foundation, who commissioned her to make a book about education around the world and Shiseido, who commissioned a two-year assignment looking at the meaning of beauty in Paris, France.Source: Magnum Photos
Debbie Miracolo
United States
1953
Debbie Miracolo is a photo-based artist interested in transition and passage of time. A former graphic designer with a fine art education, she creates inventive images with a sharp attention to detail and composition, often with a generous sprinkling of emotion and whimsy. She attributes her outlook to memories of an introverted childhood infused with make-believe worlds and storybooks. By transforming rather than documenting truth, her interpretations of humanity, nature, and train travel serve as seductive invitations to linger, question, and weave a story of one's own. Growing up as an only child in a home with her European parents and grandmother made her childhood reality different from that of her friends. She was introverted, shy, and intimidated by the world around her, but found that creating art alleviated some of the loneliness she felt and helped her to express her feelings. By the time she finished high school she had become skilled at drawing and painting. At Rochester Institute of Technology she earned a BFA, studying printmaking, photography, and art history, and later moved to New York City to pursue her artistic dreams. There she began a 15-year career as a graphic designer in the busy publishing and advertising industries. With the birth of her two sons and subsequent move to a Victorian house in a suburban New York town, she shifted all of her energy, diving into motherhood, and for several years the creative spirit within her lay patiently dormant. As most artists know however, that spirit never truly leaves, and as her children approached adolescence she could sense it regaining strength. Feeling drawn to photography once again, Debbie made the decision to revisit the medium as an art form. She began taking classes and workshops at the International Center of Photography, gaining mastery of the craft and honing her own personal vision. From there, there was no turning back, and she has been making and focusing on her art ever since. Debbie's work has been published, notably on the cover of Geo Wissen Magazine and most recently, in F-Stop Magazine. Her images have been exhibited in a number of galleries in New York City, Boston, St. Petersburg, Fl. and Middlebury, Vt. as well as online media. About Imagined Moments from the Porch "It was a bewildering, absurd world I found myself in during the first chaotic months of the Covid-19 outbreak. Through incongruous juxtapositions, metaphor and a bit of whimsy, these photo composites of my neighbors portray the surreal, confused and off-kilter feeling I had then, and which still lingers today. With many of us sheltering in place, pedestrian traffic had increased remarkably in my quiet town. People paraded by on the street, some of whom I'd never seen before; young and old, parents with children, and more and more dogs as the weeks went by. I began to photograph what I observed from the steps of my front porch and, over a period of four spring and summer months, the project evolved. The idea to reconstruct the photographs came to me when I needed to switch out a person, and with that one manipulation, it became clear that I would take the series in a more imaginative direction. As the virus numbers increased and the news became more alarming by the day, I digitally rearranged my characters in more unlikely ways. It was as if my wish to change reality and my doubts about what to believe were coming through in my images. Imagined Moments from the Porch is a kind of theatrical narrative made up of fictional scenes I compose to depict my off-beat version of these dark, confusing, and upside-down days." -- Debbie Miracolo
Carl De Keyzer
Belgium
1958
Carl De Keyzer (27 December 1958) is a Belgian photographer. Major subjects in his work have included the collapse of Soviet Union and India. He became a full member of Magnum Photos in 1994. De Keyzer has exhibited his work in many European galleries and has received several awards, including the Book Award from Rencontres d'Arles, the W. Eugene Smith Award and the Kodak Award.Source: Wikipedia Carl de Keyzer started his career as a freelance photographer in 1982 while supporting himself as a photography instructor at the Royal Academy of Fine Arts in Ghent, Belgium. At the same time, his interest in the work of other photographers led him to co-found and co-direct the XYZ-Photography Gallery. A Magnum nominee in 1990, he became a full member in 1994. De Keyzer likes to tackle large-scale projects and general themes. A basic premise in much of his work is that, in overpopulated communities everywhere, disaster has already struck and infrastructures are on the verge of collapse. His style is not dependent on isolated images; instead, he prefers an accumulation of images that interact with the text.Source: www.carldekeyzer.com Magnum photographer Carl de Keyzer was born in Kortrijk, Belgium, in 1958. In his early work he focused on social groups outside of the mainstream. The God, Inc. series explores the various sects of Christianity in the United States and the drastically different and often extreme ways in which people communicate with God. Currently de Keyzer is tackling large-scale projects and general themes relating to overpopulated communities, disasters, and infrastructures. He prefers to work with an accumulation of images that interact with text, and in a series of large tableaux he has covered India; the collapse of the Soviet Union; and modern-day power and politics. His photographs have been published in The Guardian, LIFE, El País and Le Monde, and de Keyzer’s works are held in collections including the J. Paul Getty Museum and the Fotomuseum in Belgium. He also is a recipient of the W. Eugene Smith Grant for Humanistic Photography.Source: International Center of Photography Carl De Keyzer tackles large-scale themes through an accumulative, expansive approach. He builds up narratives through collected images, which often interact with text (taken from his travel diaries). In a series of large-format prints, he has covered India, the collapse of the Soviet Union and – more recently – modern-day power and politics in North Korea. His seminal project, God, Inc., captured religious life on the margins of American society. A basic premise in much of his work is that, in overpopulated communities everywhere, disaster has already struck, and infrastructures are on the verge of collapse.Source: Magnum Photos
Patrick Wack
France
1979
Patrick Wack was born in Cannes in 1979 and grew up in the Paris suburbs. A former top sportsman, he has a degree in foreign languages and a diploma from the Ecole Supérieure de Commerce de Paris. His studies took him to the United States, Sweden and Germany. A self-taught photographer, he left Berlin in 2006 for China with the ambition of documenting its emergence, and the hope of living a life off the beaten track. He was based in Shanghai for eleven years as a freelance photographer alternating between commissions for the international press and institutional clients. He also worked on long-term documentary projects on themes important to the understanding of our times. These include urban change and forced modernisation in China, the Tibetan question, inter-ethnic tensions in the Balkans and the 'pioneering front' of the New Silk Road in its aesthetic, social and political dimensions. After eleven years in China, he now divides his time between Europe, China and Russia. His reports have been published in Time magazine, The Sunday Times, Géo, The British Journal of Photography and Courrier International, among others. He is one of the co-founders of the photographic cooperative Inland. DUST Dust, a monographic book by photographer Patrick Wack on the Uyghur communities. The monograph DUST gathers four years of work by French photographer Patrick Wack shot in the areas of Central Asia known as East Turkistan or Xinjiang Uyghur Autonomous Region under the current Chinese administration. In recent years, the region has been at the centre of an international outcry following the mass-incarceration of its Uyghur population and other Muslim minorities. This body of work captures a visual narrative of the region and is a testimony to its abrupt descent into an Orwellian dystopia. In 2016 and 2017, Wack spent more than two months in Xinjiang photographing Out West, his first long-term project about the region. He decided to return in 2018, upon reading reports of the mass arbitrary detention system being set up there. In 2019, he travelled to Xinjiang on two separate occasions for another project, The Night Is Thick. This second reportage aimed at documenting life under acute repression among the Uyghur minority alongside the disturbing simultaneous increase of Han-Chinese tourism in the region. These images have been widely published and exhibited over the past four years, illustrating the situation in the region, and have received numerous accolades. Recent events in Xinjiang are now considered some of the most severe crimes against humanity currently unfolding in the world and this project is possibly the most complete photographic documentation of the region in recent years. Find out more about DUST
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April 2024 Online Solo Exhibition
April 2024 Online Solo Exhibition
April 2024 Online Solo Exhibition

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