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Chester Higgins Jr.
Chester Higgins Jr.
Chester Higgins Jr.

Chester Higgins Jr.

Country: United States
Birth: 1946

Higgins, an American photographer, has used his camera to examine the life and culture of people of African descent — seeking reflections of himself in the world of humanity. After four decades as a staff photographer for The New York Times, he recently retired.

His mission statement is as follows: “Wrestling with issues of memory, place and identity, I see my life as a narrative and my photography as its expression. My art gives visual voice to my personal and collective memories. It is inside ordinary moments where I find windows into larger meaning. Light, perspective, and points in time are the pivotal elements I use to reveal an interior presence within my subjects as I search for what I identify as the Signature of the Spirit.”
Peter Fetterman Gallery
Selected Books on Available on Amazon
Chester Higgins Jr.: Sacred Nile
Chester Higgins Jr.: Sacred Nile
Chester Higgins Jr., Betsy Kissam
Chester Higgins Jr.: Feeling the Spirit
Chester Higgins Jr.: Feeling the Spirit
Chester Higgins Jr.

Gallery

www.peterfetterman.com

Website

www.chesterhiggins.com

 

Chester Higgins Jr.'s Video

Selected Books

Chester Higgins Jr.: Sacred Nile
Chester Higgins Jr.: Sacred Nile
Chester Higgins Jr., Betsy Kissam
Chester Higgins Jr.: Feeling the Spirit
Chester Higgins Jr.: Feeling the Spirit
Chester Higgins Jr.

Inspiring Portfolios

Klavdij Sluban
© Klavdij Sluban
Vincenzo Barone
© Vincenzo Barone
Michael Ackerman
© Michael Ackerman
 
Stay up-to-date  with call for entries, deadlines and other news about exhibitions, galleries, publications, & special events.

More Great Photographers To Discover

Isabeau De Rouffignac
Isabeau De Rouffignac
France
I followed an artistic career path with a drawing baccalaureate, 2 years of preparatory classes at the Met de Penninghen studio, then I entered the graphic art school. This was followed by a long experience in design agencies (Design Strategy Orchestra), communication agencies (CPP) and manufacturing agencies (Vision Prod) as an employee and then as a freelancer since 1999. It is this status that will allow me to devote myself to photography, which I discovered in the 2000s. It was a revelation, and soon became obvious. Since then, I have been photographing worlds far and near, between a documentary approach and a resolutely artistic approach. A line of conduct, like a thread that runs through my work and gives it coherence: approaching the other, taming them, taking the time, learning their language, being forgotten, with a gaze that is always curious and fundamentally empathetic. Four photographic editions were born from this work. Since 2017, I devote all my time to photography. And although I have an initial training that integrates the work of the image and a long-standing photographic practice, I felt the need to go further, to question my writing, and I have therefore attended several workshops and training courses. (Arles, Cifap, Gobelins) In 2018, I became a member of Studio Hans Lucas Today, the more I advance in my artistic practice, the more I approach my projects from a documentary point of view, but with an aesthetic or even plastic approach from the start. By mixing these different ways of working on my subject, I leave the imposed categories (documentary, plastic photography, etc.) to invent my own language that allows me to convey a message (environmental, social, humanitarian, political, etc.). This is the case in my latest work in India, pleas. In Bhopal, they point out the consequences of the worst chemical disaster the world has ever known, and in Rajsamand, they tell of the difficult working conditions of the miners. Statement An intuition, a call following the reading of an article or a book, moves me from my daily life in the metropolis and I set off to meet the other. The country is always far away, the situation speaks of a reprieve. Through photography I seek an encounter with the other, the other in what is different about him, his way of life, his language, which I try as much as possible to learn in order to be in touch with him. I am looking for an encounter with a place that also has its own language that often says the impalpable, what does not always appear at first sight, a place to be deciphered. In these encounters, I also seek an encounter with myself, because the other person questions me, challenges me, shakes up my preconceptions, pushes me to question myself. In my last work on the miners of Rajasthan, I sought to pay tribute to men in pain, working in sandstone or marble quarries, working without safety clothing, for a ridiculous salary, without a work contract, and more than half of whom suffer from silicosis because they work without masks. In most of my other photographic works, I try to bear witness but also to show a cultural heritage that is on the verge of disappearing, and to talk about those who keep it alive and often fight against a progressive assimilation. Of course, the time needed for these encounters, for this acceptance by the communities in which I immerse myself, implies taking time. A lot of time. It is the only way to establish the links that open doors, give access to knowledge, beliefs, and sometimes even confidences. Learning the Hindi language has helped me to better understand the personal stories of all the men and women I have photographed, to understand the distress that lies behind their dignity. I try to document the issues through personal stories that are each unique and singular. This is what I have done here with the miners of Rajasthan, or previously with the women of Bhopal, the postmen of Rajasthan, or the Akhas of Thailand. I offer you my view, nourished by what my encounters have revealed to me, my way of documenting it, as close as possible or with distance when necessary. A view that I hope will open up the possibility of better understanding, or at least of trying. That's already a lot.
Miina Savolainen
Miina Savolainen
Finland
Miina Savolainen is a community art oriented photographer and an art and social educator from Helsinki whose works deal social engagement. Alongside her artistic work she explores, teaches and develops the use of photography as a pedagogic and therapeutic method. Her work has resulted in the method of empowering photography. Miina Savolainen, her project The Loveliest Girl In The World and the method of empowering photography have received several awards in Finland. Miina Savolainen is a member of The Finnish Phototherapy Association and The Union of Artist Photographers.Besides The Loveliest Girl in the World, Miina Savolainen is an instructor in a communal art project concerning fatherhood. For two years now, a group of amateur photographers have been preparing an exhibition on the theme of fatherhood to Helsinki Jugendhall for autumn 2007, using the method of empowering photography. She is currently working on a community art project involving intersexed and transgendered individuals.The Loveliest Girl in the World is a community art project undertaken by photographer, art and social educator Miina Savolainen with ten girls from Hyvönen Children's Home. It has taken almost a decade to complete. The project is based on the idea of “empowerment” and the belief that everyone has the right to feel unique and special. The fairytale quality of the photographs reveals a truth often obscured by the rough and tumble of daily life - the person each young girl feels she really is inside. It allows the girls to regard themselves as strong and undamaged people. These photographs are deeply authentic, revealing the universal desire to be seen as good and valuable. “Photography can help to show people how they are treasured; how much they mean to me,” writes Miina Savolainen. “Accepting one's own portrait is a metaphor for accepting one’s own personality. During years the photographing has become an intimate and profound way to interact with the girls. This exceptional long-term relationship can be seen in the special kind of openness and intimacy of the photographs. Although the pictures in the series of the Loveliest Girl in the World are artificial and not from the everyday life they are bound to the tradition of realistic photography. The documentary quality of the pictures is multilayered. On one hand the pictures are documents of growing up, the young girls' personalities and dreams. On the other hand the pictures make certain features of the girls visible which cannot be seen in their everyday selves. The childhood of the young who have grown up in a Children's home includes a lot of feelings of being abandoned and of being invisible. It also includes the burden of other people's prejudices, the stigmatisation of being a Children's home resident. The fairytale-like pictures are juxtaposed with real life story that seldom had fairytale qualities. The pictures express sadness but also hope and desire to see oneself in a more gentle way. With the aid of the non-everyday world of the pictures the young have been allowed to be seen and to see themselves differently like never before. The girls do not see the pictures as role-playing. In the everyday life the girls may also lead “roles” which appear wrong and foreign to the girls. The pictures may show, for the first time, a side that the young person holds real and dear to herself, a picture that she wants to cherish in her mind. The Loveliest Girl in the World -pictures are extreme documents: they are pictures of a person’s inner identity. This inner side becomes visible and the deeper emotional “truth” can be reached by mixing the truth and the fiction. Every human being has an inviolable right to feel himself or herself special. The pictures are a proof of conclusiveness of the photograph, which is not only bound to what’s visible. The Loveliest Girl in the World doesn't portray the Children's home residents the way the people living in margins are usually portrayed. The pictures are also something else from the sexist way of how young women and girls are exhibited in today's public places. Above all the fairy-tale feeling of the pictures is metaphorical; it is a longing for a clean, innocent state of dreaming where you can see yourself as a whole and an ideal person, protected from the gaze and the expectations of other people. The series brings up questions on how the present visual culture makes one a part of the society. The pictures of the young in the Children's home tell stories of being a girl and being a human in general. The deepest content of the pictures, the need to be seen, is familiar to anyone. The attempt to learn to see oneself in a more gentle way is especially addressing in our time where people are surrounded by the endless requirements from different fields of life. The Loveliest Girl in the World exhibitions have prompted the public to think about the capacity of the photograph to influence on societal and personal levels. From the point of view of photography the project also raises questions about the author and ethics. This project could be seen as community photography. It includes the models not only in the creation of the photographs but also in the selection of the exhibited pictures.The project, its accompanying exhibition and Miina Savolainen has been awarded the Spotlight of the Year 2003 special prize of the jury, the Vision of the Year award 2004, Duodecim Finnish Medical Association’s 2005 Cultural Award, the Young Photographer of the Year award 2005 and the State Award for Children´s Culture 2006. Patricia Seppälä Foundation, the Finnish Cultural Foundation, Finnfoto and the City of Helsinki have supported the production.
Melvin Pirard
Melvin Pirard
Belgium
1992
My name is Melvin Pirard, I am 27 years old and I come from Belgium. I practice the photo seriously for a little less than three years. I have a degree in Agronomy and it is therefore as a passionate self-taught that I learned the picture. It was my mother who made me liked the photo, she always had a camera on holiday. I stung her the camera from time to time and I liked immerse myself in my imagination and try to represent at best what I saw with my child's eyes. I had the chance to travel a lot and so a little over two years ago I wanted to be more serious about photography when I was going through in Africa. I already had in mind to become a professional photographer. Now I'm doing it, I start as a professional photographer right now. And winning this 2nd prize is very important for me, it encourages me and pushes me to go further.
Lua Ribeira
Lua Ribeira
Spain
1986
Lua Ribeira (born 1986) is a Galician photographer, based in Bristol in the UK. She is a Nominee member of Magnum Photos and was a joint winner of the Jerwood/Photoworks Award in 2017. Her series Noises is about femininity and British dancehall culture. She studied documentary photography at the University of Wales, Newport, graduating in 2016. Ribeira's series Noises, about femininity and Jamaican dancehall culture in the UK, was published as Noises in the Blood in 2017.Source: Wikipedia Lua Ribeira’s practice is characterized by its collaborative nature, extensive research and an immersive approach to her subject matter. She is interested in using the photographic medium as a means to create encounters that establish relationships and question structural separations between people. Ribeira was born in 1986, in Galicia, northern Spain. She graduated in Graphic Design at BAU School of Design, Barcelona in 2011, and earned a first-class honours in a BA in Documentary Photography from the University of South Wales in 2016. Since graduating, she has continued her academic engagement as a guest lecturer at various universities, including the University of Westminster, University of the West of England, and Complutense University of Madrid. Ribeira’s work has received several awards and honors, including the Firecracker Grant for Women in Photography, and the Jerwood/Photoworks award. Her work has been published in book form by Fishbar, London in 2017, features in the publication Firecrackers: Female Photographer Now published by Thames and Hudson in 2017, in and Raw View Magazine‘s, “Women looking at Women” in 2016. Her work has been exhibited internationally in both solo and group shows in venues including Impressions Gallery, Bradford, Ffotogallery Cardiff, Belfast Exposed gallery, Beijing International Photography Biennale, and many more. Other publications Ribeira’s work has been featured in include The British Journal of Photography, Paper Journal, Refinery 21, AnOther, and Tate magazine. Selected commercial clients include Chanel, Carla Lopez handbags, Birmingham Botanical Gardens, and Wire Magazine. She joined Magnum photos as a nominee in 2018.Source: Magnum Photos Since graduating from the documentary photography course at the University of South Wales last year, Lua Ribeira has gone from strength to strength. In addition to the Firecracker Grant, which she was awarded in 2015 while still a student, her work was recently selected by Susan Meiselas to appear in Raw View magazine’s Women Looking at Women issue, which the Magnum photographer guest edited. She is also making a name for herself commercially, with commissions for the likes of handbag designer Carla Lopez and with editorial clients such as Wired. Her images have been shown at international festivals, including Photo España in 2014 and Gazebook Festival in 2015, and she has also been awarded a Jerwood Photoworks Grant for future projects in 2018. Thus far, Ribeira is perhaps best known for Noises in the Blood, an ongoing investigation into Jamaican dancehall culture, shown at London’s Fishbar Gallery earlier this year and published by its photobook wing. The series stems from the photographer’s love of the musical genre but also acknowledges her discomfort with its explicit, sexual lyrics. “That feeling bothered me,” says Ribeira. “I did not fully understand it.”Source: British Journal of Photography
Lalla Essaydi
Lalla Essaydi
Morocco
1956
Lalla Essaydi (Lalla A. Essaydi) is a Moroccan-born photographer known for her staged photographs of Arab women in contemporary art. She currently works in Boston, Massachusetts, and Morocco. Her current residence is in New York. Essaydi was born in Marrakesh, Morocco in 1956. She left to attend high school in Paris at 16. She married after returning to Morocco and moved to Saudi Arabia where she had two children and divorced. Essaydi returned to Paris in the early 1990s to attend the École nationale supérieure des Beaux-Arts. She moved to Boston in 1996 and earned her BFA from Tufts University in 1999 and her MFA in painting and photography from the School of the Museum of Fine Arts in 2003. Influenced by her experiences growing up in Morocco and Saudi Arabia, Essaydi explores the ways that gender and power are inscribed on Muslim women's bodies and the spaces they inhabit. She has stated that her work is autobiographical and that she was inspired by the differences she perceived in women's lives in the United States versus in Morocco, in terms of freedom and identity. She explores a wide range of perspectives, including issues of diaspora, identity, and expected location through her studio practice in Boston. She also looks at the ways of viewing reality while questioning limits of other cultures and challenging Orientalist art, engaging tradition, history, art, and technology. Her Grand Odalisque from the series Les Femmes du Maroc (2008), for example, cites the French painter Jean-Auguste-Dominique Ingres' painting La Grande Odalisque (1814), although her model is dressed. She also presents the resistance of stereotypes maintained by Western and Eastern societies. The inspiration for many of her works came from her childhood, in the physical space where she, as a young woman, was sent when she disobeyed. She stepped outside the permissible behavioral space, as defined by Moroccan culture. Essaydi said her works will become haunted by spaces she inhabited as a child. Several pieces of her work (including Converging Territories) combine henna, which is traditionally used to decorate the hands and feet of brides, with Arabic calligraphy, a predominantly male practice. While she uses henna to apply calligraphy to her female subjects' bodies, the words are indecipherable in an attempt to question authority and meaning. According to Essaydi, "Although it is calligraphy that is usually associated with 'meaning' (as opposed to 'mere' decoration), in the visual medium of my photographs, the 'veil' of henna, in fact, enhances the expressivity of the images. Yet, by the same token, the male art of calligraphy has been brought into a world of female experience from which it has traditionally been excluded." The women depicted in her exhibition of photographs, Les Femmes du Maroc, are represented as decorative and confined by the art of henna. Essaydi thus poses her subjects in a way that exemplifies society's views of women as primarily destined for mere beauty. Henna, however, is extremely symbolic, especially to Moroccan women. It is an association with familial celebrations of a young girl reaching puberty and transitioning into a mature woman. The use of henna in her work creates a silent atmosphere of the women "speaking" to each other through a quality of femininity. It is predominantly a painting process where women who are discouraged to work outside the home find a profitable work in applying a tattoo-like material. Beyond creating powerful pieces revolving around the art of henna, Essaydi includes interpretations of traditional Moroccan elements, including draped folds of cloths adorning women's bodies, mosaic, tiles, and Islamic architecture. Lalla Essaydi’s photo series, Les Femmes du Maroc comments on contemporary social structures, as well as acknowledges the history that has aided in constructing representations of Arab female identity. Les Femmes du Maroc is one of her three major photographic series, which is influenced by nineteenth-century European and American Orientalist art. However, Essaydi appropriates Orientalist paintings by incorporating a new subject & style derived from her own personal history and experiences to emancipate Arabian women and to demonstrate a tradition that is misunderstood by a Western audience. The title of the series is an appropriation of a painting by the French Romantic Artist Eugène Delacroix. Therefore, each photo in the series is influenced by Orientalist art that is then appropriated. Essaydi's photographic series include Converging Territories (2003–2004), Les Femmes du Maroc (2005–2006), Harem (2009), Harem Revisited (2012–2013), Bullets, and Bullets Revisited (2012–2013). Her work has been exhibited around the world, including at the National Museum of African Art, and is represented in a number of collections, including the Art Institute of Chicago; the Museum Fünf Kontinente Munich/ Germany; the San Diego Museum of Art; the Cornell Fine Arts Museum, Winter Park, Florida; the Fries Museum in Leeuwarden, The Netherlands; the Museum of Fine Arts, Boston; and the Williams College Museum of Art in Williamstown, Massachusetts. She was named as #18 in Charchub's "Top 20 Contemporary Middle Eastern Artists in 2012-2014". In 2015, the San Diego Museum of Art mounted the exhibition, Lalla Essaydi: Photographs. Source: Wikipedia Lalla A. Essaydi grew up in Morocco and now lives in USA where she received her MFA from the School of the Museum of Fine Arts/TUFTS University in May 2003. Essaydi’s work is represented by Howard Yezerski Gallery in Boston and Edwynn Houk Gallery in New York City. Her work has been exhibited in many major international locales, including Boston, Chicago, Minneapolis, Texas, Buffalo, Colorado, New York, Syria, Ireland, England, France, the Netherlands, Sharjah, U.A.E., and Japan and is represented in a number of collections, including the Williams College Museum of Art, The Art Institute of Chicago, the Fries Museum, the Netherlands, and The Kodak Museum of Art. Her art, which often combines Islamic calligraphy with representations of the female body, addresses the complex reality of Arab female identity from the unique perspective of personal experience. In much of her work, she returns to her Moroccan girlhood, looking back on it as an adult woman caught somewhere between past and present, and as an artist, exploring the language in which to “speak” from this uncertain space. Her paintings often appropriate Orientalist imagery from the Western painting tradition, thereby inviting viewers to reconsider the Orientalist mythology. She has worked in numerous media, including painting, video, film, installation, and analog photography. "In my art, I wish to present myself through multiple lenses -- as artist, as Moroccan, as traditionalist, as Liberal, as Muslim. In short, I invite viewers to resist stereotypes."Source: lallaessaydi.com
Matthew Hardy-Brown
Matthew Hardy-Brown
South Africa
2000
Matthew Hardy-Brown's artistry unveils the enchanting beauty of our world, reminding us of the untamed wonder that surrounds us. With every click, he captures fleeting moments of unscripted time. His work is a testament to the natural wonder surrounding daily life. Originally from South Africa, Matthew Hardy-Brown's creative roots were planted in the landscapes of Australia, upon his relocation at 10 years old. While he didn't grow up by the ocean, it was here that he found his poetic sanctuary. As a self-described introvert, Matthew Hardy-Brown sought refuge by the water's edge, discovering his voice through the lens of his camera. He values unfiltered moments, intentionally avoiding excessive editing and digital manipulation. To MHB, magic ignites through authenticity—a commitment he fiercely upholds. At the core of Matthew Hardy-Brown's ethos lies a resounding mantra: "Live Often, Smile More." Having personally confronted the harsh realities of life's unpredictability, he gained a profound insight: tomorrow is not promised. Fuelled by this understanding, he is on a mission to share the world's inherent beauty, to inspire others that it's never too late to pursue a passion, to be a good human, and ultimately, to live often and smile more. His passion for capturing life's grandeur has earned him collaborations with industry giants such as Ralph Lauren, Mini Cooper, Paramount Pictures, and GoPro. His proudest achievement earned him the national exclusive as Canon’s premier artist with his timeless images featured throughout stores across Australia. Statement: Matthew explores the delicate dance between the wild and the human spirit, capturing moments that transcend the ordinary. Through a lens finely tuned to the nuances of the natural world, these pieces invite viewers to immerse themselves in the rhythmic chaos of crashing waves, the fearless dance of surfers, and the subtle interplay of light and shadow on the water's surface.
Thomas Wilder
Thomas Wilder
United States
1996
Through his practice in digital photography and site specific installation, Thomas asks questions of perception, meaning-making, attention, the photographic image, and the particularity of space. Influenced most strongly by conceptual artists of the 70s and 80s, Thomas looks to make work that accompanies a broader philosophical conversation. Thomas recently graduated with a BA in Studio Art from Wheaton College, IL; he is now pursuing an MFA in photography at Rhode Island School of Design in Providence, RI.
Amy Anderson
Amy Anderson
United States
1977
Amy Anderson is an award-winning portrait photographer living in Minneapolis, Minnesota. Her work has been exhibited internationally and hangs in local and national galleries, museums and private collections. She has had works acquired by the Museum of Fine Arts, Houston and the Florida Photographic Museum. She has received the prestigious Minnesota State Arts Board grant in 2012 and again in 2018 resulting in several solo shows. Funded again in 2021 by the state of Minnesota, she is currently working on a new body of portraits exploring ways to encourage reconnection in her own community after a time of isolation and unrest. Statement I strive to impact my community by creating authentic portraits that explore the universal themes that connect us as humans. My practice has been to live alongside a community and create connection with the people I photograph in hopes of presenting a meaningful image of a an individual to our larger collective community. I have completed several large, multi-year projects including At Risk, With Promise ; a series exploring the challenges and triumphs of at-risk youth in Minnesota. Over the course of this project I explored themes like marginalization and resilience, adolescence and personal growth, disconnection and intersecting identities. At Risk, With Promise culminated in a full and completed body of work that received recognition and was included in many local and national exhibitions. In 2018 with funding from the Minnesota State Arts Board, I began a new body of work exploring these and other themes in the context of several different communities, most significantly the elderly. Working closely with one woman, Rose Kaprelian, allowed me to dig deeper into the everyday realities of this nearly invisible marginalized group. As a nonagenarian in a culture increasingly connected by technologies that are foreign and largely inaccessible, women like Rose face isolation and stagnation as they age. This work is developing to encompass many universal themes from a unique perspective as well as preserving voices that are fading from our collective conversations. During the isolation and uprising in my city in 2020 I continued to make portraits as a way to document and explore the events that changed our world. From window portraits of those who were isolated to protest photos of those who marched, each image was an attempt to connect with my community and explore the changing landscape in which we found ourselves. I continue this exploration daily.
Maia Flore
Maia Flore
France
1988
Maia Flore was born in 1988, in France. She is currently living in Paris. Graduated from Ecole des Gobelins in 2010, she joined Agence VU' in 2011. Her approach fits into a research of coincidences between reality and her imagination. Her world is a complete fabrication in form of touching and enchanting narrations, even surrealistic. This is in Sweden she begins her first series "Sleep Elevations", a journey that indulges in childhood memories. During the summer of 2012, while her first residence in Finland, Maia Flore explores new methods of representation and narration. These researches will then continue at the Arts Center of Berkeley, California. Resulting two series (Situations and Morning Sculptures) that continue to explore the feelings of confusion in which the photographer places her characters as her audience. She is exposed for the first time in February 2011 at the festival Circulation (s) of the Young European Photography in Paris. More recently, as part of a White Card from Atout France and the French Institute, Maia Flore depicts the French heritage through her dreamy world in the series "Imagine France – Le voyage fantastique" exposed in Bercy Village until September 2014. In 2015, she wins Le prix HSBC pour la photographie. Source: Agence VU Situations (2012) In the Situations series, a girl runs through varyingly weathered landscapes donning a striking red outfit. In search of a sublime freedom, she travels to find fleeting moments of communion with nature. Draped in red, she catches the light of the sun or buries herself in the fog. As though she were attempting to rediscover this space, she roams on land-locked clouds that evaporate into the landscape upon the return of the sun as it chases away their mystery. Like a game between reality and fantasy, the clash between clairvoyance and a moment of madness, the girl is amused by her emotional confusion. Sleep Elevation (2010) "Those who dream by day are cognizant of many things which escape those who dream only by night," Edgar Allan Poe. This is how these girls, carried away in the air by objects, let themselves travel through boundless landscapes. Flying towards dreamed lands, making real a complete attraction between the character, his ideal universe and the world they live in: that is where these girls lead us. Their contorted movements are merging with the shape of the one revealing their passion. Mix of an imaginary realism and childhood memories, these beings in levitation invite us to dream, limitlessly.
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