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Telona
Telona
Telona

Telona

Country: Czech Republic
Birth: 1979

Telona (Leona Bazant Telinova) lives and works in Prague Czech Republic. She studied photography at the Faculty of Art and Design of University J.E.Purkyne.

In her work - that overlaps with other art forms such as painting and puppet theatre - she doesn't use photography to record reality but more so as a medium through which she creates independent art works.

Her pictures of landscapes are nothing more but a carefully arranged still life. They are created on a studio table the photographer shares with her friend, the stage designer and puppeteer. She is inspired not only by the ubiquitous puppet clutter but also by the very principle of shadow theatre. The still life is then photographed on a digital camera and the resulting photos are not computer manipulated in any way.

Her paintings and photographs are represented in many private collections.

Website

leonatelinova.cz

 

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Lucas Foglia
Lucas Foglia
United States
1983
Lucas Foglia grew up on a small family farm in New York and currently lives in San Francisco. His work focuses on the intersection of human belief systems and the natural world. He recently published his third book of photographs, Human Nature, with Nazraeli Press. Foglia exhibits internationally, and his prints are in notable collections including International Center of Photography, San Francisco Museum of Modern Art, and Victoria and Albert Museum. He photographs for magazines including Bloomberg Businessweek, National Geographic Magazine, and The New York Times Sunday Magazine. Foglia also collaborates with non-profit organizations including Sierra Club, The Nature Conservancy, and Winrock International. Source: lucasfoglia.com A Natural Order I grew up with my extended family on a small farm in the suburbs of New York City. While malls and supermarkets developed around us, we farmed and canned our food, and heated our house with wood. We bartered the plants we grew for everything from shoes to dental work. But, while my family followed many principles of the back-to-the-land movement, by the time I was eighteen we owned three tractors, four cars, and five computers. This mixing of the modern world into our otherwise rustic life made me curious to see what a completely self-sufficient way of living might look like. From 2006 through 2010, I traveled throughout the southeastern United States befriending, photographing, and interviewing a network of people who left cities and suburbs to live off the grid. Motivated by environmental concerns, religious beliefs, or the global economic recession, they chose to build their homes from local materials, obtain their water from nearby springs, and hunt, gather, or grow their own food. All the people in my photographs aspire to be self-sufficient, but no one I found lives in complete isolation from the mainstream. Many have websites that they update using laptop computers, and cell phones that they charge on car batteries or solar panels. They do not wholly reject the modern world. Instead, they step away from it and choose the parts that they want to bring with them. Frontcountry The American West is famous for being wild, even though its rural areas have been settled for generations. The regions I photographed between are some of the least populated in the United States. In rural Nevada, there are still twice as many cows as there are people. While the ranchers I met were struggling to survive the economic recession and years of drought, almost anyone could get a job at the mines. Coal, oil, natural gas, and gold were booming. Ranching and mining in the American West have had parallel histories and a common landscape. Cowboys and ranching culture are the chosen representatives of the region. Men on horseback ride through countless movies. Their images are printed on license plates and tourist souvenirs. But, the biggest profits are in mining. Though miners haven't found any raw nuggets for generations, the American West remains one of the largest gold producing regions in the world. Companies are digging increasingly bigger holes to find smaller deposits, leaving pits where there once were mountains. When I first visited, I expected cowboys to be nomads, herding animals on the edge of wilderness. I quickly learned that most ranchers have homes with mortgages. I also learned that all mines close eventually. When a mine closes, the land is scarred. The company leaves and people have to move. Miners are the modern-day nomads, following jobs across the country.
Anders Petersen
Anders Petersen
Sweden
1944
Anders Petersen was born 1944 in Stockholm, Sweden. 14 years old his family moved to Karlstad in Värmland, where he met the artists ?Karin Bodland and Lars Sjögren.In 1961 he stayed for some time in Hamburg in order to learn German and trying to write and paint. He didn’t take any pictures. Five years later he met Christer Strömholm and became a student at his School of Photography in Stockholm. Strömholm was not just his teacher but also a close friend. Their friendship influenced him for life. In 1967 he starts photographing a bar called Café Lehmitz in Hamburg, close to Zeughausmarkt. He was photographing there for a period of almost three years and in 1970 he had his first soloexhibition over the bar in Café Lehmitz with 350 photographs nailed to the wall. In 1973 he published his first book ”Gröna Lund”, about people in an amusementpark in Stockholm. In 1974 he graduated from the Swedish Filmschool,Dramatiska Institutet, in Stockholm. In 1978 he published ”Café Lehmitz ” in Germany. In 1984 the first book in a trilogy about locked instituations was published. The three books were about people in a prison, a nursing house, and a mental hospital. After photographing the mental hospital for three years he oriented himself towards a more free approach in a kind of diarylike photography. During 2003 and 2004 Anders Petersen was appointed Professor of Photography in the School of Photography and Film at the University of Göteborg, Sweden. He regularly has workshops and exhibitions throughout Europe, Asia and in the USA. He has received numerous grants and rewards since the seventies. In 2003 Anders Petersen was elected the ”Photographer of the Year” by the International Photofestival in Arles.In 2006 he was shortlisted as one of four for the ”Deutsche Börse Photography Prize”. In 2007 he received the ”Special Prize of the Jury” for his exhibition ”Exaltation of Humanity” by the third International Photofestival in Lianzhou, China. In 2008 he received the ”Dr. Erich Salomon Award” by Deutsche Gesellschaft für Photographie, Germany. ”The Arles Contemporary Book Award for 2009? went to JH Engström and ?Anders Petersen’s collaborative book ”From Back Home” by Max Ström.?The book was nominated to ”The Best Photographic Book in Sweden, ?year 2009? and also Winner of Design Bronze Lion in Cannes. In 2010, he was in the jury for the BMW Prize at Paris Photo. In 2012, nominated to the Swedish Photo Book Prize in Stockholm for ”SOHO”, and PhotoBook of the Year award for "City Diary" Paris Photo and the Aperture Foundation. Anders Petersen has his darkroom in Stockholm, Sweden. Source: www.anderspetersen.se Anders Petersen, one of Sweden’s most influential auteur photographers, sensitively blurs the boundaries between madness and normality in his artwork “Mental Hospital”. Petersen, who won international renown with his Hamburg Café Lehmitz series (1967-1970), spent several years photographing patients at a psychiatric hospital just south of Stockholm. His gaze is one of raw tenderness, conveying naked emotions with insightful poetry. Carried by a deep integrity, he takes the viewer to the limits of normality. "It is the naked encounter, the raw, piercing confrontation with the Other and therefore with myself," Petersen said, describing his intention. "I photograph people with whom I can identify and I feel attracted by people who live outside society. In all my photographs, I try, essentially, to create self-portraits." He is neither sentimental nor sensational. Instead, his images show a great respect for that which is enigmatic in people, for that which is hidden under the surface. Petersen’s works have marked the history of photography. In 2003, he won the award “Photographer of the Year” at the festival "Rencontres de la Photographie" in Arles, and he was honored with the German Photography Society’s Dr.-Erich-Salomon prize in 2008 for his life’s work. Source: Grundemark Nilsson Gallery
Susan Borowitz
Susan Borowitz
United States
1959
After a successful career writing for American television comedies, Susan Borowitz embarked on a study of the practice of photography in 2011 and discovered a new medium by which to tell stories. Classes at New York City's International Center for Photography led to creative self-portraiture and ultimately fine art photography, specifically staged narratives, where she expresses reflections of psychological journeys. She has won several awards for images in her series Locked-In, most notably Pollux Awards, LifeFramer, One Eyeland, and Chromatic Awards, and has been the subject of several artist interviews/profiles for online and print publications. Exhibition venues include New York, Ohio, Berlin and Barcelona. Locked-In The series “Locked-In” explores the phenomenon of feeling stuck and the accompanying sense of failure to control the forces that seem to dictate our lives. Using metaphor and imagery that suggest the inability to move on, the series evokes the absence of agency and a perceived futility of each waking day. The choice to use self-portraiture reflects not only a personal journey, but also a common experience of women who feel consciously aware of what they should pursue or speak up about but feel impotent in the face of a dominant power: unequal relationships, demons residing in the subconscious, societal expectations and especially the disappearance of relevancy with encroaching age.
Jack Savage
Jack Savage
United Kingdom
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Jack Savage is a fine art photographer, digital and mixed media artist and gallery owner. Born in Northampton, England (1980) - He was educated at Nottingham University, where he carries an MA in American Studies and Film. Winner of over 100 international professional photography awards -he produces a unique brand of artworks using the varying mediums of studio portraiture, landscapes, street photography, mixed media photographic art, and digital psychedelic creations from what he labels "His Unconscious Soul". Savage's multi-faceted works have gained international recognition and acclaim - resulting in several prestigious international prizes, including most notably The Pangea Prize from Siena Photo Awards, Gold from the Shatto Gallery - Los Angeles, Photographer of the Year from The Spider Awards - Beverly Hills California and Gold in consecutive years from Tokyo Foto Awards. Over the last few years, he has exhibited his artworks internationally, in countries such as Italy, France, Greece, Hungary, Germany, USA and throughout the UK. Jack is currently represented by Singulart, Paris, The Zari Gallery, London, The Opulent Art Gallery, London, and ThePassePartout Gallery, Milan, Italy. In 2022 Jack became an influential gallerist, with the formation of The Influx Gallery, Notting Hill - London - showcasing the very best of contemporary art from around the world. Jack Savage is one of the UK’s most celebrated fine art photographers, acclaimed for his haunting black-and-white "Definitive Ambiguities" series. A certified Adobe Photoshop CC expert, Savage fuses classical film noir lighting with precise post-production to create images steeped in moral ambiguity, repressed desire, and an undercurrent of violence. Winner of the Pangea Prize at the Siena International Photo Awards, two consecutive Gold medals at the Tokyo International Foto Awards, Photographer of the Year at the Black & White Spider Awards (Los Angeles), and First Place at the Mono Awards, Savage draws heavily on the cinematic language of Otto Preminger and Orson Welles. His work echoes the words of historian Alain Silver, who described film noir as “a cinema of moral uncertainty and dangerous seduction,” and James Ursini, who noted its “dark urban poetry.” All portraits in this series feature residents from Savage’s hometown of Northampton, England, intensifying what Ursini might call the “claustrophobic menace” of the Midlands’ urban landscape. From shadow-draped alleys to the spectral “men in hats,” Savage’s noir vision transforms everyday streets into charged stages of human drama, where desire and danger meet in a single frame.
Angelika Kollin
Angelika Kollin
Estonia
1976
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Bruno Barbey
Bruno Barbey
France
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Bruno Barbey is a Moroccan-born French photographer. Throughout his four-decade career he has traveled across five continents, photographing many wars. Barbey was born in Morocco and in 1959-1960 he studied photography and graphic arts at the Ecole des Arts et Métiers in Vevey, Switzerland. During the 1960s he was commissioned to photograph European and African countries by Editions Rencontre in Lausanne. In 1964 Barbey began a relationship with Magnum Photos, becoming an Associate member in 1966, and a full member in 1968, at which time he was photographing student riots in Paris. He eventually served as Magnum vice president for Europe in 1978 and 1979 and from 1992-1995 as President of Magnum International. He spent 1979 to 1981 photographing Poland, resulting in his book Portrait of Poland. He rejects the label of 'war photographer', although he has covered civil wars in Nigeria, Vietnam, the Middle East, Bangladesh, Cambodia, Northern Ireland, Iraq, and Kuwait. From 2005 Barbey has, among other work, been pursuing a project on Istanbul. Source: Wikipedia Bruno Barbey was born on Feb. 13, 1941, in Berrechid, Morocco, just south of Casablanca, and grew up in various parts of the country: Rabat, Salé, Marrakesh and Tangiers. His father, Marc, was a diplomat; his mother was Marie Clement-Grandcourt. From a young age he knew he wanted to travel the world like Antoine de Saint-Exupéry, the French writer and aviator. Bruno’s parents sent him to Paris for high school, where he was a “dunce and a thwarted lefthander,” he wrote in his retrospective photographic book, Passages (2015). He and his friends skipped classes to see movies by Italian neorealist filmmakers like Roberto Rossellini and Vittorio De Sica. Mr. Barbey entered Ecole Des Arts et Métiers in Vevey, Switzerland, in 1959 to study photography and graphic arts, but left after a year, because his courses had focused on advertising and industrial photography. He craved the freedom to pursue a single subject for an extended period as the Swiss documentary photographer Robert Frank did in his groundbreaking book The Americans, which was published in France in 1958. Following Frank’s example, Mr. Barbey drove through Italy in a used Volkswagen in the early 1960s, photographing its people in black-and-white in a neorealist style. “My goal,” he wrote in Passages, “was to capture the spirit of the place.” He caught dozens of moments in the life of a nation: a family racing along on a scooter, each person ebullient save for the pregnant mother; a group of girls whose joyful expressions contrast with that of a doleful beggar holding out his hand behind them; little boys playing with realistic-looking weapons; and a host of other characters like prostitutes, priests, old men and Mafiosi. The photographs - which would later be published as The Italians in 2002 - brought him to the attention of Magnum, where he worked for more than 50 years. In addition to the Paris demonstrations, he covered conflicts in the Middle East, Nigeria, Vietnam and Cambodia and recorded life in China, Brazil, India, Japan and Spain. He spent much of 1981 in Poland during the rise of the Solidarity trade union, capturing Poles in a period of turmoil and torment. He collected the pictures in Portrait of Poland (1982). “He brought genteel attention to the human experience — with a lot of kindness,” Gilles Peress, another Magnum photographer, said in a phone interview. Mr. Barbey, whose photographs have been widely exhibited, received the French National Order of Merit and was elected a member of the French Academy of Fine Arts, Institut de France, in 2016. He served as a Magnum executive at two different times. In addition to his wife, he is survived by a daughter, Aurélie Barbey; a son, Igor; two sisters, Loïse Barbey-Caussé and Adelaïde Barbey-Guissinger; two brothers, Dominique and Guy; and four grandchildren. Although he left Morocco at age 12, Mr. Barbey kept returning there, lured by its rich colors, light and architecture. Many of his photographs were of quiet moments: a bride showing off her hands decorated with a henna design; a golden-hued interior with a distant figure in a black-and-white striped robe blending into the floor’s design; red hides drying in the sun; and a person in black walking down a lane bracketed by pink walls. “Its very difficult to photograph there,” Mr. Barbey was quoted as saying on Magnum’s website, “because in Islam photography is supposed to bring the evil eye.” He added: “You have to be cunning as a fox, well-organized and respect some customs. The photographer must learn to merge into walls. Photos must either be taken swiftly, with all the attendant risks, or only after long periods of infinite patience.”Source: New York Times
Richard Avedon
Richard Avedon
United States
1923 | † 2004
Richard Avedon (1923-2004) was born and lived in New York City. His interest in photography began at an early age, and he joined the Young Men's Hebrew Association (YMHA) camera club when he was twelve years old. He attended DeWitt Clinton High School in the Bronx, where he co-edited the school's literary magazine, The Magpie, with James Baldwin. He was named Poet Laureate of New York City High Schools in 1941. Avedon joined the armed forces in 1942 during World War II, serving as Photographer's Mate Second Class in the U.S. Merchant Marine. As he described it, "My job was to do identity photographs. I must have taken pictures of one hundred thousand faces before it occurred to me I was becoming a photographer." After two years of service, he left the Merchant Marine to work as a professional photographer, initially creating fashion images and studying with art director Alexey Brodovitch at the Design Laboratory of the New School for Social Research. At the age of twenty-two, Avedon began working as a freelance photographer, primarily for Harper's Bazaar. Initially denied the use of a studio by the magazine, he photographed models and fashions on the streets, in nightclubs, at the circus, on the beach and at other uncommon locations, employing the endless resourcefulness and inventiveness that became a hallmark of his art. Under Brodovitch's tutelage, he quickly became the lead photographer for Harper's Bazaar. From the beginning of his career, Avedon made formal portraits for publication in Theatre Arts, Life, Look, and Harper's Bazaar magazines, among many others. He was fascinated by photography's capacity for suggesting the personality and evoking the life of his subjects. He registered poses, attitudes, hairstyles, clothing and accessories as vital, revelatory elements of an image. He had complete confidence in the two-dimensional nature of photography, the rules of which he bent to his stylistic and narrative purposes. As he wryly said, "My photographs don't go below the surface. I have great faith in surfaces. A good one is full of clues." After guest-editing the April 1965 issue of Harper's Bazaar, Avedon quit the magazine after facing a storm of criticism over his collaboration with models of color. He joined Vogue, where he worked for more than twenty years. In 1992, Avedon became the first staff photographer at The New Yorker, where his portraiture helped redefine the aesthetic of the magazine. During this period, his fashion photography appeared almost exclusively in the French magazine Égoïste. Throughout, Avedon ran a successful commercial studio, and is widely credited with erasing the line between "art" and "commercial" photography. His brand-defining work and long associations with Calvin Klein, Revlon, Versace, and dozens of other companies resulted in some of the best-known advertising campaigns in American history. These campaigns gave Avedon the freedom to pursue major projects in which he explored his cultural, political, and personal passions. He is known for his extended portraiture of the American Civil Rights movement, the Vietnam war and a celebrated cycle of photographs of his father, Jacob Israel Avedon. In 1976, for Rolling Stone magazine, he produced The Family, a collective portrait of the American power elite at the time of the country's bicentennial election. From 1979 to 1985, he worked extensively on a commission from the Amon Carter Museum of American Art, ultimately producing the show and book In the American West. Avedon's first museum retrospective was held at the Smithsonian Institution in 1962. Many major museum shows followed, including two at the Metropolitan Museum of Art (1978 and 2002), the Minneapolis Institute of Arts (1970), the Amon Carter Museum of American Art (1985), and the Whitney Museum of American Art (1994). His first book of photographs, Observations, with an essay by Truman Capote, was published in 1959. He continued to publish books of his works throughout his life, including Nothing Personal in 1964 (with an essay by James Baldwin), Portraits 1947-1977 (1978, with an essay by Harold Rosenberg), An Autobiography (1993), Evidence 1944-1994 (1994, with essays by Jane Livingston and Adam Gopnik), and The Sixties (1999, with interviews by Doon Arbus). After suffering a cerebral hemorrhage while on assignment for The New Yorker, Richard Avedon died in San Antonio, Texas on October 1, 2004. He established The Richard Avedon Foundation during his lifetime. Source: The Richard Avedon Foundation Born in New York, Richard Avedon attended city public schools and Columbia University, and served in the photographic section of the merchant marines. He studied under Alexey Brodovitch at the New School for Social Research from 1944 to 1950, and became the elder designer's protégé. Avedon was a staff photographer for Junior Bazaar and then Harper's Bazaar for some twenty years, and became a staff photographer at Vogue in 1966. In 1994 he was the first staff photographer hired by The New Yorker. For a photographer whose roots are in publication work, Avedon has been exceptionally successful in museums as well. He was included in the 1955 landmark exhibition The Family of Man at the Museum of Modern Art, and has received solo exhibitions at the Smithsonian Institution in Washington, D.C., the Museum of Modern Art, the Metropolitan Museum of Art, and many other institutions. Most recently, the Whitney Museum of American Art presented Evidence: 1944-1994, a career retrospective of his work, and the International Center of Photography organized Avedon Fashion 1944–2000 in 2009. In 1993, Avedon received the Master of Photography Infinity Award from ICP. Since the late 1940s--when Avedon's blurred black-and-white portrait heads were acclaimed for capturing the raw dynamism of youth--his photography has changed to reflect the style, energy and dynamism of the moment. He helped set the standard for sleek, urbane elegance in mid-twentieth century fashion photography, and his gift for highlighting the allure and drama of his subjects has made him one of the most iconic photographers of the late twentieth century. Avedon maintains that "a photographic portrait is a picture of someone who knows he's being photographed, and what he does with this knowledge is as much a part of the photograph as what he's wearing or how he looks."Source: International Center of Photography
Anastasia Sierra
Anastasia Sierra
United States
Anastasia Sierra is a photographer based in Cambridge, MA. Her work explores the themes of motherhood, womanhood, and the body from a feminist perspective. Sierra’s photographs have been shown in solo and group exhibitions at the Griffin Museum of Photography, Danforth Art Museum, Emerson Contemporary Gallery, Photographic Resource Center, Vermont Center of Photography, Kathryn Schulz Gallery, and Soho Gallery in New York. Her work has been supported by grants and awards from the Cambridge Art Association, Photographic Resource Center and Griffin Museum of Photography. Sierra’s work has been featured in numerous publications, including Lenscratch, Lensculture, Musée Magazine, Artscope Magazine and What Will You Remember. Sierra holds a BA in Linguistics and is currently an MFA candidate at the Massachusetts College of Art and Design.
Darin Back
Darin Back
United States
Darin Back is mostly known by his stark black and white portraits he's been shooting since 1992. He started his career in the early 1990's after a small photography trade school, he left early to work as an assistant. He spent two years assisting in Minneapolis, a modeling season (1991-1992) in Miami assisting photographers for German Vogue, Italian Vogue. Eventually he went west to Los Angeles (1993-1995) to assist with Greg Gorman, Dewey Nicks for a few years. After working on his first advertising commercial he met Lori Goldstein, the stylist for photographer Annie Leibovitz. After a few assignments with Annie, he headed back to Minnesota for 12 years (2001-2013). During that time he was represented by Redux Pictures from 2009-2014. Darin headed east and north to Maine (2013-14), lived in a train caboose for a year, trying to find some much needed rest and inspiration. He finally made his way back home to Florida where he continues to shoot portraits, live on the beach and travel. He won 2nd place in the "Single Series Image" published April 1, 2020 in Lensculture
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