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FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
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Eva Mallis
Eva Mallis
Eva Mallis

Eva Mallis

Country: United States

Eva Mallis was born in New York City to Greek immigrant parents. Her elementary school years were spent in Queens, New York - the most ethnically diverse area in the U.S. - where she was immersed in a hardworking population striving for the American dream. Pursuing that dream, Eva earned a BA and an MBA and has had a career that encompassed investment banking and real estate.

Eva's love of photography surfaced post-college while living in Washington, D.C. and attending photography classes at the Smithsonian Institute. Her passion for street photography grew as she often roamed the streets of downtown Washington, D.C. taking pictures during her lunch hour. After family and career, Eva resumed her passion for photography by taking several classes at the International Center of Photography (ICP) and numerous workshops around the globe.

Eva is a New York City based street and documentary photographer. Her photography is best characterized as urban documentary. Eva's work has been shown in numerous group exhibitions in New York City. She has won PDN Magazine's 'Taste' Photo Competition, has received several International Photography Award (IPA) Honorable Mentions and has participated in many juried shows.

Statement
"I am driven to photograph the human reality, taking a moment to observe, assess and capture sometimes insignificant moments in time. Photography sharpens my awareness of the mundane and the unnoticed. By capturing slivers of time - people going about their every day - my visual slant forces the viewer to recognize the themes of life. I am attempting to thoughtfully communicate that which is too often unseen."

Websites

www.evamallisphoto.com

@evamallis

 

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More Great Photographers To Discover

Christian Tagliavini
Christian Tagliavini
Switzerland/Italy
1971
Christian Tagliavini was born in 1971 in Switzerland, where he currently lives and works as a fine art photographer and craftsman. His work is heavily shaped by a childhood spent in Parma, where he grew up immersed in the rich artistic culture of the Plain of the Po, Italy’s longest river. Tagliavini’s evocative images represent just the final stage in his artistic process. His photographs capture the creative vision in his mind’s eye, which he brings to life with handcrafted props, made-to-measure costumes and unconventional models. This behind-the-scenes work establishes him as an artisan- photographer. Choosing unexplored concepts as themes, Tagliavini’s work narrates open-ended stories, inviting the viewer to actively experience unique ideas, sensations and feelings, and ultimately decide the ending for themselves. A self-taught photographer, Tagliavini originally trained in architecture and worked as a graphic designer. His interest in photography was sparked in 2000, at a photographic exhibition in Milan. Fascinated by the technical aspects of photography, he tried his hand at several photographic disciplines before discovering that the mise-en-scène technique was the most effective way to capture the stories that lived in his imagination. Embracing the art of slow photography, Tagliavini’s creative approach involves meticulous planning and careful design. Each project begins with initial historical and iconographic research, feasibility assessments, sketches, storyboarding, colour experimentation, and composition before he sets about making his vision a reality. Tagliavini uses various techniques to handcraft each and every detail, including the props and backdrops. Each costume is fashioned to Christian’s detailed designs, including the fabric and colour choices, and is made-to-measure for each model. Where possible, Tagliavini prefers to work with non-professional models, drawing inspiration from their spontaneity and curiosity. A champion of unconventional beauty, he has always favoured personality over a classical aesthetic. His models represent the only detail of his work that he cannot control: their expressiveness is instinctive and they often inspire him to take his stories in completely new directions. This unscripted detail casts him in the role of observer rather than director. Christian Tagliavini won the Hasselblad Masters Fine Art Category in 2012 and the IPA Fine Art: Portrait prize in 2013. His work has been exhibited in many art galleries and museums worldwide.
Didier Massard
Didier Massard
France
1953
"Twenty years ago I was involved in traditional landscape photography. There were many places in the world that I wished to visit and photograph, but I realized that they would not match my perception of them. Reality was different from imagination. This disillusionment inspired me to create my own indoor landscapes-to fabricate dioramas and to photograph in a studio what I had in mind. Over the years I have developed my secret and still theater, always in the same place, same space. The scenes I create and photograph cannot be pinpointed on a map, but it is essential for me that these fictions are real in some way, and to believe and make believe that I have been "there." This practice of illusion generates a special relationship with objects and materials, as I constantly search for meaning other than their usual one. Although I prefer to work in paper, which is both a versatile and a time honored medium, I use absolutely anything that suits my purpose: glass, Plexiglas, aluminum foil, electric wire, fabric, pearls, modeling resin, food, feathers, pigments, and so on. I try to bring sophistication to the way children transform an object into something else when they play. My work succeeds when it reaches the border of truth and lie, when it drifts from reality to dream and back."
Stephen Shore
Stephen Shore
United States
1947
Stephen Shore (born October 8, 1947) is an American photographer known for his images of banal scenes and objects in the United States, and for his pioneering use of color in art photography. His books include Uncommon Places (1982) and American Surfaces (1999), photographs that he took on cross-country road trips in the 1970s. In 1975 Shore received a Guggenheim Fellowship. In 1971, he was the first living photographer to be exhibited at the Metropolitan Museum of Art in New York City, where he had a solo show of black and white photographs. In 1976 he had a solo exhibition of color photographs at the Museum of Modern Art. In 2010 he received an Honorary Fellowship from the Royal Photographic Society. Shore was born as sole son of Jewish parents who ran a handbag company. He was interested in photography from an early age. Self-taught, he received a Kodak Junior darkroom set for his sixth birthday from a forward-thinking uncle. He began to use a 35 mm camera three years later and made his first color photographs. At ten he received a copy of Walker Evans's book, American Photographs, which influenced him greatly. His career began at fourteen, when he presented his photographs to Edward Steichen, then curator of photography at the Museum of Modern Art (MoMA) in New York. Recognizing Shore's talent, Steichen bought three black and white photographs of New York City. At sixteen, Shore met Andy Warhol and began to frequent Warhol's studio, the Factory, photographing Warhol and the creative people that surrounded him. In 1971, he was the first living photographer to be exhibited at the Metropolitan Museum of Art in New York City, with a show of black and white, sequential images. Shore then embarked on a series of cross-country road trips, making "on the road" photographs of American and Canadian landscapes. In 1972, he made the journey from Manhattan to Amarillo, Texas, which provoked his interest in color photography. Viewing the streets and towns he passed through, he conceived the idea to photograph them in color, first using 35 mm hand-held camera and then a 4×5" view camera before finally settling on the 8×10 format. The change to a large format camera is believed to have happened because of a conversation with John Szarkowski. In 1974 a National Endowment for the Arts (NEA) grant funded further work, followed in 1975 by a Guggenheim Fellowship. Along with others, especially William Eggleston, Shore is recognized as one of the leading photographers who established color photography as an art form. His book Uncommon Places (1982) was influential for new color photographers of his own and later generations. Photographers who have acknowledged his influence on their work include Nan Goldin, Andreas Gursky, Martin Parr, Joel Sternfeld, and Thomas Struth. Stephen Shore photographed fashion stories for Another Magazine, Elle, Daily Telegraph and many others. Commissioned by Italian brand Bottega Veneta, he photographed socialite Lydia Hearst, filmmaker Liz Goldwyn and model Will Chalker for the brand's spring/summer 2006 advertisements. Shore has been the director of the photography department at Bard College since 1982. His American Surfaces series, a travel diary made between 1972 and 1973 with photographs of "friends he met, meals he ate, toilets he sat on", was not published until 1999, then again in 2005. In recent years, Shore has been working in Israel, the West Bank, and Ukraine.Source: Wikipedia Shore emerged in the 1970s as one of the major exponents of color photography, shooting bleak yet lyrical scenes of the North American landscape. Documenting everyday settings and objects, from hotel swimming pools and televisions to parking lots, gas stations, and deserted roads, Shore exhibited an ability to transform commonplace surroundings into compelling works of art, working with a subject matter similar to Walker Evans. Between 1973 and 1979, Shore made a series of road trips across North America, documenting the vernacular landscape through his view camera, and taking a more formal approach to photographing than in his earlier work. A number of these images later formed Shore's now-classic book, Uncommon Places (first published by Aperture in 1982 and republished in 2004 and 2007). These images arouse recollections of experiences, but in an artful, carefully crafted and calculated manner. His images are made with a large-format camera, which gives his photographs a precise quality in both color and form that has become a signature trait of his work. Shore's use of the large-format camera and innovative color printing has made him one of the most influential photographers to emerge in the last half of the twentieth century, credited with inspiring numerous contemporary photographers.Source: International Center of Photography
Tariq Zaidi
Tariq Zaidi
United Kingdom
Tariq Zaidi is a freelance photographer currently based out of London, UK. In January 2014, he gave up an executive management position to pursue his passion of capturing the dignity, strength and soul of people, within their environment. His photography focuses on documenting social issues, inequality, traditions and endangered communities around the world. Tariq's stories, images and videos from Afghanistan, Angola, Brazil, Cambodia, Chad, DRC, El Salvador, Ethiopia, Georgia, Haiti, Indonesia, Mongolia, North Korea, Republic of the Congo & South Sudan have been featured internationally in over 900 magazines / newspapers / websites (in more than 90 countries) including The Guardian, BBC, CNN, National Geographic, Smithsonian Magazine, Los Angeles Times, Washington Post, Chicago Tribune, Der Spiegel, El Pais Semanal, Geo, Independent On Sunday, National Geographic Traveler, GQ, Marie Claire, Vogue, GQ Style, Esquire, PDN, Frankfurter Allgemeine Zeitung, 6 Mois, Telegraph, Conde Nast Traveler, Global Times China, Internazionale, Feature Shoot, China Daily, People's Daily, China, Deutsche Welle, Das Erste/ARD, Hindustan Times, Newsweek, Foreign Policy Magazine and Times of London among other respected international titles. Tariq has won many major international photography awards (POYi, UNICEF, NPPA, PDN, IPA, AI-AP, AAPA etc). His work has been shown in 80 international exhibitions and he has worked on projects and assignments in 21 countries across 4 continents. He is a self-taught photographer, holds an M.Sc. (Master of Science) from University College London and is an Eddie Adams Worksop 2015 Alumini. In Feb 2018, Tariq was awarded one of the Premier Awards in POY75 (Pictures of the Year International Competition) - "Photographer of the Year" Award of Excellence for his work from North Korea, Congo and Brazil and also for 2nd place in the Feature Category in the same year. He was also a winner of PDN Photo Annual 2018 (Photojournalism / Documentary Category) and was awarded The Marty Forscher Fellowship Fund for outstanding achievement in Humanistic Photography, presented by PDN and Parsons School of Design, USA. In 2019, he was nominated to the Prix Pictet. In 2020, his work from Congo, El Salvador and Georgia was recognised 5 times by POY77 (Pictures of the Year International Competition) including 1st place for Portraits Series, 2nd place Spot News and 3rd Place Issue Reporting. His work from El Salvador has also been honoured as a 2020 Amnesty International Media Awards finalist (Photojournalism category) in recognition of his commitment to human rights. In Sep 2020, Tariq's work entitled Sapeurs: Ladies and Gentlemen of the Congo was shown at Visa Pour L'image, International Festival of Photojournalism. Tariq is currently working on a long-term personal project entitled Capturing the Human Spirit - a visual anthology about hope, dignity and community in some of the poorest regions in the world. The first 3 chapters of this work from the slum communities of Haiti, Brazil and Cambodia was featured at Visa Pour L'image, International Festival of Photojournalism, in September 2018. His first book Sapeurs: Ladies and Gentlemen of the Congo was published in September 2020. Articles Tariq Zaidi's Exclusive Interview Sin Salida Cattle of Kings - The Mundari of South Sudan Sapeurs North Korea The People's Paradise All about Photo Compeitions All About Photo Awards 2018 All About Photo Awards 2022 All About Photo Awards 2023
Pentti Sammallahti
Pentti Sammallahti
Finland
1950
Pentti Sammallahti was born in 1950 in Helsinki, Finland. Growing up, he was surrounded by the works of his grandmother, Hildur Larsson (1882-1952), a Swedish-born photographer, who worked for the Helsinki newspaper Kaiku in the early 1900s. After visiting The Family of Man exhibition at Helsinki Art Hall (1961) Sammallahti made his first photographs at age eleven. Pentti joined the Helsinki Camera Club in 1964. His first solo exhibition was in 1971. Sammallahti has travelled widely as a photographer, from his native Scandinavia, across the Soviet Republics through Siberia, to Japan, India, Nepal, Morocco, Turkey, across Europe and Great Britain, and even to South Africa. Sammallahti’s travels and interest in fine printing and lithography has led him to publish numerous portfolios of which the largest and most well known is “The Russian Way” (1996). As a benchmark figure in contemporary Finnish photography, his work has a supernatural sense of a moment in time with the sensitivity and beauty of the world displayed through its animalistic existence. His particular use of dogs, which reflects the human existential experience, shows the shared nature of the earth with a gentle humor and fleeting attitude. Sammallahti describes himself as a wanderer who likes the nature of the great north, the silence, the cold, and the sea. He likes the people and the animals of far off places and he records the relationships between them and their environment. As a master craftsman, he meticulously tones his prints, which come in various formats, from 4 by 5 inches in image size to panoramas of 6 by 14 inches. In 2010 for his retrospective exhibition in Helsinki he created large format pigment prints, about 9 by 21 inches and 15 by 35.5 inches in size. As a passionate seeker of the perfect mechanical printing method, his own innovative printing techniques and reintroduction of the portfolio form have re-awakened broader interest in published photographic art. Influenced by the idea of ‘artist books’ – individual works in which the artist is responsible for the whole: photography, the making of prints, layout, design and typography, reproduction and often the actual printing process either with the offset or the gravure method. Since 1979, Pentti Sammallahti has published thirteen books and portfolios and has received awards such as the Samuli Paulaharju Prize of the Finnish Literature Society, State Prizes for Photography, Uusimaa Province Art Prize, Daniel Nyblin Prize, and the Finnish Critics Association Annual. From 1974 to 1991 Sammallahti taught at the University of Art and Design in Helsinki, retiring when he received a 15-year grant from the Finnish government, an unusually long endowment, which is no longer awarded. Both as a photographer and a teacher, he has had an enormous influence on a whole generation of documentary photographers in Scandinavia. Sammallahti had a solo exhibition at Paris' Mois de la Photographie in 1996 and another in 1998 at Houston Fotofest, Texas. In 2001 the Helsinki University of Art and Design awarded Pentti Sammallahti the title of Honorary Doctorate in Art. In 2004, the famous French photographer Henri Cartier-Bresson ranked Sammallahti among his 100 favorite photographers for his Foundation's inaugural exhibition in Paris. The French Photo Poche book series published his book edited by Robert Delpire in 2005, and the same year, Sammallahti had a personal exhibition at the International Photography Festival in Arles. His second exhibition at Recontres d'Arles was a major retrospective in 2012 accompanied by the release of the first retrospective monograph Here Far Away, published in six languages (German, French, English, Italian, Spanish, and Finnish). Among museum collections Sammallahti’s work can be found at the Victoria & Albert Museum, London, England; Museum of Fine Arts, Houston, Texas, USA; Bibliothèque Nationale, Paris, France; Stedelijk Museum, Amsterdam, the Netherlands; Museum fur Kunst und Gewerbe, Hamburg, Germany; Moderna Museet / Fotografiska Museet, Stockholm, Sweden; and The Finnish State Collections and the Photographic Museum of Finland.Source: Nailya Alexander Gallery Sammallahti has been photographing the world around him with a poetic eye since the age of eleven. At the age of nine he visited "The Family of Man" exhibition at Helsinki Art Hall, confirming at a young age his photographic path in life. Featured in solo exhibitions by the age of 21, Sammallahti continued to exhibit and teach at the Helsinki University of Art and Design until receiving the Finnish State's 15-year artist grant in 1991. Sammallahti describes himself as a nomad who enjoys the nature of the great north: the darkness, the cold, and the sea. Sammallahti is a master craftsman, carefully toning his prints, to create a poetic atmosphere of desolate silence.

 Sammallahti was honored to be included among the 100 favorite photographs in the personal collection of Henri Cartier-Bresson, which was the inaugural exhibition for the Foundation Henri Cartier-Bresson in 2003. Since 1979, Pentti Sammallahti has published thirteen books and portfolios and has received awards such as the Samuli Paulaharju Prize of the Finnish Literature Society, State Prizes for Photography, Uusimaa Province Art Prize, Daniel Nyblin Prize, and the Finnish Critics Association Annual.Source: Peter Fetterman Gallery
Alexandrino Lei Airosa
Alexandrino Lei Airosa
Macau
1966
My Name is Alexandrino Lei Airosa (Dino). I’m a Hotelier, working in hotel industry. Photography for me is a passion, it is more than a hobby, not business too. Photography made change and influence in my life, I travel more, I see more and I experience more, and when I encounter those people living below the standards, It make me cherish what I having now: family, health and job, make me more humble to see things.
Edward Steichen
Edward Steichen
Luxembourg/United States
1879 | † 1973
Edward Steichen (1879 - 1973) was born in Luxembourg, but immigrated to the United States, to Milwaukee, in 1880. In 1894, Steichen began a four-year lithography apprenticeship with the American Fine Art Company of Milwaukee. After hours, he would sketch and draw, and began to teach himself to paint. Having come across a camera shop near to his work, he bought his first camera, a secondhand Kodak box "detective" camera, in 1895. In 1900, as Steichen headed to Paris to study painting, he stopped in New York. By that time he was an aspiring painter and an accomplished photographer in the soft-focus, Pictorial style and he made a pilgrimage to the Camera Club of New York to show his work to Alfred Stieglitz, the leading tastemaker in American photography. Stieglitz, vice-president of the Camera Club and editor of its journal Camera Notes, was impressed by the young artist from Milwaukee and bought three of his photographs-a self-portrait and two moody, atmospheric woodland scenes printed in platinum-for the impressive sum of five dollars each. Elated, Steichen then boarded the ship for Europe. Once in France, Steichen quickly abandoned his painting studies and began to focus his energies on photography. He learned the technical intricacies of the gum bichromate process, popular among the members of the Photo-Club de Paris, and developed a reputation as a portraitist of noted artists, writers, and members of society. Arriving back in New York in 1902, Steichen rented a studio on the top floor of a brownstone at 291 Fifth Avenue and hung out his shingle; his work as a professional portrait photographer flourished. That same year, Stieglitz announced the formation of the Photo-Secession-the name he gave to the loose-knit group of photographers he exhibited, published, and promoted during the next decade and a half-and the publication of a new, still more lavish journal, Camera Work. Over the fifteen-year, fifty-issue run of Camera Work, no other artist would be featured as prominently as Steichen, who had sixty-five photographs and three paintings reproduced in fifteen issues, including a "Special Steichen Supplement" in April 1906 and an all-Steichen double issue in 1913. In 1906, Steichen determined "to get away from the lucrative but stultifying professional portrait business" and return to France with his family in hopes of resuscitating his idled painting career. It was a move with numerous consequences. For one, it positioned him to embrace the Autochrome, the process for making glass-plate color transparencies introduced by the Lumière brothers in 1907. Steichen-who had experimented with various methods such as gum bichromate to introduce color into his photographs-was enthralled by the technique. Steichen also made what he called his "first attempt at serious documentary reportage" in the summer of 1907, using a borrowed hand camera. Steichen returned to the U.S. in 1914. Serving in the US Army in World War I (and the US Navy in the Second World War), Steichen commanded significant units contributing to military photography. After World War I, during which he commanded the photographic division of the American Expeditionary Forces, he reverted to straight photography, gradually moving into editorial and fashion photography. His portraits of Greta Garbo, Marlene Dietrich, Gloria Swanson, and other celebrities appeared in Vogue and Vanity Fair in the 1920s and 1930s. From 1947-1962, Steichen served as the Director of Photography at New York's Museum of Modern Art.. Among other accomplishments, Steichen is appreciated for creating the 1955 exhibition, The Family of Man, at the Museum of Modern Art consisting of over 500 photographs. Steichen purchased a farm that he called Umpawaug in 1928, just outside West Redding, Connecticut, and lived there until his death. Source: Howard Greenberg Gallery
László Moholy-Nagy
László Moholy-Nagy
Hungary
1895 | † 1946
László Moholy-Nagy (July 20, 1895 - November 24, 1946) was a Hungarian painter and photographer as well as professor in the Bauhaus school. He was highly influenced by constructivism and a strong advocate of the integration of technology and industry into the arts. Moholy-Nagy was born László Weisz in Bácsborsód to a Jewish-Hungarian family. His cousin was the conductor Sir Georg Solti. He attended Gymnasium (academic high school) in the city of Szeged. He changed his German-Jewish surname to the Magyar surname of his mother's Christian lawyer friend Nagy, who supported the family and helped raise Moholy-Nagy and his brothers when their Jewish father, László Weisz left the family. Later, he added "Moholy" ("from Mohol") to his surname, after the name of the Hungarian town Mohol in which he grew up. One part of his boyhood was spent in the Hungarian Ada town, near Mohol in family house. In 1918 he formally converted to the Hungarian Reformed Church (Calvinist); his Godfather was his Roman Catholic university friend, the art critic Ivan Hevesy. Immediately before and during World War I he studied law in Budapest and served in the war, where he sustained a serious injury. In Budapest, on leaves and during convalescence, Moholy-Nagy became involved first with the journal Jelenkor ("The Present Age"), edited by Hevesy, and then with the "Activist" circle around Lajos Kassák's journal Ma ("Today"). After his discharge from the Austro-Hungarian army in October 1918, he attended the private art school of the Hungarian Fauve artist Róbert Berény. He was a supporter of the Communist Dictatorship (known as "Red Terror" and also "Hungarian Soviet Republic"), declared early in 1919, though he assumed no official role in it. After the defeat of the Communist Regime in August, he withdrew to Szeged. An exhibition of his work was held there, before he left for Vienna around November 1919. He left for Berlin early in 1920. In 1923, Moholy-Nagy replaced Johannes Itten as the instructor of the foundation course at the Bauhaus. This effectively marked the end of the school's expressionistic leanings and moved it closer towards its original aims as a school of design and industrial integration. The Bauhaus became known for the versatility of its artists, and Moholy-Nagy was no exception. Throughout his career, he became proficient and innovative in the fields of photography, typography, sculpture, painting, printmaking, and industrial design. One of his main focuses was photography. He coined the term "the New Vision" for his belief that photography could create a whole new way of seeing the outside world that the human eye could not. His theory of art and teaching is summed up in the book The New Vision, from Material to Architecture. He experimented with the photographic process of exposing light sensitive paper with objects overlain on top of it, called photogram. While studying at the Bauhaus, Moholy's teaching in diverse media — including painting, sculpture, photography, photomontage and metal — had a profound influence on a number of his students, including Marianne Brandt. Perhaps his most enduring achievement is the construction of the "Lichtrequisit einer elektrischen Buehne" [Light Prop for an Electric Stage] (completed 1930), a device with moving parts meant to have light projected through it in order to create mobile light reflections and shadows on nearby surfaces. Made with the help of the Hungarian architect Istvan Seboek for the German Werkbund exhibition held in Paris during the summer of 1930, it is often interpreted as a kinetic sculpture. After his death, it was dubbed the "Light-Space Modulator" and was seen as a pioneer achievement of kinetic sculpture. It might more accurately be seen as one of the earliest examples of Light Art. Moholy-Nagy was photography editor of the Dutch avant-garde magazine International Revue i 10 from 1927 to 1929. He resigned from the Bauhaus early in 1928 and worked free-lance as a highly sought-after designer in Berlin. He designed stage sets for successful and controversial operatic and theatrical productions, designed exhibitions and books, created ad campaigns, wrote articles and made films. His studio employed artists and designers such as Istvan Seboek, Gyorgy Kepes and Andor Weininger. After the Nazis came to power in Germany in 1933, and, as a foreign citizen, he was no longer allowed to work, he operated for a time in Holland (doing mostly commercial work) before moving to London in 1935. In England, Moholy-Nagy formed part of the circle of émigré artists and intellectuals who based themselves in Hampstead. Moholy-Nagy lived for a time in the Isokon building with Walter Gropius for eight months and then settled in Golders Green. Gropius and Moholy-Nagy planned to establish an English version of the Bauhaus but could not secure backing, and then Moholy-Nagy was turned down for a teaching job at the Royal College of Art. Moholy-Nagy made his way in London by taking on various design jobs including Imperial Airways and a shop display for men's underwear. He photographed contemporary architecture for the Architectural Review where the assistant editor was John Betjeman who commissioned Moholy-Nagy to make documentary photographs to illustrate his book An Oxford University Chest. In 1936, he was commissioned by fellow Hungarian film producer Alexander Korda to design special effects for Things to Come. Working at Denham Studios, Moholy-Nagy created kinetic sculptures and abstract light effects, but they were rejected by the film's director. At the invitation of Leslie Martin, he gave a lecture to the architecture school of Hull University. In 1937, at the invitation of Walter Paepcke, the Chairman of the Container Corporation of America, Moholy-Nagy moved to Chicago to become the director of the New Bauhaus. The philosophy of the school was basically unchanged from that of the original, and its headquarters was the Prairie Avenue mansion that architect Richard Morris Hunt designed for department store magnate Marshall Field. Unfortunately, the school lost the financial backing of its supporters after only a single academic year, and it closed in 1938. Moholy-Nagy was also the Art Advisor for the mail-order house of Spiegel in Chicago. Paepcke, however, continued his own support, and in 1939, Moholy-Nagy opened the School of Design. In 1944, this became the Institute of Design. In 1949 the Institute of Design became a part of Illinois Institute of Technology and became the first institution in the United States to offer a PhD in design. Moholy-Nagy authored an account of his efforts to develop the curriculum of the School of Design in his book Vision in Motion. Moholy-Nagy died of leukemia in Chicago in 1946. Moholy-Nagy University of Art and Design in Budapest is named in his honour. Works by him are currently on display at the National Gallery of Art in Washington, DC. The software company Laszlo Systems (developers of the open source programming language OpenLaszlo) was named in part in honor of Moholy-Nagy. In 1998, he received a Tribute Marker from the City of Chicago. In the autumn of 2003, the Moholy-Nagy Foundation, Inc. was established as a source of information about Moholy-Nagy's life and works.Source: Wikipedia
Jérôme Sessini
Jérôme Sessini
France
1968
Canon Ambassador Jérôme Sessini is a Magnum photographer who has covered some of the most significant events of the past 20 years. He also takes on long-term projects, studying the drug cartel wars on the Mexican/US border, the crisis in Ukraine and America's ongoing battle with opioid addiction. Through his lens, Jérôme has shot political upheaval, social rebellion and human struggle. His move to reportage came in 1998 when he was asked by the Gamma photo agency to cover the conflict in Kosovo. He's since been immersed in some of the most significant events of recent years, including the Iraq War, the fall of Haitian President Jean-Bertrand Aristide in 2004, the seizure of Somalian capital Mogadishu by Islamic militias, the war in Lebanon in 2006 and the ongoing conflict in Syria. His photographs have one common thread – they seek to dig below the news to capture scenes representing wider issues. Born in Vosges, France in 1968, Jérôme was inspired by the works of the great American street documentary photographers Diane Arbus, Lee Friedlander and, in particular, Mark Cohen. He came to photography late, at the age of 23, and is now a leading photojournalist in his own right, joining Magnum in 2012 and becoming a full member in 2016. Photographing the victims of war has long been a driving force for Jérôme. "Ever since I was a kid, I've been interested in images, and when I was a teenager I also became fascinated by history," he explains. "Plus, I remember sitting with my parents and watching the wars of the time on the news. So photography seemed like the best way for me to be an artist on the one hand and a journalist on the other." As well as his 'day job', Jérôme photographs people around his hometown in eastern France, shifting between their daily lives and the landscapes around them. He also takes part in longer-term projects, such as his So far from God, too close to the USA series, which focused on the impact of violence from the war between drug cartels in Mexico. Sessini reveals that although each visit to a conflict zone has been challenging – with the time he spent in Syria in 2012 being particularly notable for how tough it was, both emotionally and in terms of danger – it has been the stories that he has followed in Mexico that have been most emotionally involving. So far from God, too close to the USA received a number of awards and was published in a book, The Wrong Side, in 2012. Since 2014, Jérôme Sessini has been regularly covering the conflict in eastern Ukraine. Jérôme's work has also been published in distinguished publications such as Time, De Standaard, Le Monde and Stern, and he has exhibited at the Visa pour l'Image International Festival of Photojournalism in Perpignan, France, at the Rencontres d'Arles festival, and the French Ministry of Culture. His photographs are more than photojournalism, as he is keen to point out: "I don't like rigid categories. Sometimes there is art in journalism and journalism in art. Conscience, heart, beauty, balance and loss of balance are essentials for me." Jérôme Sessini has also been nominated for a number of prestigious awards throughout his career, including the news category of the Visa d'Or awards for his work on Libya. His coverage of the crash site of Malaysia Airlines Flight 17, which was taken out of the sky by a surface-to-air missile over the Ukraine in July 2014, saw him receive honours at the World Press Photo Awards 2015 (first prize, Spot News, Stories) and The Olivier Rebbot Award from the Overseas Press Club of America. Remarkably, Jérôme also won second prize in the same category at the World Press Photo Awards 2015 for his harrowing Final Fight for Maidan image. Sessini believes in the strength of photographs more than video when it comes to pricking the conscience of people, and he has led workshops designed to help a new generation of photographers to develop their own visual language for documentary and social photography.Source: Canon Europe Jérôme Sessini is one the world’s most prolific and respected names working in the sensitive field of conflict zones and has been dispatched to war-torn countries like Palestine, Iraq, Lebanon, Syria and Libya for international publications. As well as reporting on the frontlines, he has covered social issues such as the drug-related violence on the streets of Mexico, the anti-government protests in Ukraine and indigenous minorities in Cambodia facing forced eviction. Through his work, he is constantly learning, adapting and evolving. Since 2018, Sessini has been documenting the opioid crisis in the United States, where he has travelled to Ohio and Philadelphia to create intimate portraits of the people and places ravages by drug misuse. In 2017, Sessini travelled to remote villages in Cambodia with Samrith Vaing, documenting the life of indigenous minorities facing forced eviction. In 2016, Sessini documented the Kurdish Peshmerga offensive against Islamic State (IS) in the city of Bashiq before crossing the region to cover Iraqi forces pushing towards Mosul. His work has been published by prestigious newspapers and magazines, including Newsweek, Stern, Paris-Match as well as Le Monde and the Wall Street Journal. It has been shown in multiple solo exhibitions around the world including the Visa Photo Festival in Perpignan, at the Rencontres d’Arles, the Bibliothèque Nationale François-Mitterrand, as well as with the French Ministry of Culture. Sessini become Magnum Photos nominee in 2012 and a full member in 2016.Source: Magnum Photos
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Exclusive Interview with Matthew Finley
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Exclusive Interview with Matthew Finley
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Exclusive Interview with Jan Janssen
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Exclusive Interview with Jan Janssen
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Exclusive Interview with Henk Kosche
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Exclusive Interview with Henk Kosche
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Exclusive Interview with Anastasia Samoylova
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Exclusive Interview with Anastasia Samoylova
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Exclusive Interview with Marijn Fidder
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Exclusive Interview with Marijn Fidder
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Exclusive Interview with Josh S. Rose
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Exclusive Interview with Josh S. Rose
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Interview with Maureen Ruddy Burkhart
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Exclusive Interview with Peter Ydeen
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Exclusive Interview with Peter Ydeen
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Exclusive Interview with Julie Wang
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Exclusive Interview with Julie Wang
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