All about photo.com: photo contests, photography exhibitions, galleries, photographers, books, schools and venues.
Jeff Wall
Jeff Wall

Jeff Wall

Country: Canada
Birth: 1946

Jeffrey "Jeff" Wall, OC, RSA is a Canadian artist best known for his large-scale back-lit Cibachrome photographs and art history writing. Wall has been a key figure in Vancouver's art scene since the early-1970s. Early in his career, he helped define the Vancouver School and he has published essays on the work of his colleagues and fellow Vancouverites Rodney Graham, Ken Lum, and Ian Wallace. His photographic tableaux often take Vancouver's mixture of natural beauty, urban decay, and postmodern and industrial featurelessness as their backdrop.

Wall received his MA from the University of British Columbia in 1970, with a thesis titled, Berlin Dada and the Notion of Context. That same year, Wall stopped making art. With his wife, Jeannette, a native of England whom he had met as a student in Vancouver, and their two young sons, he moved to London to do postgraduate work at the Courtauld Institute from 1970-73, where he studied with Manet expert T.J. Clark. Wall was an assistant professor at the Nova Scotia College of Art and Design (1974-75), associate professor at Simon Fraser University (1976-87), taught for many years at the University of British Columbia and lectured at European Graduate School. He has published essays on Dan Graham, Rodney Graham, Roy Arden, Ken Lum, Stephan Balkenhol, On Kawara, and other contemporary artists.

In 2002, Wall was awarded the Hasselblad Award. In 2006, he was made a Fellow of the Royal Society of Canada. Jeff Wall was named an Officer of the Order of Canada in December 2007. In March 2008, Wall was awarded the Audain Prize for Lifetime Achievement, British Columbia's annual award for the visual arts.

Source: Wikipedia


Jeff Wall was born in Vancouver in 1946. Attentive to the accidental encounters that can inspire an image, he recreates flashes of inspiration obtained from sources as varied as personal recollections to something noticed on the street, to daydreams, and encounters with paintings or photographs. With an idea in mind, Wall goes to exacting lengths to produce the picture, which may include constructing a scene from scratch, factoring in the position of the sun over several weeks, and improvisational rehearsals with performers. Wall’s pictures include both fantastical scenes—a picnic with vampires, dead troops conversing, a grave flooded by the ocean—and vernacular images of people on the margins of society or in moments of exchange and quiet contemplation.

Orchestrating his compositions with the creative liberties that a painter would take, the curious magic and discipline of Wall’s work is that it all takes place in a state of photographic realism where every action, object, and condition is simultaneously artificial and entirely natural. Often printed on the grand scale of a history painting - exhibited either as backlit lightboxes akin to advertising displays or as crisp inkjet and silver gelatin prints - Wall’s works reveal their poetic potential through portraying empathetic characters, picturing impossible vantage points, and capturing elusive moments.

Source: Art21


Wall has said, "The only way to continue in the spirit of the avant-garde is to experiment with your relation to tradition" (Artnews, Nov. 1995, p.222). In 1977, during a visit to the Prado in Madrid, he was moved by the paintings of Velázquez and Goya. He felt that, due to what he saw as the dominance of photography and film, it was no longer possible for modern artists to paint like the great masters. Seeking a new method to represent everyday life pictorially, Wall found a suitable medium in advertising hoarding lightboxes, and made his first backlit transparencies in 1978. Early works, such as The Thinker (1986) based on Rodin's sculpture of that name, referred directly to great works in the history of art. Recently, he has more actively explored the literary and filmic aspects of his art. The majority of his pieces are set in Vancouver and contain references to art, the media, and socio-economic problems.

Source: Tate


 

Selected Books

Inspiring Portfolios

Call for Entries
AAP Magazine #35 Colors
Publish your work in AAP Magazine and win $1,000 Cash Prizes
 
Stay up-to-date  with call for entries, deadlines and other news about exhibitions, galleries, publications, & special events.

More Great Photographers To Discover

Dawoud Bey
United States
1953
Dawoud Bey (born David Edward Smikle; 1953) is an American photographer and educator known for his large-scale art photography and street photography portraits, including American adolescents in relation to their community, and other often marginalized subjects. In 2017, Bey was named a fellow and the recipient of a MacArthur Fellowship from the John D. and Catherine T. MacArthur Foundation and is regarded as one of the "most innovative and influential photographers of his generation". Bey is a professor and Distinguished Artist at Columbia College Chicago.] According to The New York Times, "in the seemingly simple gesture of photographing Black subjects in everyday life, [Bey, an African-American,] helped to introduce Blackness in the context of fine art long before it was trendy, or even accepted" Born David Edward Smikle in New York City's Jamaica, Queens neighborhood, he changed his name to Dawoud Bey in the early 1970s. Bey graduated from Benjamin N. Cardozo High School. He studied at the School of Visual Arts in New York from 1977 to 1978, and spent the next two years as part of the CETA-funded Cultural Council Foundation Artists Project. In 1990, he graduated with a BFA in Photography from Empire State College, and received his MFA from Yale University School of Art in 1993. Bey didn't receive his first camera until he was 15, and has stated until that point he wanted to become a musician. Early musical inspirations included John Coltrane and early photography inspirations were James Van Der Zee and Roy Decarava. In his youth, Bey joined the Black Panthers Party and sold their newspaper on street corners. He does not consider his work to be traditional documentary. He'll pose subjects, remind them of gestures and sometimes give them accessories. Over the course of his career, Bey has participated in more than 20 artist residencies, which have allowed him to work directly with the adolescent subjects of his most recent work. A product of the 1960s, Bey said both he and his work are products of the attitude, "if you're not part of the solution, you're part of the problem." This philosophy significantly influenced his artistic practice and resulted in a way of working that is both community-focused and collaborative in nature. Bey's earliest photographs, in the style of street photography, evolved into a seminal five-year project documenting the everyday life and people of Harlem in Harlem USA (1975-1979) that was exhibited at the Studio Museum in Harlem in 1979. In 2012, the Art Institute of Chicago mounted the first complete showing of the "Harlem, USA" photographs since that original exhibition, adding several never before printed photographs to the original group of twenty-five vintage prints. The complete group of photographs were acquired at that time by the AIC. During the 1980s, Bey collaborated with the artist David Hammons, documenting the latter's performance pieces - Bliz-aard Ball Sale and Pissed Off. Over time Bey proves that he develops a bond with his subjects with being more political. The article "Exhibits Challenge Us Not to Look Away Photographers Focus on Pain, Reality in the City" by Carolyn Cohen from the Boston Globe, identifies Bey's work as having a "definite political edge" to it according to Roy DeCarava. He writes more about the aesthetics of Beys work and how it is associated with documentary photography and how his work shows empathy for his subjects. This article also mentions Bey exhibiting his work at the Walker Art Center, where Kelly Jones identifies the strength of his work and his relationship with his subjects once again. Of his work with teenagers Bey has said, "My interest in young people has to do with the fact that they are the arbiters of style in the community; their appearance speaks most strongly of how a community of people defines themselves at a particular historical moment." During a residency at the Addison Gallery of American Art in 1992, Bey began photographing students from a variety of high schools both public and private, in an effort to "reach across lines of presumed differences" among the students and communities. This new direction in his work guided Bey for the next fifteen years, including two additional residencies at the Addison, an ample number of similar projects across the country, and culminated in a major 2007 exhibition and publication of portraits of teenagers organized by Aperture and entitled Class Pictures.] Alongside each of the photographs in Class Pictures, is a personal statement written by each subject. "[Bey] manages to capture all the complicated feelings of being young — the angst, the weight of enormous expectations, the hope for the future - with a single look." Bey's "The Birmingham Project" was inspired, in part, by a 1960s Civil Rights era photograph by Frank Dandridge of 16th Street Baptist Church bombing victim, Sarah Jean Collins. The Project includes a series of diptychs of an older person, alive when the bombing occurred, paired with a child the age of the victims, portraying "an almost unbearable sense of absence and loss." In 2018, his project Night Coming Tenderly, Black, consists of a series of photographs evoking the imagined experience of escaped slaves moving northward along the Underground Railroad. This work involves not portraits but landscapes, portrayed at night through the means a little used silver-gelatin process. The work seeks to evoke both terror and hope in a "land of fugitives". Bey has lived in Chicago, Illinois since 1998. He is a professor of art and Distinguished College Artist at Columbia College Chicago. Source: Wikipedia
Barbara Cole
Canada
1953
For the last forty-five years, artist Barbara Cole has been recapturing the otherworldly mysteries of early photography in a body of work that flows in and out of time. Born in 1953 in Toronto, Canada, Cole, eager to shape a place for herself at an early age, quickly turned to art. Immediately out of high school, she began modeling for a newspaper and soon became fashion editor for the following ten years. Her early start in fashion and self-taught practice have informed her intuitive photography that undulates between tradition and invention. Her inventor's spirit is evident in her preference for raw, hands-on photographic methods. From turn-of-the-century cameras, shadow boxes, darkrooms, and tintypes-she engages directly in shaping her images in order to impart deeply personal truths. The underwater photography for which Cole is most known started in the late 1990s. Once, submerged in her pool, she opened her eyes and what she saw reminded her of the Polaroid film she was so fond of until it eventually went out of production. She has been searching for timelessness ever since. The wavy, enigmatic waters are often juxtaposed against weightless figures, forming her signature, velvety dreamscapes. In these figures we see human beings who are just-just-on the verge of forming complete selves, suggesting we are always in the process of recreating ourselves, always striving to reach new heights. As an innovator in her field, Cole ventures into territories full of light and shadow, memory and dreams, with imagery that is nothing short of exaltation. Whether reincorporating twenty-year-old images in current underwater photography, or reimagining a modern format for the turn-of-the-century tintype, Cole's work shortens the distance between past and present. For Cole history is written in water. Cole has held numerous exhibitions across North America, Europe, and the Middle East. Her work has also been extensively commissioned internationally for corporate collections. She has exhibited in the Canadian Embassy in both Tokyo and Washington D.C. The acclaimed documentary series, Snapshot: The Art of Photography II, features an episode devoted exclusively to Cole's photographic practice. Cole currently lives and works in Toronto. Article Exclusive Interview with Barbara Cole Galleries Bau-Xi Gallery Galerie de Bellefeuille Art Angels Holden Luntz Gallery NOX Contemporary Art Space
Edward Burtynsky
Burtynsky was born in St. Catharines, Ontario. His parents had immigrated to Canada in 1951 from Ukraine and his father found work on the production line at the local General Motors plant. Burtynsky recalls playing by the Welland Canal and watching ships pass through the locks. When he was 11, his father purchased a darkroom, including cameras and instruction manuals, from a widow whose late husband practiced amateur photography. With his father, Burtynsky learned how to make black and white prints and together with his older sister established a small business taking portraits at the local Ukrainian center. In the early 1970s, Burtynsky found work in printing and he started night classes in photography, later enrolling at the Ryerson Polytechnical Institute. From the mid-1970s to early 1980s, Burtynsky formally studied graphic arts and photography. He obtained a diploma in graphic arts from Niagara College in Welland, Ontario, in 1976, and a BAA in Photographic Arts (Media Studies Program) from Ryerson Polytechnical Institute in Toronto, Ontario, in 1982. Burtynsky's most famous photographs are sweeping views of landscapes altered by industry: mine tailings, quarries, scrap piles. The grand, awe-inspiring beauty of his images is often in tension with the compromised environments they depict. He has made several excursions to China to photograph that country's industrial emergence, and construction of one of the world's largest engineering projects, the Three Gorges Dam. His early influences include Ansel Adams, Edward Weston, Eadweard Muybridge, and Carleton Watkins, whose prints he saw at the Metropolitan Museum of Art in the early 1980s. Most of Burtynsky's exhibited photography (pre 2007) was taken with a large format, field camera, on large 4×5-inch sheet film and developed into high-resolution, large-dimension prints of various sizes and editions ranging from 18 × 22 inches to 60 × 80 inches. He often positions himself at high-vantage points over the landscape using elevated platforms, the natural topography, and more currently helicopters and fixed-wing aircraft. Burtynsky describes the act of taking a photograph in terms of "The Contemplated Moment", evoking and in contrast to, "The Decisive Moment" of Henri Cartier-Bresson. He currently uses a high-resolution digital medium format camera. Source: Wikipedia Edward Burtynsky is known as one of Canada's most respected photographers. His remarkable photographic depictions of global industrial landscapes are included in the collections of over sixty major museums around the world, including the National Gallery of Canada, the Museum of Modern Art and the Guggenheim Museum in New York, the Reina Sofia Museum in Madrid, the Tate Modern in London, and the Los Angeles County Museum of Art in California. Burtynsky was born in 1955 of Ukrainian heritage in St. Catharines, Ontario. He received his BAA in Photography/ Media Studies from Ryerson University in 1982, and in 1985 founded Toronto Image Works, a darkroom rental facility, custom photo laboratory, digital imaging and new media computer-training centre catering to all levels of Toronto's art community. Early exposure to the sites and images of the General Motors plant in his hometown helped to formulate the development of his photographic work. His imagery explores the collective impact we as a species are having on the surface of the planet; an inspection of the human systems we've imposed onto natural landscapes. Exhibitions include Water (2013) at the New Orleans Museum of Art & Contemporary Art Center, New Orleans, Louisiana (international touring exhibition); Oil (2009) at the Corcoran Gallery of Art in Washington D.C. (five-year international touring show), China (toured 2005 - 2008); Manufactured Landscapes at the National Gallery of Canada (touring from 2003 - 2005); and Breaking Ground produced by the Canadian Museum of Contemporary Photography (touring from 1988 - 1992). Burtynsky's visually compelling works are currently being exhibited in solo and group exhibitions across Canada, the United States, Europe and Asia. As an active lecturer on photographic art, Burtynsky's speaking engagements have been held at the National Gallery of Canada, Ottawa; the Library of Congress in Washington, D.C.; George Eastman House in Rochester, NY; The Canadian Center for Architecture in Montreal; the Art Gallery of Ontario, the TED conference; and Idea City and Ryerson University in Toronto. His images appear in numerous periodicals each year including Canadian Art, Art in America, The Smithsonian Magazine, Harper's Magazine, Flash Art, Blind Spot, Art Forum, Saturday Night, National Geographic and the New York Times. Burtynsky's distinctions include the TED Prize, the Governor General's Awards in Visual and Media Arts, The Outreach award at the Rencontres d'Arles, the Roloff Beny Book award, and the Rogers Best Canadian Film Award. He sits on the board of directors for CONTACT: Toronto's International Photography Festival, and The Ryerson Image Centre. In 2006 he was awarded the title of Officer of the Order of Canada and currently holds seven honorary doctorate degrees. Burtynsky is represented by: Nicholas Metivier Gallery, Toronto; Paul Kuhn Gallery, Calgary; Art 45, Montreal; Howard Greenberg Gallery, and Bryce Wolkowitz Gallery, New York; Sundaram Tagore Gallery, Hong Kong & Singapore; Flowers, London; Galerie Springer, Berlin; Von Lintel Gallery, Los Angeles; and Weinstein Gallery, Minneapolis, Minnesota. Source: www.edwardburtynsky.com
Axel Breutigam
Germany/Canada
Axel Breutigam is a German-born Canadian Fine Art Black and White Photographer, located in Vancouver, BC, Canada. Breutigam started photography at an early age, with an Agfa Box Camera, gifted to him by his father. His interest in photography developed into a serious practice around the age of sixteen, when he purchased his first SLR camera and turned his bathroom into a darkroom to self-develop his b&w photos. However, his photographic practice was cut short as his career as an attorney and CPA as well as family took precedence for much of his adult life. Although he practiced photography during any spare moment available, from family vacations to business trips around the world, it was not until he sold his law firm in 2002 and moved with his family to Vancouver, BC that he was able to devote his time fully to his art. In 2013/14 Breutigam got the chance to study with Alan Ross (Ansel Adams' former assistant and the exclusive printer of Adams' Yosemite Special Edition Negatives). Under Ross Breutigam enhanced his technical skill and was taught how best to use digital processing techniques that emulate the darkroom prints of earlier decades. Both Ansel Adams and Alan Ross have been influential artists for Breutigam, and although he emphasizes that he deliberately does not replicate their styles, he is inspired by the exquisite tonality and quality of their works. Breutigam shoots in black & white exclusively; rather than dictate the colors of a particular image to his audience, monochrome encourages them to imagine, from their own unique perspective, how the scene may have appeared at the time of the photograph; also, monochrome photographs give room for the viewers' own interpretations of his photographs. Breutigam, meanwhile an award-winning photographer, hopes that his compositions inspire people to reflect upon their surroundings, and enable them to appreciate the often overlooked beauty found in urban environments and nature. His attention to detail, visual aesthetics, and unique perspective indeed empowers his viewers with this opportunity. Since 2014 Breutigam's work has been exhibited at seven Solo- and eight Group-Shows. Breutigam has published three Photography Books.
Matthew Pillsbury
United States / France
1973
Matthew Pillsbury is a French-born American photographer, living in New York City. The Screen Lives series, inspired by Sugimoto's movie theater photos, features black and white, long-exposure photographs of family and friends sitting in their apartments interacting with their computer and television screens. In 2004 The New York Times Magazine commissioned him to do a portfolio of photos of New York museums after hours. One such photo was taken at the Guggenheim Museum: An installation in progress in the Ronald O. Perelman Rotunda (Oct. 1, 2004.) In addition to New York, he continued to shoot within museums in both London and Paris, including the Musée du Louvre. At the Louvre he photographed the Mona Lisa. The New York Times and the Aperture Foundation published New York Times Photographs in the fall of 2011, featuring one of his photos of the American Museum of Natural History's Rose Center For Earth and Space. In the Dec 11, 2011 issue of New York Magazine, Pillsbury's works were published as part of their "Reasons to Love New York 2011" feature. The photos included four shots from City Stages, which included Occupy Wall Street protesters in Zuccotti Park, as well as Jing Fong dim sum, Fausto in Washington Square Park and High Line. His series, City Stages initially ran from February 23, 2012 to April 28, 2012 at the Bonni Bunrubi Gallery in New York City. The exhibition opened in Atlanta, GA on September 13, 2012 and ran until November 17, 2012 at The Jackson Fine Art gallery. In September 2013, the Aperture Foundation published a monograph that includes a retrospective of his works, titled, City Stages. The New York Times Magazine published one of Pillsbury's City Stages photos as part of their Manhattanhenge feature in July 2013. Art Relish conducted an interview in October 2012 with him discussing his City Stages works. In the Oct 1, 2012 edition of Time Magazine, High Line photo, featuring a park in Manhattan constructed of abandoned train tracks, was highlighted as part of his exhibit at the Jackson Fine Art gallery. The Screen Lives series, inspired by Sugimoto's movie theater photos, features black and white, long-exposure photographs of family and friends sitting in their apartments interacting with their computer and television screens. On the CNN Photos Blog, Pillsbury's Screen Lives series was featured in a post about the School of Visual Arts "Myths & Realities" show, which took at the Visual Arts Gallery in New York, Aug 29-Sept 29, 2012. On November 27, 2011, New York Times Magazine featured two of Pillsbury's photos of Jane's Carousel from "City Stages." In April 2014, Pillsbury was one of 11 photographers awarded with the John Simon Guggenheim Memorial Foundation Fellowship. Approximately 200 Fellowships are awarded each year through two annual competitions that receive between 3,500 and 4,000 applications. Guggenheim Fellowships are grants awarded to "advanced professionals in mid-career" who have demonstrated exceptional ability by publishing a significant body of work within the fields of natural sciences, social sciences, humanities and the creative arts, excluding the performing arts. In 2014, Pillsbury photographed various cities in Japan, with the focus being in and around Tokyo. Recent photographs from his work in Tokyo were revealed in a photo essay published on July 18, 2014 in The New York Times Magazine and include images from Tokyo Disneyland, Robot Restaurant and the CupNoodles Museum in Yokohama. In April 2014, The New York Times Magazine first ran a photo essay of Pillsbury's work that centered around the hanami parties that occur during the week when the cherry blossoms are at peak bloom. An exhibition of His new Tokyo work opened Sept 10, 2014 and closed November 15, 2014 in New York City at Benrubi Gallery. A portfolio of Pillsbury's new images was featured in The New Yorker in September 2015, and showcased locations that include the High Line, the American Museum of Natural History, Astoria Park Pool and the Coney Island Boardwalk. He has also widened the project's focus to include locations outside of Manhattan, after a move to Brooklyn in January 2015 that inspired him to shoot urban life in the outer boroughs. In a redesign and relaunch in the February 22, 2015 issue, The New York Times Magazine published a photograph Of his on its cover. The long exposure image featured an illuminated spinning globe, which he took in his basement. He is represented exclusively by Edwynn Houk Gallery in New York.Source: Wikipedia
Advertisement
AAP Magazine #35: Colors
November 2023 Online Solo Exhibition
AAP Magazine #35: Colors

Latest Interviews

Exclusive Interview with Sebastien Sardi
In 2008, Swedish photographer Sebastian Sardi, inspired by an article exposing hidden mining-related incidents, embarked on a photography journey. Without formal training, he explored mines and ventured to India's Jharkhand state to document coal miners in Dhanbad, known as the "coal capital." His project, "Black Diamond," captured the lives of people, including men, women, and children, dedicated to coal extraction in grueling conditions.
Exclusive Interview with Debra Achen
Monterey-based photographer Debra Achen was born and raised near Pittsburgh, PA, where she developed a passion for both nature and art. She studied a variety of studio arts, including drawing, painting, and printmaking in addition to her training in traditional film and darkroom photography. Her project 'Folding and Mending' won the September 2022 Solo Exhibition. We asked here a few questions about her life and work.
Exclusive Interview with Steve Hoffman
Steve Hoffman is a documentary photographer who has who spent the last dozen years working with and photographing the people that live the housing projects in Coney Island. He was the winner of the July and August 2022 Solo Exhibition. We asked him a few questions about his life and work.
Exclusive Interview with Aya Okawa
Aya is passionate about exploring the natural world and protecting ecosystems and wild landsAll about Photo: Tell us about your first introduction to photography. What drew you into this world? Her project The Systems That Shape Us'won the February 2022 Solo Exhibition. We asked her a few questions about her life and her work.
Exclusive Interview with Réhahn
Réhahn discusses his groundbreaking new photographic series ''Memories of Impressionism,'' his artistic journey during and after Covid, and how modernity can draw inspiration from the past. French photographer Réhahn's career started with a face. More specifically, the face of Madame Xong, an octogenarian with an ''ageless beauty'' and ''hidden smile'' that inspired the world. From there, his portraits and lifestyle photos were published all over the world, in pretty much every major magazine and media out there, including The New York Times, BBC, National Geographic and more. His work centered on people living ''outside of time'' with traditional jobs and skills that had been passed down through generations. This focus led to his Precious Heritage Project, the photographer's decade-long research project to document the more than 54 ethnicities currently living in Vietnam, along with their textile and craft traditions. The final collection is housed in The Precious Heritage Museum in Hoi An, Vietnam.
Exclusive Interview with Patrick Cariou
For more than 25 years, French photographer Patrick Cariou has traveled to places around the globe, documenting people living on the fringes of society. Whether photographing surfers, gypsies, Rastafarians or the rude boys of Kingston, Cariou celebrates those who meet the struggles of life with honor, dignity and joy. Bringing together works from his groundbreaking monographs including Surfers, Yes Rasta, Trenchtown Love and Gypsies, Patrick Cariou: Works 1985–2005 (published by Damiani) takes us on a scenic journey around the world, offering an intimate and captivating look at cultures that distance themselves from the blessings and curses of modernity.
Exclusive Interview with Niko J. Kallianiotis
Niko J. Kallianiotis' Athênai in Search of Home (published by Damiani) presents photos taken in and around Athens, the city in which he grew up. The images reflect the artist's eagerness to assimilate back into a home that feels at once foreign and familiar. Throughout the years the city and the surrounding territories have experienced their share of socio-economic struggles and topographic transformations that have altered its identity. The city of Athens in Kallianiotis' photographs is elliptically delineated as a vibrant environment that binds together luxury and social inequality. The photographer depicts a city in which the temporal and the spatial elements often clash with each other while conducting his research for a home that has changed over the years as much as he did.
Exclusive Interview with Ave Pildas
My new book STAR STRUCK focuses on the people and places of Hollywood Boulevard. Soon after I moved to Los Angeles in the '70s, I started shooting there. I was working at Capital Records, just a block and a half away, as a one of four art directors. At lunchtime, we would go out to eat at the Brown Derby, Musso, and Franks, or some other local restaurant, and I got to observe all the activity that was occurring on Hollywood Boulevard. It was amazing and it was fun, even though the location was ''on the turn''.
Exclusive Interview with Elaine Mayes
In The Haight-Ashbury Portraits, 1967-1968 (published by Damiani) during the waning days of the Summer of Love, Elaine Mayes embarked on a set of portraits of youth culture in her neighborhood. Mayes was a young photographer living in San Francisco during the 1960s. She had photographed the Monterey Pop Festival in 1967 and, later that year the hippie movement had turned from euphoria to harder drugs, and the Haight had become less of a blissed-out haven for young people seeking a better way of life than a halfway house for runaway teens.
Call for Entries
Solo Exhibition November 2023
Win an Online Solo Exhibition in November 2023