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Shawn Theodore
Shawn Theodore

Shawn Theodore

Country: United States
Birth: 1970

Shawn Theodore (b. 1970, Germany) is an award-winning photographer whose work opens broad conversations regarding the role of the photographer in the shaping of agency and imagery, engages in new forms of storytelling, and impacts the trajectory of the collective black consciousness.

Theodore has participated in exhibitions at various institutions, galleries and fairs, including the African American Museum in Philadelphia (2017, 2018), Mennello Museum of American Art (2018), The Barnes Foundation (2017, 2018, 2019), Steven Kasher Gallery (2018), AIPAD (2018, 2019), Hudson Valley Community College (2018), Catherine Edelman Gallery (2017), The Bakalar & Paine Galleries at MassArt (2017), Snap! Orlando (2018), Richard Beavers Gallery (2018), PRIZM Art Fair, Scope Art Fair, Philadelphia Photo Arts Center, Rush Arts Gallery (2017, 2018), and the University of the Arts (2019). His commercial projects include works for Apple, Showtime Networks, RocNation, PAPER Magazine, New York Magazine, Smithsonian Magazine, The Atlantic, The New York Times, PDN and others.

Theodore was awarded the prestigious PDN’s 30 New & Emerging Photographers to Watch (2019), the Getty Images / ARRAY ‘Where We Stand’ (2018) grant and a grant from the Knight Foundation for ‘A Dream Deferred’ (2018). He is a two-time nominee of The Pew Center for Arts & Heritage Fellowship, and a nominee of the Magnum Foundation Fund.

Theodore earned his BA in JPRA (Journalism, Public Relations and Advertising) from Temple University. He currently attends the MFA for Photography program at Savannah College of Art and Design (SCAD Atlanta). Theodore is a current trustee of the Rush Philanthropic Arts Foundation and the Philadelphia Photo Arts Center.

Source: www.shawntheodo.re


Galleries

Richard Beavers Gallery

Snap! Orlando

PARISTEXASLA

Websites

www.shawntheodo.re

@_xst

 

Shawn Theodore's Video

Inspiring Portfolios

Vincenzo Barone
© Vincenzo Barone
Amadeusz Swierk
© Amadeusz Swierk
Alejandro Martinez Velez
© Alejandro Martinez Velez
Call for Entries
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More Great Photographers To Discover

Gilles Caron
Gilles Caron
France
1939 | † 1970
Gilles Caron (8 July 1939 – 5 April 1970) was a French photographer and photojournalist. He was born in Neuilly-sur-Seine, Hauts-de-Seine, France, of a Scottish mother and a French father, Edouard Caron, an insurance company manager. After the divorce of his parents in 1946, Caron spent 7 years in a boarding school in Argentières, Haute-Savoie. A keen horserider, Gilles Caron briefly embraced a career in horse racing, before moving to Paris where he attended the lycée Janson de Sailly. He then moved on to study journalism at the École des Hautes Études Internationales, still in Paris. He served his National Service in Algeria from 1959 as a paratrooper in the 3rd Marine Infantry Parachute Regiment (3e RPIMa). After nearly 2 years fighting a war he opposed, Caron refused to fight after the Generals' putsch, an aborted coup d'état attempted by 4 former French generals in April 1961. As a result, he spent 2 months in a military prison before finishing his military service in 1962. After returning to Paris Gilles Caron married Marianne, a long-time friend. They had 2 daughters, Marjolaine (born 9 March 1963) and Clémentine (born 8 December 1967). In 1964 Gilles Caron started working with Patrice Molinard, a fashion and advertisement photographer. In 1965 he joined the APIS (Agence Parisienne d'Informations Sociales) where he met Raymond Depardon, then working for Dalmas agency. It was during this period that he had his first major success as a photojournalist, with one of his photos illustrating the leading article of France Soir (21 February 1966 issue, on the Ben Barka affair). After leaving the APIS and briefly working for a celebrity photography agency, Caron joined Depardon and the founders of the recently created Gamma agency in 1967. For the next 3 years Caron covered most of the high-profile conflicts in the world in various countries: Israel in June 1967 during the Six-Day War; Vietnam in November and December 1967, where he was present during the infamous battle for Hill 875 in Dak To; Biafra in April 1968 where he returned twice (in July and November the same year), and where he was with his very good friend Don McCullin and where he met Bernard Kouchner, future co-founder of Médecins Sans Frontières; France in May 1968 to cover the student upheaval in Paris; Mexico in September 1968, when the military and armed men shot student demonstrators in Mexico City days before the opening ceremony of the Olympics; Northern Ireland in August 1969 to cover The Troubles; Czechoslovakia in August 1969 for the anniversary of the end of the Prague Spring the year before. In 1970 Gilles Caron went to Cambodia after king Norodom Sihanouk was deposed by Lon Nol on 18 March 1970. On April 5, Gilles Caron disappeared on Route 1, a road between Cambodia and Vietnam controlled by Pol Pot's Khmer Rouge.Source: Wikipedia In the space of just a few years Gilles Caron, a passionate and audacious young journalist, made his mark in the world of photography breathing new life into a genre: photojournalism. He founded the photographic agency Gamma in 1968 with Raymond Depardon and rapidly made a name for himself by covering all of the period’s major conflicts: the Middle East, Vietnam, Chad, Northern Ireland, Biafra… Wherever there was fighting, he was there with his camera until one day in April 1970, 5 April to be precise, when he disappeared in Cambodia in a zone controlled by the Khmer Rouge. Although he was primarily known as a war reporter, Caron’s photography is also remarkable for the way he managed to capture the quintessential spirit of the 1960s: cinema and France’s Nouvelle Vague, fashion, music, the rebellious younger generation and politics are amongst his main subjects, those that inspired some of his most striking images. His extremely realistic account of the events of May 1968, in particular his famous photo of Daniel Cohn-Bendit confronting a CRS riot policeman, are indelibly fixed in our collective memory. In just a few short years, Caron managed to prove that he was one of photojournalism’s greats.Source: Jeu de Paume
Inge Morath
Inge Morath
Austria/United States
1923 | † 2002
Inge Morath, the daughter of a scientist, was born in Austria on 27th May 1923. The family moved to Nazi Germany and as a teenager she was sent to the force labour camp at Tempelhof for refusing to join the Hitler Youth. Morath graduated from Berlin University in 1944. After the Second World War she worked as an interpreter for the United States Information Service before joining the RWR radio network. Morath also contributed articles to the literary magazine Der Optimist. In 1950 Morath moved to France where she worked with the Austrian photographers Ernst Haas and Erich Lessing. This involved writing text captions for the two photographers. The following year she found work as a photojournalist with Picture Post, a magazine based in London. Morath's first book was, Fiesta In Pamplona (1954). After the publication of an photo essay on French worker priests by Morath in 1955 Robert Capa invited her to join the Magnum Photos agency. Other books by Morath included Venice Observed (1956), Bring Forth The Children (1960), Tunisia (1961) and From Persia to Iran (1961). Morath married Arthur Miller in 1962 and together they published the book In Russia (1969). This was followed by My Sister Life (1973) with poems by Boris Pasternak, In the Country (1977), Chinese Encounters (1979), Salesman in Beijing (1984), Portraits (1987), Shaking the Dust of Ages (1998), an autobiography, Life As A Photographer (1999), Masquerade (2000) and Border Spaces; Last Journey (2002). Inge Morath died of lymphatic cancer on 30th January 2002. Source: Spartacus Educational Morath's achievements during her first decade of work as a photographer are significant. Along with Eve Arnold, she was among the first women members of Magnum Photos, which remains to this day a predominantly male organization. Many critics have written of the playful surrealism that characterizes Morath's work from this period. Morath attributed this to the long conversations she had with Cartier-Bresson during their travels in Europe and the United States. Morath's work was motivated by a fundamental humanism, shaped as much by her experience of war as by its lingering shadow over post-war Europe. In Morath's mature work, she documents the endurance of the human spirit under situations of extreme duress, as well as its manifestations of ecstasy and joy. After relocating to the United States, during the 1960s and 1970s Morath worked closer to home, raising a family with Miller and working with him on several projects. Their first collaboration was the book In Russia (1969), which, together with Chinese Encounters (1979), described their travels and meetings in the Soviet Union and the People's Republic of China. In the Country, published in 1977, was an intimate look at their immediate surroundings. For both Miller, who had lived much of his life in New York City, and Morath, who had come to the US from Europe, the Connecticut countryside offered a fresh encounter with America. Reflecting on the importance of Morath's linguistic gifts, Miller wrote that "travel with her was a privilege because [alone] I would never been able to penetrate that way." In their travels Morath translated for Miller, while his literary work was the entrée for Morath to encounter an international artistic elite. The Austrian photographer Kurt Kaindl, her long-time colleague, noted that "their cooperation develop[ed] without outward pressure and is solely motivated by their common interest in the people and the respective cultural sphere, a situation that corresponds to Inge Morath's working style, since she generally feels inhibited by assignments." Morath sought out, befriended, and photographed artists and writers. During the 1950s she photographed artists for Robert Delpire's magazine L'Oeil, including Jean Arp and Alberto Giacometti. She met the artist Saul Steinberg in 1958. When she went to his home to make a portrait, Steinberg came to the door wearing a mask which he had fashioned from a paper bag. Over a period of several years, they collaborated on a series of portraits, inviting individuals and groups of people to pose for Morath wearing Steinberg's masks. Another long-term project was Morath's documentation of many of the most important productions of Arthur Miller's plays. Some of Morath's signal achievements are in portraiture, including posed images of celebrities as well as fleeting images of anonymous passersby. Her pictures of Boris Pasternak's home, Pushkin's library, Chekhov's house, Mao Zedong's bedroom, as well as artists' studios and cemetery memorials, are permeated with the spirit of invisible people still present. The writer Philip Roth, whom Morath photographed in 1965, described her as "the most engaging, sprightly, seemingly harmless voyeur I know. If you're one of her subjects, you hardly know your guard is down and your secret recorded until it's too late. She is a tender intruder with an invisible camera." As the scope of her projects grew, Morath prepared extensively by studying the language, art, and literature of a country to encounter its culture fully. Although photography was the primary means through which Morath found expression, it was but one of her skills. In addition to the many languages in which she was fluent, Morath was also a prolific diary and letter-writer; her dual gift for words and pictures made her unusual among her colleagues. Morath wrote extensively, and often amusingly, about her photographic subjects. Although she rarely published these texts during her lifetime, posthumous publications have focused upon this aspect of her work. They have brought together her photographs with journal writings, caption notes, and other archival materials relating to her various projects. During the 1980s and 1990s, Morath continued to pursue both assignments and independent projects. The film Copyright by Inge Morath was made by German filmmaker Sabine Eckhard in 1992, and was one of several films selected for a presentation of Magnum Films at the Berlin International Film Festival in 2007. Eckhard filmed Morath at home and in her studio, and in New York and Paris with her colleagues, including Cartier-Bresson, Elliott Erwitt and others. In 2002, working with film director Regina Strassegger, Morath fulfilled a long-held wish to revisit the lands of her ancestors, along the borderlands of Styria and Slovenia. This mountainous region, once part of the Austro-Hungarian Empire, had become the faultline between two conflicting ideologies after World War II and until 1991, when attempts at rapprochement led to conflict on both sides of the border. The book Last Journey (2002), and Strasseger's film Grenz Räume (Border Space, 2002), document Morath's visits to her homeland during the final years of her life.Source: Wikipedia
Chin Leong Teo
Chin Leong Teo
Singapore
1978
Chin Leong Teo is a Singapore citizen and an aviation professional. He pursued his college education in New York and California and spent a part of his working life resident in Jakarta, Shanghai, and Dammam (Saudi Arabia). The significant time he spent away from Singapore gave him a global perspective and the globetrotting desire to see the world. Currently he is residing in Fukuoka, Japan, where he holds the position of Chief Traffic Development Officer at Fukuoka Airport, the fourth largest airport by passenger traffic volume in Japan. Photography is Chin Leong's hobby and passion. He is interested in all photography genres, including street, travel, landscape, and nature photography. He is internationally published, and has been awarded some of the top accolades in the photography industry. These include being listed in the Photographic Society of America (PSA) 2018 Who's Who List as one of the world's top exhibitors, winning the prestigious Pangea Prize at Siena Awards 2019, and winning the inaugural ROAM Award for photography in the Discovery Category in 2019. In 2020, he won a Merit Award in All About Photos 2020 Awards, and a Honourable Mention Medal at the 80th International Photographic Salon of Japan. Chin Leong's photography philosophy is to capture "all things beautiful God created" and to continue to grow and evolve his photographic sense and acumen.
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."
Isabeau De Rouffignac
Isabeau De Rouffignac
France
I followed an artistic career path with a drawing baccalaureate, 2 years of preparatory classes at the Met de Penninghen studio, then I entered the graphic art school. This was followed by a long experience in design agencies (Design Strategy Orchestra), communication agencies (CPP) and manufacturing agencies (Vision Prod) as an employee and then as a freelancer since 1999. It is this status that will allow me to devote myself to photography, which I discovered in the 2000s. It was a revelation, and soon became obvious. Since then, I have been photographing worlds far and near, between a documentary approach and a resolutely artistic approach. A line of conduct, like a thread that runs through my work and gives it coherence: approaching the other, taming them, taking the time, learning their language, being forgotten, with a gaze that is always curious and fundamentally empathetic. Four photographic editions were born from this work. Since 2017, I devote all my time to photography. And although I have an initial training that integrates the work of the image and a long-standing photographic practice, I felt the need to go further, to question my writing, and I have therefore attended several workshops and training courses. (Arles, Cifap, Gobelins) In 2018, I became a member of Studio Hans Lucas Today, the more I advance in my artistic practice, the more I approach my projects from a documentary point of view, but with an aesthetic or even plastic approach from the start. By mixing these different ways of working on my subject, I leave the imposed categories (documentary, plastic photography, etc.) to invent my own language that allows me to convey a message (environmental, social, humanitarian, political, etc.). This is the case in my latest work in India, pleas. In Bhopal, they point out the consequences of the worst chemical disaster the world has ever known, and in Rajsamand, they tell of the difficult working conditions of the miners. Statement An intuition, a call following the reading of an article or a book, moves me from my daily life in the metropolis and I set off to meet the other. The country is always far away, the situation speaks of a reprieve. Through photography I seek an encounter with the other, the other in what is different about him, his way of life, his language, which I try as much as possible to learn in order to be in touch with him. I am looking for an encounter with a place that also has its own language that often says the impalpable, what does not always appear at first sight, a place to be deciphered. In these encounters, I also seek an encounter with myself, because the other person questions me, challenges me, shakes up my preconceptions, pushes me to question myself. In my last work on the miners of Rajasthan, I sought to pay tribute to men in pain, working in sandstone or marble quarries, working without safety clothing, for a ridiculous salary, without a work contract, and more than half of whom suffer from silicosis because they work without masks. In most of my other photographic works, I try to bear witness but also to show a cultural heritage that is on the verge of disappearing, and to talk about those who keep it alive and often fight against a progressive assimilation. Of course, the time needed for these encounters, for this acceptance by the communities in which I immerse myself, implies taking time. A lot of time. It is the only way to establish the links that open doors, give access to knowledge, beliefs, and sometimes even confidences. Learning the Hindi language has helped me to better understand the personal stories of all the men and women I have photographed, to understand the distress that lies behind their dignity. I try to document the issues through personal stories that are each unique and singular. This is what I have done here with the miners of Rajasthan, or previously with the women of Bhopal, the postmen of Rajasthan, or the Akhas of Thailand. I offer you my view, nourished by what my encounters have revealed to me, my way of documenting it, as close as possible or with distance when necessary. A view that I hope will open up the possibility of better understanding, or at least of trying. That's already a lot.
Bert Stern
Bert Stern
United States
1929 | † 2013
Bertram Stern (October 3, 1929 – June 26, 2013) was a self-taught American commercial photographer. He was the son of Jewish immigrants and grew up in Brooklyn. His father worked as a children’s portrait photographer. After dropping out of high school at the age of 16, he gained a job in the mail room at Look magazine. He became art director at Mayfair magazine, where Stern learned how to develop film and make contact sheets, and started taking his own pictures. In 1951, Stern was drafted into the US Army and was sent to Japan and assigned to the photographic department. In the 1960s Stern's heavy use of amphetamines, led to the destruction to his marriage to Balanchine ballerina, Allegra Kent. By the late 1970s Stern returned to the U.S. to photograph portraits and fashion. He was the subject of the 2010 documentary, "Bert Stern: Original Madman," directed by his secret wife, Shannah Laumeister. Ms. Laumeister and Stern never lived together, and Stern had a long standing relationship of 20+ years with Lynette Lavender who was his constant and devoted companion. His first professional assignment was in 1955 for a Madison Avenue advertising agency for Smirnoff vodka. His best known work is arguably The Last Sitting, is a collection of 2,500 photographs taken for Vogue of Marilyn Monroe over a three-day period, six weeks before her death. Stern's book The Last Sitting was published in 1982 and again in 2000. He has photographed Audrey Hepburn, Elizabeth Taylor, Madonna, Kylie Minogue, Drew Barrymore and Lindsay Lohan (recreating The Last Sitting), among others, in addition to his work for advertising and travel publications.(Source: en.wikipedia.org)
Brian Ulrich
Brian Ulrich
United States
1971
Brian Ulrich is an American photographer known for his exploration of consumer culture. Ulrich's work is held many collections including the Art Institute of Chicago and the Cleveland Museum of Art. Photo District News named Ulrich as one of 30 Emerging Photographers (2007). He was awarded a Guggenheim Fellowship (2009). His work has been featured in the New York Times Magazine; Time Magazine; Mother Jones; Artforum; and Harper’s. Aperture and the Cleveland Museum of Art published his first major monograph, Is This Place Great or What (2011). The Anderson Gallery published the catalog Closeout: Retail, Relics and Ephemera (2013).Source: Rhode Island School of Design Ulrich was born in Northport, New York, and lives in Providence, Rhode Island. He received a BFA in photography from University of Akron in Akron, Ohio (1996) and an MFA in photography from Columbia College Chicago (2004). He has taught photography at Columbia College Chicago and Gallery 37, both in Chicago; and at the University of Akron. He is an Associate Professor of Photography at the Rhode Island School of Design. In 2001 in response to a national call for citizens to bolster the American economy through shopping, Ulrich began a project to document consumer culture. This project, Copia, is a series of large-scale photographs of shoppers, retail spaces, and displays of goods. Initially focused on big-box retail establishments and shoppers, the series expanded to include thrift stores, back rooms of retail businesses, art fairs, and most recently empty retail stores and dead malls. Ulrich works with a combination of 4×5 large format and medium format cameras, and also incorporates found objects as sculpture, juxtaposed with his photographs on gallery walls.Source: Wikipedia
Carlos Antonorsi
Carlos Antonorsi
Venezuela/United States
1958
Born in Caracas, Venezuela of Corsican and British descent, I have always considered myself a citizen of the world. At 16 years of age left to Vancouver Island, Canada for college and then on to England for university; ended up in Greece for 17 years, and the last few years have been living in Miami, USA Having been born with what feels like ten thumbs for fingers, photography has become the means to express my artistic stirrings; with light and colors as the canvas, I attempt to paint that breath of time which will never be again. Street photography has been my passion for the last few years, light and shadows intrigue me; Miami and its colors have definitely influenced what I see through the lens...the never ending learning process just goes on...Yes, photography has got me hooked...
Barry Guthertz
Barry Guthertz
United States
1946
Barry Guthertz has been exhibiting his Fine Art photography throughout the Northeast for over 35 years. His award winning work has appeared in The Brooklyn Museum, The French Embassy, the General Electric and Union Carbide Corporate Galleries as well as in Silvermine Gallery in New Canaan,CT and The Flinn Gallery in Greenwich. He has had numerous solo exhibitions and participated in group shows in NYC, Portland, OR, London England, and throughout Fairfield County, CT where he lives. His b&w porfolios have been published twice in Lenswork Magazine, as well as on the cover in Shadow and Light Magazine, as the featured artist August 2018. Earth Rhythm The magnitude of nature's forces can both terrify and fascinate. Left in their wake is a mysterious beauty carved into the earth's landscape. These hypnotic shapes, forms and abstract patterns speak to my inner core. It's been a challenge to visually capture these breathtaking compositions as well as to share the extraordinary feelings that awaken inside me when I click the shutter.
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