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Brian Ulrich
Brian Ulrich

Brian Ulrich

Country: United States
Birth: 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


 

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James Nachtwey
United States
1948
James Nachtwey is an American photojournalist and war photographer. He grew up in Massachusetts and graduated from Dartmouth College, where he studied Art History and Political Science (1966–70). Nachtwey started working as a newspaper photographer in 1976 at the Albuquerque Journal. In 1980, he moved to New York and began working as a freelance photographer. In 1981, Nachtwey covered his first overseas assignment in Northern Ireland illustrating civil strife. He has documented a variety of armed conflicts and social issues, spending time in South Africa, Latin America, the Middle East, Russia, Eastern Europe, the former Soviet Union shooting pictures of war, conflict and famine, and images of socio-political issues (pollution, crime and punishment) in Western Europe and the United States. He currently lives in New York City. In 1994, Nachtwey was covering the upcoming elections in South Africa, the first non-racial ones in decades. As an associate of the Bang-Bang Club, he was at the scene when Ken Oosterbroek was killed and Greg Marinovich was seriously injured. Nachtwey had been injured previously in his work, but it was during his extensive coverage of the United States invasion of Iraq that he received his first combat injury. As Nachtwey, along with Time correspondent Michael Weisskopf rode in the back of a Humvee with the United States Army "Tomb Raiders" Survey Platoon, an insurgent threw a grenade into the vehicle. Weisskopf grabbed the grenade to throw it out of the humvee, but it exploded in his hand. Two soldiers were injured in the explosion, along with the Time journalists. Nachtwey managed to take several photographs of medic Billie Grimes treating Weisskopf before passing out. Both journalists were airlifted to Germany and later to hospitals in the United States. Nachtwey recovered sufficiently to return overseas to cover the tsunami in Southeast Asia of December 26, 2004. Nachtwey has worked with Time as a contract photographer since 1984. He worked for Black Star from 1980 until 1985 and was a member of Magnum Photos from 1986 until 2001. In 2001, he was a founding member of the VII Photo Agency (he disassociated from VII in August 2011). Nachtwey was present during the September 11, 2001 attacks on the World Trade Center, and produced a well known related body of work. He also compiled a photo essay on the effects of the Sudan conflict on civilians. In February 2011, Nachtwey contributed to a controversial piece for Vogue Magazine, which shone a favorable light on Syrian dictator Bashar al-Assad and his family. The article and the photo series were particularly controversial as a peaceful protest movement in the context of the Arab Spring that was gathering steam at the same time, was brutally put down by the Syrian regime's military and secret police services. By December 2011, death toll estimates of the uprising ranged between 3,500 and 5,000, while an approximate 30,000 civilians were imprisoned and, in many cases, tortured severely. Vogue later decided to remove the article from its pages. Nevertheless, the article can still be accessed on the Syrian presidency's own website. Source: Wikipedia James Nachtwey grew up in Massachusetts and graduated from Dartmouth College, where he studied Art History and Political Science (1966-70). Images from the Vietnam War and the American Civil Rights movement had a powerful effect on him and were instrumental in his decision to become a photographer. He has worked aboard ships in the Merchant Marine, and while teaching himself photography, he was an apprentice news film editor and a truck driver. In 1976 he started work as a newspaper photographer in New Mexico, and in 1980, he moved to New York to begin a career as a freelance magazine photographer. His first foreign assignment was to cover civil strife in Northern Ireland in 1981 during the IRA hunger strike. Since then, Nachtwey has devoted himself to documenting wars, conflicts and critical social issues. He has worked on extensive photographic essays in El Salvador, Nicaragua, Guatemala, Lebanon, the West Bank and Gaza, Israel, Indonesia, Thailand, India, Sri Lanka, Afghanistan, the Philippines, South Korea, Somalia, Sudan, Rwanda, South Africa, Russia, Bosnia, Chechnya, Kosovo, Romania, Brazil and the United States. Nachtwey has been a contract photographer with Time Magazine since 1984. He was associated with Black Star from 1980 - 1985 and was a member of Magnum from 1986 until 2001. In 2001, he became one of the founding members of the photo agency, VII. He has had solo exhibitions at the International Center of Photography in New York, the Bibliotheque nationale de France in Paris, the Palazzo Esposizione in Rome, the Museum of Photographic Arts in San Diego, Culturgest in Lisbon, El Circulo de Bellas Artes in Madrid, Fahey/Klein Gallery in Los Angeles, the Massachusetts College of Art in Boston, the Canon Gallery and the Nieuwe Kerk in Amsterdam, the Carolinum in Prague,and the Hasselblad Center in Sweden, among others. He has received numerous honours such as the Common Wealth Award, Martin Luther King Award, Dr. Jean Mayer Global Citizenship Award, Henry Luce Award, Robert Capa Gold Medal (five times), the World Press Photo Award (twice), Magazine Photographer of the Year (seven times), the International Center of Photography Infinity Award (three times), the Leica Award (twice), the Bayeaux Award for War Correspondents (twice), the Alfred Eisenstaedt Award, the Canon Photo essayist Award and the W. Eugene Smith Memorial Grant in Humanistic Photography. He is a fellow of the Royal Photographic Society and has an Honorary Doctorate of Fine Arts from the Massachusetts College of Arts. Source: www.jamesnachtwey.com
Sid Grossman
United States
1913 | † 1955
Sid Grossman was an American photographer, teacher, and social activist. He was the younger son of Morris and Ethel Grossman. Grossman attended the City College of New York and worked on a WPA street crew. In 1934, he started what would become the Photo League with co-founder Sol Libsohn. Grossman played numerous roles throughout the Photo League's existence (1936–1951) including educator, administrator, reviewer, editor of Photo Notes and founder of Chelsea Document (1938-1940), an indictment of obsolete buildings and substandard living conditions in a New York neighborhood. He enlisted on March 6, 1943 and served in the Sixth Army in Panama during World War II. Grossman's 1940 photographs of labor union activity led to FBI investigations and the blacklisting of the Photo League as a communist front in 1947. In 1949, he opened a photography school in Provincetown, Massachusetts, although he continued to live and teach in NYC part of every year. Grossman was married twice: to Marion Hille and then to Miriam Grossman. Grossman conducted workshops at the Photo League, the Henry St. Settlement, the Harlem Art Center, and privately in NYC and Provincetown, for almost twenty years. The photographers he taught were many – including Lou Bernstein, Lisette Model, Walter Rosenblum, Louis Stettner, Helen Gee, Arthur Leipzig (who is on record as calling Grossman “probably the most fantastic teacher I ever knew”) and Leon Levinstein. Yet Grossman himself said, “I am not an instructor in any classical sense.” He insisted that his students take on the responsibility for making something of themselves. According to Jewish Museum curator Mason Klein, “Grossman increasingly insisted on the idea of being in the world in a particular manner, engaging with a certain consciousness as a photographer, and connecting to the camera in ways that made photographers question who they were.” One had to “live for photography,” in effect transforming and liberating oneself – in order to become a good photographer. One description of Grossman's “impassioned, often aggressive workshop critiques” has been provided by one of his students, N. Jay Jaffee, who studied with him in 1948. On the one hand, “He was almost contemptuous; each of us got a taste of his anger and hostility during the course.” Yet, “His genius was in expounding a philosophy of photography that was unique. I had never heard anyone speak on a subject with such depth and enthusiasm. I still recall a phrase he repeated several times: 'The world is a picture.' This simple statement was a profound insight into the method and meaning of photography.” “To Sid, photography was serious, not sacred.” Grossman's first wife, Marion Hille, remarked that he “encouraged his students 'to enjoy themselves right away, to get a feel of taking pictures without technique getting in the way.'” Jaffee reflected that, “Perhaps, if Sid had lived long enough, he would have also mellowed. Hopefully, he would have received the honor and respect for his brilliance and his work that he so justly deserves.” Today, almost all of the important photographers and educators he influenced and who continued his legacy are also deceased. All that is left are the photographs he and they made – a considerable contribution.Source: Wikipedia An influential teacher and activist, Grossman was a founding member of the Photo League, a group of socially-minded photographers that used documentary photography to call attention to poverty and injustice in New York. Showing three ragtag kids, two of whom present their modest toys to the photographer, this image exemplifies Grossman’s humanistic artistic vision, which often testified to the endurance and survival of his subjects. Due to his participation in the Communist Party, the U.S. Government blacklisted Grossman and monitored his activities for several years.Source: The Met
Alberto  del Hoyo Mora
Alberto del Hoyo is a Spanish photographer living in Tenerife. He holds an MBA from the Instituto de Empresa Business School and is a graduate in Business Administration and Photography. His own curiosity about the different forms of life has taken him to remote tribal territories in Asia, South America and Africa in search of the distinctive beauty and variety of his people. In 2016, after 2 years of incursions into the Omo Valley of Ethiopia, he founded Pics 4 Pills. Modest fundraising initiative for the people of the Omo Valley Three years later, at the end of 2018 he published the book Mystic Valley. Photographic travel notebook fruit of 4 years of photographic incursions in the Omo Valley. 100% of the revenues from sales are destined to solidarity projects in the different photographed tribal areas. Also in 2018, Alberto presented the Fine Art portrait exhibition with the same name "Mystic Valley", as a complement of the book. The objective is responsible photographic dissemination. Show the beauty of heterogeneity and cultural identity. About Mystic Valley Nadoria is a 13 years old girl of the Suri tribe in Ethiopia, lives in a small mountain village near the border with Sudan. She is the daughter of one of the elders of the tribe. The size of her ear plate indicates the extent of her dowry. "The bigger my ear plate, the higher number of cows my family will get from my marriage". Barduri, is a young man of 17 years of the same Suri tribe in Ethiopia. He has lost vision in his right eye as a result of a wound during the celebration of the "stick fight", ancestral ceremony consisting of an unprotected one-on-one stick fight battle against young members of the neighboring tribes. The fights can be furious and can result in death. A ritual for the transition of young stars to men. Far from feeling sorry Barduri feels pride, he has shown his family that he is a brave man, he has become a man, a warrior of honor. He has won his right in the tribe to be able to choose his wife and that she respect him. From the beginning of history the human race is composed of a large number of cultures, people and tribes. Each one has its own way of life, values and social rituals. The portraits of these people invite our conscience to remember the importance of understanding cultural identities in all their variety. Portraits of the fragility of a female childhood subrogated to warriors of honor. Portraits of his reality. It is vast, silent. Magical. Omo Valley
Zanele Muholi
South Africa
1972
Zanele Muholi was born in Umlazi, Durban, in 1972. She completed an Advanced Photography course at the Market Photo Workshop in Newtown and held her first solo exhibition at the Johannesburg Art Gallery in 2004. She has worked as a community relations officer for the Forum for the Empowerment of Women (FEW), a black lesbian organisation based in Gauteng, and as a photographer and reporter for Behind the Mask, an online magazine on lesbian and gay issues in Africa. Her work represents the black female body in a frank yet intimate way that challenges the history of the portrayal of black women's bodies in documentary photography. Her solo exhibition Only half the picture, which showed at Michael Stevenson in March 2006, travelled to the Market Photo Workshop in Johannesburg and the Afrovibes Festival in Amsterdam. In 2008 she had a solo show at Le Case d'Arte, Milan, and in 2009 she exhibited alongside Lucy Azubuike at the CCA Lagos, Nigeria. She was the recipient of the 2005 Tollman Award for the Visual Arts, the first BHP Billiton/Wits University Visual Arts Fellowship in 2006, and was the 2009 Ida Ely Rubin Artist-in-Residence at the Massachusetts Institute of Technology (MIT). Muholi's photography has been compared to the way W.E.B. DuBois subverted the typical representations of African Americans. Both Muholi and Du Bois have created an archive of photos, working to dismantle dominant, pre-existing perceptions of the subjects they chose to photograph. Muholi views their work as collaborative, referring to the individuals they photograph as "participants" rather than as subjects. Seeking to empower their subjects, Muholi often invites participants to speak at events and exhibitions, adding the participant's voice to the conversation. Through their artistic approach they hope to document the journey of the African queer community as a record for future generations. They try to capture the moment without negativity or focusing on the prevalent violence, portraying the LGBTQI community as individuals and as a whole to encourage unity. Thus, their work can be considered documentative, recording the overall community LGBTI of South Africa and their challenges, and at times, more specifically the struggle of black lesbians. Before 1994, black lesbian voices were excluded from the making of a formal queer movement. Muholi's efforts of creating a more positive visualization of LGBTI Africans combats the homophobic-motivated violence that is prevalent in South Africa today, especially in the case of black lesbians. While black women's bodies appear frequently throughout sexualized pop-culture, black lesbians are viewed (through the lens of the patriarchy and heteronormativity) as undesirable. This negative view of homosexuals in Africa lead to violence, such as murder and rape, and rejection from their families. Muholi's Zukiswa (2010), shows an African lesbian woman making eye contact with the viewer, displaying an unwavering gaze of confidence, self-awareness, and determination. This example encourages awareness, acceptance, and positivity with the queer community as well as South Africa. Although Muholi became known as a photographer who engaged with the then-invisible lives of black lesbians in South Africa, they began to recognize this idea of "gender within gender." In 2003, and their sense of community definitively began to include trans people. Muholi was employed as a photographer and reporter for Behind the Mask, an online magazine on LGBTI issues in Africa. Muholi first received global attention from the art world in 2012 at Documenta, a world-famous exhibition of modern and contemporary art in (Germany), for a series of portraits of lesbians and transgender participants titled: Faces and Phases. The photos were also exhibited at Stedelijk Museum Amsterdam.Source: Wikipedia
Shomei Tomatsu
Japan
1930 | † 2012
Shomei Tomatsu (東松 照明, Tōmatsu Shōmei) was a Japanese photographer, primarily known for his images that depict the impact of World War II on Japan and the subsequent occupation of U.S. forces. As one of the leading postwar photographers, Tomatsu is attributed with influencing the younger generations of photographers including those associated with the magazine Provoke (Takuma Nakahira and Daido Moriyama). Tomatsu was born in Nagoya in 1930. As an adolescent during World War II, he was mobilized to support Japan's war effort. Like many Japanese students his age, he was sent to work at a steel factory and underwent incessant conditioning intended to instill fear and hatred towards the British and Americans. Once the war ended and Allied troops took over numerous Japanese cities, Tomatsu interacted with Americans firsthand and found that his preconceptions of them were not entirely salient. At the time Tomatsu's contempt for the violence and crimes committed by these soldiers was complicated by individual acts of kindness he received from them – he simultaneously loved and hated their presence. These interactions, which he later described as among the most formative memories of his childhood, initiated his long-standing fixation on and feelings of ambivalence towards the subject of American soldiers. If I had seven lives, I’d be a photographer in every one. -- Shomei Tomatsu Tomatsu embraced photography while an economics student at Aichi University. While still in university, his photographs were shown frequently in monthly amateur competitions by Camera magazine and received recognition from Ihei Kimura and Ken Domon. After graduating in 1954, he joined Iwanami Shashin Bunko, through an introduction made by Aichi University professor Mataroku Kumaza. Tomatsu contributed photographs to the issues Floods and the Japanese (1954) and Pottery Town, Seto Aichi (1954). He stayed at Iwanami for two years before leaving to pursue freelance work. In 1957, Tomatsu participated in the exhibition Eyes of Ten where he displayed his series Barde Children’s School; he was featured in the exhibit twice more when it was held again in 1958 and 1959. After his third showing, Tomatsu established the short-lived photography collective VIVO with fellow Eyes of Ten exhibitors; these other members included Eikoh Hosoe, Kikuji Kawada, Ikkō Narahara, Akira Satō, and Akira Tanno. Towards the end of the 1950s, Tomatsu began photographing Japanese towns with major American bases, a project that would span over 10 years. Tomatsu's artistic output and renown grew significantly during the 1960s, exemplified by his prolific engagements with many prominent Japanese photography magazines. He began the decade by publishing his images of U.S. bases in the magazines Asahi Camera and Camera Mainichi and his series Home in Photo Art. In contrast to his earlier style which resembled traditional photojournalism, Tomatsu was beginning to develop a highly expressionistic form of image-taking that emphasized the photographer's own subjectivity. In response to this emergence, a dispute arose when Iwanami Shashin Bunko founder Yonosuke Natori wrote that Tomatsu had betrayed his foundations as a photojournalist by neglecting the responsibility to present reality in a truthful and legible manner. He rejected the claim that he was ever a photojournalist, and admonished journalistic thinking as an impediment to photography. Both essays were published in Asahi Camera. In addition to Asahi Camera and Photo Art, Tomatsu worked for magazines Gendai no me and Camera Mainichi. For Gendai no me, he edited a monthly series titled I am King (1964); for Camera Mainichi, he printed multiple collaborations made with Yasuhiro Ishimoto and Shigeichi Nagano in 1965 and his own series, The Sea Around Us in 1966. Tomatsu first went to Okinawa to photograph the American bases under the auspices of Asahi Camera in 1969. The images he captured formed the book Okinawa, Okinawa Okinawa which served as an explicit critique of the American air force. On the cover, an anti-base slogan verbalizing his disdain with the overwhelming U.S. presence in Okinawa reads: "The bases are not in Okinawa; Okinawa is in the bases". This sentiment was foreshadowed in Tomatsu's earlier writings, like his 1964 essay for Camera Manichi in which he stated "it would not be strange to call [Japan] the State of Japan in the United States of America. That's how far America has penetrated inside Japan, how deeply it has plumbed our daily lives." Tomatsu visited Okinawa three more times before finally moving to Naha in 1972. While in Okinawa, he traveled to various remote islands including Iriomote and Hateruma; he spent seven months on Miyakojima where he organized a study group called “Miyako University” aimed at mentoring young Miyako residents. Combined with his images taken in Southeast Asia, Tomatsu's photographs of Okinawa from the 1970s were shown in his prizewinning Pencil of the Sun (1975). Although he had come to Okinawa in order to witness its return to Japanese territory, Pencil of the Sun revealed a considerable shift away from the subject of military bases that he pursued throughout 1960s. He credited a diminishing interest in the American armed forces, in addition to the allure of Okinawa's brilliantly colored landscapes, for his adoption of color photography. In 1974, Tomatsu returned to Tokyo where he set up Workshop Photo School, an alternative two-year-long workshop (1974–76), with Eikoh Hosoe, Nobuyoshi Araki, Masahisa Fukase, Daidō Moriyama, and Noriaki Yokosuka; the school published the photo magazine Workshop. Tomatsu's dedication to nurturing the photography community in Japan was also evidenced in his role as a juror for the Southern Japan Photography Exhibition and his membership in the Photographic Society of Japan's committee to create a national museum of photography. The efforts of this group led to the establishment of photography departments at major national museums, such as Yokohama Museum of Art and the National Museum of Modern Art, Tokyo, as well as the first photography museum in Japan, Tokyo Photographic Art Museum. In this, photography is the same thing as love. When my gaze, diving into the sea as my subject, converges with the act of photography, hot sparks fly at the point of intersection. -- Shomei Tomatsu Tomatsu took part in his first major international show, New Japanese Photography (1974) at MoMA New York, alongside workshop members Hosoe, Moriyama, Fukase, and 11 other photographers. New Japanese Photography was the first survey of contemporary Japanese photographers undertaken outside of Japan. It traveled to eight other locations in the United States including the Denver Art Museum, San Francisco Museum of Art, and Portland Art Museum. By 1980, Tomatsu published three more books: Scarlet Dappled Flower (1976) and The Shining Wind (1979) were composed of his images from Okinawa; and Kingdom of Mud (1978) featured his Afghanistan series printed earlier in Assalamu Alaykum. In the early 1980s, Tomatsu had his first international solo exhibition, Shomei Tomatsu: Japan 1952-1981 shown at thirty venues over three years. He was also included in notable international group exhibitions regarding Japanese art: in 1985, he was one of the main artists in Black Sun: The Eyes of Four first shown at the Museum of Modern Art, Oxford; in 1994, he was featured in the seminal show Japanese Art After 1945: Scream Against the Sky at the Yokohama Museum of Art, Guggenheim Museum and San Francisco Museum of Modern Art. In the last decade of his career, Tomatsu embarked on a new and comprehensive series of retrospectives, dividing his oeuvre into five "mandalas" of place. Each mandala was named after the area it was exhibited: Nagasaki Mandala (Nagasaki Prefectural Art Museum, 2000); Okinawa Mandala (Urasoe Art Museum, 2002); Kyoto Mandala (Kyoto National Museum of Modern Art, 2003); Aichi Mandala (Aichi Prefectural Museum of Art, 2006); and Tokyo Mandala (Tokyo Metropolitan Museum of Photography, 2007). Tomatsu also had a separate retrospective, Shomei Tomatsu: Skin of the Nation, for the international museum circuit. Skin of the Nation was organized by the San Francisco Museum of Modern Art, and curated by Sandra S. Phillips and the photographer and writer Leo Rubinfien. The exhibition toured three countries and five venues from 2004 through 2006: Japan Society (New York); National Gallery of Canada, Corcoran Museum of Art, San Francisco Museum of Modern Art, and Fotomuseum Winterthur. In 2010 Tomatsu moved to Okinawa permanently, where he held the final exhibition during his lifetime, Tomatsu Shomei and Okinawa - Love Letter to the Sun (2011). He succumbed to pneumonia on 14 December 2012 (although this was not publicly announced until January 2013).Source: Wikipedia
C.E. Morse
United States
1952
"I was born in Camden, Maine and loved vintage cars since I can remember; I bought my 1936 Pontiac at age 15 as soon as I had my driver's license. I didn't pick up a camera until I was in college at Rhode Island School of Design. I remembered all the incredible images that I used to see in vintage auto boneyards while I was sourcing parts for my '36 Pontiac and various other classic cars that I had collected,including a '29 Essex, a'41 Packard & 'a 54 Nash, so I started to bring my camera to the boneyards instead of my wrenches and shot abstract details of dented car fenders, old safety glass, rusty doors, and old chrome. I was so excited by this photography that I switched majors from sculpture to photography and was fortunate enough to study with Aaron Siskind; graduating with a BFA in photography in 1974. I also attended The Maine Photographic Workshops (now Maine Media Workshops), where I mentored with Paul Caponigro, Arnold Gassen and John Loengard. later on I took courses in digital printing at MECA (Maine College of Art). I hunt "Wild Art" : abstract details of found objects. I particularly like the contradictions of what I capture: the images are abstract, yet they are real the images are painterly, yet they are photographs the images are beautiful, yet come from discarded deteriorating derelict objects the images are from seemingly permanent subjects yet the are prone to disappear overnight (often my photographs are all that is left). I also appreciate the mystery of the unknown history of my various discoveries as well as acknowledging their wabi sabi nature. When people view my work they have to reach deep into personal experience and imagination. Being abstract and virtually unrecognizable my images may evoke a memory, an emotion, or a reminder of something visually similar and are sure to beg the question: 'what is it?', thereby starting the conversation..." -- C.E. Morse "It's not what you look at that matters, it's what you see." -- Henry David Thoreau
Myriam Boulos
Lebanon
1992
I was born in 1992 in Lebanon, right after the end of the war, in a fragmented country that had to reinvent itself. At the age of 16 I started to get closer to Beirut and used my camera to question the city, its people, and my place among them. I graduated with a master degree in photography from the Academie Libanaise des Beaux Arts in 2015. Today I use photography to explore, defy and resist society. It is my way of constantly reinventing myself in the body and the city I live in. Statement The revolution started in Lebanon on the 17th of October 2019. Since then everything has been emotionally and physically draining and confusing but also beautiful, sad and awakening. It all feels as if we were coming out of an abusive relationship and to finally say: No, this is not normal. When the revolution started in Lebanon, it was the most natural thing for me to take my camera and go to the streets. Photography has always been my way of participating to life as it is today my way of taking part in the revolution. In the ongoing socio-political context it felt to me like there was no choice: the subject of my photography imposed itself on me. It was more a question of need and necessity than a question of desire. The slow documentary that normally constitutes my approach was ever so naturally replaced by something else something new, and within the revolution I let myself carry by the big wave coming towards me, big wave much bigger than me. My project is about documenting the different facettes of the Lebanese revolution from a local point of view. My approach is characterized by the direct flash I use in this project but also in others. This potentially comes from my need to make things real. The direct flash also helps me work on textures, bodies and skins. In the context of the revolution, the proximity between the bodies says a lot about the situation. It is the first time that we claim our public spaces, our streets, our country. It is the first time that different social classes mix together in the streets. In our streets. In parallel to the photographic documentation, I am also documenting the evolution of my emotions during the revolution. It is sort of a diary that accompanies the pictures. Example: Monday, 20 Jan Beirut, Lebanon Tonight in the teargas I took all my pictures with eyes closed. They say the moment of a picture is a black out. I wonder if I don't look at these emotions, will they disappear?
Sebastián Machado
Todd Hido
United States
1968
Todd Hido (American, b.1968) is a prolific photographer whose works of suburban and urban homes have been shown in galleries and businesses throughout the nation. He was born in Kent, OH, and is now based in San Francisco, CA. He received a BFA in 1991 from Tufts University in Massachusetts, and an MFA from the California College of Arts and Crafts. He is currently an adjunct professor at the California College of Art in San Francisco. TODD HIDO (b. 1968 in Kent, OH) is a San Francisco Bay Area-based artist who received his M.F.A. from the California College of Arts and Crafts and his B.F.A. from the School of the Museum of Fine Arts, Boston, and Tufts University. His photographs have been exhibited internationally, including solo exhibitions at the Cleveland Museum of Art, and the Kemper Museum of Contemporary Art in Kansas City, and are included in numerous museum collections, including the Whitney Museum of Art, Guggenheim Museum, San Francisco Museum of Modern Art, and the Los Angeles County Museum of Art as well as in many other public and private collections. His work has been featured in Artforum, The New York Times Magazine, Eyemazing, Metropolis, The Face, I-D, and Vanity Fair. In 2001 an award-winning monograph of his work titled House Hunting was published by Nazraeli Press and a companion monograph, Outskirts, was published in 2002. His third book, Roaming, was published in 2004. Between the Two, focusing on portraits and nudes, was published in 2007. His latest book of landscapes, A Road Divided, was published in 2010. In May of 2013 Excerpts from Silver Meadows was published by Nazraeli Press. He is an adjunct professor at the California College of Art, San Francisco, California. Source: Rose Gallery Drawing from childhood memories as a creative wellspring, Hido wanders endlessly, taking lengthy road trips in search of imagery that connects with his own recollections. For his landscapes the artist chooses to photograph during overcast days and often frames his images through the vantage point of his car, using the windshield as an additional lens. Through this unique process and signature color palette, he alludes to the quiet and mysterious side of suburban America, where uniform communities provide for a stable façade, while concealing the instability that lies within its walls. While Hido is notorious for photographing suburbia from the outside as his pictures of well-worn dwellings evidence, he has also entered the interiors of these houses and integrated the human form into his work. His ability to capture the inherent tensions of both the human body and landscapes marks his work as a starting point of a broader discussion. Any narrative inferred form his work is entirely a construct of the viewer’s imagination heightened by Hido’s power of sequencing photographs and his fascination with a cinematic style of image making. Hido was born in 1968 in Kent, Ohio. He received his B.F.A. from the School of the Museum of Fine Arts, Boston, and Tufts University. In 1996 he earned his M.F.A. from the California College of Arts and Crafts where he was mentored by Larry Sultan. He is now an adjunct professor at the California College of Art, San Francisco. Hido has been the recipient of the Eureka Fellowship, Fleishhacker Foundation, Wallace Alexander Gerbode Foundation Visual Arts Award, and the Barclay Simpson Award. His latest show with Bruce Silverstein Gallery, Bright Black World is the artist's fourth solo exhibition with the gallery. His photographs have been the subject of solo exhibitions at the Cleveland Museum of Art, and the Kemper Museum of Contemporary Art in Kansas City. Other major institutions that have previously exhibited Hido’s work include the Carnegie Museum of Art, Pittsburgh, Pennsylvania; Corcoran Gallery of Art, Washignton D.C.; Museum of Contemporary Photography, Chicago; Miami Art Museum, Florida; Netherland Architecture Institute, Rotterdam; Palazzo Ducale, Genova, Italy; Samsung Museum of Modern Art in Korea; and the San Francisco Museum of Modern Art. Work by Hido is held in public and private collections including the Guggenheim Museum, New York; Los Angeles County Museum of Art; San Francisco Museum of Art; and the Whitney Museum of Art. In 2001 an award-winning monograph of his work titled House Hunting was published by Nazraeli Press, followed by a companion monograph, Outskirts, published in 2002. His third book, Roaming, was published in 2004. Between the Two, focusing on portraits and nudes, and A Road Divided were respectively published in 2007 and 2010. A full volume of Silver Meadows, mined from Hido’s own experience growing up in Kent, was launched at Paris Photo 2012. Intimate Distance, published in 2016, is the first comprehensive monograph charting the career of the artist. Hido’s most recent publication, Bright Black World, will be released in late autumn 2018. This newest publication highlights the artist’s first significant foray extensively photographing territory outside of the United States, chronicling a decidedly new psychological geography. The artist lives and works in the San Francisco Bay Area. Source: Bruce Silverstein
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Exclusive Interview with Jan Janssen
Dutch photographer Jan Janssen explores universal human experiences through his long-term project It Matters, winner of the May 2025 Solo Exhibition. Begun in 2016, the series captures intimate moments of everyday life—love, loss, connection, and belonging—across Central and Eastern Europe. Working in countries such as Turkey, Azerbaijan, and Armenia, Janssen spends extended time within communities, building relationships based on trust and respect. His approach allows him to move beyond observation, revealing deeply human and authentic moments. Rooted in travel and personal discovery, It Matters reflects Janssen’s search for what connects us all in an increasingly divided world. The project is ongoing and will culminate in a photobook scheduled for publication in 2026.
Exclusive Interview with Henk Kosche
German photographer Henk Kosche turns his lens toward the streets of Halle an der Saale, capturing everyday life in the late years of the former German Democratic Republic. At the time, Kosche was studying design and exploring the city with his camera, drawn to the atmosphere of its industrial landscape and the quiet rhythms of daily life. His series Street Photography at the End of the 80s, selected as the Solo Exhibition for July 2025, revisits a body of work created just before a period of profound change. Rediscovered decades later in a small box of 35mm negatives, these photographs offer glimpses of a city and its people at a moment suspended between the familiar and the unknown.
Exclusive Interview with Anastasia Samoylova
Anastasia Samoylova is an American artist whose photographic practice is shaped by close observation and a deep attentiveness to place. Working between documentary and formal exploration, she photographs landscapes, architecture, and everyday scenes with a sensitivity to light, structure, and atmosphere. Since relocating to Miami in 2016, her work has increasingly focused on how environments—both natural and built—carry social, cultural, and emotional traces. We asked her a few questions about her practice and her way of seeing, to better understand the thoughts and experiences that shape her work—while allowing the images themselves to remain open and speak in their own time.
Exclusive Interview with Marijn Fidder
Marijn Fidder is a Dutch documentary photographer whose work powerfully engages with current affairs and contemporary social issues. Driven by a deep sense of social justice, she uses photography to speak on behalf of the voiceless and to advocate for the rights of those who are most vulnerable. Her images have been widely published in major international outlets including National Geographic, CNN Style, NRC Handelsblad, Volkskrant, GUP New Talent, and ZEIT Magazin. Her long-term commitment to disability rights—particularly through years of work in Uganda—culminated in her acclaimed project Inclusive Nation, which earned her the title of Photographer of the Year 2025 at the All About Photo Awards. She is also the recipient of multiple prestigious honors, including awards from World Press Photo and the Global Peace Photo Award. We asked her a few questions about her life and work.
Exclusive Interview with Josh S. Rose
Josh S. Rose is a multidisciplinary artist working across photography, film, and writing. His practice bridges visual and performing arts, with a strong focus on movement, emotion, and the expressive potential of the image. Known for his long-standing collaborations with leading dance companies and performers, Rose brings together authenticity and precise composition—a balance he describes as “technical romanticism.” His work has been commissioned and exhibited internationally, appearing in outlets such as Vogue, at the Super Bowl, in film festivals, and most recently as a large-scale installation for Lincoln Center for the Performing Arts. A sought-after collaborator, he has worked with major artists, cultural institutions, and brands, following a previous career as Chief Creative Officer at Interpublic Group and the founder of Humans Are Social. We asked him a few questions about his life and work.
Interview with Maureen Ruddy Burkhart
Photographer Maureen Ruddy Burkhart brings a quietly attentive and deeply human sensibility to her exploration of the world through images. Shaped by a life immersed in photography, film, and visual storytelling, her work is guided by intuition, observation, and an enduring interest in the emotional undercurrents of everyday life. With a practice rooted in both fine art traditions and documentary awareness, she approaches her subjects with sensitivity, allowing subtle moments to emerge naturally rather than be imposed. Her series Til Death, selected as the Solo Exhibition for February 2025, reflects this long-standing commitment to photography as a space for reflection rather than spectacle. Drawn to moments that exist just outside the expected frame, Burkhart’s images suggest narratives without resolving them, leaving room for ambiguity, humor, and quiet connection. We asked her a few questions about her life and work.
Exclusive Interview with Peter Ydeen
Winner of AAP Magazine #45 Travels, his series reflects this unique vision—capturing the spirit of place through subtle layers of light, color, and emotion. Whether traveling abroad or observing the rhythms of his own surroundings, Ydeen creates images that feel both grounded and enchanted, inviting viewers into a world where reality and reverie meet.
Exclusive Interview with Julie Wang
Chinese-born photographer Julie Wang brings a poetic, contemplative sensitivity to her visual exploration of the world. Having lived for nearly equal parts of her life in China, Europe, and the United States, she approaches her subjects with the nuanced perspective of someone shaped by many cultures. This blend of distance, curiosity, and emotional resonance infuses her work with a quiet depth, allowing her to reveal the fragile beauty and subtle tensions that often pass unnoticed.
Exclusive Interview with Ghawam Kouchaki
American photographer Ghawam Kouchaki brings a sharply observant and introspective gaze to the streets of Japan’s capital. Based in Los Angeles, he approaches Tokyo with the distance — and curiosity — of an outsider, allowing him to uncover the city’s subtle contradictions, quiet tensions, and fleeting gestures that often go unnoticed. His series Tokyo no no, selected as the Solo Exhibition for December 2024, explores the hidden undercurrents of urban life: the unspoken rules, the small ruptures in routine, the poetic strangeness found in everyday moments. Through muted tones, instinctive timing, and meticulous framing, Kouchaki reveals a Tokyo that exists somewhere between reality and imagination — both intimate and enigmatic. We asked him a few questions about his life and work.
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