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Nick Turpin
Nick Turpin

Nick Turpin

Country: United Kingdom
Birth: 1969

Nick Turpin is a British street photographer and advertising and design photographer. He is based in London and near Lyon, France. He studied an art and design foundation course at the University of Gloucestershire, specializing in photography; then a BA in photography, film and video at the University of Westminster. Whilst at university he showed his second-year photojournalism stories to the picture editor at The Independent and in 1990, aged 20, quit his course to be a press photographer for the newspaper. He left The Independent in 1997 for a career in advertising and design photography that would finance his street photography (for example he photographed the cover of Bridget Jones's Diary (1995) by Helen Fielding).

Turpin established the first international collective of street photographers, In-Public, in 2000 with the intention of bringing together like-minded photographers to hold exhibitions, produce books, and conduct workshops. Colin Westerbeck, writing in Time in 2011, said Turpin was "notable for having been instrumental in a collaborative documentary project", namely In-Public. He left the collective in 2018.

His work has been published in his own book, On The Night Bus (2016), and in various survey publications, as well as being included in a number of group exhibitions. He publishes through Nick Turpin Publishing, makes short films, and gives workshops on street photography.

Source: Wikipedia




Artist Statement
"There is something about the making of photographs in public places that resonates with me more than any other kind of photography. I think it simply suits my personality.

It’s nice, when taking pictures in the street, not to have to participate in any way in the stream of life passing you by. It makes me feel special to be there but not to be chatting, not to be shopping or not even to be heading for somewhere else. I feel like I am invisible to the passing crowds. This in turn leads to a loss of my sense of self, which is the finest feeling of all.

Having worked for several years both in newspapers and advertising, I am fascinated by the things that I ‘choose’ to photograph when I leave the house with my camera but without a ‘story’ or ‘brief’ to fulfill. These ‘choices’ are revealing,in some way, of who I am.

I go to the busiest, public places to discover something very personal and private. It is an inescapable truth that the resulting photographs are as much about my inner state as they are about the external world they were made in. They are all self-portraits.

It is important to me that my personal pictures don’t have to ‘do’ anything. They don’t have to sell in a gallery or sit well beside the ads in a magazine. I don’t have to make pictures that are easily categorised. They are not reportage, there is no subject, they are not art, there is no great technical craft or aesthetic beauty. They are just pictures about life. For these reasons, Picture Editors, Art Directors and Curators don’t know what to do with them, where to put them. I like that."
-- Nick Turpin

Source: In-Public


 

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Milton Rogovin
United States
1909 | † 2011
Milton Rogovin was born in New York City in 1909. He graduated from Columbia University in 1931 with a degree in optometry and a deep concern for the rights of the worker. He moved to Buffalo, New York, in 1938, where he established his own optometric practice in 1939. In 1942, he married Anne Snetsky. That same year, he purchased his first camera, and was inducted into the U.S. Army, where he served in England as an optometrist until 1945. Upon his discharge, he returned to his optometric practice and his growing family. By 1947, the Rogovin's had two daughters, Ellen and Paula, and a son, Mark.Source: www.miltonrogovin.com Milton Rogovin (1909–2011) was a documentary photographer who has been compared to great social documentary photographers of the 19th and 20th centuries, such as Lewis Hine and Jacob Riis. His photographs are in the Library of Congress, the J. Paul Getty Museum, the Center for Creative Photography and other distinguished institutions. Milton Rogovin was born December 30, 1909 in Brooklyn, New York City of ethnic Jewish parents who emigrated to America from Lithuania, then part of the Russian empire. He attended Stuyvesant High School in New York City and enrolled in Columbia University, from which he graduated in 1931 with a degree in optometry. Following graduation Rogovin worked as an optometrist in New York City. Distressed by the rampant and worsening poverty resulting from the Great Depression, Rogovin began attending night classes at the New York Workers School, a radical educational institution sponsored by the Communist Party USA. In 1938 Rogovin moved to Buffalo and established an optometry practice there. In 1942, he married Anne Snetsky (later changed to Setters). In the same year, he was inducted into the U.S.Army, where he worked as an optometrist. After his discharge from the Army, Milton and Anne had three children: two daughters (Ellen and Paula) and a son (Mark). Rogovin was called before the House Un-American Activities Committee in 1957. Like many other Americans who embraced Communism as a model for improving the quality of life for the working class, he became a subject of the Committee's attentions in the postwar period: He was discredited — without having been convicted of any offense — as someone whose views henceforth had to be discounted as dangerous and irresponsible. The incident inspired Rogovin to turn to photography as a means of expression; it was a way to continue to speak to the worth and dignity of people who make their livings under modest or difficult circumstances, often in physically taxing occupations that usually receive little attention. In 1958, a collaboration with William Tallmadge, a professor of music, to document music at storefront churches set Rogovin on his photographic path. Some of the photographs that Rogovin made in the churches were published in 1962 in Aperture magazine, edited by Minor White, with an introduction by W.E.B. Du Bois, a founder of the National Association for the Advancement of Colored People (NAACP). That same year Rogovin began to photograph coal miners, a project that took him to France, Scotland, Spain, China, and Mexico. Many of these images were published in his first book, The Forgotten Ones. Rogovin traveled throughout the world, taking numerous portraits of workers and their families in many countries. His most acclaimed project, though, has been The Forgotten Ones, sequential portraits taken over three decades of over a hundred families who resided on Buffalo’s impoverished Lower West Side. The project was begun in 1972 and completed in 2002. In 1999, the Library of Congress collected more than a thousand of Rogovin’s prints.Source: Wikipedia
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Netherlands
1963
Désirée Dolron is a Dutch photographer and filmmaker. Her oeuvre ranges from documentary photography and still lifes to portraiture and film.Throughout her career, Dolron has been investigating themes such as the passing of time, the relation between finite and transcendent and the complexity and impermanence of the human condition. Dolron was awarded the 1996 Laureate Prix de Rome (Amsterdam, NL). Her work is represented in numerous international public and private collections including the Solomon R. Guggenheim Museum in New York, Collection H&F in Barcelona, Museo Nacional Centro de Arte Reina Sofia in Madrid, Gemeentemuseum in The Hague, Stedelijk Museum in Amsterdam, la Collection Neuflize Vie in Paris and the Victoria and Albert Museum in London. Désirée Dolron lives and works in Amsterdam. Source: desireedolron.com The meticulous attention to production details characterizes her body of work, and elements such as sound (or its absence –silence) are often used as important tools of narration, helping the viewer to enter into the conceptual depth of Dolron’s works. Both moving and still images are composed by the artist and manage to recreate a reality that is a-temporal, undefined yet extremely present. Desirée Dolron (1963 Haarlem, NL) was awarded the 1996 Laureate Prix de Rome (Amsterdam, NL), and her work is part of major international collections such as the Solomon R. Guggenheim Museum in New York (US), the Museo Nacional Centro de Arte Reina Sofía in Madrid (SP), the Stedelijk Museum in Amsterdam (NL), and the Victoria and Albert Museum, London (UK). Source: GRIMM Gallery
Tod Papageorge
United States
1940
Tod Papageorge is an American photographer whose career began in the New York City street photography movement of the 1960s. He started taking photographs in 1962 as an English literature major at the University of New Hampshire. Between 1979 and 2013 he directed the graduate program in photography at the Yale School of Art, where his students included Philip-Lorca diCorcia, Lois Conner, Abelardo Morell, Susan Lipper, Gregory Crewdson, An-My Le, Anna Gaskell, Steve Giovinco, and Katy Grannan. In 2007, Steidl published Passing through Eden, a collection of photographs Papageorge took over 25 years in Central Park. Also in 2007, Aperture published American Sports, 1970: Or How We Spent the War in Vietnam, containing photographs taken during his 1970 Guggenheim Fellowship.Source: Wikipedia About Passing through Eden Taken between 1969 and 1991, these black and white photographs capture the primeval character of Central Park, a human tragedy and comedy in this particular vision of the garden of Eden. During the 1970s, when Papageorge began to work on this series, Central Park was portrayed as a dangerous place not to be visited after dark. These photographs depict a different view showing innocence, beauty, ugliness, isolation, chaos and humour - the whole scope of human life on view within the park. Papageorge parallels this series with the first four books of Genesis, pulling the disparate images together by presenting the park as a public Eden, his elegy to a lost Elysium. This projected narrative lends the images structure and gravity: the audience can recognise Adam and Eve, Cain and Abel in various guises acting out their elemental roles in our commonplace world. Initially, Papageorge's project was driven less by a fascination with Central Park than by the desire to utilise a particular camera (6 x 9 cm Fujica) that was too cumbersome for the city's streets. He found within the park an intense and palpable realm of bodies, action and objects. Daily photographic excursions alongside Garry Winogrand and Joel Meyerowitz on the streets of New York had honed his abilities to both anticipate and capture great photographic moments within the disorder of the park. Established as an articulate and influential critic and teacher of other's work, Papageorge's own photographs have rarely been in the spotlight. Professor and Director of Graduate Studies in Photography at Yale Art School since 1979, he has taught many of the strongest American photographers of the past three decades, including Abelardo Morell, Gregory Crewdson, Anna Gaskell and Katy Grannan. This re-examination of Papageorge's photography has been prompted by the recent reconsideration of work by his peers -- Winogrand by the ICP, Friedlander by the MOMA and Stephen Shore by the ICP.Source: Michael Hoppen Gallery
Lorenzo Meloni
Lorenzo Meloni (born 1983) is an Italian Photographer. He joined Magnum Photos as a nominee member in 2015. Meloni is known for his searing, artfully drawn photography covering conflicts in the Middle East. Though he is often working on the frontline—he has covered some of the most pivotal battles in the war against the Islamic State—he is also concerned with deeper themes, such as history and post-colonialism. In 2011, he finished his photography studies and immediately joined Contrasto, a major Italian photographic agency. He lived in Beirut from 2012 to 2014 and dedicated himself to long-term projects regarding the aftermath of the fall of Gaddafi in Libya, the conflict in Syria (specifically the area of Rojava) and its impact in Lebanon, between 2014 to 2016. His work currently focuses on the consequences of the Sykes-Picot agreement and the military and political intervention of the West in the Middle East. Meloni’s work has been exhibited in festivals worldwide including the Venice Biennale, Visa pour L’Image, Les Rencontres d’Arles, Boutographies and Fotoleggendo and has been featured in global publications including The Telegraph, TIME, Le Figaro, Vanity Fair, Internazionale, L’Espresso, La Repubblica.Source: Magnum Photos When proclaimed in June 2014 in Mosul, the Caliphate was then at the height of its power. The Jhiadists controlled a territory that was as big as the United Kingdom and were in charge of a significant arsenal captured from the Iraqis army, composed of volunteers coming from all over the world. Lorenzo Meloni has documented this conflict, getting the exclusive opportunity to cover the battles of Kobane, Palmyra, Sirte, Mosul and Ragga. Five major battles for the same war, a huge number of actors: locals, regional, international ones; a sole enemy: the Islamic State. Each of these five cities embodies a distinct symbolic aspect of this global war against the Islamic State. Kobane, a Kurdish-Syrian stronghold, pro-PKK, was the first great defeat for the Jihadists and the beginning of the intervention of the coalition led by the United States in Syria. The battle of Palmyra is representative of the destruction of archeological sites committed by the Islamic State. Meloni is one of the few photographers to travel there in April 2016 to record the liberation of the city by the Syrian regime and its alleys. Sirte, in Lybia, went from being Gadaffi’s birthplace to the African capital of the Islamic State. Mosul, the jewel in the crown of the Jihadists. The biggest urban battle after World War II and the capital of the Islamic State in Iraq. And ultimately Ragga, an important administrative headquarter and capital of the Islamic State in Syria, liberated by the Kurdish and Arab forces in Syria. Lorenzo Meloni, covering these five battles, offers a unique perspective of five echoes of the same war. He shows the fighting and the ruins, the fury and the silence. The silence of these places where war has estranged life.Source: IMP Festival
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