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Peter Beard
Peter Beard

Peter Beard

Country: United States
Birth: 1938 | Death: 2020

Peter Hill Beard is an American artist, photographer, diarist and writer who lives and works in New York City and Kenya. His photographs of Africa, African animals and the journals that often integrate his photographs have been widely shown and published since the 1960s. Born in 1938 as a New York aristocrat, he was heir to a railroad fortune on his mother’s side of the family and a tobacco inheritance on his father’s. He was raised in New York City, Alabama, and Islip, Long Island, Beard began keeping diaries as a young boy and making photographs, as an extension of the diaries, at the age of 12. A graduate of Pomfret School, he entered Yale University in 1957, with the intention of pursuing pre-med studies, only to switch his major to art history. His mentors at Yale included Josef Albers, Richard Lindner and Vincent Scully.

Inspired by earlier trips to Africa in both 1955 and 1960, Beard traveled to Kenya upon graduation. Working at Tsavo National Park, he photographed and documented the demise of 35,000 elephants and other wildlife, later to become the subject of his first book, "The End of the Game." During this time, Beard acquired Hog Ranch, a property near the Ngong Hills adjacent to the coffee farm owned by Karen Blixen (Isak Dinesen), which would become his lifelong home-base in East Africa.

Peter Beard's photographs of Africa, African animals and journals that often integrate his photographs have been widely shown and published since the 1970s. Each of his works is unique, a combination of his photography with elements derived from his daily diary-keeping, a practice he continues to this day. These volumes contain newspaper clippings, dried leaves, insects, old sepia-toned photos, transcribed telephone messages, marginalia in India ink, photographs of women, quotes, found objects, and the like; these become incorporated, with original drawings and collage by Beard. Certain of his works incorporate animal blood, sometimes Beard’s own blood (in sparing quantities), a painting medium the artist favors.

Beard's first exhibition was at the Blum Helman Gallery, New York, in 1975. Landmark museum exhibitions have been held at the International Center of Photography, New York, in 1977, and the Centre National de la Photographie, Paris, in 1997. Gallery exhibitions followed in Berlin, London, Toronto, Madrid, Milan, Tokyo and Vienna. Beard’s work is included in private collections throughout the world.

In 2017, Beard was sued by actor David Spade who purchased one of his works. Spade tried to resell a Peter Beard photograph that he had purchased from dealer Peter Tunney but the unsigned work could not be authenticated.

Descended from distinguished American families on both sides, Beard is one of three sons born to Roseanne Hoar Beard and Anson McCook Beard, Jr. A great-grandfather, James Jerome Hill, was founder of the Great Northern Railway in the United States in the late 19th/early 20th centuries. Having made his fortune in the railroad business, James Jerome Hill was a great patron of the arts. All of his heirs were exposed to and owned great collections, presumably having a strong influence on Beard’s interests in the arts and beauty.

Beard married his first wife (Minnie Cushing Beard Coleman) in 1962; their marriage lasted only briefly. His second wife was supermodel Cheryl Tiegs, from 1982 to 1986.

In 1986, he married Nejma Khanum. The couple has a daughter, Zara, for whom his book, Zara’s Tales, was written.

Beard has befriended and in some cases collaborated with many legendary artists including Andy Warhol, Andrew Wyeth, Francis Bacon, Karen Blixen, Truman Capote, Richard Lindner, and Salvador Dalí. He has also photographed many well-known people.

Source: Wikipedia


Peter Beard is a contemporary American photographer best known for his documentary images of Africa arranged in unique photo collages that combine painting, drawing, and text. Part documentarian, part activist, Beard’s work captures the plight of a continent succumbing to industrialization. “The wilderness is gone,” the artist has said, “and with it much more than we can appreciate or predict. We'll suffer for it.” Born on January 22, 1938 in New York, NY the artist and diarist was educated at Yale University, studying art history with the famed abstract painter Josef Albers. After moving to Africa in the 1960s, Beard began to catalog the demise of elephants and rhinoceroses in Kenya’s Tsavo National Park. In 1975, while living in Nairobi, Beard spotted a beautiful university student named Iman, the photographer later brought her to New York, launching her career as a super model. Over the course of his career he has collaborated with Andy Warhol, Richard Lindner, Francis Bacon, and others. Beard currently lives and works between New York and Montauk, NY, and Nairobi, Kenya.

Source: Artnet

 

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More Great Photographers To Discover

Mariana Basurto
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1976
My name is Mariana Basurto. I was born in Mexico City and I'm passionate about exploring the world with my camera in hand. My photography seeks to invade the intimacy of the streets, to extract and represent the magic that is perceived in everyday life and show the world from my eyes. Through my lens I seek to capture the unique and different everyday life with a personal stamp. With every click of my camera I connect with people through a smile or conversation where I have achieved spontaneity, intimacy and respect. There are three people and a country that triggered my passion for street photography at various times in my life. My grandfather and my father taught me to never stop being surprised in life and this fueled the action of exploring the planet. Today, I have visited more than seventy-five countries in the world and I have had the opportunity to live in five of them. My sister inspired me to photography when we traveled together and she captured moments with her Kodak camera from the 1980’s. Finally, having lived in a city like Shanghai motivated me to tell with my lens the fascinating stories that are lived every day in a country as special as China. I hold an Industrial Engineering degree and Professional Cook but abandoned both careers to focus on photography. I’m a member the Women street photography and Mexican Street Photography Collectives. I’m interested in documentary, travel and street photography. My medium-long-term documentary projects are: • At their home – Show how people live around the world. Through my connection on the street I have managed to enter people's homes and they have shown me how they live. • Elder beauty portrait- Document the expressions, textures and stories of elderly men and women from different cultures who through their skin show a unique beauty • Quirks – Fun and unique things from everyday life that represent cultures, places or people I have recently participated in worldwide exhibitions in Hong Kong, New York, Iran, Mexico but my greatest reward is seeing people's expressions when I show them their photo. They feel happy, heard, and represented. I currently live in Charlotte, North Carolina, in the United States in constant search of new places to visit and stories that my lens can tell Statement My photography is a unique, personal dialogue between the images and viewer, crafted with the passion and privilege of capturing human connections and truths, often challenging prevailing narratives without compromise,. My main belief is that: “Never stop being amazed”
John Vachon
United States
1914 | † 1975
John Vachon was a world-traveling American photographer. Vachon is remembered most for his photography working for the Farm Security Administration (FSA) as part of the New Deal and for contributions to Look magazine. One becomes keenly alive to the seeking of picture material. It becomes part of your existence to make a visual report on a particular place or environment. -- John Vachon John Felix Vachon was born on May 19, 1914 to a middle class Irish Catholic Family in Saint Paul, Minnesota. He was the son of Ann Marie (O'Hara) and Harry Parnell Vachon. His parents were not well off, his father made a get-by living as a traveling salesman in stationery supplies. He had one younger brother named Robert. Vachon had a Catholic education and graduated from Cretin High School local military Catholic high school (now Cretin-Derham Hall High School). He continued his education at the University of St. Thomas in Saint Paul and received a bachelor's degree in 1934. Vachon moved to Washington, D.C. after receiving a fellowship to attend graduate school at Catholic University of America to study English literature and become a writer. As he began his studies, a few months later, he was forced to leave school due to his drinking. After his leave from graduate school, Vachon looked for work around Washington D.C., finding his first job in photography working for the Farm Security Administration's Historic Division as one of the photographers hired by Roy Stryker to document the plight of migrants during the Great Depression. In about 1938 Vachon married Millicent Leeper who was known as Penny. While Vachon was on the road working as a photographer for the FSA, he wrote daily letters to Penny, as well as to his mother. He wrote them to describe his experiences, ambitions, self-doubt, sense of humor, the obligation to the FSA, the people he met, the news he read about, and the movies he watched. In the letters, Vachon describes how he relied on Penny to support him and his work. They had three children. Penny committed suicide in 1960. Vachon married Marie Francoise Fourestier in 1961. They had two more children. Vachon served in the United States Army in 1945. Vachon's daughter, Christine Vachon, became an independent film producer in adulthood, and their son Micheal became an editor who worked with his father in later years. The FSA was a New Deal agency created in 1937 to combat rural poverty during the Great Depression in the United States. The FSA is famous for its small but highly influential photography program which ran from 1935 to 1944, and documented the challenges of rural poverty and farm life. John Vachon's first job at the FSA carried the title "assistant messenger." He was twenty-one, and had come to Washington D.C from his native Minnesota to attend The Catholic University of America. Vachon had no intention of becoming a photographer when he took the position in 1936, but as his responsibilities increased for maintaining the FSA photographic file, his interest in photography grew. The FSA sent more than forty photographers into the field and collected images of American life that would result in an archive of 165,000 FSA prints. Some FSA employees had well-established careers, while others become famous as photographers as a result of their work, including Esther Bubley, Marjory Collins, Marion Post Wolcott, Jack Delano, Arthur Rothstein, Walker Evans, Russell Lee, Gordon Parks, Charlotte Brooks, Carl Mydans, Dorothea Lange and Ben Shahn. By 1937 Vachon started to take photographs himself, and with advice from Ben Shahn, he tried out a Leica camera in and around Washington. His weekend photographs of "everything in the Potomac River valley" were clearly the work of a beginner, but Stryker lent him equipment and encouraged him to keep at it. Arthur Rothstein, who took him along on a photographic assignment to the mountains of Virginia. In October and November 1938, Vachon traveled to Nebraska on his first extensive solo trip. He photographed agricultural programs on behalf of the FSA's regional office and pursued an extra assignment from the photography project's chief, Roy Stryker: the city of Omaha. Vachon worked extensively in the midwestern and Great Plains states. As the Great Depression lessened and American involvement in the War in Europe increased, the government moved FSA photography project to the Office of War Information, and Vachon's job transferred to that agency as well, where he worked from 1942 to 1943. He later worked as a staff photographer for Standard Oil Company of New Jersey between 1943 and 1944. After serving in the army in 1944-45, in 1947 Vachon joined the Photo League, where he wrote book reviews for Photo Notes and participated in many exhibitions. Between 1945 and 1947 he photographed New Jersey and Venezuela for Standard, and Poland for the United Nations Relief and Rehabilitation Administration. Vachon became a staff photographer for Life magazine, where he worked between 1947 and 1949, and for over twenty-five years beginning in 1947 at Look magazine. In 1953 Vachon took the first pictures of Marilyn Monroe and Joe DiMaggio when Monroe cured a sprained ankle near Banff, Canada. With Look closed, he had continued to work as often as he could. He photographed two stories for Vermont Life, a magazine edited at the time by his son Brian and became a freelance photographer. In 1973, he won a Guggenheim Fellowship. In 1975, he was a visiting professor at the Minneapolis Institute of Arts. In Vachon's later years, he was teaching a class in photography where he kept notebooks on the main points of the day. For December 9th, 1974 he reflects on it earlier assignment he had given his students to emulate the work of FSA photographers. Vachon continued as a freelancer until cancer brought him down. Vachon died of cancer in 1975 in New York at age 60.Source: Wikipedia
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Robert Frank
Switzerland/United States
1924 | † 2019
Robert Frank was a Swiss photographer and documentary filmmaker, who became an American binational. His most notable work, the 1958 book titled The Americans, earned Frank comparisons to a modern-day de Tocqueville for his fresh and nuanced outsider's view of American society. Critic Sean O'Hagan, writing in The Guardian in 2014, said The Americans "changed the nature of photography, what it could say and how it could say it. it remains perhaps the most influential photography book of the 20th century." Frank later expanded into film and video and experimented with manipulating photographs and photomontage. I’m always looking outside, trying to look inside. Trying to say something that is true. But maybe nothing is really true. Except what’s out there. And what’s out there is always changing. -- Robert Frank Frank was born in Zürich, Switzerland, the son of Rosa (Zucker) and Hermann Frank. His family was Jewish. Robert states in Gerald Fox's 2004 documentary Leaving Home, Coming Home that his mother, Rosa (other sources state her name as Regina), had a Swiss passport, while his father, Hermann originating from Frankfurt, Germany had become stateless after losing his German citizenship as a Jew. They had to apply for Swiss citizenship for Robert and his older brother, Manfred. Though Frank and his family remained safe in Switzerland during World War II, the threat of Nazism nonetheless affected his understanding of oppression. He turned to photography, in part as a means to escape the confines of his business-oriented family and home, and trained under a few photographers and graphic designers before he created his first hand-made book of photographs, 40 Fotos, in 1946. Frank emigrated to the United States in 1947 and secured a job in New York City as a fashion photographer for Harper's Bazaar. In 1949, the new editor of Camera magazine, Walter Laubli (1902-1991), published a substantial portfolio of Jakob Tuggener pictures made at upper-class entertainments and in factories, alongside the work of the 25-year-old Frank who had just returned to his native Switzerland after two years abroad, with pages including some of his first pictures from New York. The magazine promoted the two as representatives of the 'new photography' of Switzerland. Tuggener was a role model for the younger artist, first mentioned to him by Frank's boss and mentor, Zurich commercial photographer Michael Wolgensinger (1913-1990) who understood that Frank was unsuited to the more mercenary application of the medium. Tuggener, as a serious artist who had left the commercial world behind, was the "one Frank really did love, from among all Swiss photographers," according to Guido Magnaguagno and Fabrik, as a photo book, was a model for Frank's Les Américains ('The Americans') published ten years later in Paris by Delpire, in 1958. He soon left to travel in South America and Europe. He created another hand-made book of photographs that he shot in Peru, and returned to the U.S. in 1950. That year was momentous for Frank, who, after meeting Edward Steichen, participated in the group show 51 American Photographers at the Museum of Modern Art (MoMA); he also married fellow artist Mary Frank née Mary Lockspeiser, with whom he had two children, Andrea and Pablo. Though he was initially optimistic about the United States' society and culture, Frank's perspective quickly changed as he confronted the fast pace of American life and what he saw as an overemphasis on money. He now saw America as an often bleak and lonely place, a perspective that became evident in his later photography. Frank's own dissatisfaction with the control that editors exercised over his work also undoubtedly colored his experience. He continued to travel, moving his family briefly to Paris. In 1953, he returned to New York and continued to work as a freelance photojournalist for magazines including McCall's, Vogue, and Fortune. Associating with other contemporary photographers such as Saul Leiter and Diane Arbus, he helped form what Jane Livingston has termed The New York School of photographers (not to be confused with the New York School of art) during the 1940s and 1950s. In 1955, Frank achieved further recognition with the inclusion by Edward Steichen of seven of his photographs (many more than most other contributors) in the world-touring Museum of Modern Art exhibition The Family of Man that was to be seen by 9 million visitors and with a popular catalog that is still in print. Frank's contributions had been taken in Spain (of a woman kissing her swaddled babe-in-arms); of a bowed old woman in Peru; a rheumy-eyed miner in Wales; and the others in England and the US, including two (one atypically soft-focus) of his wife in pregnancy; and one (later to be included in The Americans) of six laughing women in the window of the White Tower Hamburger Stand on Fourteenth Street, New York City. The truth is somewhere between the documentary and the fictional, and that is what I try to show. What is real one moment has become imaginary the next. You believe what you see now, and the next second you don’t anymore. -- Robert Frank Inspired by fellow Swiss Jakob Tuggener's 1943 book Fabrik, Bill Brandt's The English at Home (1936), and Walker Evans's American Photographs (1938), and on the recommendation of Evans (a previous recipient), Alexey Brodovitch, Alexander Leiberman, Edward Steichen, and Meyer Schapiro, Frank secured a Guggenheim Fellowship from the John Simon Guggenheim Memorial Foundation in 1955 to travel across the United States and photograph all strata of its society. Cities he visited included Detroit and Dearborn, Michigan; Savannah, Georgia; Miami Beach and St. Petersburg, Florida; New Orleans, Louisiana; Houston, Texas; Los Angeles, California; Reno, Nevada; Salt Lake City, Utah; Butte, Montana; and Chicago, Illinois. He took his family along with him for part of his series of road trips over the next two years, during which time he took 28,000 shots. 83 of these were selected by him for publication in The Americans. Frank's journey was not without incident. He later recalled the anti-Semitism to which he was subject in a small Arkansas town. "I remember the guy [policeman] took me into the police station, and he sat there and put his feet on the table. It came out that I was Jewish because I had a letter from the Guggenheim Foundation. They really were primitive." He was told by the sheriff, "Well, we have to get somebody who speaks Yiddish." ... "They wanted to make a thing out of it. It was the only time it happened on the trip. They put me in jail. It was scary. Nobody knew where I was." Elsewhere in the South, he was told by a sheriff that he had "an hour to leave town." Those incidents may have contributed to the dark view of America found in the work. Shortly after returning to New York in 1957, Frank met Beat writer Jack Kerouac "at a New York party where poets and Beatniks were," and showed him the photographs from his travels. However, according to Joyce Johnson, Kerouac's lover at the time, she met Frank while waiting for Kerouac to emerge from a conference with his editors, at Viking Press, looked at Frank's portfolio, and introduced them to each other. Kerouac immediately told Frank, "Sure I can write something about these pictures." He eventually contributed the introduction to the U.S. edition of The Americans. Frank also became lifelong friends with Allen Ginsberg, and was one of the main visual artists to document the Beat subculture, which felt an affinity with Frank's interest in documenting the tensions between the optimism of the 1950s and the realities of class and racial differences. The irony that Frank found in the gloss of American culture and wealth over this tension gave his photographs a clear contrast to those of most contemporary American photojournalists, as did his use of unusual focus, low lighting, and cropping that deviated from accepted photographic techniques. This divergence from contemporary photographic standards gave Frank difficulty at first in securing an American publisher. Les Américains was first published in 1958 by Robert Delpire in Paris, as part of its Encyclopédie Essentielle series, with texts by Simone de Beauvoir, Erskine Caldwell, William Faulkner, Henry Miller and John Steinbeck that Delpire positioned opposite Frank's photographs. It was finally published in 1959 in the United States, without the texts, by Grove Press, where it initially received substantial criticism. Popular Photography, for one, derided his images as "meaningless blur, grain, muddy exposures, drunken horizons and general sloppiness." Though sales were also poor at first, the fact that the introduction was by the popular Kerouac helped it reach a larger audience. Over time and through the inspiration of later artists, The Americans became a seminal work in American photography and art history, and is the work with which Frank is most clearly identified. In 1961, Frank received his first individual show, entitled Robert Frank: Photographer, at the Art Institute of Chicago. He also showed at the Museum of Modern Art in New York in 1962. By the time The Americans was published in the United States in 1959, Frank had moved away from photography to concentrate on filmmaking. Among his films was the 1959 Pull My Daisy, which was written and narrated by Kerouac and starred Ginsberg, Gregory Corso and others from the Beat circle. The Beats emphasized spontaneity, and the film conveyed the quality of having been thrown together or even improvised. Pull My Daisy was accordingly praised for years as an improvisational masterpiece, until Frank's co-director, Alfred Leslie, revealed in a November 28, 1968 article in the Village Voice that the film was actually carefully planned, rehearsed, and directed by him and Frank, who shot the film with professional lighting. Though Frank continued to be interested in film and video, he returned to still images in the 1970s, publishing his second photographic book, The Lines of My Hand, in 1972. This work has been described as a "visual autobiography", and consists largely of personal photographs. However, he largely gave up "straight" photography to instead create narratives out of constructed images and collages, incorporating words and multiple frames of images that were directly scratched and distorted on the negatives. None of this later work has achieved an impact comparable to that of The Americans. As some critics have pointed out, this is perhaps because Frank began playing with constructed images more than a decade after Robert Rauschenberg introduced his silkscreen composites—in contrast to The Americans, Frank's later images simply were not beyond the pale of accepted technique and practice by that time. Frank and Mary separated in 1969. He remarried, to sculptor June Leaf, and in 1971, moved to the community of Mabou, Nova Scotia in Cape Breton Island, Nova Scotia in Canada. In 1974, his daughter, Andrea, was killed in a plane crash in Tikal, Guatemala. Also around this time, his son, Pablo, was first hospitalized and diagnosed with schizophrenia. Much of Frank's subsequent work dealt with the impact of the loss of both his daughter and subsequently his son, who died in an Allentown, Pennsylvania hospital in 1994. In 1995, in memory of his daughter, he founded the Andrea Frank Foundation, which provides grants to artists. After his move to Nova Scotia, Canada, Frank divided his time between his home there, in a former fisherman's shack on the coast, and his Bleecker Street loft in New York. He acquired a reputation for being a recluse (particularly since the death of Andrea), declining most interviews and public appearances. He continued to accept eclectic assignments, however, such as photographing the 1984 Democratic National Convention and directing music videos for artists such as New Order ("Run"), and Patti Smith ("Summer Cannibals"). Frank produced both films and still images, and helped organize several retrospectives of his art. His work has been represented by Pace/MacGill Gallery in New York since 1984. In 1994, the National Gallery of Art in Washington, D.C. presented the most comprehensive retrospective of Frank's work to date, entitled Moving Out. Frank died on September 9, 2019, at his home in Nova Scotia.Source: Wikipedia I have been frequently accused of deliberately twisting subject matter to my point of view. Above all, I know that life for a photographer cannot be a matter of indifference. Opinion often consists of a kind of criticism. But criticism can come out of love. It is important to see what is invisible to others—perhaps the look of hope or the look of sadness. Also it is always the instantaneous reaction to oneself that produces a photograph. -- Robert Frank
Neşe Arı
Turkey
1980
Neşe Arı is an independent artist based in Istanbul, who has transformed photography into a powerful means of personal expression. Immersed in the world of photography for over fifteen years, Arı focuses on capturing the simple yet profound moments of everyday life. Working primarily in documentary, travel, and street photography, she draws attention to human stories, emotions, and the often unseen details of life. Her photographs invite the viewer to witness small but meaningful fragments of time. Her artistic approach is built on sincerity, simplicity, and a strong narrative voice. Particularly passionate about social responsibility projects, she gained recognition through her long-term project "Yaşamda Kal" ("Stay Alive"), which sheds light on the life journeys of individuals overcoming physical disabilities. Through this project, she aims to highlight the strength and resilience of people who reclaim life through sports. Neşe Arı’s work has been exhibited in numerous shows across Turkey and internationally, and has been published in renowned outlets such as The Times, The Daily Telegraph, and The Guardian. In 2016, she was awarded the EFIAP distinction by the International Federation of Photographic Art (FIAP). Her photographs have also been featured in major international projects such as "Women's Cry", "Changes", and "Open Doors", and her work has been showcased in exhibitions in the Vatican and many other countries. For Neşe Arı, every journey and every new face represents a story waiting to be told. She continues to use her camera as a tool to create photographs that touch lives, provoke thought, and evoke deep emotions. Artistic Vision: As Neşe Arı, I aim to make the simple yet profound moments of life visible. I use photography as a language to touch human stories, reveal emotions, and uncover the hidden beauty of everyday life. With each frame, I strive to create an impact that invites the viewer to reflect, feel, and connect with the essence of existence. By emphasizing sincerity, simplicity, and the strength of the human spirit, I seek to preserve and celebrate the diverse faces and stories of life.
Andreas Franke
Andreas Franke is in the business for more than twenty years. For Luerzer‘s Archive he is among the 200 Best Photographers. He worked for great brands like Ben&Jerry's, Coca-Cola, Ford, General Electric, Gillette, Heineken, Nike, Visa or Wrigley‘s. His still lifes and his surreal effects are famous. In his pictures every little detail is planned precisely. There is no space left for fortuity. Andreas Franke is a traveler. He travels through the world and between the worlds. His job frequently leads him to several countries on several continents. So does his passion the scuba diving. In his pictures Franke crosses the borderlines between fantasy and real life.With his project “The Sinking World“ Andreas Franke brings a strange, forgotten underwater world back to life and stages realms of an unprecedented kind.The pictures engender extreme polarities: the soft, secretive underwater emptiness of sleeping shipwrecks is paired with real, authentic sceneries full of liveliness and vigor, thus creating a new world, equally bizarre and irresistibly entangling. The resting giants at the bottom of the sea do not only form fascinating and unique backgrounds for Andreas Franke’s sceneries. They also constitute the best exhibition sites imaginable. These spectacular underwater galleries make divers fall under their spell and display the work of the ocean itself. During the weeks and months under water the ocean bequeaths impressive, peerless traces to the pictures. It adorns them with a certain, peculiar patina, endowing them with the countenance of bizarre evanescence and transfiguring them into rare beauties.
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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.
Exclusive Interview with Tommi Viitala
Tommi Viitala, winner of AAP Magazine #44: Street, is a Finnish photographer celebrated for his striking and cinematic street photography. With a keen eye for atmosphere and composition, he captures fleeting urban moments that reveal the poetry of everyday life. His work often explores the tension between solitude and connection within contemporary cityscapes, blending documentary realism with artistic sensibility. Viitala’s photographs have been exhibited internationally and recognized for their strong visual storytelling and emotional depth. We asked him a few questions about his life and work.
Exclusive Interview with Robert Mack
Robert Mack is a California-based visual artist, photographer, and filmmaker. His fine art photography and films have been exhibited widely in the United States and Europe, with major shows at the Baltimore Museum of Art and the Reiss-Engelhorn Museum in Mannheim, Germany. Both institutions hold his work in their permanent collections. Working across different media, Mack has built a career exploring the complexities of human presence and representation. In 1981, while living in Baltimore, he produced The Perkins Project: Not Guilty by Reason of Insanity, a rare photographic and film study inside Maryland’s hospital for the criminally insane. These stark yet compassionate black-and-white portraits remain one of his most powerful and controversial bodies of work.
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