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Vytenis Jankūnas
Vytenis Jankūnas
Vytenis Jankūnas

Vytenis Jankūnas

Country: United States
Birth: 1961

Vytenis Jankūnas is a Lithuanian-American artist who in his latest work uses mostly photography as a medium for his artistic projects, which include books, photo and video installations. He has shown in numerous group and solo exhibitions nationally and internationally. Recent exhibits include one-man shows at Contemporary Art Centre, Vilnius (Lithuania) (his second solo show in CAC Vilnius), Tallinn Art Hall Gallery, (Estonia), Undercurrent Gallery, New York City (USA) and Prospekto Gallery, Vilnius (Lithuania). He won the 1st place in Self Published Books category of the IPA - int'l photography awards, has been a recipient of the Fellowship award from the New York Foundation for the Arts, New York City (USA) and was awarded a residency at Nordic Arts Centre (HIAP), Helsinki (Finland). Vytenis Jankūnas lives and works in New York City, USA.

Urban Portraits - NYC Edition
My latest photography project is called ''Urban Portraits - NYC Edition.'' I have lived in New York City for over 25 years and always been asking myself: what keeps me here for so long? Is it cultural richness, or the career opportunities this city can offer, or maybe the ability to experience most of what the world can offer without leaving the city? I guess everything at once, but one thing became certain to me: I fell in love with the people, the way they look, the way they dress, the way they talk. It is hard to find another city in the world with such, or similar diversity within its population. This is what my project is about, just walking the streets and capturing people with my camera religiously. The result is something in between street photography and portraits of people in the vulnerable state of everyday life. It is still an ongoing project

Websites

vytenisjankunas.com

@teniskunas

 

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Thomas Annan
Thomas Annan
Scotland
1829 | † 1887
Thomas Annan was a Scottish photographer, notable for being the first to record the bad housing conditions of the poor. Born in Dairsie, Fife he was one of seven children of John Annan, a flax spinner. After his initial apprenticeship as a lithographic writer and engraver at the Fife Herald in Cupar, he moved to Glasgow in 1849 and worked as a lithographer and engraver for Joseph Swan until 1855. He set up business with George Berwick at 40 Woodlands Road, Glasgow, listing in the 1855 - 56 Glasgow post office directory as calotypists, practitioners of this early form of photography. In 1855, he photographed the ship RMS Persia, under construction on the Clyde, which was probably a commission by engineer, Robert Napier. This photograph was part of a group of images sent to the Photographic Exhibition in connection with the British Association. After dissolving his previous partnership, he established himself in a photographic studio at 116 Sauchiehall Street during 1857. In 1859, the business moved to 200 Hope Street and he was also able to establish a printing works in Hamilton in 1863. First interested largely in architectural photography and then portraits, as well as photographing artworks and maps, in 1866 Annan photographed slum areas of the city. These images were used by Glasgow City Improvement Trust to document the overcrowded, unhygienic conditions ahead of extensive redevelopments. It was this series of photographs, created between 1868 and 1871, entitled Old Closes and Streets of Glasgow, that ensured his posterity. In 1869, Annan purchased the contents of Rock House, which belonged David Octavius Hill, which included many of Hill's photographs and negatives. These were eventually exhibited by Thomas' son, James Craig Annan, and reproduced in photogravure in Alfred Stieglitz's journal Camera Work. Annan's photographs of the Loch Katrine Waterworks were praised in the British Journal of Photography: "The views by Mr. Annan could scarcely fail to be attractive, for in a country so beautiful a clever artist is bound to produce results in keeping with the nature of the subject, and this Mr. Annan has done." Indeed, Annan's work was often praised not only for its aesthetics, but also for its technical virtuosity. Twenty years later, Annan's studio would be singled out by Baden Pritchard for its accomplishments in carbon printing and "beautiful pictures of exteriors and interiors of Scotch strongholds." Thomas Annan purchased the rights to the photogravure process in Britain from Karel Klíč of Vienna in 1883 after visiting the city with his second son, James Craig Annan. James was a noted photogravurist and associated with late nineteenth-century art photography continued in his father's profession, receiving a Royal Warrant as Photographers and Photographic Engravers to Her Majesty in Glasgow. Thomas Annan died on 14 December 1887 at his home in Lenzie. Before his death by suicide, he had experienced a month-long period of "mental aberration". The family business survives to the present day in the form of the Annan Fine Art Gallery, located on Woodlands Road in the West End of Glasgow. A selection of prints from the Glasgow Improvements act 1868 series were displayed in the Scottish National Portrait Gallery from 2011 to 2012. In 2017, the J. Paul Getty Museum curated an exhibition entitled Thomas Annan: Photographer of Glasgow, the first to survey his career and legacy as photographer and printer.Source: Wikipedia
Max Yavno
Max Yavno
United States
1911 | † 1985
Max Yavno (1911-1985) was a photographer who specialized in street scenes, especially in Los Angeles and San Francisco, California. The son of Russian immigrants, Yavno was born in New York on April 26, 1911. He had one sister. He was married at age 19 and divorced three years later. He died in April 1985 of complications resulting from a fall in a shower. Yavno worked as a Wall Street messenger while attending City College of New York at night. He attended the graduate school of political economics at Columbia University and worked in the Stock Exchange before becoming a social worker in 1935. He did photography for the Works Progress Administration from 1936 to 1942. He was president of the Photo League in 1938 and 1939. Yavno was in the U.S. Air Force from 1942 to 1945, after which he moved to San Francisco and began specializing in urban-landscape photography. History professor Constance B. Schulz said of him: "For financial reasons he worked as a commercial advertising photographer for the next twenty years (1954–75), creating finely crafted still lifes that appeared in Vogue and Harper's Bazaar. He returned to artistic landscape photography in the 1970s, when his introspective approach found a more appreciative audience. Funding from the National Endowment for the Arts enabled him to travel to Egypt and Israel in 1979." He also captured a pre-Dodgers Chavez Ravine, a giant plaster leg on top of a building in West Los Angeles and a "nostalgic" shot of a cable car being turned around at Powell and Market streets in San Francisco. His noted photograph of a crowd watching "sun-worshipping bodybuilders at Muscle Beach in Venice" sold at auction in 1984 for almost $4,000. He said he had spent three Sundays at the beach before the subjects "stopped flexing for his camera and resumed posing for each other." His obituary in the Los Angeles Times said that: Melrose Avenue photo gallery owner G. Ray Hawkins, who represented Yavno and exhibited his works, called him a "social documentarian" and noted that he had "a very special ability for combining composition and content while capturing his social vignettes." Photographer Edward Steichen selected twenty of Yavno's prints for the permanent collection at New York's Museum of Modern Art in 1950, and the next year Yavno won a Guggenheim Fellowship. Source: Wikipedia Yavno graduated from City College of New York in 1932 and earned a graduate degree in business administration from Columbia University in 1933. Originally employed as a social worker for the New York Home Relief Bureau (1935), he was later hired by the Works Progress Administration to photograph city locations for use in theater set design (1936-42). Yavno joined the Photo League in the late 1930s, serving as president in 1938-39 and participating in several exhibitions. He became friends with Consuelo Kanaga, who mentored him in his photographic work. He worked with Aaron Siskind on his unfinished project The Most Crowded Block in the World (1941). Yavno was drafted into the Army Air Force that year, but remained on detached service in New York. He later moved to California, where he provided illustrative photographs for two books: The San Francisco Book, with Herb Caenn (1948) and The Los Angeles Book, with Lee Shippey (1950). In the mid-seventies, Yavno resumed noncommercial photography, expanding his terrain from the streets of New York City and Los Angeles to those of Jerusalem and Cairo. Source: The Jewish Museum
Lynn Karlin
Lynn Karlin
United States
Lynn Karlin's move to Maine after 13 years as a successful commercial photographer in New York City brought her back to her love of fine-art photography. Growing up in Queens, New York, Lynn graduated from Pratt Institute in Brooklyn. Her career took off when she was chosen as the first woman staff photographer for Women's Wear Daily and W, where, day and night, she photographed the rich and famous. Back then, her portraits featured everyone from trendy fashion designers to celebrities. She went on to freelance for the New York Times Magazine, House Beautiful, New York Magazine, Country Living, and other major publications. When Lynn left NYC in 1983 for a new life on a farm in Maine, she helped run a market garden while co-authoring, with Stanley Joseph, the now-classic Maine Farm: A Year of Country Life (Random House, 1991). She also took on assignments for garden magazines, winning awards world-wide. Her life after the farm led her down yet another road photographing the best-selling Gardens Maine Style (Down East Books, 2001), with writer Rebecca Sawyer-Fay. Then, in 2008, after seeing an amazingly beautiful cauliflower at a local farmers' market, Lynn began photographing and styling a series of still-lifes called The Pedestal Series which celebrate vegetables by elevating them to a place of honor-on a pedestal. Thirteen years later she moved from produce back to people after spotting a remarkable young man named Paul, whose ruffled hair and strong features led her in an entirely new direction: Stories in Profile, a series of portraits that have won international competitions and currently show in galleries and private collections from New York to Paris. Stories in Profile Lynn chooses her Stories in Profile subjects for their distinctive features. In these portraits, she celebrates the contours of the face, the qualities of hair, and other prominent traits that render each subject simultaneously elegant and mysterious. Lynn uses natural directional lighting in her studio to highlight topography, creating texture and dynamics and giving her work the painterly feel of 17thcentury master painters. This soft, directional light has an unpredictability that is energizing and keeps her alert and focused. While shooting, Lynn concentrates on design, form, light, and negative space as she reaches for a story to emerge through the profile of her human subjects. As a photographer, the more limited constraints of a profile are challenging. One senses a person's courage and vulnerabilities. She seeks to capture a personality distilled to its strongest form. Rarely do we look at others, or ourselves, from this side view. Each profile is a discovery as she sets out to record the moment when her subject's inner self emerges, direct and stunning.
Alec Soth
Alec Soth
United States
1969
Alec Soth is a photographer born and based in Minneapolis, Minnesota. His photographs have been featured in numerous solo and group exhibitions, including the 2004 Whitney and São Paulo Biennials. In 2008, a large survey exhibition of Soth’s work was exhibited at Jeu de Paume in Paris and Fotomuseum Winterthur in Switzerland. In 2010, the Walker Art produced a large survey exhibition of Soth’s work entitled From Here To There. Alec Soth’s first monograph, Sleeping by the Mississippi, was published by Steidl in 2004 to critical acclaim. Since then Soth has published NIAGARA (2006), Fashion Magazine (2007) Dog Days, Bogotá (2007) The Last Days of W (2008), and Broken Manual (2010). In 2008, Soth started his own publishing company, Little Brown Mushroom. Soth is represented by Sean Kelly in New York, Weinstein Gallery in Minneapolis, and is a member of Magnum Photos.
Marcus Yam
Marcus Yam
Malaysia/United States
1984
Marcus Yam is a roving Los Angeles Times foreign correspondent and staff photographer. Born and raised in Kuala Lumpur, Malaysia, he left a career in aerospace engineering to become a photographer. His goal: to take viewers to the frontlines of conflict, struggle and intimacy. His approach is deeply rooted in curiosity and persistence. In 2022, Yam won the Pulitzer Prize for Breaking News Photography for images documenting the U.S. departure from Afghanistan that capture the human cost of the historic change in the country. In 2019, Yam was awarded the Robert F. Kennedy Human Rights Journalism Award for his unflinching body of work showing the everyday plight of Gazans during deadly clashes in the Gaza Strip. He was also part of two Pulitzer Prize-winning breaking news teams that covered the San Bernardino, Calif., terrorist attacks in 2015 for the Los Angeles Times and the deadly landslide in Oso, Wash. in 2014, for the Seattle Times. His previous work has also earned an Emmy Award for News and Documentary, World Press Photo Award, DART Award for Trauma Coverage, Scripps Howard Visual Journalism Award, Picture of the Year International's Newspaper Photographer of the Year Award, Society of Professional Journalists' Sigma Delta Chi Award, National Headliner Award and an Alfred I. duPont-Columbia University Award. When he's not working, Yam likes minimizing and organizing his life for efficiency for emergencies.
Vivian Wan
Vivian Wan
United States
1998
Vivian Wan is a photographer whose work bridges conceptual, fine art portraiture, and narrative photography. She delves into storytelling and environmental portraiture, using both realistic and fictional perspectives, and frequently incorporates everyday scenes that evoke an uncanny atmosphere. Her work examines the complex interplay between fantasy, narrative, and photography, focusing on the evolution of staged imagery. Inspired by Victorian tableaux vivants—elaborate, posed scenes crafted to resemble paintings—Wan revitalizes this historic style, presenting it through a modern lens. Her photographs go beyond straightforward documentation, merging elements of the real and the surreal to create an engaging narrative space where imagination and lived experience intersect.
Joakim Strömholm
Joakim Strömholm
Sweden
1947
Joakim Strömholm is a Swedish photographer, well-known for documentations of music, film and TV-productions, theater, musicals and showbiz. His father Christer Strömholm wanted him to become a restaurant chef or a doctor. "As such, you will always find a job. You can not survive as a photographer.” But he gave him a Leica and access to his darkroom, and Joakim has worked with photography since then! He has also tried professions such as guide in Paris, swimming instructor, darkroom printer, photography teacher and has worked as a "jack of all trades" on movie sets. Among other things, Joakim was Brigitte Bardots personal driver during a film shoot in Sweden 1972. Finally he became a film-set photographer and photo editor for the Swedish TV-news. He made some documentaries and photographed a lot of rock n´roll in the 80´s and 90´s. Joakim has travelled much, to do his own photo reports and on assignments for Swedish daily, weekly and specialized press. He is the CEO for ”Christer Strömholm Estate”, and curates their book publishing and photography exhibitions.
Chris Killip
Chris Killip
United Kingdom
1946 | † 2020
Born in Douglas, Isle of Man in 1946, he left school at age sixteen and joined the only four star hotel on the Isle of Man as a trainee hotel manager. In June 1964 he decided to pursue photography full time and became a beach photographer in order to earn enough money to leave the Isle of Man. In October 1964 he was hired as the third assistant to the leading London advertising photographer Adrian Flowers. He then worked as a freelance assistant for various photographers in London from 1966-69. In 1969, after seeing his very first exhibition of photography at the Museum of Modern Art in New York, he decided to return to photograph in the Isle of Man. He worked in his father's pub at night returning to London on occasion to print his work. On a return visit to the USA in 1971, Lee Witkin, the New York gallery owner, commissioned a limited edition portfolio of the Isle of Man work, paying for it in advance so that Killip could continue to photograph. In 1972 he received a commission from The Arts Council of Great Britain to photograph Huddersfield and Bury St Edmunds for the exhibition Two Views - Two Cities. In 1975, he moved to live in Newcastle-upon-Tyne on a two year fellowship as the Northern Arts Photography Fellow. He was a founding member, exhibition curator and advisor of Side Gallery, Newcastle-upon-Tyne, as well as its director, from 1977-9. He continued to live in Newcastle and photographed throughout the North East of England, and from 1980-85 made occasional cover portraits for The London Review of Books. In 1989 he was commissioned by Pirelli UK to photograph the workforce at their tyre factory in Burton-on-Trent. In 1989 he received the Henri Cartier Bresson Award and in 1991 was invited to be a Visiting Lecturer at the Department of Visual and Environmental Studies, Harvard University. In 1994 he was made a tenured professor and was department chair from 1994-98. He retired from Harvard in December 2017 and continues to live in the USA. His work is featured in the permanent collections of major institutions such as the Museum of Modern Art, New York; George Eastman House; Fine Arts Museum of San Francisco; Museum Folkwang, Essen; the Stedelijk Museum, Amsterdam; National Gallery of Australia, Canberra; and the Victoria and Albert Museum, London. Source: chriskillip.com Skinningrove 1982 - 84 The village of Skinningrove lies on the North-East coast of England, halfway between Middlesbrough and Whitby. Hidden in a steep valley it veers away from the main road and faces out onto the North Sea. Like a lot of tight-knit fishing communities it could be hostile to strangers, especially one with a camera. "Now Then" is the standard greeting in Skinningrove; a challenging substitute for the more usual, "Hello". The place had a definite 'edge' and it took time for this stranger to be tolerated. My greatest ally in gaining acceptance was 'Leso' (Leslie Holliday), the most outgoing of the younger fishermen. Leso and I never talked about what I was doing there. but when someone questioned my presence, he would intercede and vouch for me with, 'He's OK'. This simple endorsement was enough. I last photographed in Skinningrove in 1984, and didn't return for twenty-six years. I was then shocked by how it had changed, as only one boat was still fishing. For me Skinningrove's sense of purpose was bound up in its collective obsession with the sea. Skinningrove fishermen believed that the sea in front of them was their private territory, theirs alone. Without the competitive energy that came from fishing, the place seemed like a pale reflection of its former self. Common Market and Health and Safety rules and regulations, coupled with increasing insurance costs, brought an end to the Skinningrove I'd known. When you're photographing you're caught up in the moment, trying to deal as best you can with what's in front of you. At that moment you're not thinking that a photograph is also, and inevitably, a record of a death foretold. A photograph's relationship to memory is complex. Can memory ever be made real or is a photograph sometimes the closest we can come to making our memories seem real. Chris Killip Remembering: Richard Noble (18) and David Coultas (34) drowned off Skinningrove on March 31 1984 Leslie Holliday - 'Leso' (26) and David Hinton (12) drowned off Skinningrove on July 29 1986 Source: Howard Yezerski Gallery
Vivian Maier
Vivian Maier
United States
1926 | † 2009
Vivian Dorothea Maier was an American amateur street photographer, who was born in New York City but grew up in France. After returning to the United States, she worked for about forty years as a nanny in Chicago, IL. During those years, she took about 100,000 photographs, primarily of people and cityscapes in Chicago, although she traveled and photographed worldwide. Her photographs remained unknown and mostly undeveloped until they were discovered by a local Chicago historian and collector, John Maloof, in 2007. Following Maier's death, her work began to receive critical acclaim. Her photographs have been exhibited in the US, England, Germany, Denmark, and Norway, and have appeared in newspapers and magazines in the US, England, Germany, Italy, France and other countries. A book of her photography titled Vivian Maier: Street Photographer was published in 2011. Many of the details of Maier's life are still being uncovered. Initial impressions about her life indicated that she was born in France, but further researching revealed that she was born in New York, the daughter of Maria Jaussaud and Charles Maier, French and Austrian respectively. Vivian moved between the U.S. and France several times during her childhood, although where in France she lived is unknown. Her father seems to have left the family for unknown reasons by 1930. In the census that year, the head of the household was listed as award-winning portrait photographer Jeanne Bertrand, who knew the founder of the Whitney Museum of American Art. In 1951, at 25, Maier moved from France to New York, where she worked for some time in a sweatshop. She made her way to the Chicago area's North Shore in 1956 and became a nanny on and off for about 40 years, staying with one family for 14 of them. She was, in the accounts of the families for whom she worked, very private, spending her days off walking the streets of Chicago and taking photographs, most often with a Rolleiflex camera. John Maloof, curator of Maier's collection of photographs, summarizes the way the children she nannied would later describe her: "She was a Socialist, a Feminist, a movie critic, and a tell-it-like-it-is type of person. She learned English by going to theaters, which she loved. She wore a men's jacket, men's shoes and a large hat most of the time. She was constantly taking pictures, which she didn't show anyone." Between 1959 and 1960, Maier traveled to and photographed in Los Angeles, Manila, Bangkok, Beijing, Egypt, Italy and the American Southwest. The trip was probably financed by the sale of a family farm in Alsace. For a brief period in the 1970s, Maier worked as a nanny for Phil Donahue's children. As she got older, she collected more boxes of belongings, taking them with her to each new post. At one employer's house, she stored 200 boxes of materials. Most were photographs or negatives, but Maier collected other objects, such as newspapers, and sometimes recorded audiotapes of conversations she had with people she photographed. Toward the end of her life, Maier may have been homeless for some time. She lived on Social Security and may have had another source of income, but the children she had taken care of in the early 1950s bought her an apartment in the Rogers Park area of Chicago and paid her bills. In 2008, she slipped on ice and hit her head. She did not fully recover and died in 2009, at 83.Source: Wikipedia Sometime in 1949, while still in France, Maier began making her first photographs with a modest Kodak Brownie– an amateur camera with only one shutter speed, no focus control, and no aperture dial. In 1951, she returned from France alone and purchased a Rolleiflex camera the following year. In 1956, she moved to the North Shore suburbs of Chicago, where a family employed her as a nanny for their three boys. She enjoyed the luxury of a darkroom as well as a private bathroom, enabling her to process prints and develop her own rolls of black and white film. As the children entered adulthood, Maier had to seek other employment, forcing her to abandon developing her own film. Moving from family to family thereafter, her rolls of undeveloped, unprinted work began to collect. It was around this time that Maier decided to switch to color photography. Her subject matter shifted away from people to found objects, newspapers, and graffiti. In the 1980s, financial stress and lack of stability once again put Maier’s processing on hold, and the undeveloped color rolls began to accumulate. Sometime between the late 1990s and the first years of the new millennium, Maier put down her camera and stored her belongings while she tried to stay afloat. She bounced from homelessness to a small studio apartment, which a family she used to work for helped pay the rent. With meager means, the photographs in storage became lost memories until 2007, when they were sold off due to non-payment of rent. In 2008, Maier’s health began to deteriorate after she fell on a patch of ice, forcing her into a nursing home. She never made a full recovery, leaving behind an immense archive of work when she died in 2009.Source: Howard Greenberg Gallery When John Maloof, a real-estate agent, amateur historian, and garage-sale obsessive, acquired a box of photographic materials and personal detritus at an auction in suburban Chicago in 2007, he quickly realized that he had stumbled upon an unknown master of street photography. But despite his vigorous snooping, he could find no record of Vivian Maier, the name scribbled on the scraps of paper that he found among the negatives, prints, and undeveloped rolls of film. He tracked down the rest of the boxes emptied from an abandoned storage garage, amassing a collection of hundreds of thousands of frames shot in New York, Chicago, France, South America, and Asia between the nineteen-fifties and the nineteen-seventies. Two years after he bought the first box, he Googled the name again and, to his surprise, found an obituary announcing that Vivian Maier had died only a few days before. The short text had just enough information for Maloof to deduce that Maier had worked as a nanny in suburban Chicago.Source: The New Yorker
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