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Jason Langer
Jason Langer

Jason Langer

Country: United States
Birth: 1967

Jason Langer is a notable photographer, best known for his black and white film photography, capturing atmospheric and introspective images.

Langer was born in Tucson, Arizona and grew up in Ashland, Oregon. Langer studied photography at the University of Oregon from 1985 to 1989. After graduation, Langer moved to San Francisco and apprenticed with some of the Bay area's most well-renowned photographers including Ruth Bernhard, Arthur Tress, and Michael Kenna, who became his mentor and lifelong friend. During that time, Langer learned much from Michael Kenna and influences from Kenna remain present throughout Langer's two-decades of photographic work.

His photographs have been exhibited in numerous galleries and museums internationally, including solo exhibitions in cities such as New York, Paris, London, Tokyo, and Moscow. Langer's work has also been featured in various photography publications and books.

Many of Jason Langer's photographs have been praised for their poetic and evocative qualities. Langer shoots using film, meaning that he does not know exactly what photographs he has until the film is developed. He photographs in black and white and prefers to photograph at night. He avoids photographing human faces, which increases the mystery of his works.

Langer is also a sought-after photography mentor, having taught photography at the Academy of Art University for 12 years and Santa Fe Workshops since 2014. Langer is known as a mentor in photography, teaching students to use the medium for self-understanding. “Jason seems to have absorbed the entirety of photo history, particularly the so-called “New York School”, identified by historian Jane Livngstone in her book of that title from the early 1990’s: Arbus; Avedon; Brodovitch; Croner; Davidson; Donaghy; Faurer; Frank; Grossman; Klein; Leiter; Levinstein; Levitt; Model; Vestal and Weegee. Jason loved shooting the city and printing it very darkly. He is a classicist. He is contemporary guy who sees things though more modern eyes.”

He has received recognition and awards for his contributions to the field of photography. Langer's work continues to be exhibited and collected by art enthusiasts and collectors worldwide.

Selected Books on Available on Amazon
Jason Langer: Berlin
Jason Langer: Berlin
Jason Langer, Bill Kouwenhoven, Shelly Kupferberg
Jason Langer: Twenty Years
Jason Langer: Twenty Years
Jason Langer, Julia Dolan, John Hill

Galleries

ClampArt Gallery

Galerie Esther Woerdehoff

Gilman Contemporary

Website

www.jasonlanger.com

 

Jason Langer's Video

Selected Books

Jason Langer: Berlin
Jason Langer: Berlin
Jason Langer, Bill Kouwenhoven, Shelly Kupferberg
Jason Langer: Twenty Years
Jason Langer: Twenty Years
Jason Langer, Julia Dolan, John Hill

Inspiring Portfolios

Jesús Umbría Brito
© Jesús Umbría Brito
Nanda Hagenaars
© Nanda Hagenaars
Carole Mills Noronha
© Carole Mills Noronha
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More Great Photographers To Discover

Shomei Tomatsu
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
Asiya Al Sharabi
Asiya Al Sharabi
Yemen/United States
1972
Asiya Al Sharabi is a Yemeni/American Visual artist whose work has gained recognition both nationally and internationally. Currently based in the US, she initiated her career as a journalist and photographer before shifting her focus to artistic photography. Her artistry is rooted in capturing the challenges faced by Middle Eastern women, young adults, and immigrants, a perspective that profoundly influences her creations. Her unique artistic expression thrives through photography, alternative photographer processes, and innovative techniques like collage and inverse negative prints. These methods not only enhance the aesthetic appeal of her creations but also delve into the profound struggles experienced by people. Through her art, Asiya explores the intricate interplay of politics, culture, and religion, shaping the identities of women, young adults, and immigrants. She has been featured in various publications, including Richmond Magazine, PBS NewsHour, and RVA Magazine. Additionally, her artwork was showcased on the cover of Yemen Today magazine in celebration of International Women's Day.
Matthew Portch
Matthew Portch
United Kingdom
1970
I was born and raised in Bristol, England through the '70s and '80s in a typical suburb. As a child, television and movies were my favourite distraction, especially anything from the United States. The backdrop of the North American scenery felt like an exotic antidote to the humdrum of the English city suburbs and countryside. I was a keen illustrator spending hours pouring over the minutia of the subject matter. I wanted my drawings to feel as close to reality as possible. This work saw me enrolled in college at a young age where I studied Photography and Graphic Design. Drawing on my childhood memories, the visuals of the American landscape remained a major influence on my photography. I became inspired by North American photographers of the '60s and '70s who were prevalent in using large format film. This laborious system of capture enhanced these seemingly ordinary looking street scenes and vistas with fastidious detail. I discovered a more modern process in the form of a technical camera, digital back, and precision optics, then proceeded to cast my own journey. I like my pictures to be aesthetically simple, clean and graphic, which resonates with my background in design. I prefer the images to retain an air of perplexity, so keeping them free of people and any notable present-day object helps suspend them in a moment in time. As with most large format photography techniques, when I photograph a scene I capture everything across the frame in complete focus. This can lend a heightened sense of reality. Given each picture is deliberately simple and mundane – the detail of the capture is just as important as the subject matter and becomes a character of the image in itself. I use the full size of the sensor and prefer not to crop. Restricting myself to this discipline is almost a digital reverence to large format film. My creative vision is to capture a calm and melancholic disposition in the landscape and create a scene of discernible simplicity to evoke an emotional and response from within. About Lost America Lost America examines a quiet stillness in a forgotten landscape that is, in a sense: 'on-pause'. Backwater towns and rural corners are juxtaposed with the ambiguity of detached suburbia. Places appear frozen in time, their inhabitants absent or long since departed. Ardently stagnant in their appearance, the images aim to unlock a moment of reflective contemplation and instil a melancholic feeling of familiarity. One might not notice or acknowledge these spaces, especially when viewed within the vast stretch of America's panorama. Yet, when framed as a single vignette, the places can appear to echo a moment of mournful reverie. Or, for some, they might behold an alluringly sombre, everlasting impression.
Judi Iranyi
Judi Iranyi
Hungary/United States
1943
Judi Iranyi was born in Hungary (1943). After World War II, she and her family lived in a displaced persons camp in Germany for a few years before emigrating to Venezuela, where she lived until she finished high school. She has also lived in Trinidad, Barbados, Germany, and Okinawa before moving to San Francisco in 1971. Ms. Iranyi became interested in photography in the sixties. She earned a BA degree in Art/Photography from San Francisco State University. Later she received an MA degree in Visual Design from U.C. Berkeley; completed a master!s level museum studies program at John F. Kennedy University; and an MSW Degree in Social Work at San Francisco State University. Ms. Iranyi has worked as a freelance photographer taking environmental portraits. She was also a staff photographer at the Judah L. Magnes Museum in Berkeley and worked at the San Francisco Fine Arts Museums. She also worked as a California Licensed Clinical Social Worker until her retirement. After retirement, Ms Iranyi dedicated her time to photography. Her work includes portraits, travel photography, documentary, and street photography. Recently she has shifted her emphasis to botanicals and still life photography. Three of her life passions are traveling, literature, and photography, which have broadened her view of the world. Flowers for Klara On the 40th anniversary of my mother’s death, I decided to create a series of floral bouquets to honor her memory. She had a difficult life, living during WWII, living in displaced peoples’ camps and two emigrations one to Venezuela and then to Germany where she died in her mid fifties after a long illness. Exclusive Interview with Judi Iranyi and Remembering Michael
Joseph Rafferty
Joseph Rafferty
United States
1976
Joseph Rafferty's projects are his artistic statements. When he was eight, his mother died. She went on vacation to Hawaii, and returned in a coffin. The boy was immediately uprooted from free and love-filled life, and forced to live with a freshly born-again Christian father, who became Joseph's newly self-appointed spiritual leader. An environmental lawyer who didn't ensure the safety of his own child's environment. Joseph's father silenced individuality, demanded polite compliance, and along with his stepmother, kept a still-grieving child tethered to linear thinking, Joseph did not develop the art of verbal expression. He quickly learned to swallow truth and hide pain. Photography became a powerful thread of connection to his emotion and spiritual ideas, laced with the harsh realities of a flawed culture, and the ironies within his family's worldview. Photography was an open window in his prison, giving fresh breath to a starving soul, and it became a pivotal foundation in his metamorphosis. It provided the theatre of the mind with a stage, creating space for growth and transformation beyond the stifling shell that threatened to entomb. Thriving on the sunshine of his bohemian mother's love. Joseph's nonlinear and free imprinting is counterculture's birthplace, San Francisco a land of a thousand languages, a thousand sexualities. This critical period of exposure deep seeded beliefs and values into the young child's subconsciousness he loved to see love. When his mom passed - her fashion colleagues & community sent words of condolences + small gifts of money. During his military enlistment Joseph would return to the photography store his mom frequented. With the small gifts of cash from letters of condolence he purchased large & medium format cameras and tripods. If I purchase cameras she's always with me. In doing so, he channels her instrumental spirit - a spirit guiding him from the pain and anger of his youth, and led to light. Through loving memory of her unconditional support, Joseph's found a peace and purpose in life, grounded in relationships with his partner and their children, mindful of certain pitfalls in our culture, and dedicated to the unedited, true expression of unique experience. Photography has been a life-line of expression during Joseph's stay on earth, feeling most grounded when his ideas materialize to visual imagery. Motivated by a passion for social justice, Joseph lives in a realm of beauty amongst pain. His visual linguistics are sculpted props and drawings, through which his visceral experiences emerge as a visual tapestry. Weaving images that provoke emotion and encourage empathy for others despite differences, Joseph's visuals are moments of "things as they are experienced psychologically, rather than things as they are scientifically" (William Mortensen). His body of work also influenced by early foundational years among the Redwood trees, his service in the United States Military, and his education at Art Center College of Design. Heavily inspired by Arnold Newman's manipulation of existing light, Joseph captures images with all formats of cameras. His photographic subjects begin with an idea explored through sketches further developed through research (literature, current events, locations, and style), and are materialized through intuitively sculpting of props. Each detail becomes a tool in building a landscape of meaning.
Lise Leino
Lise Leino
Finland/United Kingdom
Lise Leino is a London-based Finnish photographer known for her compelling photojournalism and portraiture that highlights the richness of diverse cultures through the lens of human stories. With a background in television/film production and drama studies, Lise has developed a keen eye for visual storytelling, which she further refined at the New York Institute of Photography. Her work has garnered accolades, including the Portrait of Britain award Vol. 7. Lise is deeply interested in learning from indigenous tribes, as their views on ownership and connection to nature challenge conventional ideas and emphasize a sacred understanding of the natural world. This insight inspires her to explore themes of cultural identity and the interconnectedness of all living things while learning to live in awareness. Through her powerful visual narratives, she aims to bridge cultural gaps, highlighting the beauty and complexity of human experiences, inviting viewers to reflect on their own relationship with the world. AAP Magazine: AAP Magazine 53 Travels
Alamsyah Rauf
Alamsyah Rauf
Indonesia
1982
Alamsyah Rauf was born in a small district in south sulawesi precisely in Kab.Sinjai, maybe that's why this photographer is less known among photographers in Indonesia but his work has won dozens of world-class photo contest. After graduating high school, this man married in 2001 on the will of his parents, this makes him unable to continue college. After married Alamsyah worked in his parents' photo studio. Alamsyah Learning DSLR cameras just look at the camera manual and learn self-taught to techniques of composition, tone, and lighting via internet. In 2004 Alamsyah Rauf set up his own Photo Studio and hire 3 photographers. As a freelance photographer, Alamsyah takes part in various photography communities, photo exhibitions and participate in various national and international photo contest. Awards: 2nd Place (Best of Show) 2012 Photoshare Photo Contest (Baltimore USA) 2nd Price Sony WPO 2013 category National Award Best in Action at Australian Art Sales (Australia) FIAP GOLD MEDAL in Photo Salon Soul 2013 (Macedonia) FIAP Silver Medal 4th International Photo Exhibition Photo Focus 2013 (Russia) PAM Gold Medal at 2nd International exhibition of art photography SOUL 2014 (Macedonia) Second Winner General category HIPA 2014 Dubai 1st Place Portrait at 7th Annual Masters Cup 2014 (Beverly Hills USA) 1st Place (Portrait category) the 7th Annual International Color Awards 2014 FIAP Gold Medal at 38th EX HIBITION OF PHOTOGRAPHY "CHILD 2014" Serbia SALON praise 38th EXHIBITION OF PHOTOGRAPHY "CHILD 2014" Serbia FIAP Gold medal, FIAP Silver medal, PSA Gold Medal, PSA Ribbon in 2nd Cairo Int. Photographic Art Exhibition - CIPAE 2014 Awards (Cairo, Egypt) Ozone zone Gold Medal (Happiness), FIAP Ribbon (monochrome) Ozone zone International Photo Contest 2014 (Canada) RPS Gold Medal, 2nd Photovivo Singapore International Photography Award (PIPA) 2014 FIAP Silver Medal (Open Color) 1St GIFSAD INTERNATIONAL PHOTO CONTEST 2014 (TURKEY) Champaign 1 colorful alfaink photo contest nusantara 2015. "Grand Prize" Winner at The Shutterview International Photography Competition 2015 (Australia ) 2nd Place (people category) Fine Art Photography Award 2015 Grand Winner Xposure International photo contest 2016 (Sharjah UAE) First Place Proify Annual International Photography Awards 2016 Merit Medal Recipient "THE CHALLENGE" HIPA 2017 UAE 5th Place All About Photo Awards 2018
Samuel Bourne
Samuel Bourne
British
1834 | † 1912
Samuel Bourne, an English photographer born in 1834, is celebrated as one of the foremost figures in early Indian photography. His journey into the world of photography began in Nottingham, England, where he initially worked as a bank clerk. However, his passion for the burgeoning art of photography soon eclipsed his banking career, leading him to pursue it full-time. Bourne's meticulous attention to detail and his technical proficiency quickly set him apart in the photographic community. In 1863, Bourne embarked on an ambitious voyage to India, a decision that would define his career and cement his legacy. He arrived in Calcutta (now Kolkata) and joined forces with the established photographic studio Howard & Shepherd, which later became known as Bourne & Shepherd. This partnership allowed Bourne to explore the Indian subcontinent extensively, capturing its diverse landscapes, architecture, and people with an unprecedented level of precision and artistry. Bourne's expeditions were both challenging and groundbreaking. He undertook several arduous journeys to remote and often inaccessible regions of India, including the Himalayas, where he captured stunning photographs of the mountains, rivers, and valleys. His images of Kashmir, Simla (now Shimla), and Darjeeling are particularly renowned for their clarity and composition. Bourne's work required immense physical stamina and technical skill, as he often had to transport heavy photographic equipment through difficult terrains. Throughout his time in India, Bourne produced an extensive portfolio that vividly documented the subcontinent's natural beauty and architectural grandeur. His photographs provided a window into India for the Western world and were widely acclaimed for their artistic merit and documentary value. Bourne's work was regularly featured in British photographic journals, and he received numerous accolades for his contributions to the field. Samuel Bourne returned to England in 1870, leaving behind a lasting legacy in the world of photography. He continued to be involved in the photographic industry but never again embarked on such extensive travels. Bourne's Indian photographs remain a significant historical record, offering a glimpse into the 19th-century Indian landscape and culture. His pioneering efforts not only advanced the technical aspects of photography but also set a high standard for future generations of photographers. Samuel Bourne passed away in 1912, but his work continues to be celebrated for its artistic and historical importance.
Savadmon Avalachamveettil
Savadmon Avalachamveettil
Ireland
1984
Savad Mon Avalachamveettil, widely known as Savad.monk, is an award winning travel, aerial and commercial photographer born in Kerala and now living in Ireland. A self taught artist, he began his journey with an iPhone and has since gained international recognition for blending culture, scale and emotion in powerful visual stories. Driven by curiosity for the unseen, Savad captures large cultural gatherings, intricate landscapes and human narratives that often go unnoticed. His distinctive aerial style, rooted in symmetry, geometry and natural patterns, has established him as a rising voice in contemporary visual storytelling. His work has earned major global honors, including IPA 2025 Event Photographer of the Year and GPA 2025 Professional Photographer of the Year. His photographs have been featured by international platforms such as Bored Panda, Nomadict, Muse.world, 121clicks, and several global photography collectives. Today, Savad continues to travel and create, documenting human connections and landscapes from both ground and sky, always searching for the story shaped by scale, light and silence. Statement: Photography, for me, is not just about capturing a moment, “It is about discovering the hidden stories that shape how we see the world". Through aerial vision and thoughtful composition, I explore how culture, people, and landscapes shape one another. I aim to reveal stories that live beyond the surface stories of movement, memory, and the quiet beauty of our shared world. AAP Magazine: AAP Magazine 52 Travels
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Exclusive Interview with Henk Kosche
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Exclusive Interview with Josh S. Rose
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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.
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Interview with Maureen Ruddy Burkhart
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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.
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Exclusive Interview with Peter Ydeen
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Exclusive Interview with Peter Ydeen
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