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LAST CALL to Win a Solo Exhibition this March!
LAST CALL to Win a Solo Exhibition this March!
Deba Prasad Roy
Deba Prasad Roy
Deba Prasad Roy

Deba Prasad Roy

Country: India

I was born in the year 1952 and clicked my first photograph in the year 1968 with an Agfa CLICK III camera. Then I used Agfa ISOLI 2 for some years. In 1992 I bought Pentax K 1000. & NIKON film cameras till 2008.

I was a member of “Photographic Association of Bengal” since September 2003 to March 2012. I acquired a bit of proficiency in photography following the senior photographers of the club (not in age), who are entitled to write distinctions approved by The International Federation of Photographic Art (FIAP), & The Photographic Society of America (PSA).

In this period I have participated hundreds of FIAP & PSA approved Salons and other photographic competitions. After my official retirement from Banking Service, I engage myself as a Freelance Documentary & Travel photographer to pass my retirement holidays and as a passionate and serious photographer ”Participated and still participating in photography competitions throughout the world and try to win prizes and recognition..

I am a professional photographer from my heart (Not as those who sell their photographs for their livelihood or those who are working as an employee in any organization.). I never sold a single photograph in my livelihood i.e. for money. So the meaning of a professional photographer is different to me.

A NOBLE MISSION
A NOBLE MISSION is partially a story of economic exploitation by the employers worldwide in underdeveloped and developing countries and simultaneously deliberate callousness and negligence of the Government and its agencies make this labor force vulnerable in the hands of the entrepreneurs. The other side of the story is the dedication of the two women teachers; their voluntary service to provide a minimum education to those historically illiterate students, no one in the previous generations of them including their parent got any elementary education in any school. We should also keep in mind the economic sacrifice of the teachers, in these days time is money, if they teach any other students in the society they are definitely eligible for remuneration and may get a chance to uplift their own economic status. That is the point which impressed me a lot.

PLASTIC RECYCLING AND ENVIRONMENT
Plastic pollution is a major global phenomenon that has crept up on us over the decades, and it really requires a global and comprehensive solution that includes systemic rethinks about usage and production. While carbon emissions and water use are pretty firmly embedded in the consciousness of most organizations, the use of plastic generally is not. But campaigners and scientists are increasingly sounding the alarm over the amount of plastic that is used wastefully (think of single-use drink bottles and packaging materials), which ends up as trash in rivers and oceans. Many say that plastic pollution has swelled into a major threat for the world’s oceans and for the global environment as a whole. Here is why: About 300 million tons of plastic is produced globally each year. Only about 10 percent of that is recycled. In other words, because plastic is inexpensive, lightweight and durable, virtually every industry — be it retailing, manufacturing or logistics — loves it. Because it is light and cheap, and because it is so durable, it does not “go away.” Plastic accumulated over half a century is now out there. That could mean reducing wasteful use; collecting, reusing or recycling plastic trash; stepping up the use of recycled plastic or of more easily biodegradable materials; and modifying product designs to minimize plastic use. There by we could leave our world as habitable for our future generations.
 

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Mary Ellen Mark
United States
1940 | † 2015
Mary Ellen Mark is an American photographer known for her photojournalism, portraiture, and advertising photography. She has had 16 collections of her work published and has been exhibited at galleries and museums worldwide. She has received numerous accolades, including three Robert F. Kennedy Journalism Awards and three fellowships from the National Endowment for the Arts. Mary Ellen Mark was born in suburban Philadelphia, Pennsylvania, and began photographing with a Box Brownie camera at age nine. She attended Cheltenham High School, where she was head cheerleader and exhibited a knack for painting and drawing. She received a BFA degree in painting and art history from the University of Pennsylvania in 1962, and a Masters Degree in photojournalism from that university's Annenberg School for Communication in 1964. The following year, Mark received a Fulbright Scholarship to photograph in Turkey for a year. While there, she also traveled to photograph England, Germany, Greece, Italy, and Spain. In 1966 or 1967, she moved to New York City, where over the next several years she photographed Vietnam War demonstrations, the women's liberation movement, transvestite culture, and Times Square, developing a sensibility, according to one writer, "away from mainstream society and toward its more interesting, often troubled fringes". As Mark explained in 1987, "I'm just interested in people on the edges. I feel an affinity for people who haven't had the best breaks in society. What I want to do more than anything is acknowledge their existence". Her shooting style ranges from a 2 ¼ inch format, 35 mm, and 4x5 inch view camera. She also uses a Leica 4 for most photographs and Nikons for long-range shooting. Mark loves shooting with a Hasselblad for square format and she shoots primarily in black-and-white, using classic Kodak Tri-X film. Source: Wikipedia Mary Ellen Mark achieved worldwide visibility through her numerous books, exhibitions and editorial magazine work. She published photo essays and portraits in such publications as Life, New York Times, The New Yorker, Rolling Stone, and Vanity Fair. For over five decades, she traveled extensively to make pictures that reflect a high degree of humanism. She is recognized as one of our most respected and influential photographers. Her images of our world's diverse cultures have become landmarks in the field of documentary photography. Her portrayals of Mother Teresa, Indian circuses, and brothels in Bombay were the product of many years of work in India. A photo essay on runaway children in Seattle became the basis of the academy award-nominated film Streetwise, directed and photographed by her husband, Martin Bell. Mary Ellen received the 2014 Lifetime Achievement in Photography Award from the George Eastman House as well as the Outstanding Contribution Photography Award from the World Photography Organisation. She has also received the Infinity Award for Journalism, an Erna & Victor Hasselblad Foundation Grant, and a Walter Annenberg Grant for her book and exhibition project on America. Among her other awards are the Cornell Capa Award from the International Center of Photography, the John Simon Guggenheim Fellowship, the Matrix Award for outstanding woman in the field of film/photography, and the Dr. Erich Salomon Award for outstanding merits in the field of journalistic photography. She was also presented with honorary Doctor of Fine Arts degrees from her Alma Mater, the University of Pennsylvania and the University of the Arts; three fellowships from the National Endowment for the Arts; the Photographer of the Year Award from the Friends of Photography; the World Press Award for Outstanding Body of Work Throughout the Years; the Victor Hasselblad Cover Award; two Robert F. Kennedy Awards; and the Creative Arts Award Citation for Photography at Brandeis University. She published twenty books including Passport (Lustrum Press, 1974), Ward 81 (Simon & Schuster, 1979), Falkland Road (Knopf, 1981), Mother Teresa's Mission of Charity in Calcutta (Friends of Photography, 1985), The Photo Essay: Photographers at work (A Smithsonian series), Streetwise (second printing, Aperture, 1992), Mary Ellen Mark: 25 Years (Bulfinch, 1991), Indian Circus (Chronicle, 1993 and Takarajimasha Inc., 1993), Portraits (Motta Fotografica, 1995 and Smithsonian, 1997), a Cry for Help (Simon & Schuster, 1996), Mary Ellen Mark: American Odyssey (Aperture, 1999), Mary Ellen Mark 55s (Phaidon, 2001), Photo Poche: Mary Ellen Mark (Nathan, 2002), Twins (Aperture, 2003), Exposure (Phaidon, 2005), Extraordinary Child (The National Museum of Iceland, 2007), Seen Behind the Scene (Phaidon, 2009), Prom (Getty, 2012,) Man and Beast (University of Texas Press, 2014,) Tiny: Streetwise revisited (Aperture, 2015,) and Mary Ellen Mark on the Portrait and the Moment (Aperture, 2015.) Mark's photographs have been exhibited worldwide. She also acted as the associate producer of the major motion picture, American Heart (1992), directed by, Martin Bell. Her last book Tiny: Streetwise Revisited is a culmination of 32 years documenting Erin Blackwell, who she first met in 1983 on assignment for Life Magazine. Erin was the subject of both the book and film Streetwise. Martin also made an updated film, Tiny: The Life of Erin Blackwell. Aside from her book and magazine work, Mark photographed advertising campaigns among which are Barnes and Noble, British Levis, Coach Bags, Eileen Fisher, Hasselblad, Heineken, Keds, Mass Mutual, Nissan, and Patek Philippe.Source: www.maryellenmark.com
David Bailey
United Kingdom
1938
David Royston Bailey CBE (born 2 January 1938) is an English fashion and portrait photographer. David Bailey was born at Whipps Cross University Hospital in Leytonstone, to Herbert Bailey, a tailor's cutter, and his wife, Gladys a machinist. From the age of three he lived in East Ham. Bailey developed a love of natural history, and this led him into photography. Suffering from undiagnosed dyslexia, he experienced problems at school. He attended a private school, Clark's College in Ilford, where he says they taught him less than the more basic council school. As well as dyslexia he also has the motor skill disorder dyspraxia (developmental coordination disorder). In one school year, he claims he only attended 33 times. He left school on his fifteenth birthday, to become a copy boy at the Fleet Street offices of the Yorkshire Post. He raced through a series of dead-end jobs, before his call up for National Service in 1956, serving with the Royal Air Force in Singapore in 1957. The appropriation of his trumpet forced him to consider other creative outlets, and he bought a Rolleiflex camera. He was demobbed in August 1958, and determined to pursue a career in photography, he bought a Canon rangefinder camera. Unable to obtain a place at the London College of Printing because of his school record, he became a second assistant to David Ollins, in Charlotte Mews. He earned £3 10s (£3.50) a week, and acted as studio dogsbody. He was delighted to be called to an interview with photographer John French. In 1959, Bailey became a photographic assistant at the John French studio, and in May 1960, he was a photographer for John Cole's Studio Five, before being contracted as a fashion photographer for British Vogue magazine later that year. He also undertook a large amount of freelance work. Along with Terence Donovan and Brian Duffy, Bailey captured and helped create the 'Swinging London' of the 1960s: a culture of fashion and celebrity chic. The three photographers socialized with actors, musicians and royalty, and found themselves elevated to celebrity status. Together, they were the first real celebrity photographers, named by Norman Parkinson "the Black Trinity". The film Blowup (1966), directed by Michelangelo Antonioni, depicts the life of a London fashion photographer who is played by David Hemmings, whose character was inspired by Bailey. The "Swinging London" scene was aptly reflected in his Box of Pin-Ups (1964): a box of poster-prints of 1960s celebrities including Terence Stamp, The Beatles, Mick Jagger, Jean Shrimpton, PJ Proby, Cecil Beaton, Rudolf Nureyev and East End gangsters, the Kray twins. The Box was an unusual and unique commercial release. It reflected the changing status of the photographer that one could sell a collection of prints in this way. Strong objection to the presence of the Krays by fellow photographer, Lord Snowdon, was the major reason no American edition of the "Box" was released, and that a second British edition was not issued. The record sale for a copy of 'Box of Pin-Ups' is reported as "north of £20,000". At Vogue Bailey was shooting covers within months, and, at the height of his productivity, he shot 800 pages of Vogue editorial in one year. Penelope Tree, a former girlfriend, described him as "the king lion on the Savannah: incredibly attractive, with a dangerous vibe. He was the electricity, the brightest, most powerful, most talented, most energetic force at the magazine". American Vogue's creative director Grace Coddington, then a model herself, said "It was the Sixties, it was a raving time, and Bailey was unbelievably good-looking. He was everything that you wanted him to be – like the Beatles but accessible – and when he went on the market everyone went in. We were all killing ourselves to be his model, although he hooked up with Jean Shrimpton pretty quickly". Of model Jean Shrimpton, Bailey said: "She was magic and the camera loved her too. In a way she was the cheapest model in the world – you only needed to shoot half a roll of film and then you had it. She had the knack of having her hand in the right place, she knew where the light was, she was just a natural." Since 1966, Bailey has also directed several television commercials and documentaries. From 1968 to 1971 he directed and produced TV documentaries titled Beaton, Warhol and Visconti. As well as fashion photography, Bailey photographed album sleeve art for musicians including The Rolling Stones and Marianne Faithfull. One of Bailey's most famous works depicts the Rolling Stones including Brian Jones, who drowned in 1969 while under the influence of drink and drugs. He is seen standing slightly apart from the rest of the group. Bailey was hired in 1970 by Island Records' Chris Blackwell to shoot publicity photos of Cat Stevens for his upcoming album Tea for the Tillerman. Stevens, who is now known as Yusuf Islam maintains that he disliked having his photo on the cover of his albums, as had previously been the case, although he allowed Bailey's photographs to be placed on the inner sleeve of the album. In 1972, rock singer Alice Cooper was photographed by Bailey for Vogue magazine, almost naked apart from a snake. Cooper used Bailey the following year to shoot for the group's chart-topping 'Billion Dollar Babies' album. The shoot included a baby wearing shocking eye makeup and, supposedly, one billion dollars in cash requiring the shoot to be under armed guard. In 1976, Bailey published Ritz Newspaper together with David Litchfield. In 1985, Bailey was photographing stars at the Live Aid concert at Wembley Stadium. As he recalled later: "The atmosphere on the day was great. At one point I got a tap on my shoulder and spun round. Suddenly there was a big tongue down my throat! It was Freddie Mercury." In October 2020 Bailey's Memoir "Look Again" in co-operation with author James Fox was published by Macmillan Books a review on his life and work.Source: Wikipedia David Bailey is an English fashion photographer best known for his images of celebrities, models, and musicians. Though he is also known for his photography book NWI (1982), which documented the process of gentrification in the London neighborhoods of Primrose Hill and Camden. Born on January 2, 1938 in London, United Kingdom, Bailey dropped out of high school to serve in the Royal Air Force where he developed an interest in the photography of Henri Cartier-Bresson. Returning to England, Bailey began working as the fashion photographer John French’s assistant. Over the course of the 1960s and 70s, the artist gained attention from the press after a string of high-profile marriages to Jean Shrimpton, Catherine Deneuve, and Marie Helvin. In 1965, he published his first photography book Box of Pin-Ups, a collection of black-and-white images portraying Mick Jagger, The Beatles, Twiggy, and Andy Warhol, along with several other celebrity figures. Bailey has gone on to receive the title of Commander of the Order of the British Empire from Queen Elizabeth II, and in 2016 a Lifetime Achievement award from the International Center of Photography in New York. The artist’s photographs are held in the collections of the National Portrait Gallery and the Victoria and Albert Museum in London. Bailey currently lives and works in London, United Kingdom.Source: Artnet
Wang Wusheng
China
1945 | † 2018
Wang Wusheng was born in the city of Wuhu in China's Anhui Province and graduated from Anhui University's School of Physics. Beginning in 1973, Wusheng worked as a photographer for a news magazine in Anhui Province. He studied at the Art Institute of Nihon University in Japan beginning in 1983 and studied for three years at the Tokyo Arts University. Wusheng currently works as a fine art photographer in Tokyo. For more than three decades, Wang Wusheng has been captivated by the beauty of Mount Huangshan, also called Yellow Mountain. Located in the southern part of the Anhui province in northern China, Mount Huangshan has often been described as the world's most beautiful and enchanting mountain. Over many centuries, this mountain, with its seventy-two peaks, has been the subject of Chinese landscape painters, whose singular works are so haunting make it appear impossible for these mountains to exist in nature. Inspired by the legacy of these paintings, Wusheng has sought to portray Mount Huangshan in his own way, expressing his "inner worlds" through this scenic wonder. Wusheng captures mist-shrouded granite peaks emerging from an ever-changing veil of clouds, sculptural craggy rocks on lofty cliffs and weathered, oddly shaped pine trees. He records the appearance of Mount Huangshan in all seasons and at various times of day. As one critic says, "[Wusheng's] pictures are gorgeous, but their beauty does not come directly from the natural scenery. Rather, the mountain's natural wonders have been transformed into artistic spectacles through the artist's commitment to the medium of black-and-white photography, his insistent pursuit of dynamic movement and metamorphic images, and his deep emotional engagement with his subject. His mountain peaks are often densely dark-a kind of velvet darkness that seems full of color."Source: Robert Klein Gallery World-renowned photographer, writer, and broadcaster Tom Ang wrote in 2014 in his book Photography: The Definitive Visual History published by DK this text about Wang Wusheng's art works: Oriental perspectives The fusion of classical Chinese fine art with photography was not achieved until the 1940s. It resulted in a distinctive approach to landscape by combining classical forms with a challenge to the Western representation of space. Photography had reached China and Japan by the 1840s, but long remained an imported art form used primarily by foreigners. Fundamentally it was alien to the aesthetics of Asian fine art. The fine detail of a photograph was at odds with the eastern tradition of depicting a scene with just a few brushstrokes. And whereas Eastern art dealt with symbols-mountains representing wisdom, water standing for the flux of life and so on- photography seemed unremittingly literal and heavy-handed to Asian eyes. Eastern art was also fixedly monochrome: black was Heaven's hue, and too much considered bad for the eyes. Three dimensions in two A further element foreign to Asian minds was the handling of perspective-how three-dimensional space was represented on the flat surface of a print or painting. In Europe, 15th-century thinkers, such as the architect Filippo Brunelleschi, showed that a geometrically accurate way to represent objects in space was to depict parallel sides as if they converged toward a vanishing point on the horizon. Early photography reinforced the dominance of this linear perspective in Western art. Classical Asian art was based on different models of space. It showed space with receding planes, in which a nearer object overlaps and covers part of a further object. This was joined to aerial perspective, which exploits how contrast and clarity naturally diminish the further away things are to express receding space. Asian pictorials By the 20th century. even artists in he West were rebelling against geometrical perspective, most visibly in the Cubist movement, which spilled over to montage effects in modernist photography (see pp. 142-43 and Pp.330-31). Finally, in the 1940s, Long Chin-San (also transliterated Lang Jingshan) in Hong Kong marked the first successful fusion of Asian with European modes. Trained in Photography by a brush-and-ink artist, Long considered a traditional painting "as a composite Image of fragmentary visual memories". From this, Long derived composite photographs using subtle toning and multiple printing techniques to place traditional elements such as calligraphically expressive bamboo shoots, leafless branches, and craggy rocks against a plain ground, suspending his subjects In an indeterminate space. Relationships between elements were defined by aerial perspective and overlapping receding planes. Minimal and calligraphic expressions also came naturally to photographers such as Jiang Peng, but Long's best-known students was Don Hong Qai. Modern interpretation China's Huangshan (Yellow Mountains) is a glaciated mountain range much venerated for its exquisite scenery of 72 steep peaks, often shrouded in mist. The Huangshan inspired its own school of painting, which made extensive use of aerial perspective, Wang Wusheng is a leading modern exponent of the style. Wang was working as a news photographer when he turned his attention to the Huangshan in 1973 In his photographs, he exploited the ultrafine grain of Kodak Technical Pan film to create a modern interpretation of inky-black silhouettes are grouped against the smoothly shifting swathes of mist, their softening tones deftly defining distance. This image is part of the Celestial Realm series, published in book form in 2005. In wang's contemporary interpretation of traditional Chinese black-ink painted landscapes, mist separates the deep velvety darkness of the sharply silhouetted rocks and trees in the foreground from the progressively fuzzier bands of trees and rocks.
Jennifer Thoreson (Hudson)
Jennifer B Thoreson (Hudson) is a fresh, young visual fine art photographer creating staged imagery that is both artistically stylized and meticulously crafted. Drawing inspirations from themes of faith, restitution and re-purpose, and the intricacy of personal relationships, Jennifer is a dynamic and emotional illustrator of the human heart. With an innate ability to plumb the antique, the work is soulful; seeking the use of the forgotten or discarded, eerie and quiet. Raised in a spiritual and conservative home in rural Texas, Jennifer grew up imaginative, curious, and experimental, and has used her upbringing in her intensely personal artwork to bring insight and awareness using heartfelt, acutely mapped personal experiences. Jennifer is currently working in Albuquerque. New Mexico. she is an MFA Degree Candidate at the University of New Mexico, and is studying within the studio art in Photography program. Alongside varied private portrait commissions, she is an international speaker and lecturer whose programs are sought after year after year by many professional public and private photographic organizations. She has just completed her latest major body of work entitled ‘Medic’, a collection of ten images exploring the breadth of human relationships during illness and recovery. Jennifer’s work has been a part of many group and solo exhibitions, and is represented by three major galleries across the country. Exclusive Interview with Jennifer B Thoreson (Hudson): All About Photo: Where did you study photography? Jennifer Thoreson:The University of New Mexico How long have you been a photographer?About 12 years. What or who inspires you?Thomas Demand, Ann Hamilton, Rachel Whiteread, Francesca Woodman, Deborah Turbeville, Sarah Moon, Gertrude Kassebier, Julia Margaret Cameron Do you have a favorite photograph or series?Deborah Turbeville's Past Imperfect What kind of gear do you use? Camera, lens, digital, film?I have a Nikon D3, and use the 24-70mm 2.8 for just about everything. What advice would you give a young photographer?First, commitment and conviction are paramount. If you combine conviction and energy, you've really got something. Second, be humble, engaged, passionate, and well spoken. An idea, a sentence, a project you would like to share?I'm working on a project now about re-birth and reconciliation. I'm creating large scale installations in each room of a house, and photographing them with human subjects. The house itself, and all of the furnishings are unwanted or discarded items I have collected. I'm repairing them, beautifying, and repurposing them for the photographs; sort of a baptism for each object. The finished work will be photographs; small records, or documents of the transformation. The compliment that touched you most?Someone once told me that one of my photographs helped her to cope and heal from a life crisis. It meant the world to me. If you were someone else who would it be?Imogen Heap.Your favorite photo book?'Francesca Woodman' See the Book
Alexander Anufriev
Alexander Anufriev is a Russian photographer, born in Ukhta (Komi Republic, Russia) in 1988. Before photography, Anufriev worked in international advertising agencies. Currently, he is a Moscow-based photographer who works on projects describing and analysing social landscape of contemporary Russia. Alexander Anufriev’s Russia Close-Up series is a zoomed-in look at what makes a modern Russia, through a highly subjective lens. He got the idea for it while he was studying at The Rodchenko Art School in Moscow, after becoming disillusioned with documentary photography. “At the time, it was important for me to tell stories and for them to be the truth, but it started to feel like a little bit of a lie,” he explains. “Even if you’re trying to be totally objective, it is always a bit subjective." “I stopped shooting for six months, and I was about to quit photography, but then I thought, ‘What if I tried to be completely subjective?’ So I cropped the images very tightly, and included only the elements I wanted to show. It was a farewell to convention.” Unconventional it may be, but the series has already had some success, exhibited in Cardiff, Sydney, and Saint Petersburg, and winning third place in the Moscow Photobookfest Dummy book award. Anufriev’s past projects have included a series on homeless people celebrating New Year’s Eve in a Moscow train station, and portraits of market sellers on the city’s streets. But for this project, he wanted find a way to visualise the mood of a whole country. Born in 1988, he doesn’t remember life in the Soviet Union, behind the Iron Curtain. But over the last few years, against a backdrop of political apathy, he has began to realise the underlying forces of patriotism and nationalism in modern Russia. This series is an attempt to bring the image of Russia up to date, he says. “There are inner processes that are not obvious to the rest of the world,” he adds, “the strengthening of censorship and propaganda. This series is an attempt to visualise these processes.”Source: British Journal of Photography
Flor Garduño
Mexico
1957
Flor Garduño was born in Mexico and studied visual arts at the Academy of San Carlos (UNAM), where she focused on the search for the structural aspects of form and space. She became especially interested in the work of Kati Horna, a Hungarian photographer whose communicative dimension of her photographs had a great impact on the development of Garduño's aesthetic. She gave up her studies to work as a darkroom assistant for Manuel Álvarez Bravo, one of Mexico's most prestigious photographers, with whom she strengthened her photographic skills. Since then, Garduño has received numerable prizes, and her work has been exposed and published around the world. Garduño's photos depict the landscapes of Central and South America -- and the people whose ancestors were indigenous to the region. Her photos depict subjects that could have existed in a time long before the present moment, and through photographing them, brings the Indian land of America to the present moment. She addresses time -- past, present, and future -- simultaneously through her photographs. Through her photos we witness the slow procession from life to death, interrupted by comic accidents, childish play, liturgical ceremonies, and erotic repose. Though many themes traverse Garduño's body of work, all ultimately reach the point of incense where, uncertainly, nature, and art blend so that mankind may have a margin of whimsy, freedom, or significance on the face of the gods.Source: Peter Fetterman Gallery Flor Garduño (Born Mexico City, Mexico, 1957) studied at the Escuela Nacional de Artes Plásticas in Mexico City.  In 1979 she became an assistant to Manuel Alvarez Bravo. Between 1981 and 1982 she traveled with a team of photographers organized by Mariana Yampolsky. The team photographed rural villages throughout Mexico for reading primers published by the Secretariat of Education for Indigenous Communities.  This experience as well as her association with Kati Horn influenced Garduño's photographs, which are usually of country locales and towns depicted in strange and mysterious ways typical of Surrealism in Mexican photography.  Garduño had her first one-person exhibition in 1982 at the Galeria Jose Clemente Orozco in Mexico City.  In 1985, a compendium of six years of her work was published entitled "Magia del Juego Eterno" and in 1987 another book entitled "Bestiarium" was published.  In 1986 she participated in the first photographic exhibition of the Salón de la Plástica Mexicana and in the inauguration of the Kahlo-Coronel Gallery in Mexico City. In 1986 and 1988 she was included in several traveling exhibitions "Reserved for Export" and "Realidades Mágicas" that were seen in the United States and Europe.  1996 Image and Memory, Latin american Photography, 1880-1992  Itinerary: El Museo del Barrio, New York.  Art Gallery of the University of Scranton, PA.  Lowe Art Museum, Florida.  Museo de Arte de Ponce, Puerto Rico.  Crocker Art Museum, CA.  Meadows Museum, Tx.  Akron Art Museum, OH. Her one-person shows were in Paris in 1986, the Museum Volkenkunde de Rotterdam in 1989, the Field Museum of Chicago in 1990 and Montreal in 1991.  Since 1989 she has dedicated herself to photographing the images that appear in her one-person exhibition and monograph, "Witnesses of Time".  The exhibition started at the Americas Society in 1993 and will be traveling across the country to the Museum of Photographic Arts in California as well as various other venues.  Her work is in the collections of the Museum of Modern Art, New York; Bibliotheque Nationale, Paris; and Centro Cultural de Arte Contemporáneo, Mexico.Source: Throckmorton Fine Art Galleries in the USA:   Peter Fetterman Gallery   Throckmorton Fine Art   Fahey/Klein Gallery   Holden Luntz Gallery   Etherton Gallery   Andrew Smith Gallery
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Anastasia Samoylova is an American artist whose photographic practice is shaped by close observation and a deep attentiveness to place. Working between documentary and formal exploration, she photographs landscapes, architecture, and everyday scenes with a sensitivity to light, structure, and atmosphere. Since relocating to Miami in 2016, her work has increasingly focused on how environments—both natural and built—carry social, cultural, and emotional traces. We asked her a few questions about her practice and her way of seeing, to better understand the thoughts and experiences that shape her work—while allowing the images themselves to remain open and speak in their own time.
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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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