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Win a Solo Exhibition in July 2026 + An Exclusive Interview!
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Luigi Ghirri
Luigi Ghirri

Luigi Ghirri

Country: Italy
Birth: 1943 | Death: 1992

Luigi Ghirri, born on January 5, 1943, in Scandiano, Emilia-Romagna, Italy, was a trailblazing photographer renowned for his innovative use of color. Ghirri's early life in this picturesque region profoundly influenced his artistic vision. Initially trained as a surveyor, he began experimenting with photography in the early 1970s, a time when the medium was predominantly monochrome and used mainly for documentation and advertising.

Ghirri diverged from the norm by embracing color photography as a legitimate artistic form. His work delved into the social and cultural changes sweeping through Italy during the 1970s, particularly the infiltration of advertising and the rise of leisure activities. His images often feature everyday scenes, landscapes, and urban environments, infused with a sense of nostalgia and contemplation. He had an uncanny ability to find beauty in the mundane, transforming ordinary moments into profound visual narratives.

One of Ghirri's most significant contributions was his ability to convey the evolving identity of post-war Italy. His photographs from this era provide a vivid chronicle of the shifting social landscape, marked by consumerism and modernity, yet always maintaining a deep connection to the region's history and traditions.

In 1978, Ghirri published his first book, "Kodachrome," which became a seminal work in the field of color photography. This collection showcased his unique perspective and solidified his reputation as a visionary artist. He continued to produce influential works throughout the 1980s, including notable projects like "Il Profilo delle Nuvole" and "Viaggio in Italia," which further explored themes of travel, memory, and the passage of time.

Ghirri's approach was both methodical and poetic. He meticulously composed his shots, paying close attention to light, color, and composition. His photographs often feature elements of surrealism and irony, inviting viewers to see the world through his distinctive lens.

Despite his untimely death on February 14, 1992, Ghirri's legacy endures. His work has been celebrated in numerous exhibitions and retrospectives worldwide, influencing generations of photographers. Luigi Ghirri remains a pivotal figure in the history of photography, revered for his pioneering use of color and his profound ability to capture the essence of a changing Italy.
 

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Cardell Phillips
United States
1952
I'm a photographer living in Chicago. I discovered photography when I was in high school. My uncle was a photographer, and he showed me what the world looked like through a viewfinder. What I enjoyed the most about it was the freedom to explore the world and then show everyone what I found. When I got a job, I bought my first camera, an Olympus Trip 35, and learned how to use it by taking photographs of family and friends. Basically, anyone who would put up with me taking their picture when they weren't expecting it. When I was in grammar school, my two sisters and I spent our summer vacations at our grandparents' farm in Michigan. It was there that I experienced what it was like to live close to the land. So, when I thought about what kind of photography I wanted to specialize in, I chose landscape photography. Enchanted by the images taken by Ansel Adams and others, I traveled to the Canadian Rockies for a weeklong workshop where I learned some of the finer aspects of photography and gained confidence as a photographer. For years, I only shot portraits and landscapes. My interest in street photography began around 2008, when I came across the work of Walker Evans. His vision of the beauty in everyday life led me to other masters like Henri Cartier-Bresson, Vivian Maier, Roy DeCarava, and Wayne Miller. Their humanist approach to photography, to explore what it means to be human, inspired me. It's what I think about when I'm out with my camera and immersing myself in the flow of life, seeking to capture its disillusionment, solitude, and indigence but also the beauty, joy, and everyday wonders. In September 2021, the Praxis Gallery in Minneapolis chose one of my images for its "Shape of Things," exhibit. It was my first gallery showing. Statement One of the best places to take photographs in Chicago is the Lakefront. There, the beaches are strung out along Lake Michigan, from north to south, like pearls on a string, where there are many opportunities to photograph both people and landscapes. The 57th Street Beach is my favorite. It's a small beach with trees at the north and south ends that give it a touch of wilderness. As I photographed there, I noticed the people who came out to the lake in the early morning to engage in creative or spiritual work. As I began photographing them, I got the idea for a project about the power of the lake and the people who go there to resonate with the sky and water and to energize their hopes and dreams.
Cindy Sherman
United States
1954
Cindy Sherman was born in 1954 in Glen Ridge, New Jersey. Sherman earned a BA from Buffalo State College, State University of New York (1976). In self-reflexive photographs and films, Cindy Sherman invents myriad guises, metamorphosing from Hollywood starlet to clown to society matron. Often with the simplest of means—a camera, a wig, makeup, an outfit—Sherman fashions ambiguous but memorable characters that suggest complex lives that exist outside of the frame. Leaving her works untitled, Sherman refuses to impose descriptive language on her images—relying instead on the viewer’s ability to develop narratives, as an essential component of appreciating the work. While rarely revealing her private intentions, Sherman’s investigations have a compelling relationship to public images, from kitsch (film stills and centerfolds) to art history (Old Masters and Surrealism) to green-screen technology and the latest advances in digital photography. Sherman’s exhaustive study of portraiture and self-portraiture—often a playful mixture of camp and horror, heightened by gritty realism—provides a new lens through which to examine societal assumptions surrounding gender and the valuation of concept over style. Among her awards are the Guild Hall Academy of the Arts Lifetime Achievement Award for Visual Arts (2005); American Academy of Arts and Sciences Award (2003); National Arts Award (2001); a John D. and Catherine T. MacArthur Foundation Award (1995); and others. Her work has appeared in major exhibitions at Sprüth Magers, Berlin (2009); Jeu de Paume, Paris (2006); the Museum of Modern Art, New York (1997); and the Museum of Contemporary Art, Los Angeles (1997); among others. Sherman has participated in many international events, including SITE Santa Fe (2004); the Venice Biennale (1982, 1995); and five Whitney Biennial exhibitions. Cindy Sherman lives and works in New York.
Jaromír Funke
Czech Republic
1896 | † 1945
Jaromír Funke (1896–1945) was a Modernist photographer and a leading figure in Czech photography during the 1920s and 30s. He was born in Skute? to a wealthy family. He studied medicine, law, and philosophy at the Charles University in Prague and the University of Bratislava but did not graduate and instead turned to photography. Funke was recognized for his play of “photographic games” with mirrors, lights, and insignificant objects, such as plates, bottles, or glasses, to create unique works. His still life’s created abstract forms and played with shadows looking similar to photograms. His work was thought to be logical, original and expressive in nature. A typical feature of Funke’s work would be the "dynamic diagonal." By the 1920s, Funke had become an amateur photographer and began to experiment with constructivism, surrealism, poeticism, and expressionism. He created unconventional works as a form of “pure” photography instead of the traditional reminiscing of other mediums such as painting or sculpture. During his photography profession, Funke published editorials and critiques about photography. By 1922, Funke had become a skilled freelance photographer and two years later he, Josef Sudek and Adolf Schneeberger created the Czech Photographic Society. From 1931-1935, Funke headed the photography department at the School of Arts and Crafts in Bratislava. Soon after, Funke taught at the School of Graphic Art in Prague until 1944. Alongside Ladislav Sutha, the director of the previous school, Funke published Fotografie vidí povrch in 1935. While travelling, Funke became interested in politically engaged photography. Bad living was created during the time period of 1930-1931 and was a photographic series that dealt with the issues of poverty. Funke later became an editor of the journal Fotografický obzor (Photographic Horizons) for several years. He published a number of works including Od fotogrameuk emoci which is understood to be his manifesto. As travelling was limited during World War 2 in 1939, Funke photographed close to home in Louny, Prague and sometimes Kolin. On March 22, 1945 in Kolin, Funke required an immediate operation for intestine damage but the procedure could not be executed as it was during an air raid alarm and he died.Source: Wikipedia Jaromír Funke (1896–1945) studied medicine, law and philosophy at Charles University in Prague but did not graduate. Instead he concentrated on becoming a professional freelance photographer. By 1922 he was a leader of the young opposition movement in photography and a founder of the Czech Society of Photography (1924) whose mission was to create photography that would fulfil new social functions. In his work Funke managed to combine some of the leading trends in modernist European photography, uniting constructivism and functionalism with surrealism and social commentary, with traditional Czech aesthetics. His interest in modernist ideas led him to make clearly focused studies of simple objects. As the decade progressed, he turned to the production of carefully arranged still lifes emphasizing abstract form and the play of light and shadow. During this time he also produced several important series of photographs, including two inspired by the images of Eugène Atget: Reflexy (Reflections, 1929) and as trvá (Time Persists, 1930-34). Funke was also influential as a teacher, first at the School of Arts and Crafts, Bratislava (1931-34/35), which followed a Bauhaus-inspired curriculum, and then at the State School of Graphic Arts, Prague (1935-44). While in Bratislava, he became interested in social documentary photography and joined the leftist group Sociofoto, which was concerned with recording the living conditions of the poor. Throughout his career Funke published articles and critical reviews dealing with photography. From 1939-41 he worked with Josef Ehm to edit the magazine Fotografik obzor (Photographic Horizon).Source: Howard Greenberg Gallery
Clay Lipsky
United States
Clay Lipsky is a fine art photographer & Emmy Award winning graphic designer based in Los Angeles. He has applied his unique visual style across a variety of mediums, from print and multimedia to TV and film. Despite his varied interests, photography has always been a part of Clay’s life. Recently, he has experienced a new-found interest with the medium and is now passionately focused on pursuing photography as fine art, free from clients and limitless in creative possibilities. Clay is self-taught and strives to create images that can stand the test of time. His photos have been exhibited in various group shows, including those at the Annenberg Space for Photography, MOPLA, Pink Art Fair Seoul, Wall Space, Rayko and Impossible Project Spaces in NYC & Warsaw, Poland. Clay has been published internationally in print and online, most notably with Esquire Russia, Wired Italia, Fraction, Square, Lenscratch, Diffusion, i-ref, Daily News (UK), Yahoo! Lifestyle (Germany), La Republica (Italy), Libération (France), Shots & um[laut] Magazines. Clay Lipsky's project, In Dark Light, is intriguing on a number of levels. First, the work was created, for the most part, on a trip to Iceland and as we know, creating conceptual fine art images while in a foreign place, with no opportunity for previsualization, is not an easy task. But somehow, Clay instinctively found a narrative and way of working within a concentrated period of time. The other interesting aspect is what the work is about. Making imagery about depression, about loss and solitude has to have subtle nuances that are at once personal and universal, and Clay captured this subject with emotion and simplicity. Clay works as fine art photographer and graphic in Los Angeles. His photos have been exhibited in group shows across the country, including the Annenberg Space for Photography, MOPLA, Pink Art Fair Seoul, PhotoPlace and Impossible Project NYC. He has been featured internationally in print and online in publications such as Fraction, Square, Diffusion, F-Stop, PH and Shots Magazines. Recently, he was a featured "Ten" through Jennifer Schwartz Gallery, and North Light Press will be publishing an edition of his Cuba photos through their 11+1 series. He is also an avid self-publisher with several titles that exhibit as part of the Indie Photobook Library. Source: www.lenscratch.com About the series In Dark Light This series of self portraits examines my loss of identity and enduring personal journey through depression. It is a solitary path that encompasses loss of home and parent, the pursuit of beauty, work and perseverance under no religious or visceral compass. Imagined as a vast, shadowed plane it is a private purgatory mired in fog with colors muted and senses numbed. The varied landscape acts as metaphor for life's many obstacles. Beyond the horizon lies hope for brighter days and so the lone soul carries on, albeit cast in dark light. Discover Clay Lipsky's Interview
William Eggleston
United States
1939
William Eggleston was born in Memphis, Tennessee and raised in Sumner, Mississippi. His father was an engineer and his mother was the daughter of a prominent local judge. As a boy, Eggleston was introverted; he enjoyed playing the piano, drawing, and working with electronics. From an early age, he was also drawn to visual media, and reportedly enjoyed buying postcards and cutting out pictures from magazines. At the age of 15, Eggleston was sent to the Webb School, a boarding establishment. Eggleston later recalled few fond memories of the school, telling a reporter, "It had a kind of Spartan routine to 'build character'. I never knew what that was supposed to mean. It was so callous and dumb. It was the kind of place where it was considered effeminate to like music and painting." Eggleston was unusual among his peers in eschewing the traditional Southern male pursuits of hunting and sports, in favor of artistic pursuits and observation of the world. 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First photographing in black-and-white, Eggleston began experimenting with color in 1965 and 1966 after being introduced to the medium by William Christenberry. Color transparency film became his dominant medium in the later 1960s. Eggleston's development as a photographer seems to have taken place in relative isolation from other artists. In an interview, John Szarkowski describes his first encounter with the young Eggleston in 1969 as being "absolutely out of the blue". After reviewing Eggleston's work (which he recalled as a suitcase full of "drugstore" color prints) Szarkowski prevailed upon the Photography Committee of MoMA to buy one of Eggleston's photographs. In 1970, Eggleston's friend William Christenberry introduced him to Walter Hopps, director of Washington, D.C.'s Corcoran Gallery. Hopps later reported being "stunned" by Eggleston's work: "I had never seen anything like it." Eggleston taught at Harvard in 1973 and 1974, and it was during these years that he discovered dye-transfer printing; he was examining the price list of a photographic lab in Chicago when he read about the process. As Eggleston later recalled: "It advertised 'from the cheapest to the ultimate print.' The ultimate print was a dye-transfer. I went straight up there to look and everything I saw was commercial work like pictures of cigarette packs or perfume bottles but the colour saturation and the quality of the ink was overwhelming. I couldn't wait to see what a plain Eggleston picture would look like with the same process. Every photograph I subsequently printed with the process seemed fantastic and each one seemed better than the previous one." The dye-transfer process resulted in some of Eggleston's most striking and famous work, such as his 1973 photograph entitled The Red Ceiling, of which Eggleston said, "The Red Ceiling is so powerful, that in fact I've never seen it reproduced on the page to my satisfaction. When you look at the dye it is like red blood that's wet on the wall.... A little red is usually enough, but to work with an entire red surface was a challenge." At Harvard, Eggleston prepared his first portfolio, entitled 14 Pictures (1974). Eggleston's work was exhibited at MoMA in 1976. Although this was over three decades after MoMa had mounted a solo exhibition of color photographs by Eliot Porter, and a decade after MoMA had exhibited color photographs by Ernst Haas, the tale that the Eggleston exhibition was MoMA's first exhibition of color photography is frequently repeated, and the 1976 show is regarded as a watershed moment in the history of photography, by marking "the acceptance of colour photography by the highest validating institution" (in the words of Mark Holborn). Around the time of his 1976 MoMA exhibition, Eggleston was introduced to Viva, the Andy Warhol "superstar", with whom he began a long relationship. During this period Eggleston became familiar with Andy Warhol's circle, a connection that may have helped foster Eggleston's idea of the "democratic camera", Mark Holborn suggests. Also in the 1970s Eggleston experimented with video, producing several hours of roughly edited footage Eggleston calls Stranded in Canton. Writer Richard Woodward, who has viewed the footage, likens it to a "demented home movie", mixing tender shots of his children at home with shots of drunken parties, public urination and a man biting off a chicken's head before a cheering crowd in New Orleans. Woodward suggests that the film is reflective of Eggleston's "fearless naturalism—a belief that by looking patiently at what others ignore or look away from, interesting things can be seen." Eggleston's published books and portfolios include Los Alamos (completed in 1974, but published much later), William Eggleston's Guide (the catalog of the 1976 MoMa exhibit), the massive Election Eve (1977; a portfolio of photographs taken around Plains, Georgia, the rural seat of Jimmy Carter before the 1976 presidential election), The Morals of Vision (1978), Flowers (1978), Wedgwood Blue (1979), Seven (1979), Troubled Waters (1980), The Louisiana Project (1980), William Eggleston's Graceland (1984; a series of commissioned photographs of Elvis Presley's Graceland, depicting the singer's home as an airless, windowless tomb in custom-made bad taste), The Democratic Forest (1989), Faulkner's Mississippi (1990), and Ancient and Modern(1992). Some of his early series have not been shown until the late 2000s. The Nightclub Portraits (1973), a series of large black-and-white portraits in bars and clubs around Memphis was, for the most part, not shown until 2005. Lost and Found, part of Eggleston's Los Alamos series, is a body of photographs that have remained unseen for decades because until 2008 no one knew that they belonged to Walter Hopps; the works from this series chronicle road trips the artist took with Hopps, leaving from Memphis and traveling as far as the West Coast. Eggleston's Election Eve photographs were not editioned until 2011. Eggleston also worked with filmmakers, photographing the set of John Huston's film Annie (1982) and documenting the making of David Byrne's film True Stories (1986). In 2017 an album of Eggleston's music was released, Musik. It comprises 13 "experimental electronic soundscapes", "often dramatic improvisations on compositions by Bach (his hero) and Haendel as well as his singular takes on a Gilbert and Sullivan tune and the jazz standard On the Street Where You Live." Musik was made entirely on a 1980s Korg synthesiser, and recorded to floppy disks. The 2017 compilation Musik was produced by Tom Lunt, and released on Secretly Canadian. In 2018, Áine O'Dwyer performed the music on a pipe organ at the Big Ears music festival in Knoxville. Source: Wikipedia William Eggleston assumes a neutral gaze and creates his art from commonplace subjects: a farmer's muddy Ford truck, a red ceiling in a friend's house, the contents of his own refrigerator. In his work, Eggleston photographs "democratically"--literally photographing the world around him. His large-format prints monumentalize everyday subjects, everything is equally important; every detail deserves attention. A native Southerner raised on a cotton plantation in the Mississippi Delta, Eggleston has created a singular portrait of his native South since the late 1960s. After discovering photography in the early 1960s, he abandoned a traditional education and instead learned from photographically illustrated books by Walker Evans, Henri Cartier-Bresson, and Robert Frank. Although he began his career making black-and-white images, he soon abandoned them to experiment with color technology to record experiences in more sensual and accurate terms at a time when color photography was largely confined to commercial advertising. In 1976 with the support of John Szarkowski, the influential photography historian, critic, and curator, Eggleston mounted "Color Photographs" a now famous exhibition of his work at the Museum of Modern Art, New York. William Eggleston's Guide , in which Szarkowski called Eggleston's photographs "perfect," accompanied this groundbreaking one-person show that established his reputation as a pioneer of color photography. His subjects were mundane, everyday, often trivial, so that the real subject was seen to be color itself. These images helped establish Eggleston as one of the first non-commercial photographers working in color and inspired a new generation of photographers, as well as filmmakers. Eggleston has published his work extensively. He continues to live and work in Memphis, and travels considerably for photographic projects. Source: The Getty Museum
Sarah  Ketelaars
United Kingdom
Sarah Ketelaars is a British photographer from Brighton, UK. She has a BA and an MA degree in English Literature from Jesus College, Cambridge, an MSc in Social Science from the Robert Gordon University in Aberdeen and a Diploma in photography from City College, Brighton. She began her career as a journalist and her images have appeared on book, CD and magazine cover. Her work has been exhibited nationally and internationally and is represented by Trevillion Images & Getty, and by 35 North Gallery in Brighton. In 2021 she was selected as one of the Lensculture Critics’ Choice winners for her project ‘Windows’ shot during lockdown in Houston, Texas and in 2024 she was selected as a finalist for her project ‘The 544’ in the Lensculture Art Photography Awards. The 544 This ongoing project is a memorial to 544 psychiatric patients murdered by the Nazis in 1941 in Latvia. The figurative images I’ve made are all cyanotypes. Eventually there will be one for each man, woman and child killed. My grandmother was working at the hospital from where the patients were taken. I have visited the hospital and found that although the story is known no memorial exists. The only official record seems to be a short paragraph in the Nuremberg report. So far I have found no record of the names. Using a historic photographic process feels fitting for a project examining a historical event. An ancient pagan Latvian folk symbol is drawn on by hand in gold ink to each piece. It is impossible for me to look at these images without thinking about how the lives of these people ended. However, the project is primarily intended as a memorial. I wanted the images to hint at some more celebratory moments, to remember the lives lived before these people entered the hospital; before they died. Not knowing anything about the identities of the dead, I have tried to imagine each one as a unique, precious being, and give each back a little of the character stripped from them when they were murdered and reduced by history to a number on a list of nameless victims. The project is the second in a trilogy looking at my family history, examining themes of cultural inheritance, identity and intergenerational trauma.
Antonio Aragón  Renuncio
I have always loved photography... and tell stories. Browse faces, roads, lights... and shadows. I have no idea what that can last a lifetime -boredom prevails in too many hearts- that can happen within it. But what I know for sure, is the wonderful and perfect division of a second in magical fractions of light and color. And that in my world, in my mind it would be more accurate, it´s an argument more than enough to even let life steal. One "one hundred twenty-fifth of a second" may be the closest thing to eternity... And there was light... And that happened in some distant land across the vast ocean... Antonio Aragón Renuncio Since the mid-90s always involved with photography: Founds and chairs "Nostromo" Photographers Association (Spain). Photography professor (+15 years) in several universities: UC (Spain), UAM, UCA and URACCAN (Nicaragua)... He organizes and directs the I Photography Festival of Santander. He writes about photography in different publications and publishes reportages in international media. He was Publisher in "Xplorer" Magazine (Nicaragua). He has been free-lance photographer for several International News Agencies. General Manager in Xtreme Photo WS (Burkina Faso, Africa). He organizes and directs the Solidarity Photography Days "Fotografía un Mundo Mejor" (Murcia, Spain)... In 2003 he founds, and since then he presides, the NGO OASIS (www.ongoasis.org) which develops every year medical projects in some of the most depressed areas of the Gulf of Guinea in Africa. More than 80 exhibitions and several awards: IPOTY, Xativa International Photo Awards, Siena International Photo Awards, Moscow International Foto Awards, Rivne Photo Arts Cup, Odessa/Batumi Photo Days, Tokyo International Foto Awards, Direct Look, Photography Grant, HIPA, Indian Photo Festival, Photo Nikon Pro, III Documentary Photography Days, POYLatam, Humanity Photo Awards UNESCO/CFPA, II Photojournalism Biennial, CFC Medal, GEA Photowords, REVELA, FIAP & CEF Medal, Latin-American Documentary Photo Award...
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