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Carla van de Puttelaar
Carla van de Puttelaar
Carla van de Puttelaar

Carla van de Puttelaar

Country: Netherlands
Birth: 1967

Carla van de Puttelaar is a graduate of the Gerrit Rietveld Academy in Amsterdam. Her work has been exhibited in Belgium, France, Germany, Hungary, Italy, Korea, The Netherlands, Spain, Sweden, Switzerland, United Kingdom and the United States. In 2002 she won the Basic Prize Prix de Rome. Collections holding Puttelaar's work include the Maison Européenne de la Photographie (France), Museum Winterhur (Switzerland), Huis Marseille Museum voor Fotografie (The Netherlands), Dutch Ministry of Foreign Affairs (The Netherlands), the Caldic Collection (The Netherlands) and many private collections. She has had her work published in numerous press publications, with four monographs published (2004, 2008 (twice) and 2011).

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More Great Photographers To Discover

MD Tanveer Rohan
Bangladesh
1982
Md. Tanveer Hassan Rohan was born and brought up in Dhaka, the capital city of Bangladesh. He has an utter passion for photography and photography has been his passion for a very long time. Growing up in Dhaka, he has realized that beauty manifests in many forms. This city is a manifestation of the contrast of nature and urbanization. As a photographer, his essential aim is to capture the moments of life and give them significance by making them static in time. He loves to travel and be in different places, meet new people, and enjoy the experience that photography offers, which is to capture Earth's beautiful and awe-inspiring moments. He also loves to experiment with his photography. He has finished his Basic Photography course From Prism . He has taken part in many National and International Photography contest and till now he has won many national and more than 200 international photography awards, including IPA 2015 (2nd Place in General News Category and 7 Honorable mentions in different categories), MIFA 2015 (1st Place In General News Category and 3 Honorable mentions in different categories), Grand Winner in "Photo for Tolerance +" International Youth Photography Contest 2015. 1st prize in Sony World Photography Awards 2016, National Award ,2nd Prize in Photojournalism category from Xposure International Photography Competition 2016, 9 (3 Gold, 1 Silver, 1 Bronze , 3 Honorable mentions and also 2nd Place in People category) awards from Tokyo International Photography awards 2016. 2 Awards (1st Place in Reportage and 2nd Place in People category) from VIAP 2016, Bulgaria. He has been selected as a best Authors three times in FIAP patronage Photography Contest in France, Czech Republic and Bangladesh. His photographs exhibited in more than 45 countries.He has been awarded AFIAP distinction from Fédération Internationale de l'Art Photographique (FIAP) in early 2016, and BEPSS Distinction From The Photographic Society of Singapore (PSS) in November 2016 and PPSA Distinction FromPhotographic Society Of America in December 2016. It is with utmost diligent and inspiration that he is willing to carry on this passion throughout his life.
Shelby Lee Adams
United States
1950
Shelby Lee Adams is an American environmental portrait photographer and artist best known for his images of Appalachian family life. Adams has photographed Appalachian families since the mid-1970s. He had first encountered the poor families of the Appalachian mountains as a child, travelling around the area with his uncle, who was a doctor. His work has been published in three monographs: Appalachian Portraits (1993), Appalachian Legacy (1998), and Appalachian Lives (2003). Adams was the subject of a documentary film by Jennifer Baichwal in 2002 - The True Meaning of Pictures: Shelby Lee Adams's Appalachia. This was shown at the Toronto International Film Festival, and at the Sundance Festival in 2003. The film critiques and defends Adams' method in photographing Appalachian people for his previously published books.Source: Wikipedia Born in Kentucky in the town of Hazard, and later living with his grandparents in Hot Spot, Shelby Lee Adams discovered photography and the arts in high school. It was during this time that the Peace Corps sent a film crew to his town to document the poverty of Appalachia, which sparked Adams' interest in the documentary style. He attended the Cleveland Institute of Art, where in his sophomore year he was exposed to the photographs of the Farm Security Administration. These pictures document the debilitating effects of the Depression in the South during the 1930s. Adams was able to relate to the images and the subjects, inspiring him to make the pictures for which he is now best known, his photographs of the people and culture of Appalachia. He began this project in 1973 and although he has done editorial work for publications like Fortune, GQ, New York Magazine, and the New York Times, he primarily focuses on portraits of the people of Appalachia. Shelby Lee Adams works primarily in black and white. He began with a 35mm camera and then switched to a 4x5. His crisp, poignant images show the people of Appalachia in their simple environments, revealing both the heroic and grotesque side to secluded mountain life. Adams photographs his subjects with an emphasis on the unpretty beauty of their immediate surroundings and their worn faces and clothes, their rudimentary living conditions starkly contrasted against the backdrop of a sublime landscape. But they are not depicted as victims; they confront the camera proudly and matter-of-factly. Shelby Lee Adams considers his subjects his friends, which no doubt lends a level of comfort to the shooting sessions, as they face his large camera. In his most recent work, Adams documents the infiltration of progress and media into the folkways of the Appalachian people, capturing the displacement of an agrarian economy. Drawn to the attractions of pop culture and modern life, the Appalachian people are losing interest in living off the land. Adams' work has received a great deal of recognition. He is the recipient of a survey grant and photography fellowship from the National Endowment for the Arts (1978, 1992), along with an artist support grant four years running from the Polaroid Corporation (1989-92). His photographs are held in the permanent collections of many museums, including the Museum of Modern Art and the Whitney Museum of American Art, both in New York, the Art Institute of Chicago, the Smithsonian American Art Museum in Washington, D.C., the Harvard Fogg Museum in Cambridge, and the Victoria and Albert Museum in London.Source: International Center of Photography
Miina Savolainen
Miina Savolainen is a community art oriented photographer and an art and social educator from Helsinki whose works deal social engagement. Alongside her artistic work she explores, teaches and develops the use of photography as a pedagogic and therapeutic method. Her work has resulted in the method of empowering photography. Miina Savolainen, her project The Loveliest Girl In The World and the method of empowering photography have received several awards in Finland. Miina Savolainen is a member of The Finnish Phototherapy Association and The Union of Artist Photographers.Besides The Loveliest Girl in the World, Miina Savolainen is an instructor in a communal art project concerning fatherhood. For two years now, a group of amateur photographers have been preparing an exhibition on the theme of fatherhood to Helsinki Jugendhall for autumn 2007, using the method of empowering photography. She is currently working on a community art project involving intersexed and transgendered individuals.The Loveliest Girl in the World is a community art project undertaken by photographer, art and social educator Miina Savolainen with ten girls from Hyvönen Children's Home. It has taken almost a decade to complete. The project is based on the idea of “empowerment” and the belief that everyone has the right to feel unique and special. The fairytale quality of the photographs reveals a truth often obscured by the rough and tumble of daily life - the person each young girl feels she really is inside. It allows the girls to regard themselves as strong and undamaged people. These photographs are deeply authentic, revealing the universal desire to be seen as good and valuable. “Photography can help to show people how they are treasured; how much they mean to me,” writes Miina Savolainen. “Accepting one's own portrait is a metaphor for accepting one’s own personality. During years the photographing has become an intimate and profound way to interact with the girls. This exceptional long-term relationship can be seen in the special kind of openness and intimacy of the photographs. Although the pictures in the series of the Loveliest Girl in the World are artificial and not from the everyday life they are bound to the tradition of realistic photography. The documentary quality of the pictures is multilayered. On one hand the pictures are documents of growing up, the young girls' personalities and dreams. On the other hand the pictures make certain features of the girls visible which cannot be seen in their everyday selves. The childhood of the young who have grown up in a Children's home includes a lot of feelings of being abandoned and of being invisible. It also includes the burden of other people's prejudices, the stigmatisation of being a Children's home resident. The fairytale-like pictures are juxtaposed with real life story that seldom had fairytale qualities. The pictures express sadness but also hope and desire to see oneself in a more gentle way. With the aid of the non-everyday world of the pictures the young have been allowed to be seen and to see themselves differently like never before. The girls do not see the pictures as role-playing. In the everyday life the girls may also lead “roles” which appear wrong and foreign to the girls. The pictures may show, for the first time, a side that the young person holds real and dear to herself, a picture that she wants to cherish in her mind. The Loveliest Girl in the World -pictures are extreme documents: they are pictures of a person’s inner identity. This inner side becomes visible and the deeper emotional “truth” can be reached by mixing the truth and the fiction. Every human being has an inviolable right to feel himself or herself special. The pictures are a proof of conclusiveness of the photograph, which is not only bound to what’s visible. The Loveliest Girl in the World doesn't portray the Children's home residents the way the people living in margins are usually portrayed. The pictures are also something else from the sexist way of how young women and girls are exhibited in today's public places. Above all the fairy-tale feeling of the pictures is metaphorical; it is a longing for a clean, innocent state of dreaming where you can see yourself as a whole and an ideal person, protected from the gaze and the expectations of other people. The series brings up questions on how the present visual culture makes one a part of the society. The pictures of the young in the Children's home tell stories of being a girl and being a human in general. The deepest content of the pictures, the need to be seen, is familiar to anyone. The attempt to learn to see oneself in a more gentle way is especially addressing in our time where people are surrounded by the endless requirements from different fields of life. The Loveliest Girl in the World exhibitions have prompted the public to think about the capacity of the photograph to influence on societal and personal levels. From the point of view of photography the project also raises questions about the author and ethics. This project could be seen as community photography. It includes the models not only in the creation of the photographs but also in the selection of the exhibited pictures.The project, its accompanying exhibition and Miina Savolainen has been awarded the Spotlight of the Year 2003 special prize of the jury, the Vision of the Year award 2004, Duodecim Finnish Medical Association’s 2005 Cultural Award, the Young Photographer of the Year award 2005 and the State Award for Children´s Culture 2006. Patricia Seppälä Foundation, the Finnish Cultural Foundation, Finnfoto and the City of Helsinki have supported the production.
Bob Newman
United States
1950
Bob began photographing on a regular basis after retiring as a physician. His images document the challenges and culture within marginalized communities, which are often similar to the underprivileged patients he enjoyed serving. After retirement, photography came to occupy much of this time. Initially his forays were associated with photo trips or workshops. When he first saw images of the Irish Travellers in 2015, he became intrigued. Photographing their culture and lives became his first long-term project. In the last five years, he has returned to visit the Travellers thirteen times, averaging 2-3 visits per year. To date he has visited 30 sites. Returning on multiple occasions has provided an opportunity to take a deep dive into their history and traditions. Statement The Irish Travellers is a long-term photographic project that began in 2016. Often referred to as Pavees, they number about 40,000 in Ireland and are ethnically separate from Romani/Gypsies. No longer nomadic, they now live in extended family roadside camps or halting sites. They are predominantly Irish Roman Catholic, endogamous, and traditional marriages are the norm. The women spend their time with their families, sometimes raising as many as 16 – 18 children. Girls are taught to act and dress provocatively as toddlers. It is exceedingly difficult for Traveller men to find jobs. The unemployment rate is 84%. Most live on a dole from the Irish Government. With time on their hands, horses and dogs play a major role in their lives. They face discrimination and racism because of their differences from the Settled Irish. Despite this, they are a remarkably resilient group who highly prize their culture, traditions and family life. This series focuses on Traveller children.
Michael Young
United States
Michael Young is a New York-based photographer. His work has been shown internationally in Switzerland and Australia as well as nationally in New York City, Kentucky, Colorado, Oregon and Massachusetts. His work will be on display this coming spring at Fotofestival Lenzburg's Search for Beauty open-air show. He was a finalist in Shoot the Frame's Shoot the Face competition this past January and won 2nd place in color photography from the Plymouth Center for the Arts in Massachusetts. His work will be published later this year in the first annual Feature Shoot's The Print Swap book. Additionally, his work has previously been published in Spunk [arts] Magazine, Taking Pictures (Black Box Gallery), and The Literate Image (Plymouth Center for the Arts). Michael has a MA in Teaching from New York University and a BA in Spanish Language & Literatures from Yale University. Statement Starla, Photographer in Her Studio is part of of the series Ashes to Ashes/Dust to Dust that I began eight years ago when I first visited my partner's family, the Groves, in western Kentucky. Since I grew up in the northeast, my upbringing was different from my partner's, and initially I thought that I had little in common with his family. As an outsider I received a lukewarm welcome by many, but I remained intrigued by his family. It was my camera that afforded me an invitation into their lives and helped me build meaningful relationships with his relatives. As the project has continued, not only have I become closer to my partner's family, but I have also been fortunate to document a part of the US that has been ignored by many and deemed 'flyover country'. The Groves, who have lived in Muhlenberg County for generations, are a microcosm for Muhlenburg county. Most are hardworking coal miners, farmers, nurses, and entrepreneurs looking to better their lives. Sadly, however, some have lost parents to addiction and others have passed due to overdoses. Like many rural towns in the Bible Belt, industry continues to leave the area. While well-paying jobs in the coal industry disappear, miners must travel about an hour to find lucrative work. When Trump announced promises to rollback legislation restricting coal emissions, many in the community grew excited for a return to the prosperous past that has for many years been slipping away. These images show the dichotomy between the current stark realities and flickers of hope and beauty as the county works to rebuild and redefine itself. "
Shannon Taggart
United States
Shannon Taggart is an artist and author based in St. Paul, MN. In a past life, she contributed to printed publications including TIME, Newsweek, New York Times Magazine, Discover, New York, Wall Street Journal and Reader’s Digest. Her work has been exhibited internationally and recognized by PDN, Nikon, Magnum Photos + Inge Morath Foundation, American Photography, International Photography Awards and the Alexia Foundation for World Peace. Her first monograph, SÉANCE (Fulgur Press), was published in 2019. Currently, she is working on an illustrated book about The Society for Research on Rapport and Telekinesis (SORRAT), one of the most exotic cases within the history of psychical research.Source: www.shannontaggart.com As a teenager, photographer Shannon Taggart was introduced to the world of spiritualism after a medium told her cousin details about her grandfather’s death that proved to be true. The reading had taken place at the Lily Dale Assembly in New York, the world’s largest spiritualist community. Curious but with reservations, Taggart headed to Lily Dale to delve into the history of spiritualism thinking she would learn what all the tricks of the trade were, but she didn’t end up getting the explanations she thought she would. Instead, she discovered a mysterious world she began to document with her camera. She certainly wasn’t the first photographer to do this, as spiritualism and spiritualist photography have long been connected. Both surfaced in the mid-1800s in Rochester, N.Y.,—home of Kodak. At the time, spiritualists naturally gravitated toward this new technology in hopes of recording what they had been experiencing. One of the most well-known spiritualist portraits of this era purports to show the ghost of President Abraham Lincoln with his hand placed nonchalantly on the shoulder of his wife, Mary Todd Lincoln. When Taggart first began taking photos at Lily Dale, she remained an observer. After the first year, she became involved as a student and a participant while continuing her photography. Although at first she had a hard time understanding spiritualism, Taggart was curious and said she has since experienced numerous mysterious experiences that have helped her tap into her own creative process. One of these inexplicable events occurred during one of her first visits to the Lily Dale Museum. Taggart said that a large purple orb appeared on the shoulder of a woman she was photographing, but she wasn’t shooting into the sun. “When I brought a copy back for her, she calmly said, ‘Oh, that’s Bob,’ her deceased husband. She was thrilled with the picture,” Taggart said. Taggart was also interested in physical mediumship, which claims to involve perceptible manifestations—such as loud raps or voices—and is practiced outside the New York community. While at Lily Dale, she met a medium who suggested she visit England, where, along with other parts of the United Kingdom and Europe, a “new age of physical mediumship” was happening. Taggart said one of the strangest things she witnessed happened during the mediumship of Gordon Garforth, a deep trance and physical medium in Stansted, England. Garforth told Taggart that his hands enlarge during his séances. About 20 minutes into one, Garforth’s wife, who operates as his “spirit control,” said that the spirits were going to work with his hands. While seated under a dim red light, Garforth held out his hand to Taggart. “Unbelievably to me, it seemed to effortlessly stretch, and the entire hand became large, instantly. I gasped and yelled ‘Oh my God!’ ” Taggart remembered. She said that the 30 other people in the room also reacted with amazement; she worried the experience was merely “hypnotic” and that her camera, set to one-second exposures, wouldn’t capture the growth. “The photographs made seem to confirm a distorted large hand … I was able to sit with Gordon on two additional occasions and I saw the same thing,” Taggart said. While some of her experiences struck Taggart as downright supernatural, some of her images were more straightforward, including her photo of bent spoons. It may not come as a surprise to learn the spiritualists bend them with their hands as a sort of symbolic connection to what they believe to be possible. “It is taught as an exercise of the power of the mind, a physical example of our ability to do things that seem impossible,” said Taggart of her most asked-about image.Source: Slate
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.
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