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Mark Tuschman
Mark Tuschman

Mark Tuschman

Country: United States

Over the years I have become more motivated to use my photography to communicate in a more socially conscious way—in a way that exposes people to both the degree of human suffering that exists in today’s world and to the courage and fortitude that people manifest to overcome it. In my travels I can easily imagine that I could have been born into completely different circumstances and my worldview would have been radically different, having been influenced by a completely, radically dissimilar environment and culture. Indeed, I know I have been privileged and fortunate to have been born into an affluent culture with tremendous opportunities. I believe that it is especially important for people in our society to understand other cultures and the enormous difficulties that people in other countries face daily in order to simply survive. The human condition is wrought with great uncertainty and suffering, and yet the human spirit and the hope for a better life can grow stronger in the face of adversity. I am constantly inspired by the profound fortitude of people living in difficult conditions and the empathy and commitment of the many who give counsel and aid to those less fortunate. I believe it as my moral obligation to use whatever talents I have as a photographer to transcend our limited worldviews and to help bridge the gap between cultures of affluence and poverty. Photography is a universal language and it is my hope that my images will move viewers to respond not only with empathy, but also with action. It is my intention to photograph people with compassion and dignity in the hope of communicating our interrelatedness. In the words of Sebastiao Salgado whose work I greatly admire, “If you take a picture of a human that does not make him noble, there is no reason to take this picture. That is my way of seeing things.”
 

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More Great Photographers To Discover

Dayanita Singh
Dayanita Singh is an Indian photographer whose primary format is the book. She has published fourteen books. Singh's art reflects and expands on the ways in which people relate to photographic images. Her later works, drawn from her extensive photographic oeuvre, are a series of mobile museums allowing her images to be endlessly edited, sequenced, archived and displayed. Stemming from her interest in the archive, the museums present her photographs as interconnected bodies of work that are full of both poetic and narrative possibilities. Singh's first foray into photography and bookmaking came through a chance encounter with tabla player Zakir Hussain, when he invited her to photograph him in rehearsal after she was shoved by an aggressive official while attempting to shoot him in concert. For the six winters following, Singh documented several Hussain tours and, in 1986, finally published the images in her first book, Zakir Hussain. Referring to him as her first "true guru", Singh believes that Hussain taught her the most important of all skills: focus. "Read, read, read. Forget studying photography – just go and study literature. Then you will bring something to the photography." -- Dayanita Singh, The Guardian, 2014 Singh's second book, Myself Mona Ahmed was published in 2001, after more than a decade spent on assignment as a photojournalist. A mix of photobook, biography, autobiography and fiction, this 'visual novel' emerged as a result of her refusal to be the subject of what could have been a routine but problematic photojournalistic project as well as her discomfort with the West's tendency to view India through simplistic, exotic lenses. In the years following, publishing has been a significant part of Singh's career. She has created multiple "book-objects" – works that are concurrently books, art objects, exhibitions, and catalogues—often in collaboration with the publisher Gerhard Steidl in Göttingen, Germany. These include Privacy, Chairs, the direction-changing Go Away Closer, the seven-volume Sent a Letter, Blue Book, Dream Villa, Fileroom and Museum of Chance. Sent a Letter was included in the 2011 Phaidon Press book Defining Contemporary Art: 25 years in 200 Pivotal Artworks. Steidl said in a 2013 interview on Deutsche Welle television, "She is the genius of book making". Dream Villa was produced during her Robert Gardner Fellowship in Photography given annually by the Peabody Museum of Archaeology and Ethnology at Harvard University; Singh was its second recipient in 2008. The "book-object" medium has allowed Singh to explore her interest in the poetic and narrative possibility of sequence and re-sequence, allowing her to create photographic patterns while simultaneously disrupting them. Her books rarely include text; instead she lets the photographs speak for themselves. These ideas are furthered through her experimentation with alternate ways of producing and viewing photographs to explore how people relate to photographic images. Singh has created and displayed a series of mobile museums, giving her the space to constantly sequence, edit, and archive her images. These mobile museums stemmed in large part from Singh's interest in archives and the archival process. Her mobile museums are displayed in large wooden architectural structures that can be rearranged and opened or closed in various ways. Each holds 70 to 140 photographs that Singh rearranges for each show so that only a portion of the photos or parts of each image are visible at any given time, capitalizing on the interconnected and fluid capacity of her work while allowing ample opportunity for evolving narratives and interpretations.Source: Wikipedia Dayanita Singh’s art uses photography to reflect and expand on the ways in which we relate to photographic images. Her recent work, drawn from her extensive photographic oeuvre, is a series of mobile museums that allow her images to be endlessly edited, sequenced, archived and displayed. Stemming from Singh’s interest in the archive, the museums present her photographs as interconnected bodies of work that are replete with both poetic and narrative possibilities. Publishing is also a significant part of the artist’s practice: in her books, often made in collaboration with Gerhard Steidl, she experiments with alternate forms of producing and viewing photographs. Here, Singh’s latest is the “book-object,” a work that is concurrently a book, an art object, an exhibition and a catalogue. This work, also developing from the artist’s interest in the poetic and narrative possibility of sequence and re-sequence, allows Singh to both create photographic sequence and also simultaneously disrupt it.Source: dayanitasingh.net
Jo Ann Chauss
United States
1954
Jo Ann Chaus is an American photographer from and based in the New York metro area She holds two certificates from the International Center of Photography in New York City. In 2016 Jo Ann self-published "Sweetie & Hansom", a 60-image book with original text exploring family, relationships and loss. Her current body of work, "Conversations with Myself", is a collection of performative self-portraiture that explores women's roles and identity, currently under edit for publishing. Her work has been exhibited nationally and internationally, and she holds special recognitions and awards: Critical Mass Top 200 2020, 2019, 15th Julia Margaret Cameron Award for Women Photographers Winner Self Portrait Series, 14th Julia Margaret Cameron Awards Honorable Mention, Winner 13th Pollux Awards non-professional category, Critical Mass 2019 Top 200, Klompching Fresh 2019 Finalist, PDN Emerging Photographer Fall 2019 Winner, , Candela Unbound8! and 9! juried exhibitions, Permanent Collection in the Center for Creative Photography Qualities of Light Exhibition, Juror's Choice South East Center for Photography Portrait Exhibition 2019. Statement Jo Ann's work is a visual record of her interactions with and with-in her environment, and her curiosity to explore and discover personal truths, whether found or assembled, as metaphors for her inner landscape. She expresses the joys and pathos of a life, as seen and felt by the young girl within who became the woman, the mother, and the wife. Her perspective is through the eyes of an elder in our society, contemplating the challenges and incongruities of her own will, desire and constraints within a historical context. Heightened and enhanced by the literal light of day, it is an examination of life's ambiguities: the close and the distant, the beauty and the grit, the singular and the plural, satisfaction and longing, together and apart… all relentlessly seeking to understand and witness herself, past, present and future.
Ferit Kuyas
Turkey
1955
Living and working near Zurich, Switzerland, Ferit Kuyas fully committed himself to photography in the eighties after graduating from law school. Working mainly on personal projects, he published several books. After visiting Shanghai for commissioned work, Ferit's travels brought him often back to China. His most recent book publication is City of Ambition with large cityscapes from the megalopolis Chongqing, China, which got published in October 2009. 2011 he started working on Aurora, a project with cityscapes and portraits in Guatemala City. Ferit's photographs have been shown in museums, galleries and festivals in Europe, America and Asia. His work is represented in private, corporate and public collections in the United States, England, Belgium, Switzerland, Germany and Turkey. He received a number of awards, among them the Kodak Photobook-Award and the Hasselblad Masters. "Amidst the thousands of images we see, there are some that impact on a deep personal level. It’s like they enter your body in some way and reveal themselves to you in-dreams or come to you at moments in the day when you should be concentrating on the finances, or driving the car. Ferit’s images affected me in this way. From the first time I saw them, their sheer audacity delighted me. I can meditate on it and take myself on a journey. Even if photography did die, it would never die inside me – people like Ferit have filled me up with images forever." - Rhonda Wilson, Rhubarb, Rhubarb, Birmingham UK.Source: www.feritkuyas.net Ferit Kuyas (1955) was born in Istanbul, Turkey. He studied architecture and law in Zurich, Switzerland and graduated 1982 in jurisprudence from the University of Zurich. Working mainly on personal projects, he published several books. After visiting Shanghai for commissioned work, Ferit’s travels brought him often back to China. His most recent body of work is City of Ambition with large cityscapes from the megalopolis Chongqing, China, which got published in October 2009. Ferit’s photographs have been shown in museums, galleries and festivals in Europe, America and Asia. His work is represented in private, corporate and public collections in the United States, England, Belgium, Switzerland, Germany and Turkey. He received a number of awards, among them the Kodak Photobook-Award, the Guatephoto Award and the Hasselblad Masters.Source: Stephen Cohen Gallery
Andrea Modica
United States
1960
Andrea Modica, born in 1960 in New York City, is an American photographer renowned for her intimate and evocative black-and-white portraits. Modica's fascination with photography began at an early age, inspired by her father's passion for the craft. She pursued her interest in photography at Yale University, where she studied under the mentorship of renowned photographers such as Walker Evans and Tod Papageorge. Modica's work often explores themes of memory, identity, and human connection, capturing the essence of her subjects with profound sensitivity and depth. She is particularly known for her portrait series, which often feature individuals from marginalized communities or overlooked subcultures. One of Modica's most acclaimed projects is "Treadwell," a series of portraits documenting the residents of a rural community in upstate New York. Taken over the course of several years, these intimate portraits offer a glimpse into the lives of the people living in this close-knit community, celebrating their resilience and humanity. In addition to her portrait work, Modica is also recognized for her hauntingly beautiful landscapes, which evoke a sense of timelessness and contemplation. Her images often feature desolate rural landscapes or abandoned buildings, imbued with a sense of mystery and nostalgia. Modica's photographs have been exhibited in galleries and museums around the world, including the Museum of Modern Art in New York City and the San Francisco Museum of Modern Art. She has received numerous awards and accolades for her work, including a Guggenheim Fellowship and a Fulbright Grant. In addition to her artistic endeavors, Modica is also a dedicated educator, sharing her passion for photography with students at various institutions, including the University of Oregon and Drexel University. She is known for her compassionate and nurturing approach to teaching, inspiring her students to explore their own creativity and develop their unique artistic voices. Modica's work continues to resonate with audiences, inviting viewers to contemplate the complexities of the human experience and the beauty of the world around us. Through her evocative imagery, she reminds us of the power of photography to transcend boundaries and forge connections between people from all walks of life.
Beth Galton
United States
Beth Galton is a photo-based artist, with an educational background in the natural sciences and three decades of experience as a professional photographer in the editorial and commercial arena. These elements of her history are the lens through which she explores the world. Her work has been recognized by organizations including Graphis, Communication Arts, the Tokyo International Foto Awards, Julia Margaret Cameron Award, IPA Awards, AAP, and the PDN Taste Awards. The Cut Food series was exhibited in Montpellier Contemporain, Aperture, and Beth Urdang Gallery. It was part of ‘The Fence’, a 7-city, traveling outdoor exhibition, it was published in the Washington Post, and covered by NPR. Both Lenscratch and Rfotofolio picked up the Memory of Absence series. Additionally, A Vita Plantae, and Memory of Absence have been exhibited at Wave Hill, Soho Photographic Gallery, The Center for Fine Art Photography (CO), The Center for Photographic Art (CA), The Florida Museum of Photographic Arts, Griffin Museum of Photography, Praxis Gallery, and SE Center for Photography. The Washington Post recently published Beth’s work from her series Covid Diary, a document of her time in confinement. About Cut Food "What started as a ubiquitous burrito shot, turned into an exploration of iconic food through a fresh perspective. We chose subjects which we felt were symbols within our Western food culture, and sought to move past the normal “appetite appeal” to look deeply and with curiosity into them. My intention was to give the ordinary a sense of magic show quality. Real, but also astonishing." About A Vita Plantae "This collection explores the relationship between art and science in a three-part series of organic images: Roots, Potato Love, and Time Preserved. These images seek to reveal some of the long-hidden truths of plants: their movement and grace, the nature of time, and the almost unbearable fragility of life. " About Memory of Absence "In 2017, my mother and father—who had not lived together for 50 years, died within 3 days of each other. In this series, I sought to convey a sense of memory and loss through the composition of found ephemera and botanical matter. The volatile botanicals represent the ever-changing nature of memory —an unstable and profoundly unreliable process."
Carl De Keyzer
Belgium
1958
Carl De Keyzer (27 December 1958) is a Belgian photographer. Major subjects in his work have included the collapse of Soviet Union and India. He became a full member of Magnum Photos in 1994. De Keyzer has exhibited his work in many European galleries and has received several awards, including the Book Award from Rencontres d'Arles, the W. Eugene Smith Award and the Kodak Award.Source: Wikipedia Carl de Keyzer started his career as a freelance photographer in 1982 while supporting himself as a photography instructor at the Royal Academy of Fine Arts in Ghent, Belgium. At the same time, his interest in the work of other photographers led him to co-found and co-direct the XYZ-Photography Gallery. A Magnum nominee in 1990, he became a full member in 1994. De Keyzer likes to tackle large-scale projects and general themes. A basic premise in much of his work is that, in overpopulated communities everywhere, disaster has already struck and infrastructures are on the verge of collapse. His style is not dependent on isolated images; instead, he prefers an accumulation of images that interact with the text.Source: www.carldekeyzer.com Magnum photographer Carl de Keyzer was born in Kortrijk, Belgium, in 1958. In his early work he focused on social groups outside of the mainstream. The God, Inc. series explores the various sects of Christianity in the United States and the drastically different and often extreme ways in which people communicate with God. Currently de Keyzer is tackling large-scale projects and general themes relating to overpopulated communities, disasters, and infrastructures. He prefers to work with an accumulation of images that interact with text, and in a series of large tableaux he has covered India; the collapse of the Soviet Union; and modern-day power and politics. His photographs have been published in The Guardian, LIFE, El País and Le Monde, and de Keyzer’s works are held in collections including the J. Paul Getty Museum and the Fotomuseum in Belgium. He also is a recipient of the W. Eugene Smith Grant for Humanistic Photography.Source: International Center of Photography Carl De Keyzer tackles large-scale themes through an accumulative, expansive approach. He builds up narratives through collected images, which often interact with text (taken from his travel diaries). In a series of large-format prints, he has covered India, the collapse of the Soviet Union and – more recently – modern-day power and politics in North Korea. His seminal project, God, Inc., captured religious life on the margins of American society. A basic premise in much of his work is that, in overpopulated communities everywhere, disaster has already struck, and infrastructures are on the verge of collapse.Source: Magnum Photos
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