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Joshua Sariñana
Joshua Sariñana
Joshua Sariñana

Joshua Sariñana

Country: United States
Birth: 1981

Dr. Joshua Sariñana's passion for photography coincided with his interest in the brain and mind. After studying neuroscience at UCLA, MIT, and Harvard Medical School. Sariñana switched his focus to the practice and theoretical study of photography. Currently, he is a visiting lecturer at Northeastern University where he teaches the course, The Brain and Visual Art.

About Projection and Internal Space
In my photographic work I seek to create a distinct - often dire - reality, which points to my long and exhausting history with depression, paranoia, and hypomania. This ominous quality of the images you see here also speak the power resilience, memory, dread, and beauty. I am not looking to have the viewer feel how I feel or see how I see, but to use it as a projective test to identify internal conflict that they may not have been aware of prior to viewing this work.
 

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Arthur Rothstein
United States
1915 | † 1985
Arthur Rothstein was an American photographer. Rothstein is recognized as one of America's premier photojournalists. During a career that spanned five decades, he provoked, entertained, and informed the American people. His photographs ranged from a hometown baseball game to the drama of war, from struggling rural farmers to US Presidents. ...a photographer must be aware of and concerned about the words that accompany a picture. These words should be considered as carefully as the lighting, exposure and composition of the photograph. -- Arthur Rothstein The son of Jewish immigrants, Rothstein was born in Manhattan, New York City, and he grew up in the Bronx. He was a 1935 graduate of Columbia University, where he was a founder of the University Camera Club and photography editor of The Columbian, the undergraduate yearbook. He was a classmate of abstract painter Ad Reinhardt. Following his graduation from Columbia during the Great Depression, Rothstein was invited to Washington DC by one of his professors at Columbia, Roy Stryker. Rothstein had been Stryker's student at Columbia University in the early 1930s. In 1935, as a college senior, Rothstein prepared a set of copy photographs for a picture sourcebook on American agriculture that Stryker and another professor, Rexford Tugwell were assembling. The book was never published, but before the year was out, Tugwell, who had left Columbia to be part of FDR's New Deal brain trust, hired Stryker. Stryker hired Rothstein to set up the darkroom for Stryker's Photo Unit of the Historical Section of the Resettlement Administration (RA). Arthur Rothstein became the first photographer sent out by Roy Stryker, the head of the Photo Unit. During the next five years he shot some of the most significant photographs ever taken of rural and small-town America. He and other FSA photographers, including Esther Bubley, Marjory Collins, Marion Post Wolcott, Walker Evans, Russell Lee, Gordon Parks, Jack Delano, John Vachon, Carl Mydans, Dorothea Lange and Ben Shahn, were employed to publicize the living conditions of the rural poor in the United States. The Resettlement Administration became the Farm Security Administration (FSA) in 1937. Later, when the country geared up for World War II, the FSA became part of the Office of War Information (OWI). The photographs made during Rothstein's five-year stint with the Photo Unit form a catalog of the agency's initiatives. One of his first assignments was to document the lives of some Virginia farmers who were being evicted to make way for the Shenandoah National Park and about to be relocated by the Resettlement Administration, and subsequent trips took him to the Dust Bowl and to cattle ranches in Montana. The immediate incentive for his February 1937 assignment came from the interest generated by congressional consideration of farm tenant legislation sponsored in the Senate by John H. Bankhead II, a Democrat from Alabama with a strong interest in agriculture. Enacted in July, the Bankhead-Jones Farm Tenant Act gave the agency its new lease on life as the Farm Security Administration. The Farm Security file would never have been created if we hadn’t the freedom to photograph anything, anywhere in the United States—anything that we came across that seemed interesting, and vital. -- Arthur Rothstein On February 18, 1937, Stryker wrote Rothstein that the journalist Beverly Smith had told him about a tenant community at Gee's Bend, Alabama, and was preparing an article on tenancy for the July issue of The American Magazine, but Stryker sensed bigger possibilities, telling Rothstein, "We could do a swell story; one that Life [magazine] will grab." Stryker planned to visit Alabama and asked Rothstein to wait for him, but he was never able to make the trip, and Rothstein went to Gee's Bend alone. The residents of Gee's Bend symbolized two different things to the Resettlement Administration. On the one hand, reports about the community prepared by the agency describe the residents as isolated and primitive, people whose speech, habits, and material culture reflected an African origin and an older way of life. On the other hand, the agency's agenda for rehabilitation implied a view of the residents as the victims of slavery and the farm-tenant system on a former plantation. The two perceptions may be seen as related: if these tenants — despite their primitive culture— could benefit from training and financial assistance, their success would demonstrate the efficacy of the programs. Unlike the subjects of many Resettlement Administration and Farm Security Administration photographs, the people of Gee's Bend are not portrayed as victims. The photographs do not show the back-breaking work of cultivation and harvest, but only offer a glimpse of spring plowing. At home, the residents do not merely inhabit substandard housing but are engaged in a variety of domestic activities. The dwellings at Gee's Bend must have been as uncomfortable as the frame shacks thrown up for farm workers everywhere, but Rothstein's photographs emphasize the log cabins' picturesque qualities. This affirming image of life in Gee's Bend is reinforced by Rothstein's deliberate, balanced compositions which lend dignity to the people being pictured. There does not seem to have been a Life magazine story about Gee's Bend, but a long article ran in the New York Times Magazine of August 22, 1937. It is illustrated by eleven of Rothstein's pictures, with a text that draws heavily upon a Resettlement Administration report dated in May. The story extols the agency's regional director as intelligent and sympathetic and describes the Gee's Bend project in glowing terms. Reporter John Temple Graves II perceived the project as retaining agrarian—and African—values. In 1940, Rothstein became a staff photographer for Look magazine but left shortly thereafter to join the OWI and then the US Army as a photographer in the Signal Corps. His military assignment took him to the China-Burma-India theatre and he remained in China following his discharge from the military in 1945, working as chief photographer for the United Nations Relief and Rehabilitation Administration, documenting the Great Famine and the plight of displaced survivors of the Holocaust in the Hongkew ghetto of Shanghai. In 1947, Rothstein rejoined Look as Director of Photography. He remained at Look until 1971 when the magazine ceased publication. Rothstein joined Parade magazine in 1972 and remained there until his death. He was the author of numerous magazine articles and a staff columnist for US Camera and Modern Photography magazines and the New York Times, Rothstein wrote and published nine books. Rothstein's photographs are in permanent collections throughout the world and have appeared in numerous exhibitions. A selection of these one-man shows include shows at the International Museum of Photography at George Eastman House; the Smithsonian Institution; Photokina; Corcoran Gallery of Art; Royal Photographic Society, as well as traveling exhibitions for the United States Information Service and for Parade magazine. He was a member of the faculty of the Columbia University Graduate School of Journalism and a Spencer Chair Professor at S. I. Newhouse School of Public Communications, Syracuse University. Rothstein was also on the faculties of Mercy College, and the Parsons School of Design in New York City, and he took great pride in mentoring young photographers including Stanley Kubrick, Douglas Kirkland, and Chester Higgins, Jr. A recipient of more than 35 awards in photojournalism and a former juror for the Pulitzer prize, Rothstein was also a founder and former officer of the American Society of Magazine Photographers (ASMP). Arthur Rothstein died on November 11, 1985, in New Rochelle, New York.Source: Wikipedia It is sometimes desirable to distort or accentuate with lenses of various focal lengths... Deliberate distortion may actually add to its reality. -- Arthur Rothstein
Mark Mann
United States
1970
Mark Mann is a celebrity and advertising photographer. He was born in Glasgow, where he lived until he went to study in the prestigious photographic program at Manchester Polytechnic. Before long, the recent graduate was assisting innovative fashion photographers Nick Knight and Miles Aldridge, learning the ropes and building his own body of work. Three years later, Mark started shooting on his own, relocating to New York City. Mark’s editorial work has appeared in Esquire, Men’s Health, Vibe, Spin, Fortune, Billboard, Parade and Complex, among others. He has shot countless celebrities, including Robert Redford, Michael Douglas, Iggy Pop, Jack Black, the Black Eyed Peas, Jerry Seinfeld, Dave Chappelle, Rihanna, Queen Latifah, Simon Baker, Stevie Wonder, Bradley Cooper, Willie Nelson, Sean Connery, John Hamm and Jennifer Hudson. Mark has amassed a sizable advertising portfolio, as well. His clients run the gamut: Reebok, Adidas, Hennessy, Bombay Sapphire, Pepsi, Gillette, Vitamin Water, NHL, Zumba, Ford, Chrysler and Svedka to name a few. Mark has just completed a yearlong project for Esquire Magazine, The Life of Man. He shot 80 American men ages 1 through 80, to celebrate 80 years of Esquire Magazine. This project took Mark to the White House where he was honored to shoot the sitting president, as well as former President Clinton. He also shot numerous other notable people and celebrities all across the country.Source: www.markmannphoto.com Because so many of Mark Mann’s striking celebrity portraits are taken from just a few feet away, he’s often asked, “Why so close?” “I’m not exactly sure where that idea of getting so close to my subjects came from. The simple answer is that I don’t like to have to shout to talk to people so—over the years—I’ve moved closer and closer. If you’re more than a few feet from someone, the nuances of what you are saying can be lost. And I always try to have a conversation to help make a connection with everyone I am photographing.” He may start out four or five feet away from a subject but “bobs and weaves” or “creeps” (as he terms it) closer to three feet or so while chatting and shooting. “That means the camera can be just 24 inches from a person’s face, or smelling distance,” says Mann. He never uses a tripod because he’s always moving, changing his distance and angles. He also shoots close up because he enjoys shooting wide open, explaining that helps give a "dimension” to his images. “They have a shallow depth of field, but I like that they almost feel three-dimensional,” he says. “There’s another reason I like shooting close,” says Mann. “I just love faces. I love looking at them. I can inspect every detail, every angle of a face when I’m just a few feet from someone as I look through my lens. I could never get that close without the camera in front of me.”Source: PPA
Anaïs Boileau
France
1992
Anaïs Boileau is from the south of France. She completed training in photography and visual communication at ECAL, the art school from Lausanne. She works in 2012 with the photographer Charles Freger and in 2014 she gets a residency at the Hong Kong Design Institute. Her photographic work is presented in various group exhibitions. In 2015, her photographic project Plein Soleil is part of the Black Mirror exhibition in New York, organized by Aperture Foundation, and is presented to Katmandu Photo festival in Nepal. It is selected to Boutographies 2016 projection of the jury and is one of ten finalists presented at the 31st edition of the international fashion and photography festival in Hyères at the Villa Noailles where she received the audience award and the Elie Saab grant.My work "Plein Soleil" is about a kind of community women taking the sun. These are women with golden skin exposing themselves under the omnipresent sun. They stay along the coast of the seaside towns marked by Latin, bright and colorful architecture. There is a temporality game beetween women and architectures because they are modeling in the same way by the sun light. These portraits represents a kind of happy idleness that exist in south. I try to bring a look a bit funny and tender about that women cause it was like a game with them about their image. Lost behind their sunglasses, accessories, women are distant, pensive as absorbed by the sun. We never see their eyes with their solarium glasses and that make them impersonal. Floating Between documentary and fiction, the portraits of this matriarchal community, reveal a desire for exoticism. There is a dimension of artificiality and something false in all that . The idea that they put forward, they refine and polish their bodies but also in the idea that all this is just a world of appearance, of surfaces.
 JR
France
1983
JR has the largest art gallery in the world. Thanks to his photographic collage technique, he exhibits his work free of charge on the walls of the whole world - attracting the attention of those who do not usually go to museums. Originator of the 28 Millimeters Project which he started in and around Clichy-Montfermeil in 2004, continued in the Middle East with Face 2 Face (2007), in Brazil and Kenya for Women Are Heroes (2008-2011), the documentary for which was presented at the Cannes Film Festival in 2010 (Critics' Week). JR has created "Infiltrating art". During his collage activities, the local communities take part in the act of artistic creation, with no stage separating actors from spectators. The anonymity of JR and the absence of any explanation accompanying his huge portraits leave him with a free space in which issues and actors, performers and passers-by meet, forming the essence of his work. In 2011 he received the Ted Prize, giving him the opportunity to make a vow to change the world. He created Inside Out, an international participatory art project that allows people from around the world to receive a print of their portrait and then billboard it as support for an idea, a project, an action and share that experience. In 2014, working with the New York City Ballet, he used the language of dance to tell his version of the riots in the Clichy-Montfermeil district. He created The Groves, a ballet and short film, the music for which was composed by Woodkid, Hans Zimmer and Pharrell Williams, and which was presented at the Tribeca Film Festival. At the same time, JR worked in the abandoned hospital of Ellis Island, an important place in the history of immigration - and made the short film ELLIS, with Robert De Niro. In 2016, JR was invited by the Louvre, whose pyramid he made disappear the with the help of an astonishing anamorphosis. The same year, during the Olympic Games in Rio, he created gigantic new sculptural installations throughout the city, to underline the beauty of the sporting gesture. JR & Agnès Varda - Faces, Places. In 2017, he co-directed with Agnès Varda "Faces, Place"s, screened the same year in the official selection out of competition for the Cannes Film Festival. The film won the Golden Eye (for best documentary) and was nominated for a Caesar and an Oscar in the same category in 2018. He has received other awards around the world. In 2013, the first retrospectives of JR's work took place in Tokyo (at the Watari-Um Museum) and the Cincinnati Contemporary Arts Center, followed by exhibitions at the Frieder Burda Museum in Baden Baden in 2014, and at the HOCA Foundation in Hong Kong in 2015. He exhibited in 2018 at the Maison Européenne de la Photographie in Paris, and in 2019 at the San Francisco Museum of Modern Art (SFMOMA) and the Brooklyn Museum. Source: jr-art.net
Jessica Todd Harper
United States
1975
Jessica spent much of her childhood wandering around museums with a sketchbook, copying paintings. This traditional artistic preparation took an unexpected course when she started making photographs as a teenager, but the familiar canvases of her childhood heroes -John Singer Sargent, Whistler, Vermeer- still have their influences today: she is interested in making intimate, psychological portraits, where the environment plays a large role. Jessica Todd Harper uses portraiture to explore the subtle tensions within daily family interactions and the complexity of human relationships. Her work is grounded in art historical tradition, but with a psychological undercurrent that marks its modernity. A silver medalist in the Prix de la Photographie in Paris (2014), she was an Outwin Boochever Portrait Competition prizewinner (2016) and selected that same year for the Taylor Wessing Portrait competition at the National Portrait Gallery in London. Her work will be significantly represented in Kinship, opening at the Smithosonian's National Portrait Gallery in late 2022, and running until 2024. Harper has published two prize-winning books of photography, Interior Exposure (2008) and The Home Stage (2014) (both Damiani Editore). Damiani’s third book of her work, Here, is due out in late 2022. HERE Like 17th-century Dutch painters who made otherwise ordinary interior scenes appear charged with meaning, Pennsylvania-based photographer Jessica Todd Harper (born 1975) looks for the value in everyday moments. The characters in her imagery are the people around her—friends, herself, family—but it is not so much they who are important as the way in which they are organized and lit by Harper. A woman helping her child practice the piano is not a particularly sacred moment, but as in a Vermeer painting, the way the composition and lighting influence the content suggests that perhaps it is. This collection of photographs presented in Harper's third monograph makes use of what is right in front of the artist, what is here, a place that many of us came to contemplate especially during the pandemic. Beauty, goodness and truth can reveal themselves in daily life, as in the Dutch paintings of everyday domestic scenes that are somehow lit up with mysterious import. Harper shows how our unexamined or even seemingly dull surroundings can sometimes be illuminating. Exlusive Interview with Jessica Todd Harper about her Book Here
Hiroshi Sugimoto
Hiroshi Sugimoto was born in Tokyo, Japan, in 1948, and lives and works in New York and Tokyo. His interest in art began early. His reading of André Breton’s writings led to his discovery of Surrealism and Dada and a lifelong connection to the work and philosophy of Marcel Duchamp. Central to Sugimoto’s work is the idea that photography is a time machine, a method of preserving and picturing memory and time. This theme provides the defining principle of his ongoing series, including "Dioramas" (1976–), "Theaters" (1978–), and "Seascapes" (1980–). Sugimoto sees with the eye of the sculptor, painter, architect, and philosopher. He uses his camera in a myriad of ways to create images that seem to convey his subjects’ essence, whether architectural, sculptural, painterly, or of the natural world. He places extraordinary value on craftsmanship, printing his photographs with meticulous attention and a keen understanding of the nuances of the silver print and its potential for tonal richness—in his seemingly infinite palette of blacks, whites, and grays. Recent projects include an architectural commission at Naoshima Contemporary Art Center in Japan, for which Sugimoto designed and built a Shinto shrine, and the photographic series, "Conceptual Forms," inspired by Duchamp’s "Large Glass: The Bride Stripped Bare by her Bachelors, Even." Sugimoto has received fellowships from the Guggenheim Foundation and the National Endowment for the Arts; in 2001, he received Hasselblad Foundation International Award in Photography. He has had one-person exhibitions at the Metropolitan Museum of Art, New York; the Museum of Modern Art, New York; the Museum of Contemporary Art, Los Angeles; Contemporary Arts Museum, Houston; Museum of Contemporary Art, Chicago; and Hara Museum of Contemporary Art, Tokyo; among others. Hirshhorn Museum and Sculpture Garden, Washington, DC, and Mori Art Museum, Tokyo, were joint organizers of a 2005 Sugimoto retrospective. Source: PBS Hiroshi Sugimoto was born in Japan in 1948. A photographer since the 1970s, his work deals with history and temporal existence by investigating themes of time, empiricism, and metaphysics. His primary series include: Seascapes, Theaters, Dioramas, Portraits (of Madame Tussaud’s wax figures), Architecture, Colors of Shadow, Conceptual Forms and Lightning Fields. Sugimoto has received a number of grants and fellowships, and his work is held in the collections of the Tate Gallery, the Museum of Contemporary Art, Chicago, and the Metropolitan Museum of New York, among many others. Portraits, initially created for the Deutsche Guggenheim Berlin, traveled to the Guggenheim New York in March 2001. Sugimoto received the Hasselblad Foundation International Award in Photography in 2001. In 2006, a mid career retrospective was organized by the Hirshhorn Museum in Washington, D.C. and the Mori Art Museum in Tokyo. A monograph entitled Hiroshi Sugimoto was produced in conjunction with the exhibition. He received the Photo España prize, also in 2006, and in 2009 was the recipient of the Paemium Imperiale, Painting Award from the Japan Arts Association. During the 2014 Venice Biennale, Sugimoto unveiled his “Glass Tea House Mondrian” at Le Stanze del Vetro on the island of San Giorgio Maggiore. Source: Fraenkel Gallery
Ansel Adams
United States
1902 | † 1984
Ansel Adams was an American landscape photographer and environmentalist known for his black-and-white images of the American West. He helped found Group f/64, an association of photographers advocating "pure" photography which favored sharp focus and the use of the full tonal range of a photograph. He and Fred Archer developed an exacting system of image-making called the Zone System, a method of achieving a desired final print through a deeply technical understanding of how tonal range is recorded and developed during exposure, negative development, and printing. The resulting clarity and depth of such images characterized his photography. Adams was a life-long advocate for environmental conservation, and his photographic practice was deeply entwined with this advocacy. At age 12, he was given his first camera during his first visit to Yosemite National Park. He developed his early photographic work as a member of the Sierra Club. He was later contracted with the United States Department of the Interior to make photographs of national parks. For his work and his persistent advocacy, which helped expand the National Park system, he was awarded the Presidential Medal of Freedom in 1980. Adams was a key advisor in establishing the photography department at the Museum of Modern Art in New York, an important landmark in securing photography's institutional legitimacy. He helped to stage that department's first photography exhibition, helped found the photography magazine Aperture, and co-founded the Center for Creative Photography at the University of Arizona. In his autobiography, Adams expressed his concern about Americans' loss of connection to nature in the course of industrialization and the exploitation of the land's natural resources. He stated, "We all know the tragedy of the dustbowls, the cruel unforgivable erosions of the soil, the depletion of fish or game, and the shrinking of the noble forests. And we know that such catastrophes shrivel the spirit of the people... The wilderness is pushed back, man is everywhere. Solitude, so vital to the individual man, is almost nowhere."Source: Wikipedia To photograph truthfully and effectively is to see beneath the surfaces and record the qualities of nature and humanity which live or are latent in all things. -- Ansel Adams American photographer and environmentalist known for his black and white photographs of the American West in Sierra Nevada and in Yosemite National Park. Ansel Easton Adams was born in 1902 in an upper-class family. His family migrated from Ireland in the early 1700s. He was the only child of Charles and Olive Adams. His paternal grandfather founded a successful lumber business, which was later run by Ansel’s father. His mother’s family came from Baltimore. His maternal grandfather had a successful Freight-Hauling business, but squandered his wealth in numerous investment ventures. His nose was broken and scared during the San Francisco earthquake of 1906 as an aftershock threw him up against a wall. After the death of his grandfather the family business was hit by the bank crisis of 1907 and by 1912, his family’s standard of living had been dearly impacted. Ansel was a hyperactive child prone to sickness. After being expelled from several schools due to his restlessness, at age 12, his father decided to tutor him at home with the help of professors and Ansel’s aunt. He soon became interested in music and started learning the piano, but all changed when aged 14, his aunt gave him a copy of “In the Heart of the Sierras”. The photographs by Georges Fiske were a revelation and Ansel persuaded his parents to visit Yosemite National Park during the following vacations. Equiped with a Kodak Box Brownie n°1, Ansel Adams first visited Yosemite National Park in 1916. Amazed by the site and the light, he returned to Yosemite National Park the following year with better cameras and a tripod. He will return regularly to Yosemite National Park where he will even meet his future wife, Virginia Best. You don’t take a photograph, you make it. -- Ansel Adams At age 17, Adams joined the Sierra Club, a wildlife preservation group. He will remain a convinced environmentalist and a member of the Sierra Club his entire life. His work will promote the goals of the Sierra Club and bring environmental issues to light. In 1932, Adams founded the group f/64 with photographer friend Edward Weston, to promote their independent and modernist vision of photography. It is with Fred Archer that Adams will develop the Zone System (1939-40), a technique which allows photographers to define the proper exposure on negatives and adjust the contrasts on the prints. The depth and clarity of Ansel Adam’s photographs illustrate this technique. Initially, despite their size and weight, Ansel Adams used large format cameras as they offered a high resolution and a sharp image. The timeless photographs and the striking visual beauty clearly characterize Ansel Adams’ photographs. In 1952, he was also one of the founders of Aperture magazine. He died in 1984 from a cardio Vascular disease. Shortly after his death in 1984, the Minarets Wilderness in the Inyo National Forest was renamed the Ansel Adams Wilderness. In 1985, a peak in Sierra Nevada, was named Mount Ansel Adams. He was survived by his wife, two children and 5 grand children.Source: The Ansel Adams Gallery
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For more than 25 years, French photographer Patrick Cariou has traveled to places around the globe, documenting people living on the fringes of society. Whether photographing surfers, gypsies, Rastafarians or the rude boys of Kingston, Cariou celebrates those who meet the struggles of life with honor, dignity and joy. Bringing together works from his groundbreaking monographs including Surfers, Yes Rasta, Trenchtown Love and Gypsies, Patrick Cariou: Works 1985–2005 (published by Damiani) takes us on a scenic journey around the world, offering an intimate and captivating look at cultures that distance themselves from the blessings and curses of modernity.
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Niko J. Kallianiotis' Athênai in Search of Home (published by Damiani) presents photos taken in and around Athens, the city in which he grew up. The images reflect the artist's eagerness to assimilate back into a home that feels at once foreign and familiar. Throughout the years the city and the surrounding territories have experienced their share of socio-economic struggles and topographic transformations that have altered its identity. The city of Athens in Kallianiotis' photographs is elliptically delineated as a vibrant environment that binds together luxury and social inequality. The photographer depicts a city in which the temporal and the spatial elements often clash with each other while conducting his research for a home that has changed over the years as much as he did.
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My new book STAR STRUCK focuses on the people and places of Hollywood Boulevard. Soon after I moved to Los Angeles in the '70s, I started shooting there. I was working at Capital Records, just a block and a half away, as a one of four art directors. At lunchtime, we would go out to eat at the Brown Derby, Musso, and Franks, or some other local restaurant, and I got to observe all the activity that was occurring on Hollywood Boulevard. It was amazing and it was fun, even though the location was ''on the turn''.
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In The Haight-Ashbury Portraits, 1967-1968 (published by Damiani) during the waning days of the Summer of Love, Elaine Mayes embarked on a set of portraits of youth culture in her neighborhood. Mayes was a young photographer living in San Francisco during the 1960s. She had photographed the Monterey Pop Festival in 1967 and, later that year the hippie movement had turned from euphoria to harder drugs, and the Haight had become less of a blissed-out haven for young people seeking a better way of life than a halfway house for runaway teens.
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A new release, Seventy-thirty (published by Damiani) depicts humanity's various faces and expressions, from metropolitans to migrants, unseen homeless to celebrities such as Robert De Niro, Muhammad Ali, Rene Magritte, Janis Joplin, and Andy Warhol. Steve Schapiro photographs early New York skateboarders while Theophilus Donoghue documents current Colombian breakdancers. Alternately profound and playful, father and son's photographs capture a vast range of human emotions and experiences. For this project, Schapiro selected images from the 60s civil rights movement and, with Donoghue, provided photos from today's Black Lives Matter protests and environmental rallies.
Exlusive Interview with Jessica Todd Harper about her Book Here
Like 17th-century Dutch painters who made otherwise ordinary interior scenes appear charged with meaning, Pennsylvania-based photographer Jessica Todd Harper looks for the value in everyday moments. Her third monograph Here (Published by Damiani) makes use of what is right in front of the artist, Harper shows how our unexamined or even seemingly dull surroundings can sometimes be illuminating
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In Boyhood (published by Damiani) Roger Ballen's photographs and stories leads us across the continents of Europe, Asia and North America in search of boyhood: boyhood as it is lived in the Himalayas of Nepal, the islands of Indonesia, the provinces of China, the streets of America. Each stunning black-and-white photograph-culled from 15,000 images shot during Ballen's four-year quest-depicts the magic of adolescence revealed in their games, their adventures, their dreams, their Mischief. More of an ode than a documentary work, Ballen's first book is as powerful and current today as it was 43 years ago-a stunning series of timeless images that transcend social and cultural particularities.
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A multi-dimensional artist with decades of experience, Kim Watson has written, filmed, and photographed subjects ranging from the iconic entertainers of our time to the ''invisible'' people of marginalized communities. A highly influential director in music videos' early days, Watson has directed Grammy winners, shot in uniquely remote locations, and written across genres that include advertising, feature films for Hollywood studios such as Universal (Honey), MTV Films, and Warner Brothers, and publishers such as Simon & Schuster. His passionate marriage of art and social justice has been a life-long endeavor, and, in 2020, after consulting on Engagement & Impact for ITVS/PBS, Kim returned to the streets to create TRESPASS, documenting the images and stories of LA's unhoused. TRESPASS exhibited at The BAG (Bestor Architecture Gallery) in Silver Lake, Los Angeles, September 17, 2022 – October 11, 2022.
Exclusive Interview with Julia Dean, Founder of the L.A. Project
Julia Dean, Founder of the Los Angeles Center of Photography, and its executive director for twenty-two years, began The L.A. Project in 2021. A native Nebraskan, Julia has long sought to create a special project where love for her adopted L.A., and her passion for documentary photography can be shared on a grander scale.
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