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Misha Maslennikov
Misha Maslennikov
Misha Maslennikov

Misha Maslennikov

Country: Russia
Birth: 1964

Misha Maslennikov was born in 1964 in the settlement of Dobroe close to Moscow, Russia. Since 2013 constantly lives in the city of Odessa, Ukraine. He began traveling in the Russian North in 2002. The main areas are single expeditions to the places difficult of access, visiting and co-operation with cenobites of active monasteries, sketes, with keepers of ancient temples, pogosts, studying the way of life of modern hermits, anchorites, real intercourse and contacts with backwoodsmen.

Since the middle of 2005 Misha goes in for field reportage photography and begins thinking seriously about the photographic process as a way of the particular conveyance of author ideas in a missionary vein. At present Misha Maslennikov continues his work on private and public projects in documentary photography, individual and group expeditions according to a given subject, collection of materials, visual ethnography.

Since 2006 - member and Team Leader of the Noga Creative Union.
Since 2010 - member of the Russian Photounion.
Since 2010 - member of the Russian Geography Society.

Websites

maslennikov.photos

noga-art.com/en/authors/mm

 

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Phil Stern
Phil Stern
United States
1919 | † 2014
Phil Stern was an American photographer noted for his iconic portraits of Hollywood stars, as well as his war photography while serving as a U.S. Army Ranger with "Darby's Rangers" during the North African and Italian campaigns in World War II. Settling in Los Angeles after the war, Stern was staff photographer for Look magazine. He also worked for Life magazine and Collier's. He was present on numerous film productions as still photographer, and in that capacity took photographs of a huge cross-section of the film community. Stern's images of Marilyn Monroe, James Dean, Marlon Brando and even musician Louis Armstrong have become widely recognized icons. A lifelong smoker, Stern died at the age of 95 in Los Angeles from COPD and congestive heart failure which he had been battling for over three and a half decades.Source: Wikipedia I’ve taken mountains and mountains of stuff, which I occasionally describe as mountains and mountains of shit. It so happens, there’s a little gem here and a little gem there. You dig out those gems. -- Phil Stern Phil Stern created portraits of stars of the silver screen – including James Dean, Marlon Brando and Marilyn Monroe – that were both iconic and intimate. His subjects looked natural, even self-absorbed or introverted. The lower half of his most famous portrait of James Dean (1955) is a black cable-knit jumper; the upper half reveals Dean’s face only from halfway up his ears. His eyes are rolled up, framed by straight eyebrows. The white plane of Dean’s forehead under a shiny shock of tousled hair, and the pale background, inevitably draw attention to those mischievous eyes, bisecting the frame and challenging the viewer. By contrast, one 1953 image of Marilyn Monroe shows her as wistful and withdrawn, looking into the distance with an air of abstraction, her hands nervously fingering the loosened bow at the waist of her gown. As Stern told Entertainment Weekly in 1993: “I was never interested in the glamour, I was interested in the tears and agony behind it.” His friendship with John Wayne gave him access to perhaps his most subversively casual image. It shows Wayne lighting up, eyeline going straight to a woman’s bared leg. But it’s not what he’s doing but what he’s wearing that draws the viewer’s eye: the cowboy hat and loose jacket conform to type, but below the waist the over-constricting gingham shorts, plump legs and girly espadrilles are a risible disaster. Stern’s pictures of musicians are very different in character. Formal ones – such as of the Rat Pack on stage in 1962 – are mainly of lineups. One senses his preference for the moodiness of Sinatra alone, shot from behind and dressed – as if by Raymond Chandler – in a hat and long mackintosh, pacing down a bleakly dirty corridor towards a dead end. Another Rat Pack member, Sammy Davis Jr, performed a rooftop diamond-shaped jump. Despite his tightly drawn up (and shiny) brogues, his white outfit and right-angled arms with their delicately spread fingers are reminiscent of a Hindu dancer (1947). Stern loved jazz, and he photographed Louis Armstrong in a coincidentally similar pose, not jumping but perched on a stool, trumpet upended on his knee as he looks down and laughs into his chest (1957). Stern enjoyed the image so much that he made a lifesize cardboard cutout of it, and had his own portrait taken alongside. A less artfully composed shot shows Armstrong and Ella Fitzgerald together, in full swing, singing at a studio recording. There was more to Stern’s career than showbiz, however. He enlisted as a combat photographer in the second world war, and won a Purple Heart for his courage and willingness to risk his life picturing infantrymen under fire. Stern documented US troops advancing through north Africa, and was invalided home with severe shrapnel wounds to his arms and neck. In 1943 he returned to cover the Allied invasion of Sicily for Stars and Stripes, the US army magazine. According to his biographer, the journalist Herbert Mitgang: “His pictures of the invasion and its aftermath remain among the most outstanding documents in the annals of combat photography in any war, before or since.” The postwar decades saw a media boom: the heyday of photo magazines and blockbuster movies aimed at a predominantly young mass audience. Stern rode the publicity of a new generation of stars who became, at least in part through his attention, poster pinups. Interviewed later by the Los Angeles Times, he mused on his transfer from war to celebrity photography. “ [The war] very well might have helped me get access ... I don’t really know for sure, because some of them wanted publicity so bad that you didn’t have to have a Purple Heart for that. All you had to have was an expensive camera.”Source: The Guardian Look, Matisse I ain’t. You know how they have on the invitations, “a reception for the artist will be held at...” And I say, “Look, you gotta change this. I’m not an artist. I’m a photographer, a skilled craftsman.” -- Phil Stern
Lewis Hine
Lewis Hine
United States
1874 | † 1940
Lewis Hine was an American sociologist and photographer known for using his camera as a tool for social reform. His photographs were instrumental in changing child labor laws in the United States. There were two things I wanted to do. I wanted to show the things that had to be corrected. I wanted to show the things that had to be appreciated. -- Lewis Hine Lewis Hine was born on September 26, 1874, in Oshkosh, Wisconsin. After his father was killed in an accident, Hine began working and saving for college. He attended the University of Chicago, Columbia University, and New York University to study sociology. He became a teacher at the Ethical Culture School in New York City, where he encouraged his students to embrace photography as an instructional tool. Hine took his sociology pupils to New York Harbor's Ellis Island, where he photographed the thousands of immigrants that landed each day. Between 1904 and 1909, he shot over 200 plates (photographs) and realized that documentary photography could be used to effect social change and reform. Hine joined the Russell Sage Foundation's staff photographer in 1907, photographing life in the steel-making regions and inhabitants of Pittsburgh, Pennsylvania, for the landmark sociological study The Pittsburgh Survey. The next year, he left his teaching post to work as a photographer for the National Child Labor Committee (NCLC). Lewis Hine recorded child labor during the next decade, with a concentration on the use of child labor in the Carolina Piedmont, to aid the NCLC's lobbying attempts to abolish the practice. In 1913, he chronicled juvenile laborers among cotton mill workers with a series of composite pictures by Francis Galton. Charlie Foster has a steady job in the Merrimack Mills. Huntsville, Alabama.© Lewis Hine / Library of Congress Prints and Photographs Division Washington, D.C. Lewis Hine's work for the NCLC was frequently hazardous. Factory police and foremen routinely threatened him with violence or even death as a photographer. The immorality of child labor was intended to be hidden from the public at the time. Photography was not only forbidden, but it also posed a significant danger to the enterprise. Hine was compelled to disguise himself in order to gain access to the mills, mines, and factories. He worked as a fire inspector, postcard vendor, bible salesman, and even an industrial photographer documenting manufacturing technology. During and after World War I, he shot relief efforts for the American Red Cross in Europe. Hine created a series of work portraits in the 1920s and early 1930s that stressed the human contribution to modern industry. Lewis Hine was commissioned to photograph the Empire State Building's construction in 1930. He photographed the workers in perilous positions as they secured the structure's steel framework, taking many of the same hazards as the employees. He was hoisted out in a specially built basket 1,000 feet above Fifth Avenue to get the best views. He recalls hanging above the city at times, with nothing below but "a sheer drop of nearly a quarter-mile." Cherryville Mfg. Co., Cherryville, N.C. One of the smallest boys. Doffer. 1908© Lewis Hine / Library of Congress Prints and Photographs Division Washington, D.C. During the Great Depression, Hine worked for the Red Cross, photographing drought relief in the American South, and for the Tennessee Valley Authority (TVA), documenting life in the mountains of eastern Tennessee. He was also the chief photographer for the Works Progress Administration's National Research Project, which investigated changes in the industry and their impact on employment. Hine was also on the faculty of the Ethical Culture Fieldston School. Lewis Hine was chosen as the photographer for the Works Projects Administration's National Research Project in 1936, but his work there was never completed. His final years were filled with professional struggles caused by the loss of government and corporate patronage. Hine hoped to participate in the Farm Security Administration photography project, but despite numerous letters to Roy Stryker, Stryker always declined. Hine lost his house and applied for welfare because few people were interested in his work, past or present. After an operation, he died on November 3, 1940, at Dobbs Ferry Hospital in Dobbs Ferry, New York. He was 66 years old at the time. Group of workers, including boys and girls, standing outdoors© Lewis Hine / Library of Congress Prints and Photographs Division Washington, D.C. Hine's photographs aided the NCLC's campaign to end child labor, and the Children's Bureau was established in 1912. The Fair Labor Standards Act of 1938 eventually put an end to child labor in the United States. Corydon Hine, Hine's son, donated his father's prints and negatives to the Photo League, which was disbanded in 1951. The Museum of Modern Art declined to accept his photographs, but the George Eastman House did. Wendy Lamb Books published Elizabeth Winthrop Alsop's historical fiction middle-grade novel Counting on Grace in 2006. The final chapters focus on Grace, a 12-year-old girl, and her life-changing encounter with Lewis Hine during his 1910 visit to a Vermont cotton mill known to employ a large number of child laborers. The iconic photograph of Grace's real-life counterpart, Addie Card (1897-1993), taken during Hine's undercover visit to the Pownal Cotton Mill, graces the cover. In 2016, TIME Magazine published colorized versions of several of Hine's photographs of child labor in the US. In the early days of my child labor activities I was an investigator with a camera attachment... but the emphasis became reversed until the camera stole the whole show. -- Lewis Hine Lewis Hine was trained to be an educator in Chicago and New York. A project photographing on Ellis Island with students from the Ethical Culture School in New York galvanized his recognition of the value of documentary photography in education. Soon after, he became a sociological photographer, establishing a studio in upstate New York in 1912. For nearly ten years Hine was the photographer for the National Child Labor Committee, contributing to exhibitions and the organization's publication, The Survey. Declaring that he "wanted to show things that had to be corrected," he was one of the earliest photographers to use the photograph as a documentary tool. Around 1920, however, Hine changed his studio publicity from "Social Photography by Lewis W. Hine" to "Lewis Wickes Hine, Interpretive Photography," to emphasize a more artistic approach to his imagemaking. Having joined the American Red Cross briefly in 1918, he continued to freelance for them through the 1930s. In 1936 Hine was appointed head photographer for the National Research Project of the Works Projects Administration, but his work for them was never completed. His last years were marked by professional struggles due to diminishing government and corporate patronage, and he died in 1940 at age sixty-six.Source: The J. Paul Getty Museum Born in Oshkosh, Wisconsin, Lewis W. Hine studied sociology before moving to New York in 1901 to work at the Ethical Culture School, where he took up photography to enhance his teaching practices. By 1904 he had begun a series of photographs documenting the arrival of immigrants at Ellis Island; this project, along with his pictures of harsh labor conditions published in the Pittsburgh Survey, brought his work to the attention of the National Child Labor Committee. He served as its official photographer from 1911 to 1916, and later traveled with the Red Cross to Europe, where he documented the effects of World War I in France and the Balkans for Red Cross Magazine. After returning to the United States in 1922, he accepted commercial assignments, produced another series on Ellis Island immigrants, and photographed the construction of the Empire State Building. Several of these construction pictures were published in Men at Work (1932), a book celebrating the individual worker's interaction with machines in the modern world. Despite the success of this book, Hine's financial situation became desperate and his photography was virtually forgotten. Berenice Abbott and Elizabeth McCausland learned of his work through the New York City Photo League and mounted a traveling retrospective exhibition of his work to revive interest in it in 1939. Lewis Hine is best known for the documentary images of child labor practices that he produced under the aegis of the National Child Labor Committee from 1911 to 1916. These photographs not only have been credited as important in the passing of child labor laws, but also have been praised for their sympathetic depiction of individuals in abject working conditions. Hine labeled his pictures "photo-interpretations," emphasizing his subjective involvement with his subjects; this approach became the model for many later documentary photographers, such as Sid Grossman and Ben Shahn.Source: International Center of Photography
George Byrne
George Byrne
Australia
1976
George Byrne creates large-scale photographs that depict everyday surfaces and landscapes as painterly abstractions. Borrowing from the clean, vivid clarity of modernist painting, he also references the New Topographics photography movement via a subject matter firmly entrenched in the urban every day. Born in Sydney in 1976, Byrne graduated from Sydney College Of The Arts in 2001, travelled extensively, and then settled in Los Angeles in 2011 - where he now lives and works. George's work resides in numerous international collections and he is represented by galleries in the USA, Canada, Australia, Taiwan, Norway and has his first solo show opening in Mumbai, India in September 2020. More about Post Truth Exclusive Interview SYNTHETICA at Show Gallery
Argus Paul Estabrook
Argus Paul Estabrook
South Korea/United States
1977
I'm a biracial Korean-American photographer who works in both South Korea and the USA. Frequent travel between these two countries has provided me a unique perspective of Korean identity and its relationship to both global and regional communities. As an artist, I'm interested in creating work that gives voice to others and I often volunteer my efforts to marginalized communities. My work has been awarded by the Magnum Photography Awards, Sony World Photography Awards, LensCulture, IPA, MIFA, TIFA, as well as exhibited at the Aperture Summer Open: On Freedom. I've also been twice selected as a Critical Mass Top 50 artist by Photolucida and a three-time recipient of PDN's Annual Exposure Award. Additionally, I am an alumnus of the prestigious Eddie Adams Workshop and was named the 2017 Dorothy Liskey Wampler Eminent Professor in the School of Art, Design and Art History at James Madison University. Losing Face "Losing Face," documents the energy and emotions surrounding the impeachment protests of South Korean President Park Geun-hye. In October 2016, her relationship with a shadowy advisor from a shaman-esque cult was revealed to extend to acts of extortion. Protests were then held every weekend until Park was formally removed from office in early March 2017. This is what it looks like when the South Korean President loses face. This Is Not an Exit "This Is Not an Exit," bears witness to my father's unexpected struggle with Stage 4 pancreatic cancer as well as documents my mother's grief after his passing. Tying my photography to my mother's narration of events, we weave an intimate family record- one of vision and voice. Bound together through a personal process of grief, I hope "This Is Not an Exit" creates an emotional map, one that reveals our connectedness to each other while also furthering an understanding for all those navigating the loss of a loved one. More about Losing Face
Saul Bromberger
Saul Bromberger
Israel/United States
1957
Saul was born in Israel in 1957 and emigrated to America with his family when he was 9-years old, and learned about the American culture and way of life through his work as a newspaper photographer. He has worked with his wife Sandra Hoover as a photography team for 35+ years. Throughout their years of working together they have produced documentary and personal projects with the first one being their 7-year photo essay project 'Pride - Hearts of the Movement: The San Francisco Gay & Lesbian Freedom Day Parade: 1984-1990,' when the LGBTQ community was marching for its civil rights and uniting in fighting the horror of AIDS. Their other documentary photo essays include 'House of Angels-Living with AIDS at the Bailey-Boushay House: 1992-1995, 1997,' about the lives of people in their last months of life at the first AIDS hospice in America in Seattle, WA., scenes of daily life in American communities with 'Our American Portraits: 1978-2006,' and are currently working on an ongoing project about the men and women who are long term HIV survivors with 'Portrait of the AIDS Generation.' They've had solo exhibits at PhotoCentral Gallery in Hayward, CA., and at Moorpark College, CA., and been part of numerous group shows in galleries that include the Harvey Milk Photo Center in San Francisco, CA. Their work is currently being archived by the Dolph Briscoe Center of American History, at the University of Texas in Austin, TX., and starting on 9.14.2021, they will be represented by ffoto.com in Toronto, Canada. American Portraits: 1978-2006 Many years later now that I am 63 years old, I have learned that it was in my early 20's when I had found my voice. It was then that I realized that my point of view had value and that I had something important to say and share with the world. I was capturing poignant scenes in our communities that I felt were significant for how they described the American culture, moments that captured American as well as universal sensibilities. Scenes that captured essential truths about people's hopes and their successes, their challenges and despair, their individuality and their relationships, during their day to day lives in our American communities. Scenes that defined an American way of life for me. Over the 28 years of this documentary project, from 1978-2006, this is what drove me to create a portrait of America that I had observed as an outsider, because of my experiences as an immigrant where I never really fit into American society. I was born in Israel in 1957, immigrated to America as a 9-year-old with my family in 1967, and as a teenager I helped my parents run our restaurant, while in high school I barely said a word in 4-years. It was through photography then that I found myself, as I discovered over time that I could connect with people, reveal my personality, express my opinion, interpret what I saw and felt, and be recognized and honored for my way of seeing. Starting in the late 1970's, I found myself gravitating to scenes that pulsated with American themes and values. I had become a photo-journalist working for several newspaper photography staffs in California and Washington State, and oftentimes during my assignments I also captured these scenes in social gatherings, parades, business events, political receptions, at county fairs, and much more, scenes that excited me for how they captured an America that I was beginning to understand. Scenes where many people, often white and wealthy, have a life of excess and privilege, while many other people struggle just to survive. People who live in small rural towns and in the larger cities, each group with its own pace of life and traditions, with American values that are vastly different from one another. An America that I found fascinating and perplexing, that I was documenting from an outsider's point of view. Solo Exhibition September 2021 American Portraits: 1978-2006
Builder Levy
Builder Levy
United States
New Yorker Builder Levy has been photographing America and her inhabitants for the past 50 years. His social consciousness took him to significant areas of our country during tumultuous times. His commitment to aesthetically [or artistically] documenting the world around him earned him the prestigious Guggenheim Fellowship in 2008. Levy's work is in more than 50 public collections, including the Metropolitan Museum of Art, Brooklyn Museum, High Museum of Art, International Center of Photography, Victoria and Albert Museum, and La Bibliotheque Nationale. He is also the author of two published photographic books. Source: Arnika Dawkins Gallery Intertwining social documentary, art and street photography, Builder Levy has been making photographs as objects of art that celebrate the human spirit for almost fifty years. He was awarded a John Simon Guggenheim Memorial Foundation Fellowship (’08), an Alicia Patterson Foundation Fellowship (‘04), a Furthermore Grant (‘03), Puffin Foundation Grant (‘01), and National Endowment for the Arts Visual Artists Fellowship in Photography (‘82), and two commissions from the Appalachian College Association (’95 and ‘02). Levy’s two books are Images of Appalachian Coalfields, Temple Univ. Press, with a foreword by Cornell Capa, and Builder Levy Photographer, A.R.T. Press, with an introduction by noted photo historian Naomi Rosenblum. Levy has exhibited in more than 200 shows, including more than 50 one-person exhibitions in New York City, throughout the United States and around the world. In the Fall 2011, he is included in the exhibits Coal + Ice, curated by Susan Meiselas & Jeroen de Vries, a project of the Asia Society, at the Three Shadows Art Centre in Beijing; Posing Beauty, curated by Deborah Willis at Fisher Museum of Art, USC, Los Angeles (9/11-12/11); Photo Folio at the Museum of Fine Arts, Houston (10/11-1/12); at the Arnika Dawkins Gallery (Black & White and Color), (with 13 photographs) (10/1-10/29/11) in conjunction with Atlanta Celebrates Photography; and Mirrors and Reflections: A Group Show, curated by Evelyne Z. Daitz with co-curator Alison Bradley at the Robert Anderson Gallery at 24 West 57th Street, New York (11/17/11-1/7/12) The High Museum of Art included Levy’s photographs in the historic exhibition, Road to Freedom: Photographs of the Civil Rights Movement, 1956-1968 (and the accompanying eponymous book/catalogue), curated by Julian Cox. It opened at the High Museum of Art in 2008, and traveled for two years to museums in D.C., Chicago, Los Angeles and New York City. The Rubin Museum of Art in NYC featured 14 of Levy’s photographs in the show Mongolia: Beyond Chinggis Khan, 11/06-4/07. Levy’s work is in more than 50 public collections in the US and around the world, including the Metropolitan Museum of Art, Brooklyn Museum, High Museum of Art, International Center of Photography, Victoria and Albert Museum, and La Bibliotheque Nationale. His photographs are featured in more than 25 books including, Harlem, A Century in Images, Studio Museum of Harlem, Skira/Rizzoli 2010, Freedom, Phaidon Press, 100 New York Photographers, Schiffer Press ‘09, Deborah Willis’ Posing Beauty, Norton Press, ‘09, Coal Country, Sierra Club Books, ’09, and Road To Freedom: Photographs of the Civil Rights Movement, 1956-1968. He was the featured artist (with 22 photos) in Appalachian Heritage, (Spring 2010). His subjects include inner-city New York City where he was a NYC teacher of at-risk adolescents for 35 years; coalfield Appalachia (spanning more than 40 years), civil rights and peace demonstrations (in the 1960s), Mongolia and other developing nations. He is completing a new book, Appalachia USA. Source: builderlevy.com
Umberto Verdoliva
Umberto Verdoliva
Italy
1961
I was born in 1961 in Castellammare di Stabia near to Naples. I live in Treviso (Italy). I immediately loved street photography, this awareness over time has pushed me to investigate my "daily" in depth, constantly seeking poetry and beauty in the humanity around me. From 2010 to 2017, I was a member of the international collective "ViVo" and in 2013 I founded "SPONTANEA" an Italian collective dedicated to street photography dissolved in 2019 I like to convey my passion by curating workshops, exhibitions, portfolio readings, presentations, writing articles and insights on photography. Many of my photos and photographic projects have been published in the main Italian and international photography magazines.
Priyo Widdi
Priyo Widdi
Indonesia
1973
Travel and street photography has always been my passion. I am especially interested in the subject of social life around me. I love to capture so many essential values in life through photography. I also have been working as a content creator about photography. Statement ''Capturing many life moments makes us to be more grateful about our own lives.''
Erik Johansson
Erik Johansson
Sweden
1985
Erik Johansson (born 1985) is a photographer and visual artist from Sweden based in Prague, Czech Republic. His work can be described as surreal world created by combining different photographs. Erik works on both personal and commissioned projects with clients all around the world. In contrast to traditional photography he doesn't capture moments, he captures ideas with the help of his camera and imagination. The goal is to make it look as realistic as possible even if the scene itself contains impossible elements. In the end it all comes down to problem solving, finding a way to capture the impossible. To Erik it's always important with a high level of realism in his work. He want's the viewer to feel like they are part of the scene. Although his work consists of a lot of work in post-production and combining photogaphs he always tries to capture as much as possible in camera. "No one can tell you that it doesn’t look realistic if you actually captured it for real." Light and perspective are crucial parts when combining images in a realistic way and if some parts are not possible to shoot on location, a similar scene has to be built up in a controlled environment. Having an understanding of both photography and post production is very important to make everything come together seamlessly. Every photograph and part has its purpose. Erik always do all the post production himself to be in complete control of the end result. The idea, photography and post production are all connected. The final image doesn’t become better than the photographs used to capture it. Just like the photographs don’t become stronger than the idea. There are no computer generated-, illustrated- or stock photos in Erik's personal work, just complex combinations of his own photographs. It's a long process and he only creates 6-8 new images a year (excluding commissioned work). Artist Statement "My name is Erik Johansson, I was born in 1985 outside a small town called Götene in the middle of Sweden. I grew up on a farm with my parents and two younger sisters. For as long as I can remember I have liked drawing. Probably because of my grandmother who was a painter. Early I also got interested in computers, escaping to other worlds in computer games. At the age of 15 I got my first digital camera which opened up a new world. Being used to drawing it felt quite strange to be done after capturing a photo, it wasn’t the process of creating something in the same way. Having an interest in computers made it a quite natural step to start playing around with the photos and creating something that you couldn’t capture with the camera. It was a great way of learning, learning by trying. But I didn’t considered it as a profession until years later. In 2005 I moved to Gothenburg to study Computer engineering at Chalmers University of Technology. During my time studying I took up my interest for retouch once again. I had a lot of ideas that I wanted to realize and I saw it as problem solving trying to make it as realistic as possible. After publishing some of my images online I started to get requests about commissioned work from some local advertisement agencies. I started out freelancing in parallel with my studies while still working on personal projects. I got more and more jobs and at the time I finished my studies with a master in Interaction Design I felt like I rather wanted to try out the photography path. I moved to Norrköping in the eastern part of Sweden to start working full time as a freelance. I made new friends and got to work on interesting projects, both local and abroad. In early 2012 it was time for something new as I moved to Berlin, Germany. A very artistic city with lots of inspiration. Today I work with both personal and commissioned projects and I also started doing photography street illusions."Source: www.erikjo.com/
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Art, Activism, Policy, and Power is an educational framework offering resources and opportunities for high school students to engage with artist-activists. The program focuses on various justice topics, utilizing the MoCP’s exhibitions, visiting artists, and collections as teaching tools. Students explore how artists incorporate research into their work to amplify urgent social issues, while also gaining insight into the power of the arts in advancing activism.
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Exclusive Interview with Jaume Llorens
Interview
Exclusive Interview with Jaume Llorens
Jaume Llorens, born in Porqueres, near Girona, has been passionate about photography since his teenage years. Though he began exhibiting his work later in life, his artistic journey has quickly gained recognition on the international stage. His work is characterized by a deep, contemplative connection with nature, where silence and observation shape his artistic vision. His poetic project Gaia, inspired by this reflective approach, earned him the December 2023 Solo Exhibition. We asked him a few questions about his life and work.
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