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Chris Rainier
Chris Rainier
Chris Rainier

Chris Rainier

Country: Canada
Birth: 1958

Chris Rainier is a National Geographic Society EXPLORER and documentary photographer/filmmaker - who is highly respected for his documentation of endangered cultures and traditional languages around the globe. In 2002 he was awarded the Lowell Thomas Award by the Explorers Club for his efforts on cultural preservation, and in 2014 he was elected a Fellow of the Royal Geographic Society of London/UK -specializing in cultural preservation

He is the Director of The Cultural Sanctuaries Foundation - a global program focused on preserving Biodiversity and Traditional Cultural Knowledge.

During his continued tenure with the National Geographic Society he has been the co-founder and co-director of both the Enduring Voices Language Project and Director of the All Roads Photography Program, designed to support indigenous groups with modern technology desiring to document their traditional culture and create sustainable solutions to preserve the planet in the 21st Century. In addition as a NG Fellow he was an Editor for NG Traveler focused on documentation of traditional culture.

Rainier has completed photographic projects for the United Nations, UNESCO, Amnesty International, Conservation International, the Smithsonian Institution, Time Magazine, the New York Times, LIFE Magazine, and the National Geographic Society. Rainier has photographed global culture, conflict, famine, and war in such places as: Somalia, Sarajevo/Bosnia, Sudan, Ethiopia, Rwanda, Cambodia, and Iraq for TIME Magazine, - and for NPR Radio.

In the early 1980's Rainier was Ansel Adams last photographic assistant- during his tenure with the noted photographer- he worked with Mr. Adams to amplify the use of Art Photography as a social tool - helping to preserve threatened wilderness areas and National Parks. Rainier went on to collaborate with UNESCO and IUCN on a Global Project using photography to preserve endangered wilderness areas around the world.

Rainier's photography and books have been widely shown and collected by museums around the world, including the Australian Museum in Sydney, the Bibliothèque Nationale in Paris, the International Center of Photography in New York, the George Eastman House International Museum in Rochester, New York, The National Geographic Society, and the United Nations.
Selected Books on Available on Amazon
Mask
Mask
Chris Rainier
Ancient Marks: The Sacred Origins of Tattoos and Body Marking
Ancient Marks: The Sacred Origins of Tattoos and Body Marking
Chris Rainier
Where Masks Still Dance: New Guinea
Where Masks Still Dance: New Guinea
Chris Rainier

Websites

www.chrisrainier.org

maskjourney.com

 

Selected Books

Mask
Mask
Chris Rainier
Ancient Marks: The Sacred Origins of Tattoos and Body Marking
Ancient Marks: The Sacred Origins of Tattoos and Body Marking
Chris Rainier
Where Masks Still Dance: New Guinea
Where Masks Still Dance: New Guinea
Chris Rainier

Inspiring Portfolios

Jesús Umbría Brito
© Jesús Umbría Brito
Nanda Hagenaars
© Nanda Hagenaars
Carole Mills Noronha
© Carole Mills Noronha
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Graeme Williams
Graeme Williams
South Africa
1961
I grew up in the whites-only suburbs of Cape Town, South Africa during the apartheid era when South African law decreed that 92% of the population were regulated to the status of second-class citizens. My interest in photography began at the age of twelve, but I soon realized that a Kodak Instamatic was never going to produce the results that I wanted. I worked for three years in a bookshop and eventually bought myself a Fujica ST701. It was a real thing of beauty; a single reflex camera with a basic zoom lens, that provided me with the means to control how light formed itself onto the surface of the silver halide film. Sunsets and silhouettes held my attention for a few months, but I had already begun to explore the complex tradition of photographic expression. Life Magazine was for me, at that time, the Holy Grail. Over the years, my enthusiasm for exploring the photographic medium has never diminished. My photographic momentum was temporarily diverted after school by parental pressure to obtain a 'proper' qualification. In my final school year, I was both the Dux scholar as well as a first-team sportsman, which resulted in me being offered a De Beers bursary to study Geology and Statistics at the University of Cape Town. After graduating, I broke the news to my unnerved parents that I was giving up this career path and instead of becoming a property photographer at the local newspaper. In the hierarchy of photographic jobs, this is very close to the bottom. My immediate aim was to gain access to unlimited amounts of film and the time to work on my own projects. In 1987 I began photographing a conscientious objector and medical doctor, Ivan Toms, who refused to comply with the apartheid government's military service requirements. He was sentenced to 21 months in prison. The essay highlighted the absurdity of the political system. Renowned photographer, David Goldblatt, took an interest in this work and this interaction led to a three-decade relationship in which he became both a mentor and a friend. The rights to my essay on Ivan Toms were bought by Life magazine the following year. Much of my work during this period was motivated by the desire to expose the social inequalities and racial divisions within my country. I eventually joined the strongly anti-apartheid collective, Afrapix, and later became a founding member and manager of the documentary collective, South Photographs. In 1989, the beginning of the end of apartheid was evident. I was eager to situate myself in a position that would afford me the best opportunities to witness the transition to democracy. I joined Reuters News Agency as a permanent stringer and for the next five years, I became immersed in the events, both violent and momentous, that led up to the inauguration of Nelson Mandela as president in 1994. Many of my photographs from this period have taken on a life of their own. The image of Nelson Mandela walking out of prison with his wife, Winnie, has been exhibited and published worldwide. In 2008, as Barack Obama fought John McCain for the presidency, Newsweek magazine ran a story asking each candidate to choose an image that best personified their worldview. Obama's team chose an image that I photographed in Thokoza township in 1991. Last year the same photograph became central in a high-profile image-appropriation dispute between me and New York artist, Hank Willis Thomas. There was a massive groundswell of support from colleagues and media from around the world. An amicable settlement was reached. Since 1994 I have concentrated on producing personalized and contemporary bodies of work that reflect this complex country and the continent as a whole. These essays have been shown in solo exhibitions in New York, London, Paris, Cape Town, and Johannesburg as well as numerous photo festivals around the world. (Including China, Singapore, Brazil, Cambodia, France, and the USA). I have been privileged to have been included in major international exhibitions showcasing contemporary South African photography; including Figures and Fictions at London's Victoria and Albert Museum, Apartheid and After at Huis Marseille in Amsterdam, Earth Matters at the Smithsonian in New York, The Rise and Fall of Apartheid at the ICP in New York and Being There, at the Louis Vuitton Foundation in Paris. Awards include the CAP Prize for Contemporary African Photography (Basel) in 2013 and the Ernest Cole Award (South Africa) in the same year. I have continued working on commissioned assignments and traveling to over fifty countries. My photographs have appeared on the cover of Time magazine twice, and have been published in The New York Times Magazine, National Geographic, Newsweek, Stern, and many others. Whilst working on my long-term projects, I try to bear in mind how the work will be exhibited and published. So, therefore, during the planning and photographing stages, I attempt to create a broad context for my essays, that includes a general look and feel while creating the space for each image to convey its individual complexity. This need to develop a dual awareness in my personal work has benefitted me from a long-term interest in designing and producing photobooks. I have created over 20 publications, some of them winning awards and many being shortlisted in dummy book competitions. During the past five years, I have felt a need to shift my attention from South Africa to the American social, political, and physical landscape. Some of my motivations for this change in direction have been outlined within the 'Plan' document. In 2016 I was granted a residency in the US by the Ampersand Foundation, giving me an opportunity to develop a body of work that interrogated the social strata within the greater community of Harrisburg, Pennsylvania. I designed and produced a book called, Diverging Dreamlines that included, portraits, urban landscapes as well as multi-image, digital, illustrations. The publication was chosen as "best of the show" in the Annual Photobook Exhibition at the Griffin Museum of Photography in Winchester, Massachusetts. The work was also included in the Unmasked exhibition at Axis Gallery, New York in 2017. Earlier this year (2019) I co-presented a paper, Over Time, at the International Psychoanalytical Association (IPA) Congress held in London. Four of my personal essays were incorporated into the presentation, allowing a psychoanalytical exploration into the parallels between this photographic record and South Africa's dynamics and process of change. I have participated in various mentorship programs, supporting students from South African photographic institutions: Tierney Fellowship winners from the University of the Witwatersrand (2018/2019) and the Market Photo Workshop (2015/2016). As well as candidates from the Photographer incubator Program in 2016. Learn more about Graeme Williams on videos: Victoria and Albert Museum Photography and Democracy South African Studios Dwell in Possibility opening Check out Graeme Williams's interview about his latest project America Revisited
Constance Jaeggi
Constance Jaeggi
Switzerland
1990
I have always had a fascination with horses which in part stems from my interest in the essential role they played in the development of modern civilizations. At the heart of the relationship between horses and humans is a large paradox. At once a tool in conquests and war because of their tremendous power and capacity for speed, they remain a herd and prey animal. Through photography both inside and outside of the studio, I explore the duality of these flighty yet mighty animals, as well as their relationships with humans, in particular with women whose livelihoods still depend on these animals. My journey with photography started in 2013, after earning my bachelor’s degree from Texas Christian University. After this, I completed a short course in Photography at the New York Film Academy and a Masters in Art History and Art World Practice at Christie’s in 2021. Over the past three years, I have been documenting Camilla Naprous of the Devil's Horsemen with my film cameras and the resulting project The Devils is subject of an ongoing exhibition at the Cowgirl Museum in Fort Worth, TX. Statement I spent most of the pandemic cloistered at the Devil’s Horsemen outside London, UK, a leading supplier of horses and stunt men and women in the film industry. Using my film cameras to get closer to the team who were also locked down at the farm, I documented the small group of women during their daily routines as they cared for the horses and continued training in anticipation of the reopening. From very different walks of life, the people at the Devil’s Horsemen are brought together by their love of horses and their determination to make a life for themselves in which horses play a central role. The company is today led by Camilla Naprous, a second-generation horse master whose father founded it in the 1970’s. Far from the glamour of Hollywood, this project pulls back the curtain on a fascinating way of life, a mix between intimacy and arduous labor where the relationship between horse and woman knows no boundaries.
Stephen Shore
Stephen Shore
United States
1947
Stephen Shore (born October 8, 1947) is an American photographer known for his images of banal scenes and objects in the United States, and for his pioneering use of color in art photography. His books include Uncommon Places (1982) and American Surfaces (1999), photographs that he took on cross-country road trips in the 1970s. In 1975 Shore received a Guggenheim Fellowship. In 1971, he was the first living photographer to be exhibited at the Metropolitan Museum of Art in New York City, where he had a solo show of black and white photographs. In 1976 he had a solo exhibition of color photographs at the Museum of Modern Art. In 2010 he received an Honorary Fellowship from the Royal Photographic Society. Shore was born as sole son of Jewish parents who ran a handbag company. He was interested in photography from an early age. Self-taught, he received a Kodak Junior darkroom set for his sixth birthday from a forward-thinking uncle. He began to use a 35 mm camera three years later and made his first color photographs. At ten he received a copy of Walker Evans's book, American Photographs, which influenced him greatly. His career began at fourteen, when he presented his photographs to Edward Steichen, then curator of photography at the Museum of Modern Art (MoMA) in New York. Recognizing Shore's talent, Steichen bought three black and white photographs of New York City. At sixteen, Shore met Andy Warhol and began to frequent Warhol's studio, the Factory, photographing Warhol and the creative people that surrounded him. In 1971, he was the first living photographer to be exhibited at the Metropolitan Museum of Art in New York City, with a show of black and white, sequential images. Shore then embarked on a series of cross-country road trips, making "on the road" photographs of American and Canadian landscapes. In 1972, he made the journey from Manhattan to Amarillo, Texas, which provoked his interest in color photography. Viewing the streets and towns he passed through, he conceived the idea to photograph them in color, first using 35 mm hand-held camera and then a 4×5" view camera before finally settling on the 8×10 format. The change to a large format camera is believed to have happened because of a conversation with John Szarkowski. In 1974 a National Endowment for the Arts (NEA) grant funded further work, followed in 1975 by a Guggenheim Fellowship. Along with others, especially William Eggleston, Shore is recognized as one of the leading photographers who established color photography as an art form. His book Uncommon Places (1982) was influential for new color photographers of his own and later generations. Photographers who have acknowledged his influence on their work include Nan Goldin, Andreas Gursky, Martin Parr, Joel Sternfeld, and Thomas Struth. Stephen Shore photographed fashion stories for Another Magazine, Elle, Daily Telegraph and many others. Commissioned by Italian brand Bottega Veneta, he photographed socialite Lydia Hearst, filmmaker Liz Goldwyn and model Will Chalker for the brand's spring/summer 2006 advertisements. Shore has been the director of the photography department at Bard College since 1982. His American Surfaces series, a travel diary made between 1972 and 1973 with photographs of "friends he met, meals he ate, toilets he sat on", was not published until 1999, then again in 2005. In recent years, Shore has been working in Israel, the West Bank, and Ukraine.Source: Wikipedia Shore emerged in the 1970s as one of the major exponents of color photography, shooting bleak yet lyrical scenes of the North American landscape. Documenting everyday settings and objects, from hotel swimming pools and televisions to parking lots, gas stations, and deserted roads, Shore exhibited an ability to transform commonplace surroundings into compelling works of art, working with a subject matter similar to Walker Evans. Between 1973 and 1979, Shore made a series of road trips across North America, documenting the vernacular landscape through his view camera, and taking a more formal approach to photographing than in his earlier work. A number of these images later formed Shore's now-classic book, Uncommon Places (first published by Aperture in 1982 and republished in 2004 and 2007). These images arouse recollections of experiences, but in an artful, carefully crafted and calculated manner. His images are made with a large-format camera, which gives his photographs a precise quality in both color and form that has become a signature trait of his work. Shore's use of the large-format camera and innovative color printing has made him one of the most influential photographers to emerge in the last half of the twentieth century, credited with inspiring numerous contemporary photographers.Source: International Center of Photography
Bill Burke
Bill Burke
United States
1943
William M. Burke is an American photographer and educator known for his 20 years of documentary photography in Vietnam and neighboring countries, detailing the effects of war. Bill Burke was born in 1943 in Derby, Connecticut. In 1966, he received a B.A. degree in Art History from Middlebury College. He continued studies at Rhode Island School of Design (RISD), and received a B.F.A degree in 1968 and a MFA degree in 1970, while studying with photographer Harry Callahan. In 1971, he started teaching at the School of the Museum of Fine Arts in Boston. In 1978, he became a Guggenheim fellow in photography. His work is included in many public collections including the Smithsonian American Art Museum, San Francisco Museum of Modern Art, Princeton University Art Museum, Museum of Modern Art, Museum of Fine Arts, Boston, among others.Source: Wikipedia Since 1971 he has taught at the School of the Museum of Fine Arts in Boston. While he has contributed to the Christian Science Monitor and published his work in Fortune and Esquire, Burke prefers to present personal travelogue images in series in books and exhibitions. His monographs include They Shall Cast Out Demons (1983), Bill Burke Portraits (1987), I Want to Take Picture (1987), and Mine Fields (1994). He has exhibited alone and in groups at ICP and elsewhere. Bill Burke, who failed his draft physical, was spared the experience of many of his contemporaries who fought in the Vietnam War. Since the 1970s he has photographed his travels through Asia not to document military atrocities, but to record his personal reactions. His work reflects a fascination with historical events and sites, yet his interest is broader than the topical documentation of photojournalism. The independent spirit of works such as Robert Frank's The Americans (1959) informs Burke's approach to his subjects: he recognizes his outsider status, and the black-and-white photographs of his many trips to Cambodia are as much about the personal impact and experience of being a witness as they are about the cultures he visits. This visitor status is important: Burke makes no pretense trying to develop a photo essay with political overtones, in the tradition of American documentary photography of the 1930s.Source: International Center of Photography
Jolana Havelkova
Jolana Havelkova
Czech Republic
1966
Jolana Havelková (1966, Kolín, Czech Republic) graduated from the Institute of Creative Photography at the Silesian University in Opava, Czech Republic. In addition to photography, she uses a number of other means of expression in her work, including video and music. Her work includes conceptual, site-specific projects, and socio-artistic events. She has exhibited in many places in the Czech Republic as well as abroad. She also works as a teacher and curator of exhibitions (in 1993, she became one of the founding members of the Festival of Photography Funke's Kolín).
Robb Johnson
Robb Johnson
United States
Robb Johnson creates haunting and mysterious black and white photographs reminiscent of the chiaroscuro style of the old Italian masters. The unusual atmospheric conditions he finds by photographing in the dark of night imbue his photographs with mystery. He sets a stage where the actors seem to have just stepped off or have yet to arrive for some unknown drama. Johnson’s photographs evoke a world where the viewer is free to explore with his or her own emotions and awareness – a drama unbeknownst but to them. Robb was a scholarship student at Art Center College of Design and earned a BFA in Photography. He worked in advertising photography for over 20 years, specializing in creating visual environments for national hotels with his wife Dale. He decided to turn his visual focus inward and pursue his art for himself. His work has been featured in B&W Magazine, Spotlight and B&W Single Image for 2006, 2007 and 2008 and his book, Robb Johnson Photographs was published by The French Press in 2008.
Cristina García Rodero
Cristina García Rodero
Spain
1949
Cristina García Rodero (born 14 October 1949) is a Spanish photographer and member of Magnum Photos and Agence Vu photo agencies. García Rodero was born in Puertollano, Spain, in 1949, and studied painting at Complutense University of Madrid. She has worked as a teacher. Rodero photographs the persistence of rural traditions in modern times, such as religious rites and festivals in Spain. In Spain she is among the most celebrated documentary photographers. García Rodero joined Magnum Photos in 2005 and became a full member in 2009. The city of Puertollano, where she was born, inaugurated the Cristina García Rodero Museum in 2018. A large part of the photographer's work is exhibited there. The Cristina García Rodero Museum is located in the old municipal museum of Puertollano. There are more than 2,100 square meters distributed over three floors in which are displayed about 200 photographs of the artist.Source: Wikipedia Cristina García Rodero was born in Puertollano, Spain. She studied painting at the School of Fine Arts at the University of Madrid, before taking up photography. She then qualified as a teacher and worked full-time in education. For the next 16 years, she also dedicated her time to researching and photographing popular and traditional festivities – religious and pagan – principally in Spain but also across Mediterranean Europe. This project culminated in her book España Oculta published in 1989, which won the “Book of the Year Award” at the Arles Festival of Photography. The same year, García Rodero also won the prestigious W. Eugene Smith Foundation Prize. The documentary and ethnological value of her work are considerable, but the aesthetic quality of her photography makes it more than a simple visual record. In recent years, Cristina García Rodero has traveled around the world in search of other cultures with particular traditions. Over a period of four years, she went several times to Haiti, where she has documented voodoo rituals, producing a series of expressive portraits and moving scenes flanked by engaging documentary observations. Rituals in Haiti was shown for the first time in the 2001 Venice Biennale. Cristina García Rodero has received many prizes, including the Premio Nacional de Fotografía in 1996 in Spain. Her work has been widely published and exhibited internationally. She has published several books and has been a member of the Vu agency for more than 15 years. García Rodero joined Magnum in 2005 and became a full member in 2009.Source: Magnum Photos
Iris Brito Stevens
Iris Brito Stevens
United States
I was born and raised in Salinas, California (U.S.), a farming community known for its lettuce. As a daughter of Mexican immigrants, I became aware of, and sensitive to, the differences between the immigrant and non-immigrant communities and their perspectives, which at times felt narrow and somewhat limiting. Growing up surrounded by family grounded me deeply, yet an insatiable curiosity and passion for learning about the world beyond me, called out. I spread my wings and traveled to destinations that were completely foreign, often under the auspices of humanitarian and educational endeavors. The lens through which I saw the world opened-up and expanded my perspective, just like a camera. Through first-hand experience, I became aware of the lives and conditions of marginalized and oppressed peoples globally. This new dimensionality helped me to confront certain realities, to grow, and to self-reflect on what it means to be human. It also led me toward activism and social documentary photography, which enabled me to blend visual narrative with the stories of other people through projects or partnerships in Uganda, the Occupied Palestinian Territories, Spain, San Francisco and more. My photographic work is my passion, and it serves to create awareness and a more intimate human connection, by encouraging a path that looks beyond our limited and inherent perceptions and conditioning. Statement In America, we place so much value on individuality and independence, that we forget how truly interdependent we are on one another, both on a local and global scale. We have become hyper-focused on the self and are losing our ability to empathize and see the intense vulnerability around us—though considering recent events, this appears to be shifting. As a social documentary photographer, I am drawn towards people and the conditions that are relevant in their lives, as individuals and as members of a family, community, or society. Our perception of the world can be limited to our own multi-faceted forms of conditioning; I utilize the impact of visual narrative to bring awareness of the human condition worldwide. There is so much beauty in diversity. I want to validate that diversity through photography, to help others grow in that appreciation, to demonstrate that we are all a part of something collectively - that life's experience doesn't begin and end with us, as individuals. Dominance consciousness is so pervasive in society; it's like a box with thick walls and nothing to see, nowhere to go, devoid of any inspiration. It kills curiosity and ideas. I want us all to be inspired and curious by the diversity we see and experience in everyday life. Diversity is beautiful.
Marna Clarke
Marna Clarke
United States
I am 81 years old. I was born and raised in Baton Rouge, Louisiana, and have lived the last quarter of my life in California. The intervening years were spent in pursuit of a college education in North Carolina, working for IBM in Washington, DC, educating myself in photography in New York City and Connecticut, and living in Michigan where my parents finally moved to be near my sister and her family. Somewhere along the way I got married, had two sons, divorced, and stopped photographing. I moved to California in 1996, to Marin County north of San Francisco. Five years later I met a man who saw some of my work on the walls of my home and encouraged me to get back to photographing. He courted me for a year after which he asked me to move in with him. In 2005, he bought me a digital camera and I fell in love again with the magic of recording images I found interesting and unique. In 2010, I started photographing the two of us as we began showing signs of getting old. Little did I know that eleven years later I’d still be engaged in that project, entitled Time As We Know It. I have received numerous recognitions for my work including being accepted into the 2020 deYoung Museum Open Exhibition. I was also awarded the grand prize at the 2021 Kaunas (Lithuania) International Photo Festival and was honored to be voted into the Critical Mass Top 50 artists in Photolucida’s 2021 competition. Time As We Know It On my 70th birthday, I woke from a dream in which I had rounded a corner and seen the end. This disturbing dream moved me to begin photographing my partner and myself, chronicling our time of growing old. Now, eleven years out, he and I face numerous physical challenges: decreased mental acuity, especially memory; the diminished quality of our skin, hair and teeth; mild disfigurement; as well as the need to tend vigilantly to our balance, hearing, sight, physical agility and getting adequate sleep. Inside we are learning to accept what is, sometimes going from anger, impatience, sadness or fear to seeing the humor in the idiosyncrasies of growing old. We realize that if we can be comfortable with our own aged appearances and limitations, then the potential exists that others will become more comfortable witnessing this transformation and possibly become more comfortable with their own. I have entered taboo territory, aging and death. The creation of these photos is part of my own way of dealing with the inevitability of dying by bringing attention to it and accepting it. I have come to embrace them as a tribute not just to our lives but also to the demanding and courageous task of growing old gracefully, graciously, and aware. A certain wisdom is evolving from years of living and observing, eventually unveiling previously unseen associations, patterns and similarities. I am gaining a much-appreciated perspective that was not available to me as a younger woman.
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Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
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For over seven years, Of Lilies and Remains has explored the depths of the goth and darkwave underground, unfolding in Leipzig—a city long associated with a vibrant and enduring subcultural scene. Moving between iconic gatherings such as Wave-Gotik-Treffen and more intimate moments on the fringes, the project offers a rare and immersive glimpse into a world often misunderstood, yet rich in expression and community. Created by Luca in collaboration with Laura Estelle Barmwoldt, the work embraces a cinematic and deeply personal approach. Rather than documenting from a distance, it moves within the scene itself, capturing its atmosphere, its codes, and its quiet contradictions. The title Of Lilies and Remains hints at this duality—where beauty and darkness, fragility and strength coexist. As the book prepares for its release, we spoke with both artists about the origins of the project, their process, and what it means to document a subculture that continues to evolve while remaining true to its spirit.
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German photographer Henk Kosche turns his lens toward the streets of Halle an der Saale, capturing everyday life in the late years of the former German Democratic Republic. At the time, Kosche was studying design and exploring the city with his camera, drawn to the atmosphere of its industrial landscape and the quiet rhythms of daily life. His series Street Photography at the End of the 80s, selected as the Solo Exhibition for July 2025, revisits a body of work created just before a period of profound change. Rediscovered decades later in a small box of 35mm negatives, these photographs offer glimpses of a city and its people at a moment suspended between the familiar and the unknown.
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Exclusive Interview with Anastasia Samoylova
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Exclusive Interview with Marijn Fidder
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Exclusive Interview with Josh S. Rose
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Josh S. Rose is a multidisciplinary artist working across photography, film, and writing. His practice bridges visual and performing arts, with a strong focus on movement, emotion, and the expressive potential of the image. Known for his long-standing collaborations with leading dance companies and performers, Rose brings together authenticity and precise composition—a balance he describes as “technical romanticism.” His work has been commissioned and exhibited internationally, appearing in outlets such as Vogue, at the Super Bowl, in film festivals, and most recently as a large-scale installation for Lincoln Center for the Performing Arts. A sought-after collaborator, he has worked with major artists, cultural institutions, and brands, following a previous career as Chief Creative Officer at Interpublic Group and the founder of Humans Are Social. We asked him a few questions about his life and work.
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Interview with Maureen Ruddy Burkhart
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