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Diana Markosian
Diana Markosian
Diana Markosian

Diana Markosian

Country: Russia
Birth: 1989

Diana Markosian is an American and Russian artist of Armenian descent, working as a documentary photographer, writer, and filmmaker.

She is known for her photo essays, including Inventing My Father, about her relationship with her father, and 1915, about the Armenian genocide.

Markosian was born in Moscow. In 1996, she moved to California with her mother and her brother, while her father remained in Russia. She had no contact with him until 23, when she found her father in Armenia, after 15 years of being apart.

Markosian graduated summa cum laude from the University of Oregon with a bachelor of arts in history and international studies in 2008, and earned a Master of Science from Columbia University's Graduate School of Journalism in 2010 at the age of 20.

In 2011, Markosian was sent to Azerbaijan as a photojournalist for Bloomberg News, but she was denied entrance to the country, which was at war with Armenia at the time. Markosian is of Armenian descent but not a citizen of Armenia. The authorities said they couldn't provide her with the "security" she would need because of her Armenian last name.

Markosian began her career at 20. Her editorial and personal work has taken her to some of the most remote corners of the world. She worked on assignments for publications including National Geographic Magazine, The New Yorker and The New York Times. For her first assignment for National Geographic Magazine in 2015, she was commissioned to explore the power and legacy of the Virgin Mary. This ability to photograph "things that are no longer there" has become a signature of her work. Her images have since been published by the Financial Times, World Policy Journal, The New York Times, Foreign Policy, The Times, Human Rights Watch, Amnesty International, amongst other publications.

She won the Columbia School of Journalism's annual photography prize, and was chosen as a duPont Fellow. She was selected for the Joop Swart Masterclass from World Press Photo and was the winner of the Magnum Emerging Photographer Fund in 2013. In 2015, she was selected as the first recipient of the Chris Hondros Emerging Photographer Award. The same year, the British Journal of Photography selected her in its global survey of "Ones to Watch". In 2016, Markosian became a nominee member of Magnum Photos. In 2018, she was awarded the Elliott Erwitt Fellowship to travel to Cuba, where she documented the coming of age of young girls in Havana. The work she created was exhibited as a solo show at the Grand Palais in Paris Photo and Photo Espana. She was awarded 1st Place in Contemporary Issues from World Press Photo for an image of Pura, a young girl who was diagnosed with a brain tumor as a child, and was photographed celebrating her quinceanera.

Source: Wikipedia



About 1915
"Holding a cane in his right hand, Movses Haneshyan, 105, slowly approaches a life-size landscape.

He pauses, looks at the image, and begins to sing, 'My home... My Armenia.'

It's the first time Movses is seeing his home in 98 years.

A century ago, the Ottomans initiated a policy of deportations, mass murder and rape to destroy the Armenian presence in the Ottoman Empire. By the war's end, more than a million people, from what is now modern-day Turkey, were eliminated.

It was one of first genocides of the 20th century, one that Turkish authorities deny to this day.

Movses and his father survived.

I traveled to Armenia to meet Movses and other survivors to ask them about their last memories of their early home. I then retraced their steps in Turkey to retrieve a piece of their lost homeland.

One hundred years after having fled his birthplace, Movses caresses its image, as if by holding it close he will be taken back to the place he called home many years ago.

This is his story, and those of other survivors.

A story of home - everything they had, everything they lost.

And what they have found again." -- Diana Markosian
 

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Gertrude Käsebier
United States
1852 | † 1934
Gertrude Käsebier was an American photographer. She was well-known for her images of motherhood, portraits of Native Americans, and promotion of photography as a career for women. Käsebier was born Gertrude Stanton on May 18, 1852, in Fort Des Moines (now Des Moines, Iowa). Her mother was Muncy Boone Stanton and her father was John W. Stanton. He brought a sawmill to Golden, Colorado, at the start of the Pike's Peak Gold Rush in 1859, and he profited from the building boom that followed. Stanton, then eight years old, traveled to Colorado with her mother and younger brother to join her father. That same year, her father was elected as the first mayor of Golden, Colorado Territory's capital at the time. After her father died unexpectedly in 1864, the family relocated to Brooklyn, New York, where her mother, Muncy Boone Stanton, opened a boarding house to support the family. Stanton lived in Bethlehem, Pennsylvania, with her maternal grandmother from 1866 to 1870, and she attended the Bethlehem Female Seminary (later called Moravian College). Little else is known about her childhood. She married twenty-eight-year-old Eduard Käsebier, a financially secure and socially well-placed businessman in Brooklyn, on her twenty-second birthday in 1874. Frederick William, Gertrude Elizabeth, and Hermine Mathilde were the couple's three children. In 1884, they relocated to a farm in New Durham, New Jersey, in search of a healthier environment for their children to grow up in. Flying Hawk, American Indian, c. 1900, U.S. Flying Hawk, American Indian, c. 1900, U.S. Library of Congress © Gertrude Käsebier Gertrude Käsebier later wrote that she was unhappy for the majority of her marriage. She stated, "If my husband has gone to Heaven, I want to go to Hell. He was terrible... Nothing was ever good enough for him." Divorce was considered scandalous at the time, so the couple remained married while living separate lives after 1880. This unhappy situation later inspired one of her most strikingly titled photographs, Yoked and Muzzled – Marriage (c. 1915), which depicts two constrained oxen. Despite their differences, her husband financially supported her when she began art school at the age of 37, at a time when most women of her generation were well-established in their social positions. Käsebier never explained why she chose to study art, but she did so wholeheartedly. Over her husband's objections, she relocated the family to Brooklyn in 1889 to attend the newly established Pratt Institute of Art and Design full-time. Arthur Wesley Dow, a highly influential artist and art educator, was one of her teachers there. He later assisted in advancing her career by writing about it and introducing her to other photographers and patrons. The key to artistic photography is to work out your own thoughts, by yourselves. Imitation leads to certain disaster. New ideas are always antagonized. Do not mind that. If a thing is good it will survive. -- Gertrude Käsebier Gertrude Käsebier studied the theories of Friedrich Fröbel, a nineteenth-century scholar whose ideas about learning, play, and education inspired the creation of the first kindergarten. Käsebier was greatly influenced by his ideas about the importance of motherhood in child development, and many of her later photographs emphasized the bond between mother and child. The Arts and Crafts movement also had an impact on her. She studied drawing and painting in school, but she quickly became obsessed with photography. Käsebier, like many other art students at the time, decided to travel to Europe to further her education. She began 1894 by studying the chemistry of photography in Germany, where she was also able to leave her daughters with her in-laws in Wiesbaden. She spent the rest of the year in France, studying with American painter Frank DuMond. Gertrude Käsebier returned to Brooklyn in 1895. She decided to become a professional photographer in part because her husband had become quite ill and her family's finances were strained. She worked as an assistant to Brooklyn portrait photographer Samuel H. Lifshey for a year, where she learned how to run a studio and expanded her knowledge of printing techniques. Clearly, by this point, she had a thorough understanding of photography. Only one year later, she exhibited 150 photographs at the Boston Camera Club, a massive number for a single artist at the time. The same photographs were shown at the Pratt Institute in February 1897. The success of these exhibitions led to another in 1897 at the Photographic Society of Philadelphia. She also gave a talk about her work and encouraged other women to pursue photography as a career, saying, "I strongly advise women with artistic tastes to pursue a career in the underserved field of modern photography. It appears to be uniquely suited to them, and the few who have entered it have found rewarding and profitable success." In 1898, Käsebier watched Buffalo Bill's Wild West troupe parade past her Fifth Avenue studio in New York City, toward Madison Square Garden. Her memories of affection and respect for the Lakota people inspired her to send a letter to William "Buffalo Bill" Cody requesting permission to photograph the members of the Sioux tribe traveling with the show in her studio. Cody and Käsebier were similar in their abiding respect for Native American culture and maintained friendships with the Sioux. Cody quickly approved Käsebier's request and she began her project on Sunday morning, April 14, 1898. Käsebier's project was purely artistic and her images were not made for commercial purposes. They never were used in Buffalo Bill's Wild West program booklets or promotional posters. Käsebier took classic photographs of the Sioux while they were relaxed. Chief Iron Tail and Chief Flying Hawk were among Käsebier's most challenging and revealing portraits. Käsebier's photographs are preserved at the National Museum of American History's Photographic History Collection at the Smithsonian Institution. Red Horn Bull, a Sioux Indian from Buffalo Bill’s Wild West Show, c. 1900, U.S.Library of Congress © Gertrude Käsebier Käsebier's session with Iron Tail was her only recorded story: "Preparing for their visit to Käsebier's photography studio, the Sioux at Buffalo Bill's Wild West Camp met to distribute their finest clothing and accessories to those chosen to be photographed." Käsebier admired their efforts, but desired to, in her own words, photograph a "real raw Indian, the kind I used to see when I was a child", referring to her early years in Colorado and on the Great Plains. Käsebier selected one Indian, Iron Tail, to approach for a photograph without regalia. "He did not object. The resulting photograph was exactly what Käsebier had envisioned: a relaxed, intimate, quiet, and beautiful portrait of the man, devoid of decoration and finery, presenting himself to her and the camera without barriers." Several days later, Chief Iron Tail was given the photograph and he immediately tore it up, stating that it was too dark. Käsebier photographed him again, this time in his full regalia. Iron Tail was an international celebrity. He appeared with his fine regalia as the lead with Buffalo Bill at the Avenue des Champs-Élysées in Paris, France, and the Colosseum of Rome. Iron Tail was a superb showman and disliked the photograph of him relaxed, but Käsebier chose it as the frontispiece for an article in the 1901 Everybody's Magazine. Käsebier believed all the portraits were a "revelation of Indian character", showing the strength and individual character of the Native Americans in "new phases for the Sioux". In her photograph of Chief Flying Hawk, his glare is the most startling image among those portraits by Käsebier, quite contrary to the others who were shown as relaxed, smiling, or making a "noble pose". Flying Hawk was a combatant in nearly all of the fights with United States troops during the Great Sioux War of 1876. He fought along with his cousin Crazy Horse and his brothers, Kicking Bear and Black Fox II, in the Battle of the Little Big Horn in 1876. He was present at the death of Crazy Horse in 1877 and the Wounded Knee Massacre of 1890. In 1898, when the portrait was taken, Flying Hawk was new to show business and he was unable to hide his anger and frustration about having to imitate battle scenes from the Great Plains Wars for Buffalo Bill's Wild West in order to escape the constraints and poverty of the Indian reservation. Soon, Flying Hawk learned to appreciate the benefits of a Show Indian with Buffalo Bill's Wild West. Flying Hawk regularly circulated show grounds in full regalia and sold his "cast card" picture postcards for a penny to promote the show and to supplement his meager income. After the death of Iron Tail on May 28, 1916, Flying Hawk was chosen as his successor by all of the braves of Buffalo Bill's Wild West and he led the gala processions as the head Chief of the Indians. I am now a mother and a grandmother, and I do not recall that I have ever ignored the claims of the nomadic button and the ceaseless call for sympathy, and the greatest demand on time and patience. My children and their children have been my closest thought, but from the first days of dawning individuality, I have longed unceasingly to make pictures of people... to make likenesses that are biographies, to bring out in each photograph the essential temperament that is called, soul, humanity. -- Gertrude Käsebier Over the next decade, she took dozens of photographs of the Indians in the show. Some of those photographs become her most famous images. Unlike Edward Curtis, a photographer who was her contemporary, Käsebier focused more on the expression and individuality of the person than their costumes and customs. While Curtis is known to have added elements to his photographs to emphasize his personal vision, Käsebier did the opposite, sometimes removing genuine ceremonial articles from a sitter to concentrate on the face or stature of the person. In July 1899, Alfred Stieglitz published five of Käsebier's photographs in Camera Notes, declaring her "beyond dispute, the leading artistic portrait photographer of the day". Her rapid rise to fame was noted by photographer and critic Joseph Keiley, who wrote "a year ago Käsebier's name was practically unknown in the photographic world... Today that names stands first and unrivaled...". That same year her print of The Manger sold for $100, the most ever paid for a photograph at that time. In 1900, Käsebier continued to gather accolades and professional praise. In the catalog for the Newark (Ohio) Photography Salon, she was called "the foremost professional photographer in the United States". In recognition of her artistic accomplishments and her stature, later that year, Käsebier was one of the first two women elected to Britain's Linked Ring (the other was British pictorialist Carine Cadby). The next year, Charles H. Caffin published his landmark book Photography as a Fine Art and devoted an entire chapter to the work of Käsebier ("Gertrude Käsebier and the Artistic Commercial Portrait"). Due to demand for her artistic opinions in Europe, Käsebier spent most of the year in Britain and France visiting with F. Holland Day and Edward Steichen. Alfred Stieglitz, c. 1902, U.S.Library of Congress © Gertrude Käsebier In 1902, Stieglitz included Käsebier as a founding member of the Photo-Secession. The following year, Stieglitz published six of her images in the first issue of Camera Work. They were accompanied by highly complementary articles by Charles Caffin and Frances Benjamin Johnston. In 1905 six more of her images were published in Camera Work, and the following year, Stieglitz presented an exhibition of Käsebier photographs (along with those of Clarence H. White) at his Little Galleries of the Photo-Secession. The strain of balancing her professional life with her personal one began to take a toll on Käsebier at this time. The stress was exacerbated by her husband's decision to move to Oceanside, Long Island, which had the effect of distancing her from the New York artistic center. In response, she returned to Europe where, through connections provided by Steichen, she was able to photograph the reclusive Auguste Rodin. When Käsebier returned to New York an unexpected conflict with Stieglitz developed. Käsebier's strong interest in the commercial side of photography, driven by her need to support her husband and family, was directly at odds with Stieglitz's idealistic and antimaterialistic nature. The more Käsebier enjoyed commercial success, the more Stieglitz felt she was going against what he felt a true artist should emulate. In May 1906, Käsebier joined the Professional Photographers of New York, a newly formed organization that Stieglitz saw as standing for everything he disliked: commercialism and the selling of photographs commercially rather than for love of the art. After this, he began distancing himself from Käsebier. Their relationship never regained its previous status of mutual artistic admiration. Eduard Käsebier died in 1910, finally leaving his wife free to pursue her interests as she saw fit. She continued to follow a separate course from that of Stieglitz and helped to establish the Women's Professional Photographers Association of America. In turn, Stieglitz began to publicly speak against her contemporary work, although he still thought enough of her earlier images to include 22 of them in the landmark exhibition of pictorialists at the Albright-Knox Art Gallery later that year. The next year, Käsebier was shocked by a highly critical attack made by her former admirer, Joseph T. Keiley, that was published in Stieglitz's Camera Work. Why Keiley suddenly changed his opinion of her is unknown, but Käsebier suspected that Stieglitz had put him up to it. Part of Käsebier's alienation from Stieglitz was due to his stubborn resistance to the idea of gaining financial success from artistic photography. If he felt a buyer truly appreciated the art, he often sold original prints by Käsebier and others at far less than their market value and, when he did sell prints, he took many months before paying the photographer of the work. After several years of protesting these practices, in 1912, Käsebier became the first member to resign from the Photo-Secession. In 1916, Käsebier helped Clarence H. White found the group Pictorial Photographers of America, which was seen by Stieglitz as a direct challenge to his artistic leadership. By this time, however, Stieglitz's tactics had offended many of his former friends, including White and Robert Demachy, and a year later, he was forced to disband the Photo-Secession. During this time, many young women starting out in photography sought out Käsebier, both for her photographic artistry and for inspiration as an independent woman. Among those who were inspired by Käsebier and who went on to have successful careers of their own were Clara Sipprell, Consuelo Kanaga, Laura Gilpin, Florence Maynard, and Imogen Cunningham. Throughout the late 1910s and most of the 1920s, Käsebier continued to expand her portrait business, taking photographs of many important people of the time, including Robert Henri, John Sloan, William Glackens, Arthur B. Davies, Mabel Dodge, and Stanford White. In 1924, her daughter, Hermine Turner, joined her in her portrait business. In 1929, Käsebier gave up photography altogether and liquidated the contents of her studio. That same year, she was given a major solo exhibition at the Brooklyn Institute of Arts and Sciences. Käsebier died on October 12, 1934, at the home of her daughter, Hermine Turner. A major collection of her work is held by the University of Delaware. In 1979 Käsebier was inducted into the International Photography Hall of Fame and Museum.Source: Wikipedia
Jean-Pierre Laffont
Jean-Pierre Laffont attended the School of Graphic Art in Vevey, Switzerland, where he graduated with a Master's Degree in Photography. He was a founding member of the Gamma USA and Sygma Photo News agencies. For more than five decades, Laffont traveled the globe, covering the news, the people, and the social and economic issues of his time. His photos were published in the world's leading news magazines, including Le Figaro, London Sunday Times, Newsweek, Paris Match, Stern, and Time. He was named one of the one hundred most important people in photography. Among the numerous awards Laffont has received are the Overseas Press Club of America's Madeline Dane Ross Award, the World Press Photo General Picture Award, University of Missouri's World Understanding Award and First Prize from the New York Newspaper Guild. In 1996 he was honored with the National French Order of Chevalier des Arts et des Lettres (a Knight in the National French Order of Arts and Letters). In 2016 Jean Pierre was named International Photographer of the Year of the Pingyao Photo Festival in China. In 2020 he received The Lucie Award for Achievement in Photojournalism and The Visa D'Or Award du Figaro Magazine for Lifetime Achievement. Laffont resides in New York with his wife Eliane, his daughter and his two granddaughters. Awards and Honors: 1962: Cross for Military Valor for his humanitarian acts during the Algerian War 1979: First Prize: New York Newspaper Guild, for "Child Labor"; Overseas Press Club: Madeline Dane Ross award, for originating the use of photography to raise awareness of child labor conditions around the world. 1980: World Press: First Prize, General Picture category; University of Missouri, School of Journalism: First Prize, World Understanding Award 1996: French National Order of Merit: named Chevalier de l'Ordre des Arts et des Lettres 2016: International Photographer of the year of The Pingyao Photo Festival; China. 2020: Lucie Award for Achievement in Photojournalism. 2020: Visa D'Or Award du Figaro Magazine for Lifetime Achievement. Bibliography: Contribution to the A Day in the Life Series (HarperCollins): 1983: A day in the life of Hawaii 1984: A day in the life of Canada 1985: A day in the life of Japan 1986: A day in the life of United States 1987: A day in the life of Spain 1987: A day in the life of USSR 1989: A day in the life of China 1990: A day in the life of Italy 1991: A day in the life of Ireland 1992: A day in the life of Hollywood Other Selected Publications: 1986: The Long March (Intercontinental Press); in commemoration of the 50th anniversary of Mao Zedong's historical Long March 1989: Trois Jour en France (Nathan/France) 1992: America Then and Now (Cohen/HarperCollins) 1999: Les 100 photos du Siècle (Editions du Chêne) 2003: America 24/7 in Manhattan (NY State) 2011: The New York Times Magazine: Photographs (Aperture Foundation) 2013: 40 ans de Photojournalisme: Generation Sygma (Editions de La Martinière/France) Monographs: 1976: CB Bible, Porter Bibb (Doubleday) 1981: Women of Iron (Playboy) 2008: Jean-Pierre Laffont Foreign Correspondent (Editions C.D.P/France) 2014: Photographer's Paradise: Turbulent America 1960-1990: (Glitterati) named best picture book by The Lucie Awards 2017: New York City Up and Down: (Glitterati) 2019: Nos Stars en Amèrique Cartes postales de Jean Pierre Laffont: (Editions de La Martinière) For special print requests please contact us directly.
Giles Clarke
United Kingdom
1965
Giles Clarke is a photojournalist focusing on capturing the human face of current and post-conflict global issues. Clarke began his film and photography career in West Berlin as a 16mm camera assistant at the height of the Cold War during the mid-1980s before switching to a successful professional black-and-white photographic printer career in London and New York. In 1997, Clarke worked in the Richard Avedon darkroom in New York on some now-iconic fashion campaigns. From 1998 to 2008, Clarke moved to Los Angeles, where he worked with Channel 4 (UK) on film-based content stories and directed and produced web content for clients such as Budweiser, Hummer, and Cadillac. In 2007, Clarke began reporting from Bhopal, India on the ongoing toxic legacy of the Union Carbide gas disaster in 1984. His work for the Bhopal Medical Appeal is an ongoing awareness project similar to his environmentally-led work in Louisiana, Haiti, and the gangland areas within Latin America. In 2013, Clarke was signed by Getty Images Reportage and continues today to syndicate news/feature work through Getty Images as a featured contributor. In 2016, Clarke traveled with Mr. Ban Ki-moon to over 40 countries documenting the UN Secretary-General's final year of tenure. Also in 2016, Clarke was awarded 1st prize by the National Press Photographers Association for his Haiti work 'Waste In Time' (Environmental Picture Story). In 2017, he was presented with a Lucie Statue at Carnegie Hall for 'Yemen In Crisis'. Clarke received a Gold Award for his work covering Yemen by PX3 Prix De La Photographie Paris in 2021. In September 2021, 'Yemen; Conflict + Chaos' was exhibited in a solo show at Visa pour L'Image in Perpignan. In December 2021, Clarke was awarded the 'WARS Photography Award' created by 'Associazione 46 Parallelo / Atlante Delle Wars in Italy. In October 2022, Clarke was awarded the Sharjah Government Communication Award for his past work in El Salvador.
Lucas Barioulet
France
1996
Lucas Barioulet, born in Angers, France in 1996, is a french freelance photojournalist based in Paris, focusing on islamic republics. He graduate from Ecole de Journaliste de Tours and San Diego State University. The same yearn he began working in between the United States and Mexico in 2016 and 2017 as a correspondent for french newspaper, following the presidential elections and the migrant crisis. He then came in France and worked for the daily french newspaper Le Parisien as a staff photographer for one year. In march 2018, he began working as a stringer photographer for the world news agency Agence France Presse, covering the world cup, the yellow vests movements and daily news in France. During the Covid-19 crisis, he extensively covered the situation in France, from intensive care units to funerals parlors. He also contributes regularly to french newspaper Le Monde and magazine GEO. Since 2018, he works on a long term project on islamic republics, starting with Mauritania and then Pakistan exploring the different aspects and the young generations of these misunderstood countries. His last serie "The Long and Difficult Path of the Mauritanian National Women's Football" won the 2nd place in the "Sport" Category at the Sony World Photography Award 2020. "Camera is the best passport to my eyes. To not be a tourist, but a traveler. To not be only a photographer, but also a journalist. Trying to understand be fore judging, Watching and listening so that other can also see, go where the others cannot go for putting light on shadows areas. Take the time necessary to do photography, when the all industry is rushing. Build human connections that goes over the simple photographer - subject relationship. "
Piotr Zbierski
Piotr Zbierski studied photography at National Film School. Author of three individual exhibitions (White Elephants, Here, Love has to be reinvented), a participant in collective exhibitions and publications including Photokina and Lab East. He presented his works in many countries like Poland, Germany, Portugal, Russia, Slovakia. As well as magazines (Shots Magazine, Ninja Mag, Archivo Zine, Die Nacht, Gup Magazine). In 2012 he won the prestigious prize for young photographer Leica Oscar Barnack Newcomer Award. His work was nominated to Deutsche Börse Photography Prize and has been shortlisted in many other prizes (Les Nuits Photographiques 2012, Terry O’Neill Award) for his series Pass by me. His works has been shown at Rencontres Internationales de la Photographie in Arles 2012 and are in collection of Kiyosato Museum of Photographic Arts. He lives and works in Lodz. About Love has to be reinvented "The series 'Love has to be reinvented' began in 2012 and its starting point was not an image but my personal experience, which changed my view and redefined my opinion on many issues. At the same time, it is neither my diary nor any personal document; recently such a name is given to whatever cannot be named. Titles of my series are just mottos for my creative works at their particular stages. Words are created by letters in the alphabet, which is a matter of convention depending on the culture. I build my series out of emotions, which are a biological fact, they are unquestionable. The key objective I identify for myself is the availability of a feeling. I really want the person looking at my photographs to experience something more and not just say whether photographs are good or bad. Photography does not begin with an image, it does not end with an image, either; I put on authenticity, and not on originality. An image is a form of communication of a higher art form, which is life itself. I took the title from the French poet, Artur Rimbaud, who wrote these words and expressed criticism of France and times he lived in about a hundred years ago. I returned to these words because I think the world has not changed so much, and I criticize a contemporary world, which has gone in the wrong direction, in my opinion. And I do not mean people but structures built around the castle, which the book hero has never reached. A major objective of my work is to get through to the essence of human emotions, to their purest form with no additions, no gadgets. To show a man in the way he has been created, a man from a primeval village. In a contemporary world, such an image may be created using a certain type of imagination because we are very far away from such a status quo; therefore, my work is reality-based but it is not the reality itself. It is an attempt to invoke and depict certain human impulses with full acceptance of their inherent contradictions. Like love: it is as full of adoration as hatred; a day could not exist without a night. I will finish this three-year series in spring 2015 during the total solar eclipse, which can be observed in Iceland. It is a characteristic clamp for my creative work in which I start from a personal, private and single experience at the very beginning, and come through an image to a part, which is common for us all, and independent of me. A macro-scale has its reflection in a micro scale while a normal scale, in which we live in, is its pulsating reflection. To follow theories of contemporary scientists, only a ballet dancer may be smaller, and on a macro-scale - a multiple universe. Life is a film directed by the universe while the world is the largest accumulation of sensually available metaphors, a secret in secret or a metaphor in a metaphor. Rimbaud has also written that eternity is skies mixed with water; quite right: black and white, grey on grey; in a child's drawing huge blue and objectively sacred transparency. In my opinion, there is one reality and infinitely many visions. To sum it up as simple as I can: if the world is a tree growing more and more branches (metaphors), then life is the fruit. While love is the juice of various tastes in the same way as the resin is what a tree uses for weeping. All this happens in the surroundings of eternal gases where toxic ones come away leaving space to healthy ones. Rootstocks and roots grow expanding in the same way. Who are people then?Undoubtedly, they are savages from a primeval village who have learned what a real taste of love is: they adored each other at the expense of "god's" hatred, they are Adam and Eve. It is only owing to such a full image of love that new generations could come into existence. I also invite to see the video work titled "Lodz", in which I develop motifs I have earlier discussed. Another continuing video is in progress. The bottomless source is RGB without DNA." - Piotr Zbierski
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Photography has long played a crucial role in the art market, bridging fine art and contemporary culture while attracting a diverse range of collectors. With digital platforms reshaping how art is discovered, collected, and valued, Artsy has emerged as a key player in making photography more accessible. In this exclusive interview, Casey Lesser, Artsy's Director of Content and Editorial, shares insights into the current photography market, emerging trends, and how digital tools are shaping the way collectors engage with the medium. From the growing demand for portraiture to the impact of price transparency, Lesser offers a behind-the-scenes look at the evolving landscape of photography collecting.
Exclusive Interview with Fabiola Menchelli
Currently on view at the Norton Museum of Art, certain silence marks artist Fabiola Menchelli’s first solo museum exhibition in the United States. Running through March 23, 2025, the show offers an immersive exploration of photography’s materiality, challenging conventional notions of perception and image-making. Comprising more than 20 works—including previously unseen pieces—Menchelli’s ethereal compositions unfold through a meticulous process of folding, exposing, and developing light-sensitive materials. Created without a camera or negatives, her works blur the boundaries between control and chance, revealing intricate layers of abstraction and poetry. Through this interplay of light and form, certain silence invites viewers into a meditative space where perception itself becomes the subject of inquiry.
Exclusive Interview with Kristin Taylor and Kyli Hawks on Art, Activism, Policy, and Power at MOCP
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.
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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