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Alex MacLean
© Mark Cumming
Alex MacLean
Alex MacLean

Alex MacLean

Country: United States

Pilot and photographer, Alex MacLean, has flown his plane over much of the United States documenting the landscape. Trained as an architect, he has portrayed the history and evolution of the land from vast agricultural patterns to city grids, recording changes brought about by human intervention and natural processes.

His powerful and descriptive images provide clues to understanding the relationship between the natural and constructed environments. MacLean’s photographs have been exhibited widely in the United States, Canada, Europe, and Asia, and are found in private, public and university collections. He has won numerous awards, including the 2009 CORINE International Book Award, the American Academy of Rome’s Prix de Rome in Landscape Architecture for 2003-2004, and grants from foundations such as the National Endowment for the Arts and the Pulitzer Center for Crisis Reporting in 2014.

MacLean is the author of eleven books including, Up on the Roof: New York's Hidden Skyline Spaces (2012), Las Vegas | Venice (2010), Chroniques Aeriennes: L'art d'Alex MacLean (2010), Alex MacLean: Given a Free Hand (2010), OVER: The American Landscape at the Tipping Point (2008), Visualizing Density (2007), The Playbook (2006), Designs on the Land: Exploring America from the Air (2003), Taking Measures Across the American Landscape (1996), Look at the Land; Aerial Reflections of America (1993) and Above and Beyond; Visualizing Change in Small Towns and Rural Areas (2002). MacLean maintains a studio and lives in Lincoln, Massachusetts.

Sea Level Rise:
On the shoreline of the Atlantic coast from Maine to Florida, rising salt water will impact over 100 million people. As a result, our nation will spend unimagined fortunes to adjust both gradual and abrupt disruptions of rising ocean waters.

Sea level rise occurs when warmer temperatures associated with climate warming melt land ice and thermally expand the volume of seawater. Although sea level is now rising in fractions of inches, the impact will accelerate, with mean sea level predicted to be 3 to 6 feet higher by the end of the century.

Even though many people are skeptical of climate change, and certainly not engaged in actions to reduce emissions of heat-trapping gasses, there is no denying that sea level rise, enhanced by storms and storm surges, causes erosion, flooding, dislocations, and will result in catastrophic damage along our coastlines. This problem is a significant cost factor reflected in financial markets for hazard insurance and appraisal of real estate values. Sea level rise is a relentless, visible indicator of a warming climate, which cannot be ignored.
Selected Books on Available on Amazon
Impact: The effect of climate change on coastlines
Impact: The effect of climate change on coastlines
Alex MacLean
Up on the Roof: New York’s Hidden Skyline Spaces
Up on the Roof: New York's Hidden Skyline Spaces
Alex MacLean
Over: The American Landscape at the Tipping Point
Over: The American Landscape at the Tipping Point
Alex MacLean
Designs on the Land: Exploring America from the Air
Designs on the Land: Exploring America from the Air
Alex MacLean

Galleries

Ellen Miller Gallery

Yancey Richardson Gallery

Robert Koch Gallery

Website

@landslides

 

Selected Books

Impact: The effect of climate change on coastlines
Impact: The effect of climate change on coastlines
Alex MacLean
Up on the Roof: New York’s Hidden Skyline Spaces
Up on the Roof: New York's Hidden Skyline Spaces
Alex MacLean
Over: The American Landscape at the Tipping Point
Over: The American Landscape at the Tipping Point
Alex MacLean
Designs on the Land: Exploring America from the Air
Designs on the Land: Exploring America from the Air
Alex MacLean

Inspiring Portfolios

Anna Biret
© Anna Biret
Svetlin Yosifov
© Svetlin Yosifov
Shinji Ichikawa
© Shinji Ichikawa
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More Great Photographers To Discover

Milton Rogovin
Milton Rogovin
United States
1909 | † 2011
Milton Rogovin was born in New York City in 1909. He graduated from Columbia University in 1931 with a degree in optometry and a deep concern for the rights of the worker. He moved to Buffalo, New York, in 1938, where he established his own optometric practice in 1939. In 1942, he married Anne Snetsky. That same year, he purchased his first camera, and was inducted into the U.S. Army, where he served in England as an optometrist until 1945. Upon his discharge, he returned to his optometric practice and his growing family. By 1947, the Rogovin's had two daughters, Ellen and Paula, and a son, Mark.Source: www.miltonrogovin.com Milton Rogovin (1909–2011) was a documentary photographer who has been compared to great social documentary photographers of the 19th and 20th centuries, such as Lewis Hine and Jacob Riis. His photographs are in the Library of Congress, the J. Paul Getty Museum, the Center for Creative Photography and other distinguished institutions. Milton Rogovin was born December 30, 1909 in Brooklyn, New York City of ethnic Jewish parents who emigrated to America from Lithuania, then part of the Russian empire. He attended Stuyvesant High School in New York City and enrolled in Columbia University, from which he graduated in 1931 with a degree in optometry. Following graduation Rogovin worked as an optometrist in New York City. Distressed by the rampant and worsening poverty resulting from the Great Depression, Rogovin began attending night classes at the New York Workers School, a radical educational institution sponsored by the Communist Party USA. In 1938 Rogovin moved to Buffalo and established an optometry practice there. In 1942, he married Anne Snetsky (later changed to Setters). In the same year, he was inducted into the U.S.Army, where he worked as an optometrist. After his discharge from the Army, Milton and Anne had three children: two daughters (Ellen and Paula) and a son (Mark). Rogovin was called before the House Un-American Activities Committee in 1957. Like many other Americans who embraced Communism as a model for improving the quality of life for the working class, he became a subject of the Committee's attentions in the postwar period: He was discredited — without having been convicted of any offense — as someone whose views henceforth had to be discounted as dangerous and irresponsible. The incident inspired Rogovin to turn to photography as a means of expression; it was a way to continue to speak to the worth and dignity of people who make their livings under modest or difficult circumstances, often in physically taxing occupations that usually receive little attention. In 1958, a collaboration with William Tallmadge, a professor of music, to document music at storefront churches set Rogovin on his photographic path. Some of the photographs that Rogovin made in the churches were published in 1962 in Aperture magazine, edited by Minor White, with an introduction by W.E.B. Du Bois, a founder of the National Association for the Advancement of Colored People (NAACP). That same year Rogovin began to photograph coal miners, a project that took him to France, Scotland, Spain, China, and Mexico. Many of these images were published in his first book, The Forgotten Ones. Rogovin traveled throughout the world, taking numerous portraits of workers and their families in many countries. His most acclaimed project, though, has been The Forgotten Ones, sequential portraits taken over three decades of over a hundred families who resided on Buffalo’s impoverished Lower West Side. The project was begun in 1972 and completed in 2002. In 1999, the Library of Congress collected more than a thousand of Rogovin’s prints.Source: Wikipedia
Liz Obert
Liz Obert
United States
Liz Obert is a lens-based artist based in the Pacific Northwest. Her current work is a reflection on mortality and the human condition, along with our culture’s obsession with materialism. It expresses the transience of our existence through our shared experiences with food through imagery inspired by Dutch’s paintings. She has a BFA from the College of Santa Fe and an MFA from Washington State University. Her work has been exhibited nationally and internationally, with showcases in Spain, France, and Hungary. Her work has been published in outlets including The Missouri Review, Slate, The Huffington Post, and others. Modern Vanitas In my series Modern Vanitas, I draw upon the paintings of 17th-century artists in the Netherlands who created still-lifes often referred to as Vanitas. These compositions contained what appeared to be random objects of their time, such as candles, silver platters, and exotic foods. However, the items were a symbolic representation of the futility of life’s pleasures, creating moral lessons for the soul. Many contain representations of death or specifically, the human skull, making them memento mori, illustrating that all of us are mortal. I am inspired by these paintings because their message of consumerism is even more relevant today. Mass consumption is no longer just about morality; it also has concrete consequences. Globalization of trade, industrial farming, and the mass production of cheap plastic have all contributed to global warming. I see my photographs as memento mori for the planet, I draw inspiration from their baroque lighting and use of chiaroscuro. In my images, I often recreate their use of diagonal lines, cluttered compositions, and dramatic light, but I populate the photos with meticulously chosen items, such as fast food representing our mass consumption, fruit illustrating our reliance on transporting food, and candles and dying flowers showing that time is running out. Although these images have an element of humor by elevating the mundane, such as Starbucks and Burger King, the message is serious. I intend for both the humor and the rich lighting to draw in the viewer and I hope that they will understand the deeper meaning. Article American Bodegónes
Charles Muir Lovell
Charles Muir Lovell
United States
1952
Born in Chicago, Charles Muir Lovell lives and works in New Orleans. He holds an MFA in photography from Central Washington University and a BS in photography from East Texas State University. He began photographing as a young man traveling throughout Europe and South America. He continued his photography practice during his over 20 years as a museum director and curator, a career that took him from the Pacific Northwest to the Southwest and Deep South, everywhere finding distinctive cultures and photography subjects. Lovell has long been passionate about photographing people within their cultures. Upon moving to New Orleans in 2008, he began documenting the city's second line parades, social aid and pleasure clubs, and brass bands, capturing and preserving for posterity a unique and vibrant part of Louisiana's rich cultural heritage. An earlier series based on religious processions in Mexico, El Favor de los Santos, was a Rockefeller Foundation–supported international traveling exhibition and resulted in a book published in 1999 by the University of New Mexico Press, Art and Faith in Mexico. Lovell's photographs have been exhibited nationally and internationally, are found in several permanent collections, including the New Orleans Museum of Art and the Historic New Orleans Collection, and can be seen at www.charleslovell.com and on Instagram @charleslovellart. He received the 2020 Michael P. Smith Documentary Photographer of the Year Award from the Louisiana Endowment for the Humanities. Lovell has also developed a series of photographs called Language of the Streets he began while an artist-in-residence at the Emily Harvey Foundation in Venice, Italy, in 2006–2007. He returned to Venice for a second residency in 2015 and was scheduled to return in 2021 until coronavirus shut everything down. He has continued this series in Naples, Paris, Mexico City, New York and New Orleans. Statement "As a young man, I traveled through Europe and Latin America with my Nikon, living as one of the family with friends in the countries I visited. My travels hugely influenced my work, opening my eyes to how other people lived. As a visual artist, I gravitated toward photographing people within their cultures, trying to capture on film something true about their lives. College and grad school took me to small-town Texas (Commerce) and Washington (Ellensburg), and a long museum career took me to the Pacific Northwest (Tacoma), Southwest (Yuma, Ariz.; Las Cruces and Taos, N.M.) and Deep South (Greenville and Greensboro, N.C., and New Orleans); everywhere I found distinctive cultures and compelling photography subjects. While living in New Mexico, I traveled in Mexico photographing Holy Week religious processions, foreshadowing my current and most significant photographic project: documenting and preserving New Orleans' unique second line parade culture. Upon moving to New Orleans, I became fascinated by the pageantry and celebratory nature of the city's African American cultural tradition of second line parades. I was captivated by their visual richness, their ritual and history, and how they express a vibrant cultural and artistic heritage, intensely alive yet intimately connected to the past. The massive amount of industry that the social aid and pleasure clubs invest in creating their magnificent costumes, decorations, baskets, umbrellas and banners-truly a labor of love-blew me away. Documenting these visually stunning parades quickly became a passion-and a commitment. For more than 10 years, I've followed the weekly parades, taking tens of thousands of color photographs. I've formed friendly relationships with members of the social aid and pleasure clubs that stage the parades, allowing me behind-the-scenes access, resulting in distinctive photographs. My color photographs vividly capture the paraders and brass bands in their elaborate custom-designed, hand-sewn costumes, and the dancing parade followers, revealing the festive mood of these sacred moments of cultural celebration, and preserving them for posterity. I take great care to portray these spirited-and spiritual-ceremonial moments honestly, sensitively and respectfully. In the 20th century other American photographers-notably Ralston Crawford, Lee Friedlander and Michael P. Smith - also documented this cultural tradition, but in black and white. My use of color lets me capture not just the atmosphere of the parades but also their incredible vividness. Formerly I used traditional photographic techniques, but now I embrace new digital methods, bringing to the subject a fresh approach for the 21st century. Taken as a whole, my photographs capture the rich cultural history of second-line parades, a significant artistic and ceremonial tradition deeply rooted in New Orleans' African American culture and unparalleled elsewhere in the United States. I hope that my photographs will increase awareness of the importance of preserving second-line parade culture and contribute to the understanding of Louisiana and its culture, which has sometimes suffered from scholarly neglect and seemingly insurmountable cultural and economic challenges. Another photographic series I have pursued over the years is Language of the Streets, which began taking shape in 2007 during an artist residency at the Emily Harvey Foundation in Venice, Italy. After working in large-format silver gelatin and color photography for over 20 years, I began exploring digital photography using a small-format digital camera. Upon my return to New Mexico, I learned digital printing and exhibited my Venice work at a solo exhibition at the Taos Center for the Arts in 2008. My residency in Venice was extremely influential in the work I began doing after moving to New Orleans in 2008. I began using a medium-format digital camera to make higher-resolution color photographs. Since 2009, I have fully transitioned to a digital practice. I make my own prints on an Epson inkjet printer and work with professional printers on larger works. From the experience of taking street photographs in Venice, I continued my series Language of the Streets in New Orleans, as well as in Naples, the Amalfi Coast, Paris, Mexico City and New York City. In 2015, I was invited back to the Emily Harvey Foundation, where I designed and presented an accordion artist's book, or leporello, featuring the Venice series of photos. Off the Street: New Orleans and Venice, part of the Language of the Streets series, investigates similarities and differences between the two cities, which share a striking mixture of high and low, old and new, closeness to and dependence upon water, a vital tourism sector, a proliferation of graffiti and outdoor art alongside unparalleled historic architecture. My street photographs from the two cities explore back streets not seen by tourists frequenting commercial settings like the French Quarter or Plaza San Marco. I strive to capture the texture of the cities' largely unseen back streets. Both cities also have world-renowned contemporary art competitions: the Venice Biennale and the triennial Prospect New Orleans. Works from my Venice series were exhibited alongside photographs from Mexico City in 2016 at the Contemporary Art Center, New Orleans, in Experiments in Anarchitecture, curated by Andrea Andersson, and in 2017, works from the Venice series were included in Project 387, curated by Berty Skuber at the Archivio Emily Harvey in Venice. " -- Charles Muir Lovell
Maurice Pellosh
Maurice Pellosh
Congo
1951 | † 2023
Maurice Bidilou was born on August 15, 1951, in Bouansa (formerly Le Briz). At the age of 16, he moved to Pointe-Noire to live with his brother. After taking on a few odd jobs, his uncle encouraged him to learn a trade. This led Maurice to a 19-month apprenticeship at "Studio Jeanot Père," which he began in exchange for a bunch of bananas, a demijohn of wine, a chicken, and 20,000 CFA francs. During this time, he mastered the art of being a portrait photographer, a craft that would become his lifelong passion. At the time, it was fashionable to have a nickname. Maurice explained that around the age of 11, he played with letters and came up with the word "Pellosh," giving it an American-sounding ending. Long before becoming a photographer, his friends and family were already calling him Pellosh—a name that seemed to foreshadow his destiny. [NB: In French, the word péloche (which sounds the same as Pellosh) means "film."] In December 1973, Maurice Bidilou opened his own photo studio, "Studio Pellosh," near the main market in a bustling neighborhood. The studio remained open until 2016. It quickly became a success. In addition to offering traditional ID photos, "Studio Pellosh" gained a reputation as the go-to place for families, couples, friends, and "sapeurs" eager to immortalize their happiness and symbols of success on film. In the evenings, Pellosh frequented bars, dance halls, and concerts, mingling with the Congolese youth reveling in their newfound independence. Across from Studio Pellosh, the bar-dancing club "Chez Fofo" became his favorite weekend hangout. During the 1970s, the Sape movement—The Society of Ambiance-Makers and Elegant People—was in full swing. The clientele of Pointe-Noire sought carefully crafted souvenir portraits to share with loved ones, often ordering enlargements. These photos became elaborate compositions featuring symbolic accessories of wealth (transistor radios, mopeds, books, cigarettes) and beauty (bags, sunglasses, hats, suits). Artificial lighting allowed for photography at any time of day or night. Starting in 1985, the disappearance of black-and-white development products in Congo forced Pellosh to transition to color photography. A decade later, the rise of digital photography signaled the inevitable end of his studio. Maurice passed away on May 25, 2023, surrounded by decor from his former studio, dozens of Kodak boxes filled with negatives, and photographic equipment. His death, at the age of 71, was caused by severe malaria and a hip fracture. He leaves behind his wife, Jackie, and their six daughters—Mauricette, Aude, Inès, Alida, Ghéraude, and Carmelle—as well as 17 grandchildren, all of whom are proud and dedicated to preserving Maurice’s legacy. Since 2020, this work has been championed by Emmanuèle Béthery, who has brought new recognition to Maurice's artistry.
Anna Biret
Anna Biret
Poland/France
| † 2025
I was born in Soviet Poland, where I found my calling in spatial perception and geometric patterns of architecture. After graduating from architectural studies, I moved to Paris, where I live to this day. I discovered street photography in November 2018, when I decided to take part in one of Maciej Dakowicz's workshops in Myanmar. It was the first spark that started a whole series of workshops and photography trips, from Bolivia to the Bay of Bengal in India, my photos are inspired by the people I meet on every adventure. Statement I live for spontaneous encounters that can only take place in the streets, looks, compositions and colors lead me to create portraits through contact and empathy. A woman blindfolding her eyes from the sun, a shadow flooding the edges of a fruit stand, a scarf carried away by a sudden gust of wind, these ordinary scenes become extraordinary fragments that make up my photos. When I go to the streets with my camera, I have no specific idea of ​​what I will be photographing... street, light, colors and most of all ordinary people inspire me. I feel that something magical is happening with me, witch the world around me as I take pictures. I don't think about art when I work, I think about life. - Jean Michel Basquiat Awarded Photographer of the Week - Week 18
Jodi Bieber
Jodi Bieber
South Africa
1967
Jodi Bieber, is a documentary photographer from South Africa. She studied photography at the Market Theatre photographic workshop and attended the World Press Masterclass in 1996. Between 1994 and 2004 she worked on a project that focused on youth living on the fringes of South African society. These images were assembled in the book entitled Dogs and Wolves - Growing up with South Africa. In 2010 she released her second monograph; Soweto. When thinking of Soweto one often refers to crime, poverty and problems with aids. The color photographs of Jodi are however a celebration and portrait of life in Soweto today. She represents the place how the inhabitants experience it, where they have their homes, do their shopping and live their lifes. Jodi is 2011 winner of the World Press Photo Award with the portrait of Aisha, an Afghan girl who's face was mutilated as retribution for fleeing her husband's house. She received several other World Press Awards in preceding years. Her work has been exhibited extensively throughout the world. The following images come from the series Soweto, Las Canas and A Weapon of War.Source 500 Photographers
Nakaji Yasui
Nakaji Yasui
Japan
1903 | † 1942
Nakaji Yasui was one of the most prominent photographers in the first half of the 20th century in Japan. Yasui was born in Osaka and became a member of the Naniwa Photography Club in 1920s and also became a member of the Tampei Photography Club in 1930. His photographs cover a wide range from pictorialism to straight photography, including photomontages. He appreciated every type and kind of photograph without any prejudice and tried not to reject any of them even during wartime. Source: Wikipedia Nakaji Yasui was born in 1903 in Osaka and passed away in 1942. From the 1920s on, Yasui was an active photographer in the Kansai region of Japan; he is now seen as one of the most prominent Japanese photographers of the prewar period. At the very beginning of an era in which Japanese photography would express itself in a way that was both more international and more in step with the times, Yasui produced his photographs while enthusiastically incorporating many new theories of art into his work—and thinking extremely carefully about how these theories might impact his own development within the context of that time in Japan. Although Yasui’s career was short, his work has influenced Daido Moriyama and many other important contemporary Japanese photographers. In 2010, His major photography publications include the essay Landscape Photography in Practice (1938) and the photography book Nakaji Yasui photographer 1903-1942 (2004). Taka Ishii Gallery produced “Nakaji Yasui Portfolio” (a set of 30 modern prints in a limited edition of 15). Source: Taka Ishii Gallery
Carrie Mae Weems
Carrie Mae Weems
United States
1953
Considered one of the most influential contemporary American artists, Carrie Mae Weems has investigated family relationships, cultural identity, sexism, class, political systems, and the consequences of power. Determined as ever to enter the picture—both literally and metaphorically—Weems has sustained an on-going dialogue within contemporary discourse for over thirty years. During this time, Carrie Mae Weems has developed a complex body of art employing photographs, text, fabric, audio, digital images, installation, and video. In a New York Times review of her retrospective, Holland Cotter wrote, ''Ms. Weems is what she has always been, a superb image maker and a moral force, focused and irrepressible." Weems has participated in numerous solo and group exhibitions at major national and international museums including the Metropolitan Museum of Art, The Frist Center for Visual Art, Solomon Guggenheim Museum in New York, and the Centro Andaluz de Arte Contemporáneo in Seville, Spain. Weems has received numerous awards, grants, and fellowships, including the prestigious Prix de Roma, The National Endowment of the Arts, The Alpert, The Anonymous was a Woman, and The Tiffany Awards. In 2012, Weems was presented with one of the first US Department of State’s Medals of Arts in recognition for her commitment to the State Department’s Art in Embassies program. In 2013 Weems received the MacArthur “Genius” grant as well as the Congressional Black Caucus Foundation’s Lifetime Achievement Award. She has also received the BET Honors Visual Artist award, the Lucie Award for Fine Art photography, was one of four artists honored at the Guggenheim’s 2014 International Gala, a recipient of the ICP Spotlights Award from the International Center of Photography, The WEB Dubois Award from Harvard University, as well as Honorary Degrees from: California College of the Arts, Colgate University, Bowdoin College, the School of Visual Arts and Syracuse University. She is represented in public and private collections around the world, including the Metropolitan Museum of Art, NY; The Museum of Fine Arts, Houston; the Museum of Modern Art, NY; Museum of Contemporary Art, Los Angeles; and The Tate Modern, London. Weems has been represented by Jack Shainman Gallery since 2008, and is currently Artist in Residence at the Park Avenue Armory. She lives in Syracuse, New York, with her husband Jeffrey Hoone who is Executive Director of Light Work.
Nat Coalson
Nat Coalson
United Kingdom
1970
Nathaniel (Nat) Coalson was born and raised in the Rocky Mountains of Wyoming and Colorado USA. His early years were filled with travel, art and music, charting the course for his life in the arts. Although Nat's initial career interests were focused on music, by his late teenage years he began working as a graphic designer and his vocation then turned toward the visual. He studied drawing, painting and illustration, eventually receiving a camera as a gift from his father. With his growing passion for image-making, around 2003 Nat elected to develop his career in fine art photography and this has been his sole professional concentration ever since. Nat was initially inspired by the great masters of landscape photography and honed his craft photographing the mountains and deserts of the American West. But he soon discovered his love for abstraction and began creating non-representational images and photo-based mixed media works, drawing upon his expertise in the graphic arts. Around the same time, he fell in love with Europe, and in his travels began photographing more subjects within the built environment. Following Nat's marriage to his British wife Ruth in 2012 he moved to the UK, from where he continues to explore and photograph the Old World. In 2019 Nat founded a gallery of fine art photography, Gallery Photiq, in Leamington Spa, UK where he exhibits his own work along with fine prints by other notable photographic artists from around the world. Artist Statement: I'm captivated by visual phenomena and take great enjoyment in the beauty of how things appear. More deeply, I'm fascinated by the optical effects of materials and physical matter, and the infinite ways the effects of light interact with objects to produce what we see. I love making photographs that are engaging and beautiful even while the true subject matter isn't readily apparent, and much of my work involves photographing mundane, everyday subjects and scenes that may, at first glance, appear unattractive or uninteresting. I enjoy the challenge of extracting beauty from the most unexpected sources. This mindful practice of noticing the details and finding beauty everywhere has profoundly impacted my life experience in the most positive ways. Sharing my discoveries with others through prints and mixed media artworks brings joy both to myself and the viewers of the work, and this gives great meaning and purpose to my life. AAP Magazine AAP Magazine 54 Nature
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Interview
Exclusive Interview with Ghawam Kouchaki
American photographer Ghawam Kouchaki brings a sharply observant and introspective gaze to the streets of Japan’s capital. Based in Los Angeles, he approaches Tokyo with the distance — and curiosity — of an outsider, allowing him to uncover the city’s subtle contradictions, quiet tensions, and fleeting gestures that often go unnoticed. His series Tokyo no no, selected as the Solo Exhibition for December 2024, explores the hidden undercurrents of urban life: the unspoken rules, the small ruptures in routine, the poetic strangeness found in everyday moments. Through muted tones, instinctive timing, and meticulous framing, Kouchaki reveals a Tokyo that exists somewhere between reality and imagination — both intimate and enigmatic. We asked him a few questions about his life and work.
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