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FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
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Avarino Caracò
Avarino Caracò
Avarino Caracò

Avarino Caracò

Country: Italy
Birth: 1974

My Love for Photography comes from an anthropological background that over the years has led me to observe every aspect of the cultural expressions that I happened to observe.

The leitmotif of each of my projects always has an identity basis, whether it is collective or individual expressions, through travel or personal experiences, conceptual representations or close portraits. I live my photographic experiences as a continuous revolution, as if it were a magnet that projects me towards a future, partly visible, but mostly to be discovered. The commitment in my projects is mainly to establish a relationship with a social context, through the technique of participating observation, trying each time to establish an honest balance between what my gaze is able to see and what the subject that photographer wants to convey.

T Life
T life is a very intimate project in which I wanted to know the daily life of some transgender people in Palermo (Sicily). The aim of my project is to emphasize the dignity and strength that the people I present here have every day facing all the difficulties that there are in their social contexts that have a binary structure of gender identity.

Gabriel is 22 years old and has just undergone a mastectomy, the very important support of his mother Caterina has made this path very serene and she herself declared that her son's body must be shown to the world to allow them to understand what it means to face a path of identity reassignment.

Rashmi is 19 years old and is a non-binary person, she recognizes herself as both a man and a woman. During my interview I got to know the different aspects of her personality, her way of seeing herself as a woman and a man, the most problematic aspects of her relationship with her family and her dreams.

Fed and Giorgia are 18 years old. Fed is a transgender person in a pre-hormonal phase, but his family does not allow him to complete the transition by putting a deep communication barrier between them. Giorgia is cisgender and bisexual but has not come out with her family because she is afraid in their violent reaction. They live a hidden love and are planning to go and live in France where they can study at university and feel freer.

Website

www.rinocaraco.com

 

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More Great Photographers To Discover

Anna Matysiak
Anna Matysiak
Poland
1978
Anna Matysiak, born in 1978, is an independent photographer working in the fine art style. With a keen eye for detail and an innate ability to convey emotion, she particularly enjoys capturing the essence of her subjects through portrait photography. Although her educational background is in economics, her passion for the arts led her to fully immerse herself in the world of photography, a journey she began in 2020. In addition to her striking portraits, Anna's portfolio showcases an impressive array of conceptual and nude photography, highlighting her versatility and creative vision. Her work has gained significant recognition, with photographs exhibited in prestigious venues across the globe, including Tucson in the United States, London in the United Kingdom, Vien in Austria, Siena in Italy and Szczecin in Poland. Through her lens, Anna invites viewers to explore the profound beauty and complexity of the human experience. Matysiak garnering recognition in numerous prestigious international competitions. These contests were judged by a jury panel of esteemed professionals, including gallery owners, publishers, editors, and acclaimed photographers, all of whom brought a wealth of experience and expertise to their evaluations. She has received numerous prestigious awards. In 2025, she won a bronze medal in the Tokyo International Foto Awards in the Fine Art (Other) category and a special award in the Vienna International Photography Award in the Free Subject category. In 2024, she won a bronze medal in the Fine Art category at the Chromatic Awards. In 2023, she received a gold medal in the Fine Art (Other) category at the ND Awards. Since 2021, her works have also been awarded distinctions in the Creative Photo Awards (Siena Awards), International Photography Awards, Fine Art Photography Awards, Annual Photography Awards, and Budapest International Foto Awards. Currently based in Szczecin, Poland. STATEMENT: "When I embarked on my journey into photography, my initial focus was primarily on portrait photography, capturing the essence of people as they were. However, deep down, I yearned to express more than just a straightforward depiction. As time passed, my artistic vision evolved, heavily influenced by the remarkable artists I held in high regard— distinguished photographers and talented painters whose works stirred something within me. I increasingly felt compelled to illustrate people and places through my lens, revealing how I perceive their beauty and intricacies. My aim was to highlight my subjects' hidden depths, enabling them to resonate with viewers on a reflective level. In the present day, my creative process often revolves around symbolism. I cherish the notion that viewers can engage with my images, pondering their meanings and engaging in conversations about them. The nature of my work is significantly shaped by my surroundings. Every photograph I take is a product of the environment and the individuals I encounter throughout my journey. A distinct location may ignite a vision for an artistic photograph, while an intriguing individual might inspire a unique portrait. Even melodies in my surroundings can trigger the imagery I wish to convey and the narratives I long to tell. When approaching the creation of conceptual photography, I immerse myself in meticulous preparation. Each detail is carefully curated to ensure the final presentation aligns with my artistic intent. While the subject matter varies widely, a common thread runs through all my work: capturing the viewer's attention enough to provoke thought and facilitate the discovery of more profound messages. Photography is not just a pursuit for me - it is a rofound passion that fills my heart with joy. This joy magnifies with the reach of my audience. Each accolade, award, and exhibition serves as wings that propel me forward, motivating me to delve deeper into my art. I believe that every artist crafts their work with an audience in mind. As I maintain a critical eye on my creations, the praise and recognition I receive from esteemed figures in the photographic world inspire me to elevate my craft, embrace new challenges, and continue this exhilarating journey of self-expression."
Jean-Michel Clajot
Jean-Michel Clajot
Belgium
1971
Jean-Michel Clajot is an independent documentary photographer based in Brussels. For nearly 25 years, he has focused on intimate stories about African and Asian families and subcultures. As of July 2006, He joined Cosmos Photo Agency (Paris) for 12 years. In 2019, He joined the great Redux Pictures agency (New-York) as a worldwide represented photographer, to focus on a combination of long-term personal projects, breaking news and client assignments. Jean-Michel's work has been published in multiple press media such as Le Monde, CNN.com, National Geographic, Newsweek, Time, Grands Reportages, China News... In 2008, the three years project "Scarifications", photographing the Scarifications Culture in Benin, has been published in a book by Yovo Editions and shown in galleries in Brussels, Paris and Italy. The book was selected in 2008 by National Geographic for the LOOK3 Exhibit in Charlottesville, in the USA. In 2014, "Born To be a Woman" was exhibited at the Hirado Trading Post Museum in Japan. His photography is featured in art galleries worldwide, including Cosmos Gallery in Paris, Ikono in Brussels, the Arte Foto Festival in Italy and Visa Pour l'Image International Festival of Photojournalism.
Oksana Omelchuk
Oksana Omelchuk
Ukraine
1983
Oksana Omelchuk is a Kyiv-based visual artist and fine-art photographer whose practice moves between photography, scanography, and digital art. Her journey began with fine art: she studied painting, drawing, sculpture, and applied arts for six years at an art school before pursuing a degree in economics. Photography came later, almost by accident: she first appeared in front of the camera as a model for a friend studying at the Kyiv School of Photography. Curious to learn how to see through the lens herself, she joined the school in 2021, just to take pictures for pleasure. But soon, photography became her main artistic language. She continues her studies at Form, an international educational platform for photographic education, based in France. Through experimentation, she discovered that her true signature lies in drawing: in the imaginative world she had as a child, now translated into contemporary visual form. Her works are not about the moment, but about emotion - each object, whether a flower, an X-ray, or a fragment of furniture, becomes a character carrying a feeling. Oksana creates intuitively, following emotion more than perfection, balancing analysis and spontaneity. Her process is like opening a piano lid before improvisation: uncertain, yet full of discovery. Inspired by music and Renaissance painting, she builds delicate color harmonies that reflect both control and freedom. Her recurring themes explore the anatomy of feelings and the dreamlike dialogue between tenderness and strength. Statement: Art has been part of my life for as long as I can remember. What began with painting in childhood has evolved into a visual language that moves between photography and digital art. I am drawn to the moment where reality dissolves into imagination. Instead of brushes, I use light, scans, and digital tools - painting emotions rather than objects, reinterpreting the visible world through the colors of my inner states. My process is intuitive, experimental, and deeply emotional. I often begin with a photograph and then layer it with digital textures, hand-drawn traces, or scanned materials, allowing the image to transform organically: from documentation into a state of feeling. I explore memory, transformation, and perception - how fragility and strength coexist in a single gesture. For me, art is a quiet dialogue with the world: a way to speak without words, to hold tenderness and truth in the same breath. Articles: AAP Magazine 51 Colors The Garden of My Tenderness
Paul Adams
Paul Adams
United States
1966
Paul Adams has been photographing for over 50 years. Mr. Adams was born and raised in the Pacific Northwest and grew up backpacking and exploring the nearby coastal ranges as well as running rivers above the Arctic Circle in Alaska. He was awarded a Masters of Photography in 1996 and has taught photography at Utah State University, the Florida Keys, and Brigham Young University. He lived in Europe as a Fulbright scholar and taught photography in Northern England. Mr. Adams has had his work displayed both nationally and internationally including The National Portrait Gallery of the Smithsonian. His photographs are included in several permanent collections including the Nora Eccles Museum of Fine Art, Chattahoochee Valley Art Museum, The Chicago Institute of Art, and Brigham Young University Art Museum. Mr. Adams has been a professor of photography at BYU since 2003.
Manuello Paganelli
Manuello Paganelli
Dominican Republic/United States
1960
I was born in the Dominican Republic and growing up in the 1960s I watched my parents devote time to help others, exposing me to the inequality of wealth, education, and the lack of mind and body wellness prevalent on our small island. It was hard for me to understand why poor children would be on the streets instead of in a warmer, safer place. I saw school-age boys like me but barefoot and shining the fancy shoes of businessmen. Scruffy kids with open hands asking for pennies. Running, begging for anything to eat, fending for themselves, and surviving on their wits alone. None of my parents' words made it better, or helped me understand what led to my country's socio-economic crisis. With my parents' humanistic influence, I figured I would become an attorney like my father or a missionary doctor. In 1972, I arrived in the US for high school without speaking any English. By my last year of college in Tennessee, I lost all desire to become a doctor, My father stopped supporting me. I found work on the assembly lines and loading docks of the local McKee Baking Company. In 1982 I bought my first camera as a way to forget my doomed career. While browsing in a bookstore I learned about a man named Ansel Adams. A few glances at Adams' powerful black-and-white landscapes left me hypnotized. Within days, I was on the telephone with Ansel. It was an innocent call but that first conversation with Ansel Adams led to many more, until we established a warm mentoring relationship that lasted until he passed away in 1984. My break into professional photography began when I was hired as a staff photographer for The Chattanooga Times in 1982. While that photojournalism experience was invaluable, I soon left for the Washington, DC area, where I began a freelance editorial photography career and from there migrated into humanistic photography. In 1989, I began traveling to Cuba to find long-lost relatives. There I learned about the social issues of the island and the survival spirit of the Cuban people, becoming increasingly aware of the socio-political climate I continued to travel there. My documentary photos from my Cuban project culminated in an exhibition in 1995, where a Washington Post columnist wrote: "Paganelli's Cuban photographs are a brilliant window on a land and people too long hidden from North American eyes... Paganelli brings an artist's eyes and a native son's sensibility to his superb photographs." My current essay project, which started in 1994, explores Black Cowboys across the USA, examining cultural and regional influences within this well developed sub-culture. Statement I never planned on becoming a professional photographer. I always thought I'd be a doctor, but during my senior year in college I began to have doubts about a career in medicine. It was around that time that I bought a Canon camera. Despite years in the business, I still possess that same excitement for the craft that gripped me the first time I picked up a camera. And, too, I maintain a passion for sharing my subjects' stories through documentary photography. My influences are the things that my eyes capture from the moment I get up, see, sense and experience and everything else beyond that with the elements of sounds , shadows and light. But I've always admired the work of Walker Evans, Henry Cartier Bresson and most notably the works of W.Eugene Smith and Robert Frank. I also love the landscape of Ansel Adams and the beautiful magical touches of the portraits done by Irving Penn.
Martin Schoeller
Martin Schoeller
Germany
1968
Martin Schoeller is one of the world's preeminent contemporary portrait photographers. He is most known for his extreme-close up portraits, a series in which familiar faces are treated with the same scrutiny as the unfamous. The stylistic consistency of this work creates a democratic platform for comparison between his subjects, challenging a viewer's existing notions of celebrity, value and honesty. Growing up in Germany, Schoeller was deeply influenced by August Sander's countless portraits of the poor, the working class and the bourgeoisie, as well as Bernd and Hilla Becher, who spawned a school of photographic typology known as the Becher-Schüler. Schoeller's close-up portraits emphasize, in equal measure, facial features, of his subjects - world leaders and indigenous groups, movie stars and the homeless, athletes and artists - leveling them in an inherently democratic fashion. Schoeller studied photography at the Lette Verein and moved to New York in the mid-1990s where he began his career. Producing portraits of people he met on the street, his work soon gained recognition for its strong visual impact and since 1998 he has contributed to publications such as National Geographic, The New Yorker, Vanity Fair, TIME Magazine,The New York Times Magazine, Rolling Stone and GQ, among others. Martin's print and motion work has appeared in many major advertising campaigns ranging from pharmaceuticals, cars and entertainment. His work has won many awards, but most recently he received praise for his Colin Kaepernick image in Nike's “Just do it” campaign which won a prestigious D&AD black pencil and the outdoor Grand Prix at Cannes. Some other advertising clients include: KIA, Chevron, Allstate, HBO, Coca-Cola, AT&T, Mercedes, DreamWorks, Southwest Airlines, GE and Johnnie Walker. Schoeller's portraits are exhibited and collected internationally, appearing in solo exhibitions in Europe and the United States, as well as part of the permanent collection of the National Portrait Gallery, Smithsonian Institution, Washington, DC. Martin lives and works in New York City Must Read Articles 75 Portraits of Holocaust Survivors Photographed by Martin Schoeller Martin Schoeller exhibits with 'Holocaust Survivors' in Maastricht A native of Germany, Schoeller, who now lives and works in New York, honed his skills by working with Annie Leibovitz. “Watching her deal with all of the elements that have to come together—subjects, lighting, production, weather, styling, location—gave me an insight into what it takes to be a portrait photographer,” he explains. Equally important for Schoeller was the photography of German minimalists Bernd and Hilla Becher, who “inspired me to take a series of pictures, to build a platform that allows you to compare.” Schoeller’s portraiture brings viewers eye-to-eye with the well-known and the anonymous. His close-up style emphasizes, in equal measure, the facial features, both studied and unstudied, of his subjects—presidential candidates and Pirahã tribespeople, movie stars and artists—leveling them in an inherently democratic fashion. Schoeller’s photographs challenge us to identify the qualities that may, under varying circumstances, either distinguish individuals or link them together, raising a critical question: "What is the very nature of the categories we use to compare and contrast."Source: National Portrait Gallery Websites martinschoeller.com @martinschoeller @martinschoellerstudio.com Agency August Image Galleries Camera Work A Gallery Exhibition Death Row Exonerees
Beckett Hornik
Beckett Hornik
United States
2002
Beckett was born and lives in the San Francisco Bay Area. He began photographing in sixth grade when he decided to pick up a film SLR camera as an alternative way to capture moments throughout his early teen years. His interest in photography grew during his middle school period. He explored the photos of many masters of photography and found inspiration in the California and Bay Area art scene. He also became interested in fashion and art magazines at this time. Beckett’s photography is strongly rooted in the work he has seen and admired, as well as by the environment and people around him. In the summer of 2016, he attended an Eric Kim street photography workshop. Through this, he expanded his photography beyond the bounds of his family and friends to the less comfortable settings of streets and cities he visited. Beckett continues to shoot photos as often as possible. He is expanding his interests, always searching for the next focus of his teenage years and possibly one that will continue into his adult life.
Jorge Pozuelo
Jorge Pozuelo
Spain
1977
Born in León in 1977, he began his photographic career in the 90s. He quit his job as a telecommunications technician to devote himself to photography where he did an MA in photography from the University of Canterbury. He always wanted to find the human side in all his photographs, playing with visual aggression and silence of space. In 2009 he took an year off and traveled the world and published “Picture Easy”, a book for all rules of photography, affordable for anyone to start in the world of photography. He worked for an year as a digital photographic technician, where he met all professional teams and medium format digital market issues resolved color management studies like Ricky Dávila and Isabel Muñoz. He has done work for companies like Unidental photographic, Silken Hotels, Tinkle, Adecco, AD, Truhko Make Up, FX Magazine, Life Smile or artistic bodies festival in Spain. In October 2011 he traveled to Doha for several editorials for the magazine “Qultura” for the government of Qatar. He has done several photo exhibitions, “BodyArt”, “TattooArt” or “walls of silence”, joint exhibition of great impact in the press and on TV Carabanchel prison. He has made a joint project with the photojournalist Ervin Sarkisov titled “Back to Life” where they follow up drug abusers. His presentation was in the 2011 grenade Alandaluz Photofestival double pass and very well received. In the course of months he has now approached to teaching, he runs a photography school in Madrid and tries to instill his passion for photography. He has given seminars on photographic lighting as both white and black, making the latter a small obsession in Madrid, Cordoba and Barcelona for different associations, municipalities and companies like Elincrom and Fotocasión.Source Artphotofeature.com
Andrew Moore
Andrew Moore
United States
1957
Andrew Moore’s work is in the collection of the Whitney Museum of American Art, Yale University Art Gallery, the Library of Congress, the Israel Museum, the High Museum, the George Eastman House and the Canadian Centre for Architecture. Recent exhibitions include The Queens Museum, Columbia University and The Museum of the City of New York in conjunction with a retrospective on the legacy of Robert Moses. Moore has had recent solo shows in Minneapolis, Moscow, Paris, San Francisco, and Nebraska. In 1975, Moore enrolled at Princeton University, where he worked on an independent major in photography under the guidance and mentorship of the historian Peter Bunnell and the photographer Emmet Gowin, who at the time, was completing his first monograph. During that time, Moore also had the benefit of working with visiting artists including Frederick Sommer, Jim Dow, and Joel Meyerowitz. Moore graduated summa cum laude in 1979. After a brief stint working with commercial photographers in New York City, Moore moved to New Orleans, where he continued a body of work first started for his senior thesis. Over the next two years, he focused on the city’s disappearing commercial district, where he found subjects such as a coffin workshop, a broom factory, and a raw furrier–places employing artisans and outdated machinery. The New Orleans Downtown Development District awarded Moore a grant which enabled him to produce a portfolio of one-hundred 8x10 color contact prints, which were placed in the city’s archives. In 1981, Moore returned to New York City, where he began a three-year project documenting the rapid changes to the urban landscape, specifically at the South Street Seaport and Fulton Fish Market in lower Manhattan. At the start of his project, the demolition of the present marketplace and shopping pier was just getting underway. Moore returned many times over the following months, often photographing at night to portray the architecture and ambiance of the surrounding neighborhood amidst massive, rapid transformation. For this work, Moore and two other photographers, Barbara Mensch and Jeff Perkell, were awarded grants from the JM Kaplan Foundation, and the New York State Council on the Arts, which enabled the completed project, South Street Survey to be shown at the Municipal Art Society in 1985. During this time, Moore was also working on a series of photographs of grain elevators in Buffalo, New York with the assistance of an NYSCA individual grant. In Buffalo, Moore met a group of artists working with appropriated imagery, which inspired him to begin using mechanical and chemical processes to incorporate multiple negatives, paintings, drawings, and xeroxes into complex montage images outside of strict documentary practice. This method of recombination, in the era before Photoshop, created images of convulsive beauty and were the subject of Moore’s first solo exhibition in New York at Lieberman and Saul Gallery in 1986, following his first solo show at Real Art Ways in Hartford, CT in 1985. Moore continued this method of montaging imagery for the next 7 years, expanding his practice into experimental short films. During this time, Moore collaborated on short films with others including the artists Lee Breuer and David Byrne. His film Nosferatu 1989 was nationally broadcast on MTV and PBS’s New Television series. 42nd Street In 1995, Moore returned to his roots in documentary practice as the texture of New York’s 42nd Street was rapidly changing. With all of the theaters between 7th and 8th avenues scheduled to be razed or refurbished, Moore sought permission to photograph the torn seats and faded fire curtains which told the stories of those spaces. In 1997, Moore showed these photographs at Yancey Richardson Gallery in New York. Despite his change of style, the work was well-received; in a review for The New Yorker, Andrew Long noted, “The straight forward treatment is a departure for the photographer, who characteristically produces multi-image evocations of New York City. Nothing is lost however - his earlier poetic constructs now give way to broader arenas for the imagination to roam.” Cuba Moore first traveled to Cuba in 1998 to photograph Havana’s decaying theaters. The project soon expanded in scope to document the larger effects of Cuba’s permanent Revolution, which were particularly apparent during the economic depression known as the “Período especial.” Moore’s large-scale color photographs of Havana reveal an elegant but crumbling metropolis of muted pastel interiors, courtyards, and scenes of daily life. Moore returned to photograph Cuba’s architecture and environment over the next 14 years, in the process publishing two monographs Inside Havana (Chronicle Books, 2002) and Cuba (Damiani, 2012). Moore has said his work intends to show, “how contemporary history, and specifically cultures in transition, are expressed through architecture.” The photographer Julius Shulman wrote of Inside Havana, “Exhibited throughout Moore’s work is a genuine flavor of ‘presence’. He does not attempt to gloss over questionable conditions, nor does he try to contort reality. With tremendous sensitivity, Moore creates art statements of the architecture he shows us. His images are painterly and poetic.” Moore’s photographs from Cuba appeared as a cover story in the September 23, 2012 issue of New York Times Magazine. Russia While working in Cuba, Moore became interested in the island nation’s long relationship with Russia. This led him to photograph the architectural environments where Russian history and politics collide in unexpected ways. Between 2000 and 2004 Moore made 8 trips around Russia from St. Petersburg to the remotest parts of the country. The New Yorker wrote of the work, “in taking Russia - its contradictions and gorgeous ruins - at face value, he captures a country’s diversity and history.” For example, Moore photographed a “czarist church [that] was turned into a soap factory during the Soviet period, and now has been restored into a kind of youth center.” Moore remarked, “For me these kinds of subjects present a cross-section through time: they address Russia’s complex past, as well as the larger compacting and collapsing processes of contemporary history.” In 2004, Moore published the monograph Russia Beyond Utopia (Chronicle Books, 2004). Detroit In 2008 and 2009, Moore traveled to Detroit to portray in photographs “the idea that in an urban setting you could also have a landscape happening, the forces of nature intersecting with American urbanism, the process of decline also intersecting with the revival of nature.” In 2010, Moore released Detroit Disassembled (Damiani, 2010), with an introduction by Detroit-native and Poet Laureate Philip Levine, to coincide with an exhibition at the Akron Art Museum. He was originally invited to document the city by two young French photographers, Yves Marchand and Romain Meffre, who had been photographing Detroit’s abandoned spaces since 2005. While Moore’s Detroit series follows the themes of transformation and decaying space explored in previous bodies of work, his focus on the motor city generated controversy in the pages of The New Republic and the journal Guernica. The photographs were decried as “ruin porn,” which Mike Rubin defined in The New York Times as “urban decay as empty cliché, smacking of voyeurism and exploitation.” Curator Sarah Kennel writes in The Memory of Time, an exhibition catalog from the National Gallery of Art, that, “in Moore’s photographs, ruination serves more explicitly as an allegory of modernity’s failure.” Other critics argue that whether or not Moore’s Detroit photographs fit the category of “ruin porn” is a matter of academic debate. Joseph Stanhope Cialdella argues in the journal Environmental History that Moore’s work instead conveys the “aesthetic of a postindustrial sublime” which “gives nature the authority to transform the image of Detroit into a novel, yet disturbing landscape that blurs the lines between wilderness and the city.” Dora Apel writes in Beautiful Terrible Ruins that Moore’s “pictures of Detroit tend to emphasize the relationship of nature and culture, with nature in the ascendancy.” Apel ultimately argues that the “ruin porn” images and debate fail to focus on the political and economic policies that are the root causes of the ruins. Dirt Meridian From 2005 to 2014, Moore photographed the people and landscape of “great American Desert,” which roughly includes the area west of the 100th meridian to the Rocky Mountains, from Texas north to Canada. The area is one of the most sparsely populated regions in the country, “where the daily reality is often defined by drought and hardship.” To make many of the photographs, Moore collaborated with Doug Dean, the pilot of a single-engine aircraft, to create bird’s-eye perspectives revealing the vastness of the land. Rather than flying high above the plains, Moore chose perspectives that have “the sense of being within the landscape rather than above it.” For an essay accompanying Moore’s photographs in The New York Times Magazine, Inara Verzemnieks wrote, “From above, the land is like one endless, unpunctuated idea - sand, tumbleweed, turkey, bunch stem, buffalo, meadow, cow, rick of hay, creek, sunflower, sand — and only rarely did a house or a windmill or a barn suddenly appear to suspend the sense of limitlessness.” On the ground, Moore photographed the people who inhabit this unforgiving landscape and the evidence of their efforts, from active homesteads to abandoned schoolhouses. These photographs are published in Moore’s newest monograph: Dirt Meridian (Damiani, 2015).
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Interview
Exclusive Interview with Julie Wang
Chinese-born photographer Julie Wang brings a poetic, contemplative sensitivity to her visual exploration of the world. Having lived for nearly equal parts of her life in China, Europe, and the United States, she approaches her subjects with the nuanced perspective of someone shaped by many cultures. This blend of distance, curiosity, and emotional resonance infuses her work with a quiet depth, allowing her to reveal the fragile beauty and subtle tensions that often pass unnoticed.
Read the full interview
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