I grew up attending church on Sunday morning and attending motorsports Sunday evening. In an attempt to visualize the emotions and experience of those magical Sunday evenings of my youth I started the project I-57.
Throughout her work, Yayoi Kusama uses polka dots as a metaphor for giving up personal identity and becoming one with the universe. “Far beyond the reaches of the universe,” she says, “infinity is trying to communicate with us” and it reaches out through her work as an infinite series of polka dots.
And now who are we? Where are we? Where do we go? If the last trace of innocence disappeared as life was transformed into survival. While fear intoxicated our human condition and duel consumed our calendars.
The current pace of development around the world has brought widespread concern about a loss of diversity in nature and the need to protect endangered species. But the changes brought by the forces of globalization, industrialization and urbanization affect not only animals and plants. People and cultures, ways of thinking and ways of living that have been in existence for thousands of years, are also at risk.
One of the procedures of the legitimization of oppressive practices is to reduce subordinated individuals to the category of mere body. The objectification that affects women is a decisive factor in the outbreak of violence of which they are victims.
There is a certain magic to the American Midwest. Honest. Modest. Understated. Sometimes unappreciated. Often overlooked. I created Midwest Memoir as a way to help others see the American Midwest in a whole new light.
The central idea for Hypothesis Project came to me during a theatrical performance, that I had the opportunity to photograph in 2016. Once the performance started, immediately came to my mind, a memory of part of poem from a Brazilian poet, Carlos Drummond de Andrade.
Chasing Light is an ongoing collaborative photography series and community engagement project. My twin sister, Bianca, and I use photography as a means to explore our dynamic as siblings and our experiences of owning queer identities and disabled bodies.
Boston (13 Dec 2018 – 24 Feb 2019) Ansel Adams is the rare artist whose works have helped to define a genre. Over the last half-century, his black-and-white photographs have become, for many viewers, visual embodiments of the sites he captured: Yosemite and Yellowstone National Parks, the Sierra Nevada, the American Southwest and more. These images constitute an iconic visual legacy—one that continues to inspire and provoke.
The world’s population has increased from 4 billion to 7 billion since 1975 with the majority of the population surge occurring in developing countries. Today, it is estimated that over 4 billion people are living in urban centers with one quarter of these people (1 billion people) living in slums, and shantytowns within these centers.
New York (13 Dec 2018 – 2 Mar 2019) “Will You Still Love Me Tomorrow?” is the first exhibition of David LaChapelle’s work at Staley-Wise Gallery in more than ten years. Many of the works included have never been previously exhibited.
By what mechanism do I see beauty in decay or distress? Why does a defaced-distressed message incite me? And, how can defacement delineate the mundane mess, from aesthetic magic? The answers may reside in the cognitive theory, which, for the most part, is concerned with the development of an individual’s thought process
We need more presence like Dodho that features inspiring images and creative photographers. Going back to my earlier comment about where you spend your time, browsing Dodho is certainly worth every minute to read stories and get inspired by amazing photographers.
Women are still struggling with being considered beautiful by the old, stereotypical standards, but I believe women are changing the status quo. It is still most women’s inclination to pose and adorn herself according to what a man would want.
The Irish Travellers, also called the Tinkers, had been nomadic for generations, travelling the countryside in horse-drawn carts and wagons. Of course, “gypsies” and Roma” come to mind when hearing about this lifestyle, but recent genetic testing has shown that the Travellers are native to Ireland.
A face is more than just a face. It’s a message board, that offers more than we can read. Or it can be a billboard, revealing the inner most condition. The face always conveys the compressed energy of life being experienced in a myriad details – that in retrospect, only a fecund imagination and acute sensitivity can correlate and coalesce.
“Mysterious people” explores the tension in our curious reality. The moments when we find ourselves looking and looking again, maybe even asking, “Did that just happen?” “What did I just see?” Or maybe even, “Did the camera see something that I didn’t?”
The Rug’s Topography began with me photographing my intimate partner of six years. Simultaneously, we were facing an internal conflict: how we identified as individuals differed from the roles we occupied in our partnership.
While obtaining my Bachelor of Fine Arts degree from Brigham Young University, I spent a lot of my time running away, finding a need to get out of Provo, then Utah, and then the United States. My flights resulted in a myriad of adventures, stories, and long road trips. It was during these long drives that I consistently ran into small Utah towns, consisting of a corner store, a post office, and children racing down…
Belgian photographer Alain Schroeder has been working in photography for more than three decades, first as a sports photographer for 15 years (shooting 500 magazine covers during his tenure), before turning to book assignments spanning travel, fine-art and architecture.
I grew up on a small farm thirty miles outside of New York City. The forest that bordered the farm was my childhood wilderness, a safe and wild place to play that was ignored by our neighbors who commuted to Manhattan.
I am a writer by passion and a photographer by design. What I mean by this is that writing requires a lot of practice, dedicated labor every day, just to attain mediocrity. It is a very discouraging avocation.
Fine china is a project been developed earlier this year. I went to the porcelain Capital, Jingdezhen, China to discover the traditional process of making fine china. The entire project is been shot on Ilford HP5 Film.
The goal of my animal portraits is to create a connection to our fellow creatures of the earth that will inspire the viewer to see the worth of that individual, thereby creating a desire to protect the species and the eco systems they thrive in.
New York (Sep 14–Oct 26, 2018) With the Binary Code series, Max de Esteban continues his examination of our world, as mediated by and through technology, through creating photographic imagery that is informed by and utilizes the traditions of appropriation and remix.
There is a place that seems so far from here. A place where the sand, the dirt, the rock and the sky live in harmony. Where the sun beats down on the man formed brick and the asphalt of the journey to the West. It washes away the dark of the night before and leaves the walls and the road worn like an old, well worked, pair of blue jeans.
The cold air is unmoving, except for when the wind thrusts it violently making me bend in its wake. Trees mockingly bloom with snowball cotton tops. Gale force winds throw the storm door off its hinges as I make my way outside. I hear the birds who have come back to our yard to sing, though the snow clings, swaddling the muddy earth.
In States of Grace, I illuminate beauty amidst the chaos. I’m calmed by the simplicity of a graceful line and the stillness of the suspended moment and compelled to share an impression of the serenity I find there.
With its 163 million-strong population, Bangladesh is in the midst of a construction boom and with that expansion comes a need for cheap construction materials. Such high demand has lead brickmaking to thrive.
The feelings I have toward specific images change over the years and as I grow older than the subject in the photograph, my criticisms and self-consciousness morph with me. This project will expose itself over the years and images my ego cannot handle to share now will have opportunity to change the narrative later.
To be honest, I get no satisfaction from my finished images. The image itself means nothing to me; it is the process of obtaining the image that provides me with the satisfaction that keeps me looking for more- along the streets and in the pavement, in the chipped paint, in the mad colors and fleeting shapes, always looking.
This series was photographed and documented in November 2017 for four days while I visited my father in Brazil. We explored the desert of Jericoacoara, the Atlantic coastline in the north of Brazil. The unexpected combination of the desert between the blue ocean and white sand dunes spread over 200 kilometers side by side took my breath away.
Ten years before India’s independence, in 1937, a little after 7.00 pm, four men and a five year old boy, after some hearty afternoon snacks at a local eatery, seeking novelty, sauntered into a photo studio, in Kakinada
Transfiguration revolves around a little girl named Maria – a survivor of the 1932-1933 famine in my homeland of Ukraine. Her parents and 4 million others died because of Stalin’s policy of artificial starvation.
New York (July 10 – August 4, 2018) Umbrella Arts Gallery is pleased to host I Surrender, Dear, an exhibition exploring the emotional equalizer of grief, born from the personal experience of curator Frances Jakubek.
My visual memory of New York City has always been in black and white. Although some of the best and most colorful paintings ever created are found in its museums, Manhattan is, for me, a place composed from an incredible range of grays.
Whether they are dancing, napping, eating, drinking, talking, alone or together, the images capture people having fun or in a contemplative mood in the dark hours of the day. Jorge was born in Montevideo, Uruguay
In the city, we tend to keep our heads down; these photos invite us to look up. Each of these images is structured by bold juxtapositions — between the built environment and the natural world, between rigid city grids and fluffy white clouds
Character-based portraits and narrative-driven scenes are our thing. Sometimes quirky, sometimes serious, occasionally scripted, and often just REAL – they specialize in capturing authentic moments in even the most manufactured of settings.
New York (16 May – 16 Jun 2018) Mary Ryan Gallery is pleased to present In Plain Sight, a retrospective exhibition of photographer Jean Pagliuso in celebration of her monograph of the same name published by Damiani in 2018.
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