I have long had an attachment to things obscured. The 30 photograph series “I Saw This” was shot in New York, Chicago, Hong Kong, Jerusalem, Houston, Kentucky, Montreal, Detroit, and Miami between 2008 and 2016.
Just like a painter gradually creates its own unique palette by mixing up colors like never before and never after, the photographer can steal the colors that are around him: on people, on bricks, on nature.
The differences can’t be considered limitations, although in our culture these concepts are commonly used as synonyms, limitations are no more than the opportunity to find other routs for the same end, and there is where I find my inspiration: "The sound of silence "
I think it has a distinctive design. I really like the cover. The full-page portraits of the featured photographers are unusual and, I think, effective. At the end of the day, what really counts is the content – the work that the magazine presents. In general, I find the content inspiring.
The Panzudos represent the sins: the more sins a person has to expiate, the bigger and uglier his attire will be, the better to cure his sins. These figures herald the feast day of Our Lady of La Merced and accompany her, purifying themselves in the process.
The essay "Life Force: What Love can Save" began because disability is an issue that I have always been interested in addressing, understanding, questioning and deepening. It's something that crosses me personally and I think that's why I feel like a need to go exploring.
KLOMPCHING GALLERY is delighted to announce FRESH 2019, the gallery’s annual summer exhibition. FRESH 2019 is co-curated by Darren Ching and Debra Klomp Ching, from an international call for submissions. Five photographers have been selected from a highly competitive field, and each will present a selection of photographs from a single body of work, considered by the jurors to demonstrate a strong vision, excellence in craftsmanship, and fresh insight to their respective subjects. Emily Earl’s...
In this edition, we have the honour of publishing the photographers' works, Alain Schroeder, Francis Meslet, Gillian Hyland, Garth Lenz and Steve Geer, Without a doubt, some of them, ambitious projects and with a marked personal stamp.
At Medium Photo, we haven’t lost sight of the intimate power found in small photographic prints. Our signature exhibition of the Medium Festival of Photography is open to all subject matters and themes, and all types of photographic print media, as long as the image is 10″x10″ or smaller.
The stations are the designs of architect William Lane, who began working on them more than 20 years ago in the early 1990s and quickly became a hallmark of Miami associated with its revival after the devastation.
These images are from my larger exhibit "The True Cost of Oil which explores the relationship between the world's largest energy project and the environment - both local and global - which it threatens.
Art Shay, the master visual diarist of America, passed away exactly a year ago. His gargantuan library of photographs, almost two million, were sifted once again, by his indefatigable and loyal archivist: Ms. Erica DeGlopper, for some unpublished masterpieces.
This series symbolizes a metaphorical journey towards liberated living. The wolf within the work represents allegorically fear and the temptation to be driven by it allowing its control over our lives.
Quotidian Life “ Series “ Living in a great city, I was naturally driven to street photography and depicting the quotidian life in its simplest form. I admit being very audacious not necessarily following the rules surrounding this type of photography in the pure sense of its definition.
I’m currently working on a new series entitled Selah, taking its inspiration from master artists such as Caravaggio, Ribera and Gustave Doré. The exhibition features famous actors and interesting faces. The collection will be exhibited in London and Los Angeles in 2019-20.
Today’s reality is guided by competition alongside the fierce longing to ascend into what many call paradise. But what lies in this pursuit are strangely manufactured channels of both sincerity and unsettling moments that make us question our ultimate wishes.
New York (March 21–May 11, 2019) Klompching Gallery is delighted to present a solo exhibition of new work by Odette England. This will be the artist’s second solo show at the gallery, and brings together a selection of artworks from three recently completed and ongoing projects.
The missing forest It is not the forest of milk of Dylan Thomas nor the mysterious jungle of Emilio Salgari. It is – just and nothing less – a handful of twigs that the time dried and the eye finished to dissect and isolate, until they float in black chamber, turning them into ideograms of an underground pondering.
Sight is a continuous stream of visual resources that allow us to understand and interact with the world, but memory is selective and interrupted. Coming from a Cinema background I tend to consider images for what they mean during a temporal dimension, and time makes them ephemeral.
I recently photographed the Quixotic journey of Joey Allen, a Navajo Indian who embarked on a mission to ride his bicycle from Flagstaff, Arizona, to Monument Valley, Utah, campaigning for “Madonna for President.”
Each summer, a large extended family of Roma camp out in an olive grove on the island of Skopelos, Greece. Their family is vast and reaches into many towns on mainland Greece. Last May, I drove into their compound and asked if I could photograph them.
Sustainability, sustainable development, conscious consumption, environmentally friendly and recycling are among the trending expressions nowadays in the media. These were already incorporated in my vocabulary and habits but a few years ago, walking around my home town – Curitiba
The body of work “Thou Art..,Will Give...’ is derived from the first Penitentiary in the United States. The Quakers started it because they believed they could reform people by putting them in solitaire for the full sentence and provide them with a Bible to give their Penitence. It was their grand experiment to try and help people. Obviously, it did not work.
Mara Sánchez Renero (Mexico) studied photography in Barcelona, Spain, where she lived for 10 years. She was part of the collective boom of 2008, in Spain, where she was co-founder of the collective Malocchio and PHACTO.
Through time and elements; through hope and despair; through the eyes of the ones who once left and fought the ruthless sea; the ones who stayed and faced the shape of history, and us, who came in wonder, Havana stands as a monument to resilience.
The felicific calculus is an algorithm formulated by jurist and reformer Jeremy Bentham (1748–1832) for calculating the moral rightness of an action by balancing the probable pleasures and pains that it would produce. Bentham, a utilitarian philosopher, believed this calculus could, in principle, help determine the moral status of any considered act.
Trauma This self-portrait series aims to explore the themes of brokenness, the struggles of loss and grief, the regrets of past decisions and my personal experiences with generational trauma and mental health struggles.
Olga Merrill lived and worked in Russia until March of 2013 when she came to Maine, USA and her life changed. At the end of 2015 her life changed even more – she got a gift – a photo camera and her view of the world became different through lens
In Imagine Magic I use found light and textures to make visible the dreamscapes hidden in everyday life. I often find myself moving through my daily routine without really observing my environment, particularly when I am at home.
I have always believed that the eyes are the windows to the soul. The way i observe the world, i can express what is happening in my particular universe. The photograph brings out my feelings, my emotion and my deepest questions.
Midway is somewhere between becoming and being; between entropy and stasis; between learning and knowing; between alienation and belonging; between isolation and community; between immigration and assimilation; between urban and suburban; between poetry and blight. Midway is a metaphor and it’s a state of mind. It’s also an airport.
Every single person who lives in New York has probably wondered at least once why there are so many signs offering esoteric and mystical services spread around the city. The little Keano flyer, which you can see in the corner of many advertisements’ frames in most subway trains, was the starting point of my journey within the community of New York’s psychics
Reno embodies ideas of Western idealism, the frontier spirit, transience, and the gambler’s impulse to risk everything for the chance at a better life. It was founded as a toll, a passage across the Truckee River, and on silver from the Comstock Lode.
Chicago (11 Jan – 16 Mar 2019) We are thrilled to present the 20th exhibition of work by Michael Kenna, and The CEG Salon, as our final shows in our River North location. Both shows open January 11 and run through March 16, 2019.
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