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
Ana Luisa Matos’ work focus on the concept of home and identity. Her most recent series, No Place To Lay My Head explores her relationship to her home country. Developed during a series of road trips, the work captures her reconnection to Portugal, after having spent time leaving abroad, and coming to terms with her own identity.
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
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.
Besides the incomparable issues that Venezuela faces, the country also has to deal with the upcoming complications in universal problems such as deaths caused by cancer and how they have been increasing ever since the financial crisis began to lash the oil nation in 2014.
As I pulled away from Mom and Dad’s condo, I looked back one more time and snapped two photos of Mom as she waived goodbye from the sidewalk. She was fully dressed, her cheeks noticeably hollow and her expression strained and apprehensive.
New York (Nov 1 – Dec 8, 2018) Miyako Yoshinaga is pleased to present The eye is not satisfied with seeing, a solo exhibition of mixed media collage works by Hai Zhang, from November 1 to December 8, 2018.
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.
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.
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