The Old Europe is a project started ten years ago, in 2007, about the globalization seen as an investigation into the transformation of urban territory. The cultural homologation, meant as uniformity of the behaviors, of the models of life,
The Stillness Aesthetic is better known as “Still Life.” In art, whether it’s painting or photography, this pursuit has been about clarity as it relates to light, in the rendition of the inanimate, as well as the animate. This has been the practice, not only in the visual arts, but, in photography as well.
Japan has one of the highest population densities in the world. Due to the country’s high need of space and a culture where efficiency and organising are of high priority, it’s landscapes are highly cultivated.
I’m interested in catching the feeling of loneliness. When wandering, empty places attract my attention. I believe that they’re a door to human need of answers, a door to reach truth and mystery. Commonplace objects can be trascended by contemplation. That’s what I try to do with my photograhs.
My photographic approach attempts to appropriate the vision that pervades in the unadulterated look of the small child, as she wanders the contemporary cities of Europe and is confronted with the unfamiliar urban landscape.
This series of photographs was shot during the tumultuous days of October, 2016. The political and social winds of change were frigidly blowing through the country, and I found myself becoming increasingly depressed.
It was a cloudy day on July 15, 2016: New York City Center has existed for centuries on Broadway only a few blocks from Times Square. It is Manhattan’s first performing arts center and is built in a Neo-Moorish style.
Photographs from “City on Rivers” series were made in November 2016 in Chongqing municipality – the main city of central China. The aim of the project was to document the urban space along the course of rivers, the Yangtze and the Jialing River.
In the long-termed, ongoing work “Timepiece” Austrian photographer Martin Grabner is in search of the Lacanian imaginary in architecture and space. The photographs show places and constructions that contain
It is of great significance that the word ‘commute’ has an added meaning; to commute is to change one kind of payment or obligation for another, that being the underlying factor in my becoming a commuter passenger.
The work of Emmanuel Monzon focuses primarily on the idea of urban sprawling and the urban expansion of its periphery. Monzon photographs urban banality as though it were a romantic painting, trying only to be “stronger than this big nothing” in controlling the space by framing the subject.
Dhaka city is one of the fastest growing mega cities in the World. The population is more than 15 million and every day some 400,000 people are settling in and around city in hope of creating a new livelihood and find jobs.
Zero Dark version of Moscow, is the guided tour of a city of dreams, and dreams should be made so at night. Because the night is a different world, sweet and ambiguous as a dream, and in those hours the cityscape in Moscow
City Space is an ongoing photographic exploration of the urban environment and my perception of it. I am interested in the physical space of the city and its emotional and psychological impact on the body.
Alex Cooke is a portrait, events, and landscape photographer from Cleveland, OH. A musician and mathematician, he found that his artistic inclinations and obsessive attention to detail suited him perfectly to photography.
In my project Signs and Wonders, I play with different kinds of signs we may encounter everyday. There is so much signage in our towns and cities we generally take them for granted but when I turned my gaze upon them, a walk around my neighborhood became redolent with creative possibilities.
I feel like I have travelled elsewhere every time I visit Central Park, somewhere not in New York and yet it has the essence of New York. Autumn is my favorite time to go there, maybe it has something to do with my birthday being in October or maybe because it is so beautiful, the air is clear and the nature is full of colors.
The urban space is unequally shared between genders. Patriarchal cultural codes make the street as a place dominated by men. If it is well accepted that men can stay in the street, women only cross it.
These photographs of public spaces are often sober and frugal in feel because I avoid any spectacle or dramatization in the locations. The emptiness is saturated with a subtle attention to color, and the prevailing silence instilled with a vernacular yet metaphysical quality.
Wildwood is a small barrier island at the tip of southern New Jersey. Through an improbable combination of economics, geography and chance, it harbors an architectural treasure: the highest concentration of mid-century modern motels in the United States.
Cyrille Druart was born in 1980 in Paris. His interest in Art leads to experimenting various fields from an early age. In parallel with Design studies at ESAG-Penninghen in Paris, he learns photography by himself and begins travelling in order to make images.
I began making “urban landscapes” with a medium-format Holga—a $30 plastic camera—in September of 2001, in the immediate aftermath of the 9/11 terrorist attacks. My heart was shattered then, and my career was momentarily stalled.
Thomas Alleman – I left San Francisco in a slow-churning panic in 1988, worn-out and soul-sick from three years of doing reportage in the gay community, which was then being drowned in the first crashing wave of HIV and AIDS.
Thomas Alleman was born and raised in Detroit, where his father was a traveling salesman and his mother was a ceramic artist. He graduated from Michigan State University with a degree in English Literature.
The Surreal Line came about during another project to document my trips on the London Underground. At the time, I’d only recently developed an interest in photography, and always had my camera with me, ready for opportunities to take photos during my tube commutes.
I took an interest in the arts at a very early age, beginning to draw as soon as I could hold a crayon. By the time I entered high school I had already earned a reputation with students and teachers for my ability to draw with photographic precision