Road Trip With Marilyn (RTWM) is the second photo essay (out of three) of a body of work that was created over a ten year period. This portfolio is entitled Endangered Icons.
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I honestly have been feeling a little lost post show. I spent so much time preparing for it and now that it’s over I feel a little sad, which really caught me off guard.
This project focuses on the other side of the tragedy: how does it traumatize the family. After Yang’s death, the whole family has suffered from the loss of loved ones but still have to stand up and face everything, they’re also victims.
This photographic series evokes a sense of escapism, passages and changing ideals through the use of female dancers and imposing doorways. In each image a woman interacts with the frame - emerging from it, departing into it or otherwise moving inside of this space.
My work addresses themes of race, culture, family, and Legacy and these images are a kind of family album, filled with friends and family, birthdays, vacations, and everyday life.
On my first trip to Doug’s Gym in downtown Dallas, I climbed a sagging wooden staircase to find a rundown old gym with peeling paint, sagging tin ceiling, and ancient equipment.
In Gratitude is an homage to food and family. Created during the pandemic, it is a series of portraits of myself, my husband, and my three children showcasing the items that we use to produce our daily meals.
The division presented in Hard Times in a Mad City is a microcosm of the polarization seen across the United States.
I was a single mom with two boys at the time, they were 1 and 3. I used to work for a company in the city as a recruiter. As a single mom my kids didn’t have a parent that would be there at performances and such.
When Covid-19 first pushed us in to lock down in March 2020 people shared their experience of isolation and it resonated deeply with so much of what I had experienced in moving here. I knew the bubble world they were now living and all the emotional highs and lows so well.
The project was inspired by the Art Nouveau posters, mixing period characteristics with contemporary influences, creating a certain irony.
Before moving to Italy, my wife and I worked in the television and film industries of Hollywood. My wife produced television programs for the major studios and I worked as a photographer on films and for various international magazines.
Ten photographs, each independent of the other gathered together into a ongoing series, explore small yet unsettling and familiar dramas of loss and isolation.
On the day I was born in India, my father flew to Queens, N.Y. to finish his medical education. My mother followed three months later and I was left to be raised by my grandparents.
With this work I want the viewer to get a good look at what it is like living in America as a Black man. I use the wet-plate collodion process to connect the past to the present and explore the atrocities of slavery and Jim Crow
There is no doubt that women play a leading role, but they are still a patriarchy and all decisions are made by men who meet in assemblies to discuss everyday issues. The pipes are carved and armed by them and generally match their ornaments in both the Toposa and the Didinga.
It’s another beautiful day in paradise. Dark, and rainy. It’s one of those days that suggest the beauty of film. F-stop wide open, the darkness and grain, the feeling of an impressionist painting.
"225 Days and counting" is an essay composed by images produced during quarantine due to Covid-19. Most of them were taken at my apartment in the city, some at a weekend retreat, both in São Paulo, Brazil, and reflect this period of a contemplative mood when time seemed suspended.
These images are part of what I’ve called an “alternative family album.” With one exception, I constructed each work using vernacular photographs from archives discovered after my parents’ deaths.
This series of photographs is part of an ongoing project about the African American people living in the deep south.
Used to restrict access to the landowner's property, this series of photographs focuses on trees that have been used as supports for a variety of chains, cables, or sections of fencing.
The Ganga Sagar Mela is the most popular Hindu pilgrimage after the Kumbh Mela. On the day of Makar Sankranti (a festival celebrating the harvest in mid-January), devotees show up to dip themselves at the confluence of the river Ganges and the Bay of Bengal to purify their souls.
I have been locked inside since March. It has been almost a year and a sort of desperation is seeping in and seeping out. It is tangled and multi-layered, but deep and real.
The murky waters of the river flush through the train of rocks standing on the embankment. As the louder and unstable motor of the small train overwhelms the passengers, the ride becomes an experience for those who visit for the first time.
Dali is definitely one of my inspirations when I was learning about surreal art. However, jellyfish has nothing to do with his artwork. The gentle floating of clouds and jellyfish creates a sense of calm.
Growing up in the Great South Bay of Long Island’s south shore, the waters of the bay and the nearby Atlantic Ocean were key influences on my formative years.
This work explores the unsung moments of places and spaces I’ve passed, which become an intimate montage of blended memories
I discovered Red Hook by chance, making a wrong turn getting off the Smith Street Train Station in Brooklyn. Over the course of the next two years, I returned to photograph this urban, gritty wonderland.
Wig Heavier Than a Boot brings together photography and video by David Johnson and poetry by Philip Matthews. As we reveal Petal—a persona as whom Philip writes, and whom David photographs—the project crosses art-making rituals with isolated performances in domestic spaces and pastoral landscapes.
Dive begins with the fascination of water. I have embarked on several trips in which looking for rivers, seas, and waterfalls becomes part of the routine.
There is probably no other shared experience that defines life in New York City like riding the subway. Over one-third of the city’s population commutes to work in the tubes every day
This series is from my first official photo day-trip taken on June 22nd, 2020. It was a fragile summer that began with the deaths of unarmed African Americans at the hand of law enforcement, a scenario our country seems to be all too familiar with.
Pet Project, is an ongoing photographic portrait project of strangers, taken in the tradition of Arbus, I enter into peoples lives and homes.
My photographs from the series World Was in the Face of the Beloved are about a character who is becoming one within the landscape.
The fear of losing them made me return: my land, my mother. we are a land that feels, land that cries, land that thinks, that suffers and regenerates
Four generations of his ancestors have distilled the smoky spirit from ripe maguey, or agave, toiling under the Oaxacan sun in southern Mexico to provide the fuel for festivals and family celebrations in the village of San Juan del Rio.
The observer is faced with large panels of aerial photos if seen from afar appear to be textures or geometric forms that if inspected closely, surprise the viewer with a richness of details that compose a daily urban lifestyle in consumption patterns.
These women smoke tobacco, an ancient custom that marks their ancestry, identity and tribal pride. Their attitude was strong. Fierce. They were active participants of every ceremony and the Leaders of the communities.
There is an extremely voyeuristic character in Nicky Hamilton's works. He is able to introduce us to detailed universes he designs and stages. He lets viewers overhear and have a peek at realistic storylines. His choices and ideas are intriguing and help him to show a whole meaningful narrative.
My interest in photography began after leaving school and finding employment in a commercial photographic studio in Sydney and where I nurtured a growing interest in black and white imagery while relishing the work of such greats as Andre Kertesz,Walker Evans, Robert Frank and Lee Friedlander
Blur has a great importance in my photographic work. When a reflection appears, when distorting or transparent material interferes between me and my subject, I deeply enjoy seeing my subject's new appearance.
I lived in France from 1976 to 1980. While there I had been covering the Socialist Party and when François Mitterrand decided to be a candidate again for the presidential elections I wrote him a letter with a project to document his campaign from the inside, with total access to his private and political activities.
I wanted to challenge the perceptions of the Golden Gate Bridge. In solid red-orange and spanning 1.7 miles long, the Golden Gate Bridge is an icon of San Francisco.
Plastic experimentation pictures of Anne-Claire Vimal du Monteil explore the transformation of reality, its reinvention. Feeling and emotion take precedence over the precise representation of the subject.
With all photographic work at a sudden standstill, we began with self-portraits as a way to wrestle with our own anxiety and preserve an unprecedented time in history.
The paradox of social confinement can cause great tension and misfortune to its inhabitants, where the dimension of their living space is severely restricted, which can generate serious physical and psychological consequences.
When George Floyd’s life was unnecessarily and brutally snuffed out by Minneapolis law enforcement on May 25, it was yet another final straw…and that straw was set ablaze around the globe.
I have been photographing the North Carolina State Fair since the early 70's. One of my oldest memories was the yearly outing of my family going to the State Fair in North Carolina, starting when I was 6 year old....
