Often a hyperawareness within me detects something elusive that could happen to my children, or me —however protected I imagine us to be.
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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.
Inspired by a small, found archive of personal photographs, documents, and objects, Amy Friend presents a new body of work that considers how identity comprises both fact and fiction.
The pictures that I make are my way to travel to the past. I make these pictures to reconnect with who I was. With a slower pace. With the colors of yesterday. With my childhood and with those games.
The quality of the work is excellent. It is very easy to get stuck on the site perusing all of the amazing imagery from such great contemporary photographers. Indeed, Dodho is great.
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.
“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 Garage Project began in 2011 when, each morning, I would take my two small children and two large dogs on a long walk, exploring the alleys, streets and beach front of our town.
Since I was a young photographer, the elusive question has always been “what is the essence of photography, why does it enthrall me, what does it do that no other medium can?”
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...
I can not recall who said it, or what the exact quote is, but it is something like “I photograph things to see what they look like photographed.” I quite like this approach to photography.
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.
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.
While his field of study was journalism, Ben Zank found a more direct means of expression in photography, after he discovered a Pentax ME Super in his grandmother´s attic.
Romanticized versions of history not only influence the way we look back, they play a prominent role in determining one’s perception of the present.
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.
The series ‘Interstellar’ was created to portray the social media bubble that most of us have been immersed in that we don’t realise the real life issues that are occurring beneath our feet.
It is a deep trip done to closed eyes, building internal images across the skin, for secondary and deep ways of the Toscana, in a place of Siena's province
There is something about the expanse of Patagonia, a kind of haunting soulfulness, that affects you physically. Few places grab you like this and hold on so tightly and for so long.
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.
For centuries, the Yi people have been surviving in the remote mountainous regions of China. In relative isolation, they have developed their own language, costumes and customs.
Why to portrait a person, a place? We live a time when singularity, otherness tend to disappear under a global order, the "other" as mystery tends to fade under the proliferation of the same.
As a photographer I crave to create my own vision that is quite different to the world around me. I want to cast away the visual anchors that viewers rely on so they can free their imaginations.
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.
I've been photographing my hometown, New York City, for many, many years. To put things in perspective, the Beatles were still making music when I bought my first "serious" camera.
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.
This work is realized with stenopeic camera in 2 formats 120mm and 4x5 film. It ‘s about a personal process of involuntary memory, following the steps of Marcel Proust in La Recherche du temps perdu.
This work I am sending you is about witnessing and taking part of the peace process of Mozambique back in 1992-1994, during the ONUMOZ (United Nations electoral mission).
Un-numbered homes are the norm, as everybody knows each other.Streets wind in un-orderly fashion over streams of running water, sometimes fresh often as open sewage.
This portfolio is about how I find ways to recover from my PTSD; a fire demolished most of my art photography archive - my entire house and all my belongings in New Jersey went up in flames and my left hand badly burned.
For nomadic tribes, their survival depends not only on training these majestic birds but in passing on their skills to the younger generation.
Beginning in 1980 I trained enthusiastically in gelatin silver printing with several master printers. Today, in making an archival monochromatic pigment print
Venus Without Mars Without Venus is an ongoing personal project that is loosely inspired by Italian Renaissance painter Sandro Boticelli’s painting of “Venus and Mars.”
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.
New York (July 12 - September 8, 2018) Bruce Silverstein Gallery is pleased to present “We are the subject”, an exhibition featuring the work of Lisette Model, Diane Arbus and Rosalind Fox Solomon.
Cuba is experiencing times of change and contradiction. In April 2018, a 59-year-old era under the command of Fidel and Raúl Castro came to an end. Following the collapse of the Soviet Union
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
