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Rosa Basurto
Rosa Basurto
Rosa Basurto

Rosa Basurto

Country: Spain
Birth: 1972

Rosa Basurto is a self-taught photographer from Spain who, within a short frame of time, has been widely recognised for her work. Despite no formal training, Basurto demonstrates an impressive command of photographic skill, producing images that are poetic in style and imitating a dream-like world, within the reality of landscape. Though each image includes quite life-like subjects, such as trees and birds in flight, the spaces they occupy within Basurto’s photographs bring about a very intimate and almost mysterious atmosphere. By capturing a suspension of time, Basurto’s particular style allows the viewer to notice what would have normally been taken for granted. It is exactly this element that gives each picture its dramatic dimension. It emerges when we view a space that seems tranquil, bringing in to question what habitation would have normally occupied such land. Furthermore, the sense of frame, the cleanliness, and the geometric lines give the image an undeniable modernity. Basurto’s work has been exhibited in various group shows as well as having been displayed in solo exhibitions around Spain, Portugal and France. Her work has been widely recognised and received various awards. Some of these include; the Jury Prize for the “Historia de invierno”, PhotoEspaña, 2010, First Prize for the Bienal Internacional SICAFI, Argentina in 2008, the IV Concurso de Fotografía de Naturaleza Vila-Real prize in the category of Flowers, Castellón in 2007. She has also won First Place for the EPSON Digital Photography Contest in 2006. In 2008, Basurto’s work was shortlisted for various awards including Descubrimientos, PhotoEspaña in 2008, Trierenberg Super Circuit, Austria in 2008, the X Biennal Internacional AQÜEDUCTE, 'European Wildlife Photographerof the Year' in the category 'landscapes' in 2007, as well as the “XXXV Trofeo Guipúzcoa Internacional” prize in 2007.
Source www.milimgallery.com

Website

www.rosabasurto.com (In Spanish)

 

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More Great Photographers To Discover

Trevor Messersmith
Trevor Messersmith
United States
1971
Trevor Messersmith is an award-winning photographer and graphic designer based in New York's Hudson Valley. Trevor provides creative direction to a wide variety of online and print projects through 80east Design, a studio he started in 2002. Among other venues, Trevor's artwork has been exhibited at the California Museum of Photography, the Florida Museum of Photographic Arts, the Los Angeles Center for Digital Art, the Morean Arts Center, the Orange County Center for Contemporary Art, and the Center for Photographic Art. He has been featured in AIGA's New York State of Design, Print Magazine's Typography and Lettering Awards, the Mobile Photography Awards, the Pollux Awards, Tumblr Radar, Print Magazine's Regional Design Annual, the International Design Awards, Creative Quarterly, and Graphic Design USA. Trevor earned a B.A. from Bard College in photography. He also studied graphic design at Rhode Island School of Design. About The City Wears a Hop Hat "The City Wears a Hop Hat" is a series of high-contrast street photographs that attempts to capture the glamour and grit of city life in the face of the homogenization of urban culture in the United States. I have always loved the rhythm and jolt of city life and its vitality. I'm trying to show how I feel about cities and the shared human experience of those who live there." -- Trevor Messersmith
Arja Katariina Hyytiäinen
Arja Katariina Hyytiäinen
Finland
1974
Arja Katariiina Hyytiäinen was born in 1974 in Turku, Finland. She is a graduate of the Department of Documentary Photography at FAMU (Prague, Czech Republic). Hyytiäinen is interested in self-experienced stories. Thanks to her classical documentary background, her works often reflect a combination of self-experienced subjective reality and fictional intuitive storytelling. She has published two books ‘Distance Now’ and ‘Arja Hyytiäinen – Cahiers’. She is the recipient of the Critical Photography Prize, Prix Kodak in France 2006, as well as the Grand Prix at the 2007 Lodz Festival. Since 2006, Arja Hyytiäinen’s work has been distributed by Agence VU’. She has been based in La Rochelle, France, since 2010.Source: EPEA For the Finn Arja Hyytiäinen photography is a means of entering into the lives of others. It is an echo of personal experiences that help enlarge her understanding – and ours. The often sombre black and white photographs that she took in the port city of Marseille underscore the feeling that she got there, as if the residents had an almost permanent mental hangover. She shows the disfigured faces of people in illegal bars, she evokes the sound of fans, wind and footsteps that echo against shuttered windows, and depicts the restless energy of the night, which shades into a day where the heat envelopes your body like a second skin. The city, she says, left an emotional mark behind on her soul. With her subjective images she does the same for the viewer. In the space of only a couple years Arja Hyytiäinen (Finland, 1974) has made a name for herself as a contemporary street photographer, with a subjective, cinematographic style. She spent considerable time in Eastern Europe and was awarded the Kodak Prize for Critical Photography and the Polish Fotofestival Grand Prix. Hyytiäinen lives by turns in Paris and Berlin.Source: Noorderlicht "Completely contemporary, free and demanding, the work of Arja Katarrina Hyytiäinen is part of the today’s school, from the tradition of the street photography, and that has replaced its form to claim the author status. Saying its necessity and its singularity, devoting itself to subjectivity, and influenced by cinematographic aesthetic, the whole work, extremely respectful for representing people, is from a new contemporary humanism," according to Christian Caujolle. In just a few years, she has acquired a reputation throughout Europe, particularly where she has lived in Eastern Europe, and become known through her solo exhibitions (Czech Republic, Poland, Hungary, Moldavia, Slovenia). In 2006 she was awarded by the Kodak Prize for Critical Photography and the Fotoestiwal (Poland) Grand Prix in 2007.Source: Agence VU
Diane Pierce
Diane Pierce
United States
For over twenty-five years Diane Pierce has used the medium of photography as her most primary, expressive tool. The majority of her work is created on a small tabletop. Themes for her work have included collected letters, an idea about marriage, observations when straying from home, still life, collage and most recently thoughts on drawing. She studied both Painting & Drawing and Photography as an undergraduate student at San Francisco State University and did graduate studies at Mills College, Oakland, CA, specifically in photography. She has a thorough background in traditional and digital photographic skills as well as alternative photographic processes and has often crossed the territories of a variety of mediums, but always including photography. Her work is in the collections of The San Francisco MOMA, The MFA, Houston, The Bibliothèque Nationale, Paris and others. She has quietly exhibited over her career.
John Coplans
John Coplans
United Kingdom
1920 | † 2003
John Rivers Coplans was a British artist, art writer, curator, and museum director. His father was Joseph Moses Coplans, a medical doctor and a man of many scientific and artistic talents. His father left England for Johannesburg while John was an infant. At the age of two, John was brought to his father in South Africa; from 1924-1927 the family was in flux between London and South Africa, settling in a seaside Cape Town suburb until 1930. Despite the instability of his early home life, Coplans developed an enormous admiration for his father, who took him to galleries at weekends and instilled within him a love for exploration, experimentation, and a fascination with the world. In 1937, John Coplans returned to England from South Africa. When eighteen, he was commissioned into the Royal Air Force as an Acting Pilot Officer. Due to his hearing being affected by a rugby match, two years later, he volunteered for the army. His childhood experience living in Africa led to his appointment to the King’s African Rifles in East Africa. He was active as a platoon commander (primarily in Ethiopia) until 1943, after which his unit was deployed to Burma. In 1945 Coplans returned to civilian life and decided to become an artist. After being demobilised, Coplans settled in London, rooming at the Abbey Art Centre; he wanted to become an artist. The British government was giving grants to veterans of the war, and he received one such grant to study art. He tried both Goldsmiths and Chelsea College of the Arts, but found that art school did not suit him. He painted part-time for clients including Cecil Beaton, Basil Deardon whilst running his business John Rivers Limited which specialised in interior decorating. In the mid-1950s, Coplans began attending lectures by Lawrence Alloway at the Institute of Contemporary Arts. Here he was introduced to the budding Pop Art movement, which he would become deeply involved in as both critic and curator. His experience viewing exhibitions such as the Hard-Edged Painting exhibition (ICA, 1959) and New American Painting (The Tate, 1959) helped to solidify his growing passion for not just Pop Art, but American art as well. During this period he struggled as a young artist to find his artistic voice, and developed an abstract painting practice which reflected trends of tachism and Abstract Expressionism pioneered by Americans Jackson Pollock and Willem de Kooning. Coplans would later refer to this early painting work as "derivative"; these paintings were shown in exhibitions at the Royal Society of British Artists (1950) and later at the New Vision Center. In 1960, Coplans sold all of his belongings and moved to the United States, initially settling in San Francisco and taking a position at UC Berkeley as a visiting assistant design professor. Here he met gallerist Phil Leider, the future editor of ArtForum. Leider connected Coplans to John Irwin, who wanted to start a magazine. Coplans convinced Irwin that the West Coast needed an art publication: one that gave voice to art that was important, but had not yet received critical attention. He further suggested that it should be published in square format so that both vertical and horizontal images would be viewed equally, thus giving birth to ArtForum's iconic shape—and to the successful foundation of ArtForum itself. Coplans was a regular writer for the magazine. His perspective on art writing was anti-elitist, using popular appeal and excitement over new work to “stimulate debate and awareness” especially for West Coast artists. Finding himself conflicted between his painting and writing careers, he chose the latter and devoted the next twenty years of his life to the magazine, as well as curatorial pursuits and a career as a museum director. It was not until 1981, at the age of 62, that he returned to his career as an artist.Source: Wikipedia John Coplans had a career in reverse. He was 60 by the time he established himself as a photographer, having already had a long and active life as a curator, editor, writer, artist and decorator. A pioneer of selfportraiture, he took large format black-and-white close-ups of his bare body that sent ripples of shock, recognition and frequent praise through the international art world. A major element in the fascination was an obsession with one of our few remaining taboos: the process of ageing and physical decrepitude. And with the anonymity of identity: in Coplans' words, "To remove all references to my current identity, I leave out my head." The blow-ups of sagging flesh, creased folds, odd protuberances and body hair of an old man become the documentary tale of the decline of Everyman. After a brief spell teaching at the University of California, Berkeley, in 1962 Coplans co-founded Artforum magazine and, for the next two decades, his career was to be as artistically various as it was financially precarious. Artforum was intended to combat the anti-intellectualism Coplans felt he had encountered at Berkeley, and the notion that there was nothing to be said about art, since you either made it or looked at it. His whole background was in stimulating debate and awareness, at a popular rather than an elite level. Inevitably, as he later explained, "The thing was how to get the eastern establishment to read about west coast art". Within five years, the magazine was relocated to Manhattan, with Coplans acting as west coast editor. As a museum curator, he enjoyed similarly shifting fortunes. His first project was a pop art exhibition at the Oakland art museum, and, in 1963, he became director of the university gallery at Irvine, organising an important show by Frank Stella. From 1967 to 1971, he transferred to the Pasadena art museum. Alongside established artists like Roy Lichtenstein, Andy Warhol and Donald Judd, he gave Robert Irwin, Richard Serra and James Turrell their first shows. In 1971, Coplans moved to New York to became editor of Artforum, and, in 1975, published his own version of events leading to the bankruptcy and takeover of the Pasadena art museum, “Diary Of A Disaster.” During his seven years at the helm, Artforum increasingly jettisoned the militant formalism with which it had been identified, and became a platform for the catholicity of Coplans' artistic tastes, including19th-century photography and contemporary European abstract art. In 1978, the publisher gave Coplans the choice of buying the magazine or quitting. Not being in a position to do the former, he became director of the Akron art museum in Ohio, where, again, he combined curatorial work with launching a new magazine, appropriately named Dialogue. He also published books on photographers, ranging from Weegee to Brancusi, and started his own photographic experiments. By 1980, Coplans was back in New York, and the following year had his first solo show at the Daniel Wolf Gallery. At last, he had found not only the medium but also the subject of his artistic expression. He called his works auto-portraits, and, created by means of a live-feedback video camera with an automatic shutter, they honed in on the physical landscapes of the body with all the sculptural focus - but without the distortions of the lens - of Bill Brandt's Perspective Of Nudes (1961). This was to become Coplans' constant subject matter. In 1986, he had his first show of self-portraits at the Pace/MacGill Gallery, New York. Sandra Phillips, the long-time photography curator at the San Francisco Museum of Modern Art, immediately saw the importance of the work. His first major museum exhibition followed at SF MoMA in 1988, and the exhibition traveled on to the Museum of Modern Art in New York that same year. The work was rapidly acquired and shown by the The J. Paul Getty Museum, the Museum of Modern Art in New York, and the Whitney Museum of Art; in 1997 (the same year he remarried), a major retrospective was staged MoMA PS1 Contemporary Art Centre in Queens. He published books of the work, principally the anonymous-sounding A Body, Body Parts and A Self-Portrait, and finally Provocations, which includes his photo-essays and criticism. Coplans has a daughter, Barbara, and a son, Joseph; he has two granddaughters. He was married four times. His fourth wife, photographer Amanda Means, is the Trustee for the John Coplans Trust in Beacon, New York. John Coplans was born June 20, 1920 in London and died on August 21, 2003 in New York.Source: The John Coplans Trust
Sandra Jonkers
Sandra Jonkers
Netherlands
1974
Sandra Jonkers was born in 1974 in Rotterdam, the Netherlands. She has been photographing since 2011 and gradually become one of the most prominent street photographers in the Netherlands. As equipment, she has her camera and her scooter. When I became acquainted with photography, I have started to experiment with all sorts of forms of photography. It was a big discovery to reveal the dynamics in the most mundane moments on the street, that have turned out suddenly and stay so out of routine. The little things that you normally pass by were all of a sudden special and interesting. I, therefore, started to see street photography as an enrichment of myself. If you are serious about street photography, you will experience it as a way of life. Capturing a moment that never and never comes back. No one else has seen it as you have recorded it. This way of seeing photography makes me very happy. What I need to see in street photography is storytelling scenes, powerful street portraits and purity. Because for a good street photo you have to have courage. Not being afraid of approaching people, candid, is 'key' in this.I like powerful intense looks. What you see in my photography is who I am.
Vincent Peal
Vincent Peal
Belgium
1976
Vincent PEAL was born in 1976 in Brussels - Belgium. After a music career with the band EMMA PEAL, signed to the international PIAS - label, Vincent Peal now essentially dedicates his energies to the visual realm. He produced a number of super 8 video clips in NY, Londo n, Berlin...and made a documentary about the outcast living in Brussels. Some of his pictures of the Bombay slums and the problems surrounding the pollution on West Africa's beaches were selected for the World Expo 2010 in Shanghai in the "World Water Pavilion". In 2015 he released a book "Brussels Open City" a portrait of the inhabitants of the capital of Belgium. In 2018, with the same publisher "Les Editions de Juillet" based in France he realized his second photography book "World News" about people he met during his different journey around the world. Today on the street I saw dozens of faces, each one telling a story, amazing stories, rugged, beautiful, funny and sometimes complicated, but always in those faces there is another universe to discover.
Gavin Libotte
Gavin Libotte
United Kingdom/Australia
1969
Gavin Rene Libotte is an Australian photographer born in Kent Sussex England in 1969 and is currently based in Sydney. He studied Graphic Design, Fine Art, and Jazz Guitar in Perth Western Australia. He started photography as a teenager using film while studying graphic design. After a long break he started using iPhones to make images and then went on to use Fuji and Ricoh cameras on the streets. He became a full-time musician and educator and has recently started working as a commercial photographer part-time and spending the rest of his time working on his fine art street photography. Gavin is influenced by painters such as Gorgio De Chirico, Jeffery Smart, and Caravaggio. His photographic influences include Ray K Metzker and Alex Webb. He discovered that the practice of photography is in alignment with his meditation routine and can be used to help focus the mind and live in the present moment. Gavin is currently working on some street photography projects and is showing his work in several International Group exhibitions. Artist Statement I like to explore the human condition and our relationship with the world around us. The world is multidimensional and we exist not just in a physical space. My images explore our relationship with the physical and spiritual layers of the world. The fragile human condition is at play within many layers of existence. Something we don't understand but we a committed to moving through the unseen challenges that lay ahead. I am attracted to strong compositions, hard light, faces/figures and have recently started exploring flash, ICM ( intentional camera movement ) and reflections. I like to work in black and white and colour.
Martin Elkort
Martin Elkort
United States
1929 | † 2016
Martin Edward Elkort (April 18, 1929 - November 19, 2016) was an American photographer, illustrator and writer known primarily for his street photography. Prints of his work are held and displayed by several prominent art museums in the United States. His photographs have regularly appeared in galleries and major publications. Early black and white photographs by Elkort feature the fabled Lower East Side in Manhattan, New York City, showing its ethnic diversity, myriad streets and cluttered alleys. The Coney Island amusement park in Brooklyn was another favorite site during that period. His later work depicts street scenes from downtown Los Angeles and Tijuana, Mexico. Throughout Martin Elkort's long career as a photographer, he always showed the positive, joyful side of life in his candid images. Born in the Bronx, New York City, Martin Elkort grew up during the Great Depression. Elkort took his first professional photograph at the age of 10 while on a car trip with his parents to Baltimore. During the trip, he took photographs of flooded streets. The Baltimore Sun purchased his photographs of flood scenes and featured one of them on its front page. At the age of 15, he suffered a bout with polio and spent four months in the hospital. When he returned home, his parents gave him his first Ciroflex, a twin-lens reflex camera, that cost them about a week’s salary. After his recovery from polio, he set out around Manhattan taking pictures of whatever interested him. While studying at New York City's Cooper Union School of Art, Elkort joined the New York Photo League, an organization of photographers that served as the epicenter of the documentary movement in American photography. There he studied under successful photographers including Paul Strand, Aaron Siskind, Sid Grossman, Lou Stoumen, Imogen Cunningham and Weegee, learning to become adept at what he refers to as "stealth photography". With a more refined Rolleiflex twin-lens reflex camera strapped around his neck, he would roam the streets peering down into the 2×2 inch ground glass. He developed the skill of walking right up to a person and taking their photo without them even realizing it. His goal was to capture this post-war period's general optimism and innocence. During this period he worked at the Wildenstein & Company Gallery and later, the Stephen Michael Studio in Manhattan where he further enhanced his photographic knowledge and technique. In 1948, Elkort showed his pictures of Hasidic Jewish boys playing in the streets to Edward Steichen, who was curator of photography at New York's Museum of Modern Art and probably America's most famous photographer at the time. Steichen rejected his photos, describing Martin's skills as "no better than the other 35 million amateur photographers in the country." Dejected but determined, Elkort worked tirelessly to improve his craft and two years later, he met with Steichen again. This time the famous curator bought three of his images for the museum's collection: Soda Fountain Girl, Puppy Love, and The Girl With Black Cat, all uplifting images of children at Coney Island. Elkort's photographs (c. 1951) of recently liberated Jewish immigrants learning new work skills at the Bramson ORT (Organization for Rehabilitation and Training) School in Brooklyn offer a rare and intimate glimpse into of their optimistic struggle to integrate into a new society after World War II. Some of his pictures show Jewish workers bearing tattoos evidencing their incarceration in Nazi concentration camps during The Holocaust. In 1951, more than 20,000 Jews received vocational training at the Bramson ORT School. Seamstresses, tailors, pattern makers, pressers; here they learned a trade that was much needed in New York’s growing fashion and garment district. In 2008, Elkort donated 33 of his vintage ORT photographs to the United States Holocaust Memorial Museum in Washington, D.C.. Elkort was a member of New York Photo League from 1948–1951; an editorial associate and contributor to New Mexico Magazine in 1957; a founding member in 2002 of Los Angeles League of Photographers (LALOP); a contributing editor and contributed photographs to Rangefinder Magazine in 2006; and a member of the Photography Arts Council at Los Angeles County Museum of Art. After receiving a digital camera for his 70th birthday, Martin's photographic career re-ignited. He began to show his current and older work in galleries around the country. He also found a renewed interest in the New York Photo League. In 2002, he co-founded the Los Angeles League of Photographers along with David Schulman and David Stork. Modeled after the New York Photo League, its mission is to expose the wider public to photography's essential social, political and aesthetic values. He also writes articles for magazines dealing with photography including Rangefinder and Black & White Magazine. As of March 2014, Elkort's work is widely exhibited and can be found in the permanent collections of the United States Holocaust Memorial Museum in Washington, D.C.; the Museum of Modern Art in New York City; The Jewish Museum (Manhattan) in New York City; the Columbus Museum of Art; The Museum of Fine Arts, Houston; The J. Paul Getty Museum in Los Angeles; as well as many corporate and private collections.Source: Wikipedia
Jon Wollenhaupt
Jon Wollenhaupt
United States
For more than 20 years I have been dedicated to photography and fine art printmaking. During this span of time, I have I provided photography services to corporations, not-for-profit organizations, and news and media outlets. My street photography has been exhibited nationally in the United States and published internationally. I have a degree in Fine Art from Grossmont College and further studies in Studio Arts at San Francisco State University. Other current work includes a series called Awakening, which is a series of photomontage works that involve the overlaying of disparate images that reflect the workings of the unconscious mind and amorphous embedded memories. I also experiment extensively with alternative printing processes such as platinum pallidum and cyanotype. About Tales of a City: San Francisco Artist North Beach© Jon Wollenhaupt For more than 10 years I prowled the streets of San Francisco taking photos without a particular theme in mind. Or, you could say the city itself was the theme. I was more interested in trying to reveal something about the fabric of the city than looking only at specific threads. I hope these photos display a faithful chronicle of everyday life, in which there is glimmer of what John Szarkowski calls “ineffable dramatic possibilities.” Can it be that the capture of those small daily dramas that take place on busy streets, in alleys, and between tall buildings, can tell the story of a city as complex and unique as San Francisco? Perhaps. The story of a great city is always unfolding, and each day a page of a new chapter begins."
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