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Yoni Blau
Yoni Blau
Yoni Blau

Yoni Blau

Country: Israel
Birth: 1982

I consider myself a travel photographer, but my primary focus is on people and cultures rather than nature, landscape and wildlife. I was fortunate enough to be able to spend a good amount of time traveling and I genuinely wish I will be able to keep exploring this beautiful planet of ours and the fascinatingly different cultures around the globe.

Proud Women of the Omo Valley
This project ("Proud Women of the Omo Valley") was taken inside a Suri tribe in the Omo Valley in Southern Ethiopia. The models were not dressed, simply recorded as is. No artificial lighting was used. The pictures with the black backdrop were taken within a dark tent with the light coming in from the entrance of the tent. In the Omo Valley, it feels as if time has no meaning. Days, months, seasons and years are irrelevant in this timeless corner of the world. Same goes for the concept of money, or the modern angst that comes with intellectual pursuit of the meaning of life and death. There, it's about life's essentials. It's about freedom and bare necessities. About being satisfied, joyful and surrounded by loved ones. I tried capturing the essence of what it means to be "stuck in time" which made me keep wondering whether they were left behind or whether the modern world is the one who made the wrong turn. This project taken in Dec 2019 feels more current than ever, especially in times like these with the Covid-19 global health crisis and the economic downturn, when we all got to spend some alone time and got back in touch with our most basic human needs and what "really matters".

Websites

www.yoniblau.com

www.instagram.com/yoni_blau_photography

 

Inspiring Portfolios

Shinji Ichikawa
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Fabien Dendiével
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Dana Stirling
Dana Stirling
Israel
1989
Dana Stirling is a fine art photographer and the Co-Founder & Editor of Float Photo Magazine since 2014. She is currently based in Queens, New York. She earned her MFA in Photography, Video, and Related Media from The School Of Visual Arts in 2016, following her earlier BA in Photographic Communications from Hadassah College Jerusalem. Dana Stirling's work has been prominently featured in group exhibitions in the United States and internationally, including reputable venues such as Panop-ticon Gallery and Saatchi Gallery. Her photography has gained recognition in various publications, including Buzzfeed, Feature Shoot, Der Grief Magazine and others. why am i sad In the ongoing evolution of my artistic journey, I find myself engaged in a profound process of self-examination, mental health and sadness - using the camera to explore the essence of who I am and my connection to the art of photography. My roots lie in a small town. Within this space, I grappled with a pervasive sense of loneliness that transcended both the physical boundaries and the emotional confines of my surroundings. Even in the company of others, I felt a profound solitude that echoed within and beyond those walls. Home, rather than a sanctuary, was a place where the weight of stress, anxiety, and extensive sadness loomed. Family, instead of offering solace, became a source of inner turmoil. Unspoken but deeply felt, my mother's battle with clinical depression cast a shadow over me. I saw her lose more and more of herself, becoming less and less a person I understood. In my youth, I perceived her sadness as a natural extension of my own sadness, failing to grasp the impact it would have on my journey toward understanding and confronting my own struggles with depression as I grow older. Photography emerged as my lifeline during these moments of isolation. Equipped with my camera, I found solace in the quietude of my room, capturing the silent narratives of everyday objects that became vessels for the unspoken language of my inner dialogue. Photography, in essence, became my personal code, a means of externalizing the words I couldn't articulate verbally. In the silent dialogue with still life, I discovered a form of communication that transcended the limitations of human interaction. Objects, devoid of judgment, spoke the untold stories, becoming my voice in a world where words often fell short. Despite physically distancing myself from the room that once encapsulated my struggles, the weight of sadness remains a constant companion. Photography, once a means of escape, has transformed into a burden, shaping both my emotional state and the aesthetic of my images. The absence of photography leaves me despondent, while the act of capturing images reflects the pervasive cloud of sadness that hovers above me. 'Why Am I Sad' stands as a pivotal exploration, a journey into the intricate relationship between myself and the art of photography, viewed through the lens of my camera. It is an open-ended question, not posed with the expectation of a definitive answer, but rather as a beacon of hope—an invitation to rediscover comfort within the very medium that has been both a refuge and a challenge. My work is an exploration of the interplay between personal struggles and the transformative power of artistic expression. Through the lens, I invite viewers to join me in questioning, in reflecting, and in the shared pursuit of finding solace and meaning within the complex tapestry of existence.
Clay Lipsky
Clay Lipsky
United States
Clay Lipsky is a fine art photographer & Emmy Award winning graphic designer based in Los Angeles. He has applied his unique visual style across a variety of mediums, from print and multimedia to TV and film. Despite his varied interests, photography has always been a part of Clay’s life. Recently, he has experienced a new-found interest with the medium and is now passionately focused on pursuing photography as fine art, free from clients and limitless in creative possibilities. Clay is self-taught and strives to create images that can stand the test of time. His photos have been exhibited in various group shows, including those at the Annenberg Space for Photography, MOPLA, Pink Art Fair Seoul, Wall Space, Rayko and Impossible Project Spaces in NYC & Warsaw, Poland. Clay has been published internationally in print and online, most notably with Esquire Russia, Wired Italia, Fraction, Square, Lenscratch, Diffusion, i-ref, Daily News (UK), Yahoo! Lifestyle (Germany), La Republica (Italy), Libération (France), Shots & um[laut] Magazines. Clay Lipsky's project, In Dark Light, is intriguing on a number of levels. First, the work was created, for the most part, on a trip to Iceland and as we know, creating conceptual fine art images while in a foreign place, with no opportunity for previsualization, is not an easy task. But somehow, Clay instinctively found a narrative and way of working within a concentrated period of time. The other interesting aspect is what the work is about. Making imagery about depression, about loss and solitude has to have subtle nuances that are at once personal and universal, and Clay captured this subject with emotion and simplicity. Clay works as fine art photographer and graphic in Los Angeles. His photos have been exhibited in group shows across the country, including the Annenberg Space for Photography, MOPLA, Pink Art Fair Seoul, PhotoPlace and Impossible Project NYC. He has been featured internationally in print and online in publications such as Fraction, Square, Diffusion, F-Stop, PH and Shots Magazines. Recently, he was a featured "Ten" through Jennifer Schwartz Gallery, and North Light Press will be publishing an edition of his Cuba photos through their 11+1 series. He is also an avid self-publisher with several titles that exhibit as part of the Indie Photobook Library. Source: www.lenscratch.com About the series In Dark Light This series of self portraits examines my loss of identity and enduring personal journey through depression. It is a solitary path that encompasses loss of home and parent, the pursuit of beauty, work and perseverance under no religious or visceral compass. Imagined as a vast, shadowed plane it is a private purgatory mired in fog with colors muted and senses numbed. The varied landscape acts as metaphor for life's many obstacles. Beyond the horizon lies hope for brighter days and so the lone soul carries on, albeit cast in dark light. Discover Clay Lipsky's Interview
Gerhard Wagner
Gerhard Wagner
Austria
1966
The reason why I take street-pictures is to catch and perpetuate short moments in life. I love Street photography and have been photographing on the street with passion since 2015... Although I probably already did street photography unconsciously in 1998, partly in my subconscious, when I look at some photos from the archive today... In my opinion, honest authentic photography does not have anything to do with image processing application or image montage. I shot only candid and unposted scenes. I took my first pictures with a Polaroid camera when I was 11 years old...I try to get better every day...Here you’ll get an impression about street photography, the way I see it. Let us retain and admire (urban) moments together
Antonio Masiello
Antonio Masiello
Italy
1987
Antonio Masiello was born in Rome on 1987. Journalist since 2013, he documented the Kosovo and Lebanon for the foreign mission of Italian army between 2013 and 2014. On 2015 he began a collaboration with the photo agency Nurphoto, for which he follows the main international news. His works are currently published in the main foreign magazines, among others: TIME Magazine, The Wall Street Journal, Newsweek USA and Europe, The week USA, Vanity Fair USA, Fortune, Mashable, Frankfurter Allgemeine, The Guardian, The Times, The independent, Die Zeit Magazine, The Sun, The Telegraph, Internazionale, Panorama. With his work on the refugees in Greece, he won the Award of Excellence at the Picture of the year international (POYi) and is a Finalist in the LensCulture Exposure. He is based and works in Rome.
Patrick Joust
Patrick Joust
United States
1978
Patrick Joust is a 32 year old photographer living in Baltimore, Maryland. Born in Oroville, California, Patrick has gone back and forth between both coasts of the United States, before settling permanently in Baltimore in 2006 where he works as a librarian for the city library system. He started to take photography seriously about 8 years ago, but it wasn’t until he lived in Baltimore that he finally started to regularly capture and convey something close to what he wanted. Within his own city and in his travels, photography has helped Patrick to place reality within context. The complex nature of a photograph, of how it can be both truthful and false to its subject, sometimes at the same time, is part of the reason why he finds the work so fascinating. He mostly shoots film and enjoys playing around with multiple cameras in multiple formats and he enjoys following the work of others.
Tatiana Ilina
Tatiana Ilina
Russia/United States
Documentary Photographer, Photojournalist. Have been working in these fields for more than 12 years in different countries around the world. After receiving a Masters Degree in Journalism/Social Media/News Production from International Independent Ecological-Political University, graduated from Rodchenko Moscow School of Photography and Media Arts. Subsequently, graduated from ESEC Professional School in the field of film and audiovisual techniques. Recently, completed degrees with courses in Advertising and Art-direction from the School of Visual Arts in New York. Sometimes art can change how people see the world, but I want to change how the world sees people. Through my imagery, I am passionate about giving a voice to the voiceless - shining a light on those whom society has often placed in darkness. I was brought to photography by cinema when I was 20 years old, and I was fascinated by the new wave in French movies, in particular by films of Jean Luc Godard. His films immersed me in a special, unlikely reality while watching them I understood that I wanted to stop the moments to capture reality and tell the stories with my photographs. I have traveled around the world, working in different countries, creating social documentaries and art projects allowing me to look at things from the other side.
Oliver Curtis
Oliver Curtis
United Kingdom
1963
Brought up in the Cotswolds, Curtis began his photographic education studying photography at the renowned course at Filton Technical College in Bristol. He went on to study film and television at the London College of Printing and has been balancing work in stills and moving image ever since. Curtis continues to produce stills portraiture for major broadcasters as well as generating his own projects for exhibition and publication. He sites as key influences William Eggleston, Saul Leiter and Paul Graham. He continues to plough a distinctly idiosyncratic path as Director of Photography on feature films as diverse as Clare Kilner's The Wedding Date, Frank Oz's Death At A Funeral and Joanna Hogg's Unrelated as well as experimental gallery-based installations such as Gideon Koppel's Borth. He remains in great demand worldwide shooting commercials for high profile clients such as Pantene, L'Oreal, La Perla, Ferragamo, Palmolive, Rimmel, Coca Cola, Sony, Guinness, Canon and Cadbury's. About Volte-Face: On visiting the Pyramids of Giza in Cairo in 2012, Oliver Curtis turned away and looked back in the direction he had come from. What he saw fascinated him so much that he has since made a point of turning his back on some of world's most photographed monuments and historic sites, looking at their counter-views and forgotten faces. Taken over a period of four years, Volte-face is an invitation to turn around and see a new aspect of the over-photographed sites of the world - to send our gaze elsewhere and to favour the incidental over the monumental... Curtis feels that despite the landmark not being present in the photograph, the images are still suffused with the aura of the construction. The camera lens effectively acts as a nodal point and, by giving the photograph the title of the unseen partner, this duality becomes a virtue. Volte-face will be published by Dewi Lewis featuring an essay by Geoff Dyer: https://www.dewilewis.com/collections/new-titles/products/volte-face The first exhibition of the Volte-face project was held at the Royal Geographical Society in London, Sept 2016. The collection has received a great deal of acclaim worldwide and has featured in the Financial Times Magazine (UK), NPR Radio New Hampshire (USA), Liberation (France) Wired.com and BBC World Update amongst many others.
Jennifer Baron
Jennifer Baron
The Netherlands
1971
Jennifer Baron is a Dutch photographer based in Amsterdam. After many years in the field of education, she has decided to pursue her passion for photography. Her journey into the world of visual storytelling has culminated in the recent publication of her self published debut book, ‘Frozen August.’ ‘I translate my feelings in my work using universal themes that deal with grief, trauma, loss and healing. There is always an autobiographical element present. Making visible experiences, pain and traces left behind. In my work, abstraction alternates with intimacy and emotion.’ Statement Jennifer’s photographic work is a visual dance that encourages the viewer to explore the subtle balance between the intangible and the tangible, the distant and the immediate. It’s in the contrasting elements of her art that a strong feeling emerges, motivating people to explore their own feelings and experiences. She believes that black and white photography has a unique ability to capture the raw essence of human emotions and experiences. It gives the viewers the opportunity to fill in the colors of their own emotions and interpretations. Her work is deeply rooted in her personal experiences and emotions. ‘I translate my feelings in my work using universal themes that deal with grief, trauma, loss and healing. There is always an autobiographical element present. Making visible the experiences, the pain and the traces left behind. In my work, abstraction alternates with intimacy and emotion.’ Frozen August When you have experienced a loss, you can go a long time without dealing with it. You get carried away by everyday life. Suddenly that grief is there again. Why you can still grieve intensely even years after the death of a loved one. ‘My work gives an insight into my grieving process over the sudden death of my brother in August 1990. After 33 years of keeping silent about this, this wound is still so palpable. My world in darkness invites you to follow the trail of emotions. Body and nature become landscapes of mourning. Light and dark are about hope and despair. By combining various media; photography, sketches and publication book, my project Frozen August came about.’
Alfred Stieglitz
Alfred Stieglitz
United States
1864 | † 1946
Through his activities as a photographer, critic, dealer, and theorist, Alfred Stieglitz had a decisive influence on the development of modern art in America during the early twentieth century. Born in 1864 in New Jersey, Stieglitz moved with his family to Manhattan in 1871 and to Germany in 1881. Enrolled in 1882 as a student of mechanical engineering in the Technische Hochschule (technical high school) in Berlin, he was first exposed to photography when he took a photochemistry course in 1883. From then on he was involved with photography, first as a technical and scientific challenge, later as an artistic one. Returning with his family to America in 1890, he became a member of and advocate for the school of pictorial photography in which photography was considered to be a legitimate form of artistic expression. In 1896 he joined the Camera Club in New York and managed and edited Camera Notes, its quarterly journal. Leaving the club six years later, Stieglitz established the Photo-Secession group in 1902 and the influential periodical Camera Work in 1903. In 1905, to provide exhibition space for the group, he founded the first of his three New York galleries, The Little Galleries of the Photo-Secession, which came to be known as Gallery 291. In 1907 he began to exhibit the work of other artists, both European and American, making the gallery a fulcrum of modernism. As a gallery director, Stieglitz provided emotional and intellectual sustenance to young modernists, both photographers and artists. His Gallery 291 became a locus for the exchange of critical opinions and theoretical and philosophical views in the arts, while his periodical Camera Work became a forum for the introduction of new aesthetic theories by American and European artists, critics, and writers. After Stieglitz closed Gallery 291 in 1917, he photographed extensively, and in 1922 he began his series of cloud photographs, which represented the culmination of his theories on modernism and photography. In 1924 Stieglitz married Georgia O'Keeffe, with whom he had shared spiritual and intellectual companionship since 1916. In December of 1925 he opened the Intimate Gallery; a month later Duncan Phillips purchased his first works from Stieglitz’s gallery, paintings by Dove, Marin, and O'Keeffe. In 1929 Stieglitz opened a gallery called An American Place, which he was to operate until his death. During the thirties, Stieglitz photographed less, stopping altogether in 1937 due to failing health. He died in 1946, in New York. The Collection contains nineteen gelatin-silver photographs of clouds by Stieglitz.Source: The Phillips Collection My photographs are a picture of the chaos in the world, and of my relationship to that chaos. My prints show the world’s constant upsetting of man’s equilibrium, and his eternal battle to reestablish it. -- Alfred Stieglitz In early June 1918, O'Keeffe moved to New York from Texas after Stieglitz promised he would provide her with a quiet studio where she could paint. Within a month he took the first of many nude photographs of her at his family's apartment while his wife Emmy was away, but she returned while their session was still in progress. She had suspected something was going on between the two for a while, and told him to stop seeing her or get out. Stieglitz left and immediately found a place in the city where he and O'Keeffe could live together. They slept separately for more than two weeks, but by the end of July they were in the same bed together. Once he was out of their apartment Emmy had a change of heart. Due to the legal delays caused by Emmy and her brothers, it would be six more years before the divorce was finalized. During this period Stieglitz and O'Keeffe continued to live together, although she would go off on her own from time to time to create art. Stieglitz used their times apart to concentrate on his photography and promotion of modern art. O'Keeffe was the muse Stieglitz had always wanted. He photographed O'Keeffe obsessively between 1918 and 1925 in what was the most prolific period in his entire life. During this period he produced more than 350 mounted prints of O'Keeffe that portrayed a wide range of her character, moods and beauty. He shot many close-up studies of parts of her body, especially her hands either isolated by themselves or near her face or hair. O'Keeffe biographer Roxanna Robinson states that her "personality was crucial to these photographs; it was this, as much as her body, that Stieglitz was recording." In 1920, Stieglitz was invited by Mitchell Kennerly of the Anderson Galleries in New York to put together a major exhibition of his photographs. In early 1921, he hung the first one-man exhibit of his photographs since 1913. Of the 146 prints he put on view, only 17 had been seen before. Forty-six were of O'Keeffe, including many nudes, but she was not identified as the model on any of the prints. In 1922, Stieglitz organized a large show of John Marin's paintings and etching at the Anderson Galleries, followed by a huge auction of nearly two hundred paintings by more than forty American artists, including O'Keeffe. Energized by this activity, he began one of his most creative and unusual undertakings – photographing a series of cloud studies simply for their form and beauty. He said: "I wanted to photograph clouds to find out what I had learned in forty years about photography. Through clouds to put down my philosophy of life – to show that (the success of) my photographs (was) not due to subject matter – not to special trees or faces, or interiors, to special privileges – clouds were there for everyone…" By late summer he had created a series he called "Music – A Sequence of Ten Cloud Photographs". Over the next twelve years he would take hundreds of photographs of clouds without any reference points of location or direction. These are generally recognized as the first intentionally abstract photographs, and they remain some of his most powerful photographs. He would come refer to these photographs as Equivalents. Stieglitz's mother Hedwig died in November 1922, and as he did with his father he buried his grief in his work. He spent time with Paul Strand and his new wife Rebecca (Beck), reviewed the work of another newcomer named Edward Weston and began organizing a new show of O'Keeffe's work. Her show opened in early 1923, and Stieglitz spent much of the spring marketing her work. Eventually, twenty of her paintings sold for more than $3,000. In the summer, O'Keeffe once again took off for the seclusion of the Southwest, and for a while Stieglitz was alone with Beck Strand at Lake George. He took a series of nude photos of her, and soon he became infatuated with her. They had a brief physical affair before O'Keeffe returned in the fall. O'Keeffe could tell what had happened, but since she did not see Stieglitz's new lover as a serious threat to their relationship she let things pass. Six years later she would have her own affair with Beck Strand in New Mexico. In 1924, Stieglitz's divorce was finally approved by a judge, and within four months he and O'Keeffe married in a small, private ceremony at Marin's house. They went home without a reception or honeymoon. O'Keeffe said later that they married in order to help soothe the troubles of Stieglitz's daughter Kitty, who at that time was being treated in a sanatorium for depression and hallucinations. For the rest of their lives together, their relationship was, as biographer Benita Eisler characterized it, "a collusion ... a system of deals and trade-offs, tacitly agreed to and carried out, for the most part, without the exchange of a word. Preferring avoidance to confrontation on most issues, O'Keeffe was the principal agent of collusion in their union." In the coming years O'Keeffe would spend much of her time painting in New Mexico, while Stieglitz rarely left New York except for summers at his father's family estate in Lake George in the Adirondacks, his favorite vacation place. O'Keeffe later said "Stieglitz was a hypochondriac and couldn't be more than 50 miles from a doctor." The great geniuses are those who have kept their childlike spirit and have added to it breadth of vision and experience. -- Alfred Stieglitz At the end of 1924, Stieglitz donated 27 photographs to the Boston Museum of Fine Arts. It was the first time a major museum included photographs in its permanent collection. In the same year he was awarded the Royal Photographic Society's Progress Medal for advancing photography and received an Honorary Fellowship of the Society. In 1925, Stieglitz was invited by the Anderson Galleries to put together one of the largest exhibitions of American art, entitled Alfred Stieglitz Presents Seven Americans: 159 Paintings, Photographs, and Things, Recent and Never Before Publicly Shown by Arthur G. Dove, Marsden Hartley, John Marin, Charles Demuth, Paul Strand, Georgia O'Keeffe and Alfred Stieglitz. Only one small painting by O'Keeffe was sold during the three-week exhibit. Soon after, Stieglitz was offered the continued use of one of the rooms at the Anderson Galleries, which he used for a series of exhibitions by some of the same artists in the Seven Americans show. In December 1925, he opened his new gallery, The Intimate Gallery, which he nicknamed The Room because of its small size. Over the next four years, he put together sixteen shows of works by Marin, Dove, Hartley, O'Keeffe and Strand, along with individual exhibits by Gaston Lachaise, Oscar Bluemner and Francis Picabia. During this time, Stieglitz cultivated a relationship with influential new art collector Duncan Phillips, who purchased several works through The Intimate Gallery. In 1927, Stieglitz became infatuated with the 22-year-old Dorothy Norman, who was then volunteering at the gallery, and they fell in love. Norman was married and had a child, but she came to the gallery almost every day. O'Keeffe accepted an offer by Mabel Dodge to go to New Mexico for the summer. Stieglitz took advantage of her time away to begin photographing Norman, and he began teaching her the technical aspects of printing as well. When Norman had a second child, she was absent from the gallery for about two months before returning on a regular basis. Within a short time, they became lovers, but even after their physical affair diminished a few years later, they continued to work together whenever O'Keeffe was not around until Stieglitz died in 1946. In early 1929, Stieglitz was told that the building that housed The Room would be torn down later in the year. After a final show of Demuth's work in May, he retreated to Lake George for the summer, exhausted and depressed. The Strands raised nearly sixteen thousand dollars for a new gallery for Stieglitz, who reacted harshly, saying it was time for "young ones" to do some of the work he had been shouldering for so many years. Although Stieglitz eventually apologized and accepted their generosity, the incident marked the beginning of the end of their long and close relationship. In the late fall, Stieglitz returned to New York. On December 15, two weeks before his sixty-fifth birthday, he opened An American Place, the largest gallery he had ever managed. It had the first darkroom he had ever had in the city. Previously, he had borrowed other darkrooms or worked only when he was at Lake George. He continued showing group or individual shows of his friends Marin, Demuth, Hartley, Dove and Strand for the next sixteen years. O'Keeffe received at least one major exhibition each year. He fiercely controlled access to her works and incessantly promoted her even when critics gave her less than favorable reviews. Often during this time, they would only see each other during the summer, when it was too hot in her New Mexico home, but they wrote to each other almost weekly with the fervor of soul mates. In 1932, Stieglitz mounted a forty-year retrospective of 127 of his works at The Place. He included all of his most famous photographs, but he also purposely chose to include recent photos of O'Keeffe, who, because of her years in the Southwest sun, looked older than her forty-five years, in comparison to Stieglitz's portraits of his young lover Norman. It was one of the few times he acted spitefully to O'Keeffe in public, and it might have been as a result of their increasingly intense arguments in private about his control over her art. Later that year, he mounted a show of O'Keeffe's works next to some amateurish paintings on glass by Becky Strand. He did not publish a catalog of the show, which the Strands took as an insult. Paul Strand never forgave Stieglitz for that. He said, "The day I walked into the Photo-Secession 291 [sic] in 1907 was a great moment in my life… but the day I walked out of An American Place in 1932 was not less good. It was fresh air and personal liberation from something that had become, for me at least, second-rate, corrupt and meaningless." In 1936, Stieglitz returned briefly to his photographic roots by mounting one of the first exhibitions of photos by Ansel Adams in New York City. The show was successful and David McAlpin bought eight Adams photos. He also put on one of the first shows of Eliot Porter's work two years later. Stieglitz, considered the "godfather of modern photography", encouraged Todd Webb to develop his own style and immerse himself in the medium. The next year, the Cleveland Museum of Art mounted the first major exhibition of Stieglitz's work outside of his own galleries. In the course of making sure that each print was perfect, he worked himself into exhaustion. O'Keeffe spent most of that year in New Mexico. In early 1938, Stieglitz suffered a serious heart attack, one of six coronary or angina attacks that would strike him over the next eight years, each of which left him increasingly weakened. During his absences, Dorothy Norman managed the gallery. O'Keeffe remained in her Southwest home from spring to fall of this period. In the summer of 1946, Stieglitz suffered a fatal stroke and went into a coma. O'Keeffe returned to New York and found Dorothy Norman was in his hospital room. She left and O'Keeffe was with him when he died. According to his wishes, a simple funeral was attended by twenty of his closest friends and family members. Stieglitz was cremated, and, with his niece Elizabeth Davidson, O'Keeffe took his ashes to Lake George and "put him where he could hear the water." The day after the funeral, O'Keeffe took control of An American Place.Source: Wikipedia Image:All images © Library of Congress, Prints & Photographs Division, The Alfred Stieglitz Collection, Gift of Georgia O'Keeffe
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Interview
Exclusive Interview with Manuela Federl
Manuela Federl is a journalist and documentary filmmaker with over 15 years of experience. She studied languages, economics, and cultural studies, focusing on the Mapuche people in Chile, which became the subject of her published thesis. In 2016, she founded her company, bergjournalisten, and has since created award-winning documentaries like 100 Hours of Lesbos and THE GAME. Gambling Between Life and Death. For the past two years, she has traveled extensively, documenting social issues through photography and storytelling. Her series The Roma Princesses earned her the January 2024 Solo Exhibition.
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Exclusive Interview with Dona Ann McAdams about ’Black Box’
Interview
Exclusive Interview with Dona Ann McAdams about 'Black Box'
Black Box, a memoir by award-winning American photographer Dona Ann McAdams, combines fifty years of black and white photography with the photographer’s own short lyric texts she calls “ditties.” The book brings together McAdams’ striking historical images with personal reflections that read like prose-poems. Her photographs, taken between 1974 and 2024, document astonishing moments and people across decades of American life.
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Exclusive Interview with Grace Weston
Interview
Exclusive Interview with Grace Weston
Grace Weston’s staged photography transforms miniature vignettes into powerful narratives that explore psychological themes with a playful yet profound touch. Her meticulously crafted scenes invite viewers to delve into stories of power, identity, and human complexity. Weston’s innovative work has earned international recognition, including winning the November 2023 Solo Exhibition. We asked her a few questions about her life and work.
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