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Yas Crawford
Yas Crawford
Yas Crawford

Yas Crawford

Country: United Kingdom
Birth: 1961

Yas Crawford was born in Pembrokeshire in Wales where the geological landscape and biological make-up have subliminally influenced her work. Yas has had a career in geology, microbiology and life sciences, only later finding her way into photography. She now works in the 'Grey Space' between disciplines, connecting them via internal and external human landscapes often revealing micro and macro environments intertwined. She attempts to explain the emotion, not necessarily the science. She examines the point where science falls short and art steps in. Using digital and analogue photography, Yas's work has naturally developed in a fine art form because this is how she imagines the condition or the situation.

Her multidisciplinary background enables her to explore abstraction, recognise areas of ambiguity often through topographical and geometrical shape. The repetitive nature of Yas's images reveals her scientific thinking: the constant production of sets of images produced as if they are a scientific experiment, carefully catalogued for success or failure and reflected in the images' numbering.

The abstraction in her images gently removes the objectivity, however, and leaves her imagery open to everyone for interpretation, making it a safe place for her audience to absorb the information. Yas's work has been exhibited internationally, won several awards for her work and a finalist at the RPS Science Photographer of the Year 2019 with 'Oxygen Ib'

A Biological Journey
Biology defines us, it's almost rule-less unlike physics and chemistry, which are laden with laws, regulation and procedure, a necessity but limited. The path of the cycle of life remains in the 'Grey Space' that space in-between disciplines and is challenging. The Holocene Epoch; a journey of geological creation, the first life on earth, adapting genetics, human behaviour and interaction, environmental change and viral contamination remains a biological mystery undefined, ambiguous, unknown and often uncontrolled by humankind. Working within the 'Grey Space' I anticipate a journey tracing time, stimulating our senses, finding consciousness in the subconscious and allowing us to live, for a moment, in the present.

Websites

www.yascrawford.com

@yascrawfordphotography

 

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John Novis
John Novis
United Kingdom
1950
John Novis is photographer and story teller working on environmental issues, particularly climate change for the last 30 years. Climate Change is the biggest global threat ever known to mankind, yet it is the most challenging and difficult subject to visualize to any great effect. Any image presented, be it extreme weather events, scientific evidence or global protests can be argued against by a sceptic media, governments and industry. It is precisely this challenge that drives concerned photographers to push ever more creative photos into the image pool to drive home the importance of this emergency of our times. We are getting somewhere thanks to Greta Thunberg and Environmental groups such as Greenpeace, Extinction Rebellion etc. which provide scope for compelling pictures. Social media has also provided a valuable platform for citizen journalism reporting climate related events as they unfold in real time. How I got there I stared my career in photography in London during the 'swinging 60's 'years working with high profile photographers in Vogue, Apple Corp (Beatles), top Fashion and Industrial photo studios Adrian Ensor Labs up until 1977 when I enrolled on a 3 year 'Creative Photography' course in Nottingham University under the guidance of Thomas Joshua Cooper and Raymond Moore. In 1980 I received a grant from UK South East Arts to make a 30 minute, 16mm film called 'Our trip to the Zoo' analysing the family snapshot with the old Kodak slogan – 'to capture life'. Throughout most of the 80's I worked as a freelance commercial photographer and then in 1989 I joined Greenpeace as an in –house photographer where I was employed until 2015. Just before I joined Greenpeace, I was becoming disillusioned with photography as an instrument for advertising and generating profit. It was though Greenpeace I was able to employ my expertise in photography to produce images that would serve as a wake-up call to the critical state of our environment. As photography became more important to the organisation I became Head of Photography at the international headquarters in Amsterdam, directing major photo projects such as: - Ocean and whaling expeditions, Amazon – Illegal logging, Yunnan, China campaigning against the introduction of GMO rice to the rice growing communities, Climate in Crisis - Yellow River drying up, the Disappearing Glaciers on Everest, Climate and Poverty along the Silk Road in Gansu Province, China - Palm oil production in Riau, Indonesia and 'Forest Solutions' global communities living from the forest management towards a sustainable solution. In addition, I have also worked on numerous successful publications including the nuclear industry of Russia with Dutch photographer Robert Knoth, (Panos) and Bhopal – '' with Raghu Rai (Magnum). My professional services outside Greenpeace have included, organizing and hosting the Beijing Photo Master Classes with World Press Photo winners, member of the jury for the 2007 CHIPP (China International Press Photo Contest) and Member of the Jury and visiting lecturer to Fotopub, Slovenia July 2008. Directing a major exhibition and slide show at 1999 Perpignan, Visa Pour L'image with an interview with Jean Francois Leroy on stage. In 2012 I ran a photo workshop and curated a renewable energy exhibition at the Angkor Photo Festival in Siem Reap, Cambodia and was invited as guest speaker for Wild Photos at the Royal Geographic society in 2011. I am currently working on Climate Emergency events and supporting on line publications with consultancy and archive picture material.
Andrew Moore
Andrew Moore
United States
1957
Andrew Moore’s work is in the collection of the Whitney Museum of American Art, Yale University Art Gallery, the Library of Congress, the Israel Museum, the High Museum, the George Eastman House and the Canadian Centre for Architecture. Recent exhibitions include The Queens Museum, Columbia University and The Museum of the City of New York in conjunction with a retrospective on the legacy of Robert Moses. Moore has had recent solo shows in Minneapolis, Moscow, Paris, San Francisco, and Nebraska. In 1975, Moore enrolled at Princeton University, where he worked on an independent major in photography under the guidance and mentorship of the historian Peter Bunnell and the photographer Emmet Gowin, who at the time, was completing his first monograph. During that time, Moore also had the benefit of working with visiting artists including Frederick Sommer, Jim Dow, and Joel Meyerowitz. Moore graduated summa cum laude in 1979. After a brief stint working with commercial photographers in New York City, Moore moved to New Orleans, where he continued a body of work first started for his senior thesis. Over the next two years, he focused on the city’s disappearing commercial district, where he found subjects such as a coffin workshop, a broom factory, and a raw furrier–places employing artisans and outdated machinery. The New Orleans Downtown Development District awarded Moore a grant which enabled him to produce a portfolio of one-hundred 8x10 color contact prints, which were placed in the city’s archives. In 1981, Moore returned to New York City, where he began a three-year project documenting the rapid changes to the urban landscape, specifically at the South Street Seaport and Fulton Fish Market in lower Manhattan. At the start of his project, the demolition of the present marketplace and shopping pier was just getting underway. Moore returned many times over the following months, often photographing at night to portray the architecture and ambiance of the surrounding neighborhood amidst massive, rapid transformation. For this work, Moore and two other photographers, Barbara Mensch and Jeff Perkell, were awarded grants from the JM Kaplan Foundation, and the New York State Council on the Arts, which enabled the completed project, South Street Survey to be shown at the Municipal Art Society in 1985. During this time, Moore was also working on a series of photographs of grain elevators in Buffalo, New York with the assistance of an NYSCA individual grant. In Buffalo, Moore met a group of artists working with appropriated imagery, which inspired him to begin using mechanical and chemical processes to incorporate multiple negatives, paintings, drawings, and xeroxes into complex montage images outside of strict documentary practice. This method of recombination, in the era before Photoshop, created images of convulsive beauty and were the subject of Moore’s first solo exhibition in New York at Lieberman and Saul Gallery in 1986, following his first solo show at Real Art Ways in Hartford, CT in 1985. Moore continued this method of montaging imagery for the next 7 years, expanding his practice into experimental short films. During this time, Moore collaborated on short films with others including the artists Lee Breuer and David Byrne. His film Nosferatu 1989 was nationally broadcast on MTV and PBS’s New Television series. 42nd Street In 1995, Moore returned to his roots in documentary practice as the texture of New York’s 42nd Street was rapidly changing. With all of the theaters between 7th and 8th avenues scheduled to be razed or refurbished, Moore sought permission to photograph the torn seats and faded fire curtains which told the stories of those spaces. In 1997, Moore showed these photographs at Yancey Richardson Gallery in New York. Despite his change of style, the work was well-received; in a review for The New Yorker, Andrew Long noted, “The straight forward treatment is a departure for the photographer, who characteristically produces multi-image evocations of New York City. Nothing is lost however - his earlier poetic constructs now give way to broader arenas for the imagination to roam.” Cuba Moore first traveled to Cuba in 1998 to photograph Havana’s decaying theaters. The project soon expanded in scope to document the larger effects of Cuba’s permanent Revolution, which were particularly apparent during the economic depression known as the “Período especial.” Moore’s large-scale color photographs of Havana reveal an elegant but crumbling metropolis of muted pastel interiors, courtyards, and scenes of daily life. Moore returned to photograph Cuba’s architecture and environment over the next 14 years, in the process publishing two monographs Inside Havana (Chronicle Books, 2002) and Cuba (Damiani, 2012). Moore has said his work intends to show, “how contemporary history, and specifically cultures in transition, are expressed through architecture.” The photographer Julius Shulman wrote of Inside Havana, “Exhibited throughout Moore’s work is a genuine flavor of ‘presence’. He does not attempt to gloss over questionable conditions, nor does he try to contort reality. With tremendous sensitivity, Moore creates art statements of the architecture he shows us. His images are painterly and poetic.” Moore’s photographs from Cuba appeared as a cover story in the September 23, 2012 issue of New York Times Magazine. Russia While working in Cuba, Moore became interested in the island nation’s long relationship with Russia. This led him to photograph the architectural environments where Russian history and politics collide in unexpected ways. Between 2000 and 2004 Moore made 8 trips around Russia from St. Petersburg to the remotest parts of the country. The New Yorker wrote of the work, “in taking Russia - its contradictions and gorgeous ruins - at face value, he captures a country’s diversity and history.” For example, Moore photographed a “czarist church [that] was turned into a soap factory during the Soviet period, and now has been restored into a kind of youth center.” Moore remarked, “For me these kinds of subjects present a cross-section through time: they address Russia’s complex past, as well as the larger compacting and collapsing processes of contemporary history.” In 2004, Moore published the monograph Russia Beyond Utopia (Chronicle Books, 2004). Detroit In 2008 and 2009, Moore traveled to Detroit to portray in photographs “the idea that in an urban setting you could also have a landscape happening, the forces of nature intersecting with American urbanism, the process of decline also intersecting with the revival of nature.” In 2010, Moore released Detroit Disassembled (Damiani, 2010), with an introduction by Detroit-native and Poet Laureate Philip Levine, to coincide with an exhibition at the Akron Art Museum. He was originally invited to document the city by two young French photographers, Yves Marchand and Romain Meffre, who had been photographing Detroit’s abandoned spaces since 2005. While Moore’s Detroit series follows the themes of transformation and decaying space explored in previous bodies of work, his focus on the motor city generated controversy in the pages of The New Republic and the journal Guernica. The photographs were decried as “ruin porn,” which Mike Rubin defined in The New York Times as “urban decay as empty cliché, smacking of voyeurism and exploitation.” Curator Sarah Kennel writes in The Memory of Time, an exhibition catalog from the National Gallery of Art, that, “in Moore’s photographs, ruination serves more explicitly as an allegory of modernity’s failure.” Other critics argue that whether or not Moore’s Detroit photographs fit the category of “ruin porn” is a matter of academic debate. Joseph Stanhope Cialdella argues in the journal Environmental History that Moore’s work instead conveys the “aesthetic of a postindustrial sublime” which “gives nature the authority to transform the image of Detroit into a novel, yet disturbing landscape that blurs the lines between wilderness and the city.” Dora Apel writes in Beautiful Terrible Ruins that Moore’s “pictures of Detroit tend to emphasize the relationship of nature and culture, with nature in the ascendancy.” Apel ultimately argues that the “ruin porn” images and debate fail to focus on the political and economic policies that are the root causes of the ruins. Dirt Meridian From 2005 to 2014, Moore photographed the people and landscape of “great American Desert,” which roughly includes the area west of the 100th meridian to the Rocky Mountains, from Texas north to Canada. The area is one of the most sparsely populated regions in the country, “where the daily reality is often defined by drought and hardship.” To make many of the photographs, Moore collaborated with Doug Dean, the pilot of a single-engine aircraft, to create bird’s-eye perspectives revealing the vastness of the land. Rather than flying high above the plains, Moore chose perspectives that have “the sense of being within the landscape rather than above it.” For an essay accompanying Moore’s photographs in The New York Times Magazine, Inara Verzemnieks wrote, “From above, the land is like one endless, unpunctuated idea - sand, tumbleweed, turkey, bunch stem, buffalo, meadow, cow, rick of hay, creek, sunflower, sand — and only rarely did a house or a windmill or a barn suddenly appear to suspend the sense of limitlessness.” On the ground, Moore photographed the people who inhabit this unforgiving landscape and the evidence of their efforts, from active homesteads to abandoned schoolhouses. These photographs are published in Moore’s newest monograph: Dirt Meridian (Damiani, 2015).
Margo Davis
Margo Davis
United States
1944
Margo Baumgarten Davis is a photographer, educator and author of several photographer's books. Margo was raised in Connecticut and has lived for over 30 years in Palo Alto, California. She attended Bennington College, spent time at the Sorbonne studying French literature, and graduated from University of California, Berkeley. It was at UC Berkeley where she met her first husband Gregson Davis and traveled frequently to his home country of Antigua. She has a daughter, Anika and a son, Julian. Davis has produced photography in Paris, Italy, Nigeria and in the Caribbean, and has done a significant amount of portraiture. Davis has photographed Saul Bellow, Maxine Kingston, Tillie Olsen, Ursula K. Le Guin, Diane Johnson, and Kay Boyle. In Nigeria, Davis produced a number of photographs of the Fula people. Davis has spent time lecturing at Stanford on photojournalism with the communications department. She has also taught photography at University of California, Berkeley, and University of California, Santa Cruz. In 2017, Margo's book Antigua: Photographs 1967-1973 was published by Nazraeli Press. At interview, Margo said she produced the book after hearing interest expressed at an exhibit in Antigua. Antigua As young artists, we are drawn to projects that help us understand truths about who we are and what we want to become. When we are just starting out, that process is intuitive, at times random; it is also intense and thrilling. This was my experience when I began photographing in Antigua in 1967. It was the very beginning of a long journey in photography that is evolving to this day, 40 years later. From my first days in Antigua, I was overwhelmed by the timeless beauty of the place and especially by the strength of its people. I was born on the East Coast of the United States, a few thousand miles to the north. I was welcomed into a world and culture different from my own. Starting with the Antigua photographs in this exhibit, my life's journey has been with a camera and with an eye for the landscape of the human face. Although I was often moved to photograph the beaches and sunsets, and the shapely old sugar mills and estate houses of the island, I am primarily a portraitist. Drawn to the people of the villages that dotted the island, my early inspirations came from the faces you see here. Whenever possible, I asked permission to photograph - because the power of my portrait style depended on the comfort of the people that I was photographing. Since those early years, my interest in humanistic photography has propelled me into the world of various cultures. I have exhibited those photographs internationally and produced four books. However, it was on the island of Antigua where my passion for photography first began to flourish. Antigua Black; Portrait of an Island People was created and published in 1973. I want to thank again all the Antiguans who helped make this collection possible. Margo Davis Discover All American
Chuck Close
Chuck Close
United States
1940 | † 2021
Chuck Close is an American artist known for his monumental photorealist portraits. Close received his B.A. from the University of Washington in 1962 and his M.F.A from Yale University in 1964. Upon graduation, he was chosen for the Fulbright Program grant, which he used to study at the Academy of Fine Arts in Vienna. Upon his return to the U.S., Close worked as an art teacher at the University of Massachusetts. In 1967, he moved to New York and began his work in SoHo. He was given his first solo exhibition in New York later that same year, followed by an exhibition at the Walker Art Center in Minneapolis. In kindergarten, Close learned that he suffered from prosopagnosia, commonly known as face blindness. He chose portraiture as a way to remember the significant people in his life. With his inability to recognize faces, Close uses a grid system to piece together his portraits. He said, “If you impose a limit to not do something you've done before, it will push you to where you've never gone before." Close suffered from a spinal artery collapse in 1988 that left half of his body paralyzed. Though many thought his artistic career was over, he re-taught himself to paint using a splint. He methodically paints in color or grey scale in low-resolution grid squares across the canvas. Close up his work looks like no more than blocks of color, but the colors combine to create a photorealistic image as you back away. Close is not only influential in the art world, but his early airbrush techniques also inspired the development of the ink jet printer. His portraits of famous artists are his most sought after works, and his work John (1971-1972) sold with Sotheby's for $4.8 million in 2005. Chuck Close has work featured in the permanent collections at the Albright-Knox Gallery in New York, the High Museum of Art in Atlanta, the Museum of Contemporary Art in Georgia, the Whitney Museum of American Art, the Art Institute of Chicago, the MCA Chicago, the LACMA, the MFA Houston, the MFA Boston and the Guggenheim Museum in New York. Related Categories: Close-Up, Photorealistic, Hyperrealism, Photographic Source, Post-War American Art, Pixelated, Visual Perception, Drawing, Black-and-white Photography, Work on Paper Source: www.casterlinegoodman.com
Marcus Yam
Marcus Yam
Malaysia/United States
1984
Marcus Yam is a roving Los Angeles Times foreign correspondent and staff photographer. Born and raised in Kuala Lumpur, Malaysia, he left a career in aerospace engineering to become a photographer. His goal: to take viewers to the frontlines of conflict, struggle and intimacy. His approach is deeply rooted in curiosity and persistence. In 2022, Yam won the Pulitzer Prize for Breaking News Photography for images documenting the U.S. departure from Afghanistan that capture the human cost of the historic change in the country. In 2019, Yam was awarded the Robert F. Kennedy Human Rights Journalism Award for his unflinching body of work showing the everyday plight of Gazans during deadly clashes in the Gaza Strip. He was also part of two Pulitzer Prize-winning breaking news teams that covered the San Bernardino, Calif., terrorist attacks in 2015 for the Los Angeles Times and the deadly landslide in Oso, Wash. in 2014, for the Seattle Times. His previous work has also earned an Emmy Award for News and Documentary, World Press Photo Award, DART Award for Trauma Coverage, Scripps Howard Visual Journalism Award, Picture of the Year International's Newspaper Photographer of the Year Award, Society of Professional Journalists' Sigma Delta Chi Award, National Headliner Award and an Alfred I. duPont-Columbia University Award. When he's not working, Yam likes minimizing and organizing his life for efficiency for emergencies.
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.
Hannah Villiger
Hannah Villiger
Switzerland
1951 | † 1997
Capturing the essence of self, frequently in sensual sequences, Hannah Villiger employed her own body as both material and subject. She played a pivotal role in the artistic emancipation of women in the 1980s. Born in 1951 in Cham, near Zug, Villiger earned a diploma in sculpture from Lucerne’s Schule für Gestaltung at the age of twenty-three. Her early work swiftly garnered attention from critics, including Jean-Christophe Ammann, whose support catapulted her to recognition. Seeking her own artistic language, Villiger gradually transitioned to exclusive work in photography. Initially using a reflex camera and producing black-and-white images, her early work retained the influence of Land Art and Arte Povera. In 1980, she exclusively embraced Polaroid film, shaping her photography around a singular subject—her own body. Over a period of seventeen years, Villiger approached her body in a novel way, avoiding personal anecdotes and the allure of the flesh. Shamelessly and without narcissism, she focused solely on the volume and forms of her anatomy, manipulating and contorting it as one would with clay or a sculptor's chisel. The considerable size of these Polaroids, enlarged to be larger than life, imbued the images with a commanding physical presence. Yet, unlike some of her contemporaries associated with the Body Art movement, Villiger imposed no voyeurism on the viewer. In 1986, she settled in Paris, participating in the Venice Biennale in 1991 and the São Paulo Biennial in 1994, where she exhibited alongside Pipilotti Rist. Despite her premature death at the age of forty-six, Villiger left behind a bold and distinctive body of work, featured in public and private collections in Switzerland and abroad, notably in the United States. Institutional exhibitions featuring Hannah Villiger's work have been held at various venues, including the Centre culturel suisse, Paris (1986); Museum für Gegenwartskunst, Basel (1988); Kunstverein Frankfurt (1991); and the 22nd Bienal de São Paulo (1994), where she showcased her art in the Swiss Pavilion alongside Pipilotti Rist. Posthumous solo exhibitions have been organized at Kunsthalle Basel (2001); Kunsthalle Bonn (2001); nGbK Neue Gesellschaft für bildende Kunst, Berlin (2002); MAMCO Musée d'art moderne et contemporain, Geneva (2007); Museum für Gegenwartskunst, Basel (2008); and Centre culturel suisse, Paris (2012). Additionally, in 2020 and 2021, Villiger's work was featured in group exhibitions at Kolumba, Cologne, and the Museum zu Allerheiligen, Schaffhausen.
Juanan Requena
Juanan Requena
Spain
1983
Juanan was born in an arid village in La Mancha, where he was captivated by the horizons as he built huts among the maize fields. Following beautiful failures and continuous drifts, he moved to the South Sea, where he learnt hendecasyllables and quejíos selling books and serving coffees. He became a traveller while wiring the tours of rock 'n' roll bands and filling up endless diaries. In this way, he roamed nomadically, covered in salt residue and shrouded in doubts, until he persuaded himself that poetry and the gaze could converge in the same incandescence. Today, he still strives incessantly to reflect this struggle.
Philip Metcalf
Philip Metcalf
United States
Philip Metcalf was born in the Finger Lakes area of central New York State. He is a photographer who focuses mainly on the landscape, shooting in black & white infrared. The Fire Ghosts portfolio explores the devastation and unexpected beauty caused by the 2011 Las Conchas forest fire in New Mexico. In 2013, a photo from this portfolio was selected for the Art of Photography show, curated by Julia Dolan, the Curator of Photography at the Portland Art Museum and hung in the San Diego Art Institute. Also in 2013, he was a Nominee in the Black & White Spider Awards. In 2014, another photo from the portfolio was selected for the cover of Black & White Magazine (issue # 104). A graduate of Princeton University, Philip and his wife, photographer Patricia Galagan, live in Santa Fe, New Mexico. Interview with Philip Metcalf AAP: Where did you study photography? With Whom? Two most important teachers were Charles Harbutt and Kate Carter back in the 1970’s. Harbutt’s class at The Maine Photo Workshops was ostensibly about the camera, but the real message was the difference between how your eye sees the world vs how a camera sees the world. Like many young photographers, I started with a couple of camera bodies and several lens. Accordingly, much of one’s time and attention was spent on thinking about equipment combinations. In Ireland with Kate, I was bemoaning the lack of great results. Kate said something was elegantly simple and utterly true: “Remember, it’s all about the light.” That afternoon I went shooting with one body and one lens, a practice that I have followed ever since. AAP: What or who inspires you? Nature, especially the wide-open spaces of the Western United States. When I lived on the East Coast, I asked a friend visiting from the West what he thought of the Eastern part of the US. He said it was fine except that he couldn’t see anything. I never really understood what he meant until moving to Santa Fe, New Mexico. The vast expanses of the West with their unobstructed views for miles and miles are a very different experience than the more circumscribed views of the East. AAP: How could you describe your style? Based on nature and the real world, but slightly abstracted. AAP: Do you have a favorite photograph or series? My Fire Ghosts portfolio.
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