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Navid Memar
Navid Memar
Navid Memar

Navid Memar

Country: Iran
Birth: 1996

Navid Memar is a Tehran-based artist who has had experience as an director and designer. He is working on post-dramatic and space-making in art. His main interest in art is on illustrating base. Navid Memar is working in different tendencies such as architecture, visual arts like collage, sculpture, short film, video art, and theatre.

He has had many influences from Romeo Castellucci, and he produces his own plays about the theatre ideology of Romeo Castellocci. Of course, in combination with Iranian elements and his personal ideology from "amata studio".

He spent his childhood and youth in Kashan and has a special interest in Iran's history and native culture and Iranian writers.

He is studying directing in Tehran University Fine arts. In 2015 he established a studio named Amata. Since then he starts his professional work.

Statement
" 'افلا تتفکرون' means 'Do you not think?' It is a part of a Quranic verse. This name invites the audience to think independently in each frame, regardless of the overall issue of the collection. And each audience can build their mental world according to the signs they see in the photo.

'افلا تتفکرون' collection is the narrative of creation through paintings related to each event in a historic men's public bath that has been turned into a museum. Baths are in direct contact with the body.

My approach to the narrative of creation has been a combination of the views of Islam and Christianity in this regard.

In this collection, a look is taken at the issue of women's absence in the first Qajar family photos, as an example of which I have addressed the issue of women's absence in public baths. The alternative was a baby girl instead of a wife / Eve.

In most frames, the presence of paintings helps to narrate and emphasize the signs. And give us this

It informs that the problem of creation has been repeated again and again and this process will continue." -- Navid Memar

Website

@navidmemarkermani

 

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More Great Photographers To Discover

Roger Ballen
Roger Ballen
United States
1950
One of the most influential and important photographic artists of the 21st century, Roger Ballen's photographs span over forty years. His strange and extreme works confront the viewer and challenge them to come with him on a journey into their own minds as he explores the deeper recesses of his own. Roger Ballen was born in New York in 1950 but for over 30 years he has lived and worked in South Africa. His work as a geologist took him out into the countryside and led him to take up his camera and explore the hidden world of small South African towns. At first he explored the empty streets in the glare of the midday sun but, once he had made the step of knocking on people's doors, he discovered a world inside these houses which was to have a profound effect on his work. These interiors with their distinctive collections of objects and the occupants within these closed worlds took his unique vision on a path from social critique to the creation of metaphors for the inner mind. After 1994 he no longer looked to the countryside for his subject matter finding it closer to home in Johannesburg. Over the past thirty five years his distinctive style of photography has evolved using a simple square format in stark and beautiful black and white. In the earlier works in the exhibition his connection to the tradition of documentary photography is clear but through the 1990s he developed a style he describes as 'documentary fiction'. After 2000 the people he first discovered and documented living on the margins of South African society increasingly became a cast of actors working with Ballen in the series' Outland (2000, revised in 2015) and Shadow Chamber (2005) collaborating to create powerful psychodramas. The line between fantasy and reality in his subsequent series' Boarding House (2009) and Asylum of the Birds (2014) became increasingly blurred and in these series he employed drawings, painting, collage and sculptural techniques to create elaborate sets. There was an absence of people altogether, replaced by photographs of individuals now used as props, by doll or dummy parts or where people did appear it was as disembodied hands, feet and mouths poking disturbingly through walls and pieces of rag. The often improvised scenarios were now completed by the unpredictable behaviour of animals whose ambiguous behaviour became crucial to the overall meaning of the photographs. In this phase Ballen invented a new hybrid aesthetic, but one still rooted firmly in black and white photography. In his artistic practice Ballen has increasingly been won over by the possibilities of integrating photography and drawing. He has expanded his repertoire and extended his visual language. By integrating drawing into his photographic and video works, the artist has not only made a lasting contribution to the field of art, but equally has made a powerful commentary about the human condition and its creative potential. His contribution has not been limited to stills photography and Ballen has been the creator of a number of acclaimed and exhibited short films that dovetail with his photographic series'. The collaborative film I Fink You Freeky, created for the cult band Die Antwoord in 2012, has garnered over 125-million hits on YouTube. He has taken his work into the realms of sculpture and installation, at Paris' Musée de la Chasse et de la Nature (2017), Australia's Sydney College of the Arts (2016) and at the Serlachius Museum in Finland (2015) is to name but a few. The spectacular installation at Les Rencontres d'Arles 2017, "House of the Ballenesque" was voted as one of the best exhibitions for 2017. In 2018 at the Wiesbaden Biennale, Germany, another installation "Roger Ballen's Bazaar/Bizarre" was created in an abandoned shopping centre. Ballen's series, The Theatre of Apparitions (2016), is inspired by the sight of these hand-drawn carvings on blacked-out windows in an abandoned women's prison. Ballen started to experiment using different spray paints on glass and then 'drawing on' or removing the paint with a sharp object to let natural light through. The results have been likened prehistoric cave-paintings: the black, dimensionless spaces on the glass are canvases onto which Ballen has carved his thoughts and emotions. He also released a related animated film, Theatre of Apparitions, which has been nominated for various awards. In September 2017 Thames & Hudson published a large volume of the collected photography with extended commentary by Ballen titled Ballenesque Roger Ballen: A Retrospective. Halle Saint Pierre in Paris opened an exhibition September 6th 2019 titled The World According to Roger Ballen. Thames & Hudson published the book in French and English to accompany the show. His work took over the entire space for more than a year closing in January 2021. The World According to Roger Ballen has since been successfully exhibited at Jakopic Gallery in Ljubljana, Slovenia; as well as the Kunstmuseum Den Haag, The Hague. In October 2020, Hatje Cantz released Roger the Rat which was produced in Johannesburg between 2015 and 2020. Here Ballen creates and documents a part-human, part-rat creature who lives an isolated life outside of mainstream society. This book presents the cycle of photographs in the form of an impressive show that keeps the reader reflecting long after the last page. Ballen also produced a film that accompanies the book launch during October 2020. Roger Ballen has published over 25 books internationally. His works are in more that 50 of the most important international museum collections. In the fall of 2022, Thames and Hudson released a second volume of Ballenesque Roger Ballen: A Retrospective in paperback. Roger Ballen will be one of the artists representing South Africa at the Venice Biennale Arte 2022 in Italy.
Milton Rogovin
Milton Rogovin
United States
1909 | † 2011
Milton Rogovin was born in New York City in 1909. He graduated from Columbia University in 1931 with a degree in optometry and a deep concern for the rights of the worker. He moved to Buffalo, New York, in 1938, where he established his own optometric practice in 1939. In 1942, he married Anne Snetsky. That same year, he purchased his first camera, and was inducted into the U.S. Army, where he served in England as an optometrist until 1945. Upon his discharge, he returned to his optometric practice and his growing family. By 1947, the Rogovin's had two daughters, Ellen and Paula, and a son, Mark.Source: www.miltonrogovin.com Milton Rogovin (1909–2011) was a documentary photographer who has been compared to great social documentary photographers of the 19th and 20th centuries, such as Lewis Hine and Jacob Riis. His photographs are in the Library of Congress, the J. Paul Getty Museum, the Center for Creative Photography and other distinguished institutions. Milton Rogovin was born December 30, 1909 in Brooklyn, New York City of ethnic Jewish parents who emigrated to America from Lithuania, then part of the Russian empire. He attended Stuyvesant High School in New York City and enrolled in Columbia University, from which he graduated in 1931 with a degree in optometry. Following graduation Rogovin worked as an optometrist in New York City. Distressed by the rampant and worsening poverty resulting from the Great Depression, Rogovin began attending night classes at the New York Workers School, a radical educational institution sponsored by the Communist Party USA. In 1938 Rogovin moved to Buffalo and established an optometry practice there. In 1942, he married Anne Snetsky (later changed to Setters). In the same year, he was inducted into the U.S.Army, where he worked as an optometrist. After his discharge from the Army, Milton and Anne had three children: two daughters (Ellen and Paula) and a son (Mark). Rogovin was called before the House Un-American Activities Committee in 1957. Like many other Americans who embraced Communism as a model for improving the quality of life for the working class, he became a subject of the Committee's attentions in the postwar period: He was discredited — without having been convicted of any offense — as someone whose views henceforth had to be discounted as dangerous and irresponsible. The incident inspired Rogovin to turn to photography as a means of expression; it was a way to continue to speak to the worth and dignity of people who make their livings under modest or difficult circumstances, often in physically taxing occupations that usually receive little attention. In 1958, a collaboration with William Tallmadge, a professor of music, to document music at storefront churches set Rogovin on his photographic path. Some of the photographs that Rogovin made in the churches were published in 1962 in Aperture magazine, edited by Minor White, with an introduction by W.E.B. Du Bois, a founder of the National Association for the Advancement of Colored People (NAACP). That same year Rogovin began to photograph coal miners, a project that took him to France, Scotland, Spain, China, and Mexico. Many of these images were published in his first book, The Forgotten Ones. Rogovin traveled throughout the world, taking numerous portraits of workers and their families in many countries. His most acclaimed project, though, has been The Forgotten Ones, sequential portraits taken over three decades of over a hundred families who resided on Buffalo’s impoverished Lower West Side. The project was begun in 1972 and completed in 2002. In 1999, the Library of Congress collected more than a thousand of Rogovin’s prints.Source: Wikipedia
Diane Arbus
Diane Arbus
United States
1923 | † 1971
Diane Arbus was an American photographer and writer noted for black-and-white square photographs of "deviant and marginal people (dwarfs, giants, transgender people, nudists, circus performers) or of people whose normality seems ugly or surreal." Arbus believed that a camera could be “a little bit cold, a little bit harsh” but its scrutiny revealed the truth; the difference between what people wanted others to see and what they really did see – the flaws. A friend said that Arbus said that she was "afraid... that she would be known simply as 'the photographer of freaks'"; however, that phrase has been used repeatedly to describe her. In 1972, a year after she committed suicide, Arbus became the first American photographer to have photographs displayed at the Venice Biennale. Millions of people viewed traveling exhibitions of her work in 1972–1979. Between 2003 and 2006, Arbus and her work were the subjects of another major traveling exhibition, Diane Arbus Revelations. In 2006, the motion picture Fur, starring Nicole Kidman as Arbus, presented a fictional version of her life story. Although some of Arbus's photographs have sold for hundreds of thousands of dollars at auction, Arbus's work has provoked controversy; for example, Norman Mailer was quoted in 1971 as saying "Giving a camera to Diane Arbus is like putting a live grenade in the hands of a child." Others have, however, pointed out that Mailer was dissatisfied with a picture of him holding his crotch taken by Arbus for the New York Times book review. Diane Arbus was born as Diane Nemerov, to David Nemerov and Gertrude Russek Nemerov. The Nemerovs were a Jewish couple who lived in New York City and owned Russek's, a famous Fifth Avenue department store. Because of her family's wealth, Arbus was insulated from the effects of the Great Depression while growing up in the 1930s. Arbus's father became a painter after retiring from Russek's; her younger sister would become a sculptor and designer; and her older brother, Howard Nemerov, would later become United States Poet Laureate, and the father of the Americanist art historian Alexander Nemerov. Diane Nemerov attended the Fieldston School for Ethical Culture, a prep school. In 1941, at the age of eighteen, she married her childhood sweetheart Allan Arbus. Their first daughter Doon (who would later become a writer), was born in 1945 and their second daughter Amy (who would later become a photographer), was born in 1954. Diane and Allan Arbus separated in 1958, and they were divorced in 1969. The Arbuses' interests in photography led them, in 1941, to visit the gallery of Alfred Stieglitz, and learn about the photographers Mathew Brady, Timothy O'Sullivan, Paul Strand, Bill Brandt, and Eugène Atget. In the early 1940s, Diane's father employed them to take photographs for the department store's advertisements. Allan was a photographer for the U.S. Army Signal Corps in World War Two. In 1946, after the war, the Arbuses began a commercial photography business called "Diane & Allan Arbus," with Diane as art director and Allan as the photographer. They contributed to Glamour, Seventeen, Vogue, Harper's Bazaar, and other magazines even though "they both hated the fashion world." Despite over 200 pages of their fashion editorial in Glamour, and over 80 pages in Vogue, the Arbuses' fashion photography has been described as of "middling quality." Edward Steichen's noted 1955 photographic exhibit, The Family of Man, did include a photograph by the Arbuses of a father and son reading a newspaper. In 1956, Diane Arbus quit the commercial photography business. Although earlier she had studied photography with Berenice Abbott, her studies with Lisette Model, beginning in 1956, led to Arbus's most well-known methods and style. She began photographing on assignment for magazines such as Esquire, Harper's Bazaar, and The Sunday Times Magazine in 1959. Around 1962, Arbus switched from a 35 mm Nikon camera which produced grainy rectangular images to a twin-lens reflex Rolleiflex camera which produced more detailed square images. In 1963, Arbus was awarded a Guggenheim Fellowship for a project on "American rites, manners, and customs"; the fellowship was renewed in 1966. In 1964, Arbus began using a twin-lens reflex Mamiya camera with flash in addition to the Rolleiflex. Her methods included establishing a strong personal relationship with her subjects and re-photographing some of them over many years. During the 1960s, she taught photography at the Parsons School of Design and the Cooper Union in New York City, and the Rhode Island School of Design in Providence, Rhode Island. The first major exhibition of her photographs occurred at the Museum of Modern Art in a 1967 show called New Documents, curated by John Szarkowski. The show also featured the work of Garry Winogrand and Lee Friedlander. Some of her artistic work was done on assignment. Although she continued to photograph on assignment (e.g., in 1968 she shot documentary photographs of poor sharecroppers in rural South Carolina for Esquire magazine), in general her magazine assignments decreased as her fame as an artist increased. Szarkowski hired Arbus in 1970 to research an exhibition on photojournalism called From the Picture Press; it included many photographs by Weegee whose work Arbus admired. Using softer light than in her previous photography, she took a series of photographs in her later years of people with intellectual disability showing a range of emotions. At first, Arbus considered these photographs to be "lyric and tender and pretty," but by June, 1971, she told Lisette Model that she hated them. Associating with other contemporary photographers such as Robert Frank and Saul Leiter, Arbus helped form what Jane Livingston has termed The New York School of photographers during the 1940s and 1950s. Among other photographers and artists she befriended during her career, she was close to photographer Richard Avedon; he was approximately the same age, his family had also run a Fifth Avenue department store, and many of his photographs were also characterized as detailed frontal poses. Another good friend was Marvin Israel, an artist, graphic designer, and art director whom Arbus met in 1959. Arbus experienced "depressive episodes" during her life similar to those experienced by her mother, and the episodes may have been made worse by symptoms of hepatitis. Arbus wrote in 1968, "I go up and down a lot," and her ex-husband noted that she had "violent changes of mood." On July 26, 1971, while living at Westbeth Artists Community in New York City, Arbus took her own life by ingesting barbiturates and slashing her wrists with a razor. Marvin Israel found her body in the bathtub two days later; she was 48 years old.Source: Wikipedia
Alessandro Deluigi
Alessandro Deluigi
Italy
1975
I was born in Rimini, Italy, where I live. I have always been a silent observer of life and people with a strong passion for the visual arts. I worked for years as an advertising graphic designer and now, for the last 10 years or so, I have been working in healthcare. At the age of 25, I attended a photography course at the European Institute of Design in Turin. As an amateur photographer I have experimented with several photographic genres and since 2018 I have approached street photography, a genre I prefer: I find it stimulating and at the same time I have a lot of fun. I like capturing those moments of everyday life, hidden from distracted eyes, sometimes surreal and poetic, sometimes funny and grotesque, always with an eye on composition. In short, I think I have found my way on the road. Since 2023 I have been a member of Collettivo.21, an Italian collective of street photographers. Some of my works have been selected by magazines and competitions in Italy and abroad, winning awards including third place at Moment Street Photo Awards 2022, best author at City of Follonica Trophy, second place at Kaaf Photography Contest (street category), Special Mention “photo of the year” at Paris Street Photo Awards in 2023, first place at Dublin Street Photography Festival 2024.
Cheryl Clegg
Cheryl Clegg
United States
1964
Cheryl Clegg grew up in NJ, attended the Rochester Institute of Technology, receiving a BFA in Photographic Illustration and moved to Boston to start her commercial photography career. Fast forward over 30 years, Cheryl’s work has appeared in numerous, publications, billboards and annual reports as well as exhibiting in numerous group exhibitions. Cheryl was named a 2020 critical Mass finalist for her series, Downeast Harborside, a visual story about the lobster fishing village of Corea, Maine. Cheryl embraces any medium of photography always striving to evoke emotion in an image. More than filling white space, each project tells a story or burns an impression into the mind of its audience.
Christopher Anderson
Christopher Anderson
Canada
1970
Christopher Anderson (b.1970, Canada), a member of Magnum Photos for over ten years, has covered an innumerable list of political and social issues around the world. Whilst he is widely known for his moving photographs of fleeing Haitian immigrants aboard a sinking handmade boat named 'Believe in God', Anderson has also made pictures of Barack Obama, Al Gore and David Letterman amongst countless other people and places. Contrary to the often-unforgiving frontiers Anderson places himself in, his photographs are always imbued with palpable emotion. In a society in which a torrent of photographs from the mass media drive an apathetic view of such narratives, Anderson instead offers an alternative, poetic and intimate practice that that speaks of his own experience, whilst constructing a frame for us to experience it with him. In 2000, Christopher Anderson received the Robert Capa Gold Medal for his series on the crossing made by boat by Haitian refugees to the United States. He has also been nominated for a Pulitzer Prize. Anderson has worked for Newsweek Magazine and National Geographic Magazine and in 2011 he became the first Photographer in Residence at New York Magazine. Numerous books have been published on his work: Nonfiction (2003), Capitolio (2009), Son (2013), Stump (2014) and his latest book Approximate Joy (2018). Anderson lives and works in both New York and Barcelona.Source: The Ravestijn Gallery Christopher Anderson is known for his emotionally charged, artfully drawn images that explore themes of truth and subjectivity. He is one of today’s most influential photographers, whose origins began in war reporting and later transformed into something more intimate, blending the worlds of commercial, art and fashion work, but always with a foundation in documentary. Anderson was born in 1970 in Canada and grew up in west Texas. His photographic career began working for local newspapers. In 2000, on assignment for the New York Times Magazine , he boarded a small wooden boat with 44 Haitians trying to sail to America. The boat sank in the Caribbean. The photographs received the Robert Capa Gold Medal and marked the beginning of a ten-year period as a contract photographer for Newsweek Magazine and National Geographic Magazine. In 2011 he became New York Magazine’s first ever Photographer in Residence; a notable collaboration that would also mark Anderson’s shift into portraiture and fashion, making images of significant figures including Barack Obama, Spike Lee and Debby Harry. In 2008, after the birth of his first child, Anderson moved further away from journalistic magazine work to subjects more immediate to his personal experience. In 2012, his book, SON, was published, defining a visual direction that has come characterize to his work. Other projects created within this intensely intimate approach include Capitolio, Stump and Approximate JOY.
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
Jack Delano
Jack Delano
United States
1914 | † 1997
Jack Delano (August 1, 1914 – August 12, 1997) was an American photographer for the Farm Security Administration (FSA) and a composer noted for his use of Puerto Rican folk material. Delano was born as Jacob Ovcharov in Voroshilovka village, Podolie Governorate, near Vinnytsia, Russian Empire and moved, with his parents and younger brother, to the United States in 1923. The family arrived at New York on July 5, 1923 on the boat SS Homeric. Between 1924 and 1932 he studied graphic arts/photography and music (viola and composition) at the Settlement Music School and solfeggio with a professor from the Curtis Institute in Philadelphia, Pennsylvania. After being awarded an art scholarship for his talents, he attended the Pennsylvania Academy of the Fine Arts (PAFA) where, from 1928 until 1932, he studied illustration and continued his musical training. While there, Delano was awarded the Cresson Traveling Scholarship, on which he chose to travel to Europe, where he bought a camera that got him interested in photography. After graduating from the PAFA, Delano proposed a photographic project to the Federal Art Project: a study of mining conditions in the Schuylkill County, Pennsylvania anthracite coal area. Delano sent sample pictures to Roy Stryker and applied for a job at the Farm Security Administration Photography program FSA. Through the help of Edwin Rosskam and Marion Post Wolcott, Stryker offered Delano a job at $2,300/year. As a condition of the job, Delano had to have his own car and driver's license, both of which he acquired before moving to Washington, D.C. Before working at the FSA, Delano had done his own processing and developing but did neither at the FSA. Other photographers working for the FSA include Walker Evans, Dorothea Lange, and Gordon Parks. In 1943 FSA was eliminated as "budget waste" and subsumed into the Office of War Information (OWI). He travelled to Puerto Rico in 1941 as a part of the FSA project. This trip had such a profound influence on him that he settled there permanently in 1946. Between 1943 and 1946 he served in the U.S. Army Air Forces. With his wife Irene (a second cousin to fellow photographer Ben Shahn) he worked in the Community Division of the Department of Public Education producing films, for many of which Delano composed the score. Delano also directed Los Peloteros, a Puerto Rican film about poor rural kids and their love for baseball. The film remains a classic in Puerto Rican cinema. Jack Delano's musical compositions included works of every type: orchestral (many composed for the Puerto Rico Symphony Orchestra), ballets (composed for Ballet Infantil de Gilda Navarra and Ballets de San Juan), chamber, choral (including Pétalo de rosa, a commission for Coro de Niños de San Juan) and solo vocal. His vocal music often showcases Puerto Rican poetry, especially the words of friend and collaborator Tomás Blanco. Blanco, Délano and his wife Irene collaborated on children's books. The most prominent of these remains a classic in Puerto Rican literature: The Child's Gift: A Twelfth Night Tale by Tomás Blanco, with illustrations by Irene Delano and incidental music (written on the margins) by Jack Delano. His score for the film "Desde las nubes" demonstrates an early use of electronic techniques. Most of his works composed after he moved to Puerto Rico are notable for using folk material in a classical form.Source: Wikipedia
Janet Delaney
Janet Delaney
United States
Janet Delaney’s current photographic work uses a fine art approach to explore the social and political dynamics of city life. Her books include South of Market (MACK 2013), which documents the gentrification of a working-class neighborhood. Public Matters, (MACK 2018) addresses public life in Reagan era San Francisco and Red Eye to New York, (MACK 2021) finds public and private worlds on the stage of 1980s Manhattan. She is currently working on a sequel to South of Market, examining the impact of the arrival of new technology companies on her old neighborhood. Delaney’s awards include a Guggenheim Fellowship in 2020 and three National Endowment for the Arts Grants. Her photographs are in the collections of the San Francisco Museum of Modern Art, the de Young Museum and the High Museum, Atlanta among others. She has shown in museums and galleries locally and internationally. Janet Delaney received her MFA from the San Francisco Art Institute and held a faculty position at the University of California, Berkeley. She lives and works in Berkeley, California. Artist Statement My photographic practice actively engages the art of storytelling. I focus on both large public issues as well as more intimate, prosaic subject matter. I immerse myself fully in a place or a state of being and photograph without assumptions. Back in the studio, I organize these images to construct narratives that reflect my experience. Research is integral to each project, and when needed, I incorporate text to deepen and expand the storyline. Exhibitions offer me the opportunity to play with sequence and scale, while books provide a means to solidify and preserve my ideas. Over the years I’ve worked across various formats, exploring subjects as diverse as foreign wars, my kitchen table, forests, and cities worldwide. Artist Statement for the work submitted Revisiting a place I once called home creates a curious dissonance. During the 1980s I chronicled the early stages of gentrification in the South of Market district of San Francisco. Now, as I revisit my old neighborhood, rechristened SoMa by millennial marketers, I see a skyline bulging with new buildings. My former neighbors are eclipsed by both high-earning technology workers and those without homes whose tents line alleys and broad boulevards. In this new world I often feel as if I am standing in two places at once; the past infuses the present with both longing and confusion. In SoMa Now (working title), I sew together a complex narrative of a city I know well, blending fact and feeling to convey what is lost, what is gained and what remains in this new terrain. Article Exclusive Interview with Janet Delaney about 'Too Many Products, Too Much Pressure!'
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Latest Interviews

Exclusive Interview with Carolyn Moore
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Exclusive Interview with Carolyn Moore
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Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
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Publication
Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
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Exclusive Interview with Matthew Finley
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Exclusive Interview with Jan Janssen
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Exclusive Interview with Henk Kosche
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German photographer Henk Kosche turns his lens toward the streets of Halle an der Saale, capturing everyday life in the late years of the former German Democratic Republic. At the time, Kosche was studying design and exploring the city with his camera, drawn to the atmosphere of its industrial landscape and the quiet rhythms of daily life. His series Street Photography at the End of the 80s, selected as the Solo Exhibition for July 2025, revisits a body of work created just before a period of profound change. Rediscovered decades later in a small box of 35mm negatives, these photographs offer glimpses of a city and its people at a moment suspended between the familiar and the unknown.
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Exclusive Interview with Marijn Fidder
Interview
Exclusive Interview with Marijn Fidder
Marijn Fidder is a Dutch documentary photographer whose work powerfully engages with current affairs and contemporary social issues. Driven by a deep sense of social justice, she uses photography to speak on behalf of the voiceless and to advocate for the rights of those who are most vulnerable. Her images have been widely published in major international outlets including National Geographic, CNN Style, NRC Handelsblad, Volkskrant, GUP New Talent, and ZEIT Magazin. Her long-term commitment to disability rights—particularly through years of work in Uganda—culminated in her acclaimed project Inclusive Nation, which earned her the title of Photographer of the Year 2025 at the All About Photo Awards. She is also the recipient of multiple prestigious honors, including awards from World Press Photo and the Global Peace Photo Award. We asked her a few questions about her life and work.
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Exclusive Interview with Josh S. Rose
Interview
Exclusive Interview with Josh S. Rose
Josh S. Rose is a multidisciplinary artist working across photography, film, and writing. His practice bridges visual and performing arts, with a strong focus on movement, emotion, and the expressive potential of the image. Known for his long-standing collaborations with leading dance companies and performers, Rose brings together authenticity and precise composition—a balance he describes as “technical romanticism.” His work has been commissioned and exhibited internationally, appearing in outlets such as Vogue, at the Super Bowl, in film festivals, and most recently as a large-scale installation for Lincoln Center for the Performing Arts. A sought-after collaborator, he has worked with major artists, cultural institutions, and brands, following a previous career as Chief Creative Officer at Interpublic Group and the founder of Humans Are Social. We asked him a few questions about his life and work.
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Interview with Maureen Ruddy Burkhart
Interview
Interview with Maureen Ruddy Burkhart
Photographer Maureen Ruddy Burkhart brings a quietly attentive and deeply human sensibility to her exploration of the world through images. Shaped by a life immersed in photography, film, and visual storytelling, her work is guided by intuition, observation, and an enduring interest in the emotional undercurrents of everyday life. With a practice rooted in both fine art traditions and documentary awareness, she approaches her subjects with sensitivity, allowing subtle moments to emerge naturally rather than be imposed. Her series Til Death, selected as the Solo Exhibition for February 2025, reflects this long-standing commitment to photography as a space for reflection rather than spectacle. Drawn to moments that exist just outside the expected frame, Burkhart’s images suggest narratives without resolving them, leaving room for ambiguity, humor, and quiet connection. We asked her a few questions about her life and work.
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