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FINAL CALL TO ENTER AAP MAGAZINE PORTRAIT: PUBLICATION AND $1,000 CASH PRIZES
FINAL CALL TO ENTER AAP MAGAZINE PORTRAIT: PUBLICATION AND $1,000 CASH PRIZES
Donald Graham
Donald Graham
Donald Graham

Donald Graham

Country: United States

Donald Graham is an internationally recognized portrait, fashion and fine art photographer whose work is in the Metropolitan Museum of Art in New York and the International Center of Photography. He has exhibited his photography in numerous exhibitions and his photographs are held by many collectors. He is well known for his work photographing everyday people, celebrities and fashion for magazine and advertising clients including Vogue, Vanity Fair, Sports Illustrated and Time.

Donald began his career in Paris as a fashion photographer. He then moved to New York and Los Angeles where he broadened his work to include portraiture for the movie, music, editorial and advertising industries and began devoting significant time to his personal fine art work. During his career, Donald has photographed in more than forty countries, with extensive travels in India, Asia, Africa, Latin America and Europe. A book of his portraits, entitled ONE OF A KIND, was published by Hatje Cantz in 2021. After 20 years in New York City, Donald is currently based in Los Angeles, California and Taos, New Mexico.

Statement
"My portraits are about honest moments that display qualities of the human character including wisdom and sensitivity, peace and vulnerability, both joy and tragedy. I seek to make portraits that are driven by one's inner dialog. I'm not interested in poses or performances for the benefit of the camera. I'm interested in what a person is like when they are their most authentic."

Authenticity, honesty, and trust characterize Donald Graham's portraits. They are not simply photographic recordings. Looking at them is like seeing human beings in the flesh, revealed to us by Graham with his virtuoso technique and sensibilities. His exquisite, strongly contrasting black-and-white photographs are evidence of attitude, rather than studied gestures. Eyes and faces are not model-like masks; instead, they express the unique nature of those portrayed. Inevitably, viewers find themselves in a dialogue with the images. You wonder about the stories behind these faces; though unfamiliar, they are nevertheless an emotional experience.

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More Great Photographers To Discover

Mo Verlaan
Netherlands
1963
"After graduating from the Rietvelt Art Academy in Amsterdam, I started out in experimental theatre, creating sets on location as well as performing. In 1993, I founded De Drie Gezusters with my sisters catering to (inter)national film crews on location from a converted truck. Eight years ago, my love for photography made me enter the Photo Academy. The book and series titled Resonance was part of my graduation in 2016. In these photographs my fascination with light and luminance finds its expression. The Memory of Time is a study about the plasticity of time and light, to see time and light as something elastic. For me there is a strong correlation between the impermanence of light and the fluidity of time." "In The Memory of Time I explore abstract spaces. What interests me most, are architectural structures where light can fleet in and out, creating a new space. To me light is both a tangible and evanescent medium, if not a language. By fading, molding and carving the light in my photographs, I transform reality and move into an imaginative and intuitive realm. The process involves composing layered images that nearly look like drawings, scraping off the innate realism that is part of photography, thus creating a more sensorial and subliminal world." Winner Single Image 9th Julia Margaret Cameron Award 2016, Category Architecture. Works from the series Resonance received several Honorable Mentions: Tokyo International Foto Awards 2016 (2x), The Monochrome Awards 2016 (4x), The Monovision Photography Awards 2017 (6x), IPA 2017 (2x), IPA 2018 One Shot Harmony (1x). The series Resonance was exhibited at The Indian Photography Festival 2016. The book Resonance was exhibited at: Scan Photobooks (Spain), The Griffin Museum (USA), RPSP (UK), Tripp Gallery (UK), Unveil'd (UK). Publication in the NEW2017, 100 Best Emerging Dutch Photographers of the year 2017.
Aleksander Rodchenko
Russia
1891 | † 1956
Aleksander Rodchenko was a Russian and Soviet artist, sculptor, photographer, and graphic designer who emerged following the Russian Revolution. He was one of the founders of Russian Constructivist and a Productivist artist, married to artist Varvara Stepanova. He began his career as a painter and graphic designer before moving on to photomontage and photography. His photography was socially involved, formally creative, and anti-painting. Concerned about the necessity for analytical-documentary picture series, Aleksander Rodchenko frequently shot his subjects from unusual angles—usually high above or low below—in order to shock the viewer and delay recognition. "One has to shoot several distinct photos of a subject, from diverse points of view and in varied settings, as though one viewed it in the round rather than looking through the same key-hole over and over," he wrote. Only the camera seems to be really capable of describing modern life. -- Aleksander Rodchenko Aleksander Mikhailovich Rodchenko was born in St. Petersburg to a working-class family that relocated to Kazan when his father died in 1909. He became an artist without any prior exposure to the art world, relying mostly on art periodicals for inspiration. Aleksander Rodchenko began studies at the Kazan Art School in 1910, under Nicolai Fechin and Georgii Medvedev, when he met Varvara Stepanova, whom he eventually married. The critic Osip Brik, 1924© Aleksander Rodchenko Following 1914, he continued his artistic education at the Stroganov Institute in Moscow, where he created his first abstract drawings in 1915, influenced by Kazimir Malevich's Suprematism. The following year, he took part in The Store, an exhibition organized by another formative influence, Vladimir Tatlin. Rodchenko's work was influenced heavily by Cubism and Futurism, as well as Malevich's Suprematist compositions, which featured geometric forms deployed against a white background. Aleksander Rodchenko was Tatlin's student and assistant, and the interest in figuration that characterized Rodchenko's early work faded as he experimented with design elements. He created his paintings with a compass and ruler, with the goal of eliminating expressive brushwork. Rodchenko worked for Narkompros and was one of the RABIS organizers. RABIS was founded between 1919 and 1920. In 1920, the Bolshevik government appointed Rodchenko as Director of the Museum Bureau and Purchasing Fund, with responsibility for the reorganization of art schools and museums. He became the secretary of the Moscow Artists' Union, established the Fine Arts Division of the People's Commissariat for Education, and assisted in the establishment of the Institute for Artistic Culture. From 1920 to 1930, he was a teacher at the Higher Technical-Artistic Studios, a Bauhaus organization with a "checkered career." It ceased operations in 1930. In 1921, Aleksander Rodchenko joined the Productivist group, along with Stepanova and Aleksei Gan, to advocate for the incorporation of art into everyday life. He abandoned painting to focus on graphic design for posters, books, and films. He was profoundly influenced by the ideas and practice of filmmaker Dziga Vertov, with whom he collaborated extensively in 1922. Impressed by the German Dadaists' photomontage, Rodchenko began his own experiments in the medium, first using found images in 1923, and then shooting his own photographs from 1924 on. In 1923, his first published photomontage illustrated Mayakovsky's poem About This. Rodchenko created his most famous poster in 1924, an advertisement for the Lengiz Publishing House titled Books, which features a young woman with a cupped hand shouting "Books in all branches of knowledge," printed in modernist typography. Photography has all the rights, and all the merits, necessary for us to turn towards it as the art of our time. -- Aleksander Rodchenko Portrait of the Artist’s Mother, 1924© Aleksander Rodchenko From 1923 to 1928, Rodchenko worked closely with Mayakovsky (of whom he took several portraits) on the design and layout of LEF and Novy LEF, Constructivist artists' publications. Many of his photographs were published in or used as covers for these and other publications. His images were concerned with the placement and movement of objects in space, as well as the elimination of unnecessary detail. During this time, he and Stepanova painted the well-known panels of Moscow's Mosselprom building. Varvara Rodchenko, their daughter, was born in 1925. Rodchenko's work was very abstract throughout the 1920s. He joined the October Group of artists in 1928, but was expelled three years later after being accused of "formalism," an accusation first leveled in the pages of Sovetskoe Foto in 1928. In the 1930s, as the Party's guidelines governing artistic practice shifted in favor of Socialist realism, he focused on sports photography and images of parades and other choreographed movements. In the late 1930s, Aleksander Rodchenko returned to painting, stopped photographing in 1942, and produced abstract expressionist works in the 1940s. Throughout these years, he continued to organize photography exhibitions for the government. In 1956, he died in Moscow.
Aaron Blum
United States
1983
Aaron Blum is an eighth generation West Virginian, and creates art deeply linked to his home. Most of his work centers around a single question, what does it mean to be Appalachian? Through this question he address many different artistic concepts from idealized memory vs. stereotypes to ideas of folk taxonomy. His creation process is a diversified approach of image-based media to create a glimpse into his own concepts of Appalachia, and the social fabric of a very large and misrepresented people and place. He pays close attention to the quality of light and the landscape as well as cultural markers to produce a unique version of life in the hills. After graduating with degrees in photography from West Virginia University and Syracuse University, Aaron immediately began receiving recognition for his work including Center of Santa Fe, Silvereye Center for photography, Critical Mass, and FOAM. About The Prevailing Winds of Hills and Heritage Appalachia pulls at me like a haunted memory. There is an ineffable force that compels me to suspend reality and embrace superstition and myth. It is a longing to hold on to my culture and history in spite of the modern world. The nebulous forests, enveloping moss and dark corners seem to tell a purer truth. Storytelling in Appalachia has a long-standing tradition, and it infuses the region with mystery. Using lore, pseudo-scientific study, and personal experiences as a compass I see this place through idealized eyes of wonder, and these images become my personal folklore. They bring to life the fantasies and memories I carry with me. This is a place where you can wash away sin in cool stream waters, where corpse birds come to ferry away souls to the next life, rocks burn and kudzu conceals. This is the place where the prevailing winds whisper old stories to those who know how to listen.
 Izis
Lithuania
1911 | † 1980
Israëlis Bidermanas, who worked under the name of Izis, was a Lithuanian-Jewish photographer who worked in France and is best known for his photographs of French circuses and of Paris. Born in Marijampol, present-day Lithuania, Bidermanas arrived in France in 1930 to become a painter. In 1933 he directed a photographic studio in the 13th Arrondissement of Paris. During World War II, being a Jew, he had to leave occupied Paris. He went to Ambazac, in the Limousin, where he adopted the pseudonym Izis and where he was arrested and tortured by the Nazis. He was freed by the French Resistance and became an underground fighter. At that time he photographed his companions, including Colonel Georges Guingouin. The poet and underground fighter Robert Giraud was the first to write about Izis in the weekly magazine Unir, a magazine created by the Resistance. Upon the liberation of France at the end of World War II, Izis had a series of portraits of maquisards (rural resistance fighters who operated mainly in southern France) published to considerable acclaim. He returned to Paris where he became friends with French poet Jacques Prévert and other artists. Izis became a major figure in the mid-century French movement of humanist photography - also exemplified by Brassaï, Cartier-Bresson, Doisneau and Ronis - with "work that often displayed a wistfully poetic image of the city and its people." For his first book, Paris des rêves (Paris of Dreams), Izis asked writers and poets to contribute short texts to accompany his photographs, many of which showed Parisians and others apparently asleep or daydreaming. The book, which Izis designed, was a success. Izis joined Paris Match in 1950 and remained with it for twenty years, during which time he could choose his assignments. Meanwhile, his books continued to be popular with the public. Among the numerous books by Izis, Gerry Badger and Martin Parr have especial praise for Le Cirque d'Izis (The Circus of Izis), "published in 1965, but bearing the stamp of an earlier era". Shot mostly in Paris but also in Lyon, Marseille and Toulon, the photographs are "affectionate and nostalgic, but also deeply melancholic" with "a desolate undercurrent", forming a work that is "profound, moving and extraordinary". Source: Wikipedia
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