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Matt Black
Matt Black

Matt Black

Country: United States
Birth: 1970

Matt Black is from California’s Central Valley, a rural, agricultural area in the heart of the state. He started photography working at his hometown newspaper. He was nominated to Magnum Photos in 2015. Since 2015, he has travelled over 100,000 miles across 46 states for his project American Geography. Other works include The Dry Land, about the impact of drought on California’s agricultural communities, and The Monster in the Mountains, about the disappearance of 43 students in the southern Mexican state of Guerrero. Both these projects, accompanied by short films, were published by The New Yorker. His work has appeared regularly in TIME Magazine, The New Yorker, The California Sunday Magazine, and other publications. He has been honored three times by the Robert F. Kennedy Memorial Prize, including their top honor for journalism. In 2015, he received the W. Eugene Smith Memorial Award for Humanistic Photography, and was named a senior fellow at the Emerson Collective. He lives in Exeter, a small town in the Central Valley.

Source: Magnum Photos


Matt Black, an artist from California’s Central Valley, produces enigmatic narrative works in his native region and in related places that are deeply grounded in societal and environmental concerns. Since 2014, Black has traveled over 100,000 miles across 46 states for his project American Geography, a personal portrait of an increasingly divided and unequal America. Black’s gripping images of some of the most marginalized communities in America are as visually captivating as they are brutally honest and human.

A member of Magnum Photos, Matt Black creates work that while rooted in the documentary tradition, is also noted for its deeply personal approach, its emotional engagement, and visual intensity. Excerpts from American Geography have been widely published and exhibited in the United States and internationally. A book of the project will be published in 2021 by Thames and Hudson, to accompany a traveling exhibition that opened at the Deichtorhallen Hamburg in 2020. Other bodies of work include The Dry Land, about the impact of drought on California’s agricultural communities, and The Monster in the Mountains, about the disappearance of 43 students in the southern Mexican state of Guerrero in 2014. Both of these projects, accompanied by short films, were published by The New Yorker.

In addition to the New Yorker, portfolios of Black’s work have appeared in TIME Magazine, The California Sunday Magazine, as well as many international publications such as Le Monde, France and Internazionale, Italy. Black’s Instagram feed The Geography of Poverty, where he experiments conceptually with GeoTagging and other digital documentary approaches, has over 233,000 followers and earned him TIME’s Instagram Photographer of the Year in 2014. He has been honored three times by the Robert F. Kennedy Memorial Prize, has been named a senior fellow at the Emerson Collective, and was the recipient of the W. Eugene Smith Memorial Award in 2015 for Humanistic Photography.

Source: Robert Koch Gallery


 

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More Great Photographers To Discover

Edmund Teske
United States
1911 | † 1996
Edmund Rudolph Teske (March 7, 1911 – November 22, 1996) was a 20th-century American photographer who combined a career of taking portraits of artists, musicians and entertainers with a prolific output of experimental photography. His use of techniques like: combined prints, montages and solarizations led to "often romantic and mysterious images". Although he exhibited extensively and was well known within artistic photography circles during his lifetime, his work was not widely known by the public. He has been called "one of the forgotten greats of American photography."Source: Wikipedia Born in Chicago, Edmund Teske began taking photographs at age seven with his mother's Kodak Scout 2-C camera. In 1931, while attending evening classes at the Huttle Art Studio, he installed a photographic studio in his family's basement. Soon he purchased a view camera and started photographing the streets of his hometown. After working for a commercial studio in Chicago, Teske was awarded a photographic fellowship in 1936 that enabled him to study under the guidance of the architect Frank Lloyd Wright. Teske taught in the late 1930s at Chicago's New Bauhaus (later the Institute of Design), then moved to New York to work as Berenice Abbott's assistant. In 1943, Teske settled in Los Angeles, where he became interested in cinema, and in the early 1950s he was active with several small theater groups. During this period Teske refined the experimental photographic processes that he had begun to explore in the 1930s, such as solarization, combination printing, and chemical toning, and began to regularly exhibit and publish his work. In the 1960s, Teske was an influential visiting professor of photography at UCLA and other schools.Source: International Center of Photography Edmund Teske believed in the transformative potential of photography. He was interested in more than the inherent characteristic of the medium to record a specific moment in time. For Teske photography was a way to explore the soul of his subjects and creating the negative was only the beginning. His composites of multiple negatives and his use of solarization, as well as his exquisite gelatin silver prints, express the complexity and depth of his personal vision. His composites often layered images from different periods and places and sometimes outside sources. As the assemblage artist George Herms suggested, Teske's composites and solarizations are like Jazz variations on a theme. Though they often contain allegory and symbolism, they are not nostalgic. Rather, they exist as expressions of his various beliefs. Teske believed in the coexistence of both the masculine and the feminine within every individual. Furthermore, he believed in the connectedness of all life and that time is both fluid and cyclical. In the 1930s, Edmund Teske gained experience in theater and portraiture photography and became friends with Nathan Lerner, who introduced Teske to Laszlo Moholy-Nagy. During the depression, he photographed for Frank Lloyd Wright, Paul Strand (for his film, Native Land), and the U.S. Army Corps of Engineers and he printed for Berenice Abbott. In 1943 Teske traveled to Arizona to photograph at Wright’s Taliesin West and continued on to Los Angeles where he became friends with Man Ray and Anaïs Nin. Teske was introduced to Vedantic thought, a Hindu philosophy, and its mythology and symbolism greatly influenced Teske’s later work. In 1950 he moved to Topanga Canyon where he became a part of an enclave of artists, black-listed actors and intellectuals, including Wallace Berman, Will Geer, George Herms, Walter Hopps and Dean Stockwell. It was during this time within a nurturing environment of like-minded, creative, free-thinking individuals that Teske's singular style evolved. Teske’s work was included in Museum of Modern Art’s 1960 The Sense of Abstraction show and it was Edward Steichen who named Teske’s innovative process “duotone solarization.” While teaching at UCLA in the 1960s, Teske was a colleague of Robert Heineken and became a mentor to many local photographers.Source: Gitterman Gallery
Erika Zolli
Italy
1986
Erika Zolli is a photographer specialized in Fine Art. Currently she lives and works in Milan. She holds workshops of creative photography in Italy and in Spain. In her photos new worlds and new realities are created, in order to show and explore the invisible dreamlike dimension that lies in the human mind. Her works have been mentioned in several magazines and newspapers including: Fotografia Reflex, Il Fotografo, L'Espresso, L'OEil de la photographie, La Repubblica, ANSA.it, Creathead (VICE), Art Parasites, Click Blog, Bored Panda, Fubiz, Creative Boom etc. She won the first prize of the 'My City' competition organized by the European Environment Agency and the T2gE Conference award during the Transition to the Green Economy (T2gE) conference held in Bratislava. Metamorphosis of Self: The art of Erika Zolli's Self-Portrait Surreal, geometric and figurative photographic shots assemble the latest series by the Italian artist Erika Zolli. In this new project, Metamorphosis of Self, the photographer shows a representation of herself made of symbolism that acts as a bridge towards a deep observation of conscious and unconscious feelings. In these images, creativity intertwines with a dreamlike and surreal world: origamis that surround the subject, gears that move head and heart, crystal glasses that reflect a face, a silver metamorphosis taking place, and skies that connect with geometric shapes harmoniously. "In this project, I wanted to create thirteen representations of myself. Each image expresses a concept that is fundamental to me: strengths and weaknesses which, through photographic art, are laid bare to be observed by an eye that retracts. The self-portrait invites us to get out of ourselves. During this process, we become foreigners ourselves, and through this movement, we want to identify by creating a sort of zone of blindness. Here, the opposition between sensible and intelligible overcomes and acts as a bridge between the two sides, allowing a better knowledge of one's unconscious. These thirteen images are characterized by vivid and strong colors to further enhance the subject which, despite being immobile and posing, maintains stability imbued with dynamic force".
Henry Peach Robinson
United Kingdom
1830 | † 1901
Henry Peach Robinson was an English pictorialist photographer best known for his pioneering combination printing - joining multiple negatives or prints to form a single image; an early example of photomontage. He joined vigorously in contemporary debates in the photographic press and associations about the legitimacy of 'art photography' and in particular the combining of separate images into one. Robinson was the oldest of four children of John Robinson, a Ludlow schoolmaster, and his wife Eliza. He was educated at Horatio Russell's academy in Ludlow until he was thirteen, when he took a year's drawing tuition with Richard Penwarne before being apprenticed to a Ludlow bookseller and printer, Richard Jones. While continuing to study art, his initial career was in bookselling, in 1850 working for the Bromsgrove bookseller Benjamin Maund, then in 1851 for the London-based Whittaker & Co. In 1852 he exhibited an oil painting, On the Teme Near Ludlow, at the Royal Academy. That same year Robinson began taking photographs, and five years later, following a meeting with the photographer Hugh Welch Diamond, decided to devote himself to that medium, in 1855 opening a studio in Leamington Spa, selling portraits. In 1856, with Rejlander, he was a founding member of the Birmingham Photographic Society. In 1859 he married Selina Grieves, daughter of a Ludlow chemist, John Edward Grieves. His son, Ralph Winwood Robinson, was also a photographer. In 1864, at the age of 34, Robinson was forced to give up his studio due to ill-health from exposure to toxic photographic chemicals. Gernsheim (1962) has shown that thereafter he preferred the easier 'scissors and paste-pot' method of making his combination prints, rather than the more exacting darkroom method employed by Rejlander. Relocating to London, Robinson kept up his involvement with the theoretical side of photography, writing the influential essay Pictorial Effect in Photography (1869), Being Hints on Composition and Chiaroscuro for Photographers, published in 1868. Around this time his health had improved sufficiently to open a new studio in Tunbridge Wells with Nelson King Cherrill, and in 1870 he became vice-president of the Royal Photographic Society. He advocated strongly for photography to be regarded as an art form. The partnership with Cherrill dissolved in 1875, Robinson continuing the business until his retirement in 1888. His son, Ralph Winwood Robinson, took over the studio business. Following internal disputes within the Photographic Society, he resigned in 1891 to become one of the early members of the rival Linked Ring society, in which he was active until 1897, when he was also elected an honorary member of the Royal Photographic Society. Robinson was an early supporter of the Photographic Convention of the United Kingdom and took part in this institution's long running debates about photography as an art form. He was invited to serve as the President of the PCUK in 1891 but, as he described later, "I felt compelled to decline, knowing that I could not carry out the duties as they should be carried out, having a defect of voice which would not allow me to read my own address." He was subsequently persuaded to serve as President in 1896, when his presidential speeches were read out by a colleague. He died aged 70 and was buried in Tunbridge Wells in early 1901. Henry Peach Robinson was one of the most prominent art photographers of his day. His third and the most famous composite picture, Fading Away (1858) was both popular and fashionably morbid. He was a follower of the pre-Raphaelites and was influenced by the aesthetic views of John Ruskin. In his Pre-Raphaelite phase he attempted to realize moments of timeless significance in a "mediaeval" setting, anticipating the work of Julia Margaret Cameron, Burne-Jones and the Symbolists. According to his letters, he was influenced by the paintings of J.M.W. Turner. He defended composite photography, asserting that the creation of combination photographs were as demanding of the photographer as paintings were of the artist. Robinson compared the making of Fading Away with Zeuxis' legendary combining of the best features of five young ladies from Crotona to produce his picture of Helena.Source: Wikipedia To produce Fading Away, this intimate narrative of family tragedy, Robinson seamlessly combined five separate negatives. The scene centers on a bedridden young woman dying of tuberculosis—or possibly of a broken heart, as suggested by the Shakespearean title of a preliminary study, She Never Told Her Love. The picture was notorious both for the “artificiality” of its technique and for its subject matter, which was considered too morbid and painfully intimate to be represented photographically. Robinson’s seamless blending of reality and artifice did, however, appeal to Prince Albert, the husband of Queen Victoria, who purchased a print of Fading Away and issued a standing order for every major composite photograph Robinson would make.Source: Metropolitan Museum of Art
Fred Lyon
United States
1927 | † 2022
Lyon has been called "San Francisco's Brassaï ," and has also been compared to Cartier-Bresson, Atget, and André Kertész, but with a San Francisco twist. The lifelong San Francisco Native happily admits his debt to those icons. Now 88, his nonstop career reaches back to the early 1940s and embraced news, fashion, architecture, advertising, and food. In the golden years of magazines his picture credits were everywhere from Life to Vogue. Lyon still maintains a lust for life, and is now combining his extensive picture files for galleries, publishers, and print collectors. Source: Peter Fetterman Gallery Fred Lyon is a time traveler with a camera and tales to tell. This former Life magazine photographer and fourth generation San Franciscan has an eye for the city and stories to match. We showed photos from Fred's books San Francisco, Portrait of a City: 1940-1960 and San Francisco Noir, and images spanning his diverse career. In conversation he'll discuss his art, work, and life; recollections of old friends like Herb Caen and Trader Vic Bergeron; and more. He shared his unique perspective after nearly a century in San Francisco. Fred Lyon's career began in the early 1940's and has spanned news, architecture, advertising, wine and food photography. In the golden years of magazine publishing his picture credits were everywhere from Life to Vogue and beyond. These days find him combing his picture files for galleries, publishers and print collectors. He has been called San Francisco's Brassaï. That's fine with this lifelong native who happily admits his debt to those icons.Source: The Interval Fred Lyon, a fourth generation San Franciscan, has accomplished a lot over his seventy-year career with his trusty mechanical film cameras and he continues to explore the medium to this day. Lyon has worked alongside photography greats while creating a name for himself, becoming known as San Francisco's Brassaï. He got his start at age fourteen as an assistant at Gabriel Moulin Studios and studied under famed landscape photographer Ansel Adams. When asked why he initially wanted to get into photography, he grinned and explained that, "Cameras were cool and I thought it would be a good way to get the girls. Guess how that went?" After a stint in the Navy as a press photographer, working directly with Roosevelt's office, he went on to photograph fashion in New York City. After a trip back to the San Francisco Bay Area, he decided to return permanently to the city that holds his heart, and luckily for us, he never left. His professional career spanned decades and his work has been seen in Time Magazine, Life, Vogue, and countless other fashion, home and garden magazines.Source: Leica Store San Francisco
Dirk Roseport
Belgium
1955
Advertising creative director and self-taught photographer. Inspired by Jem Southam, Jonathan Smith, Mark Rothko, Mies van der Rohe, Mihokajioka, Hiroshi Sugimoto, Annie Leibovitz, Asako Naharashi and new discoveries every day... Roseport focuses on projects that he fills out thematically over several years. CLOSER TO THE GODS Closer To The Gods was created during the Covid era when, like many photographers, he fell back on previously created material; inhospitable plateaus and glaciers of Iceland, the mountain landscapes of the Pyrenees and the high altitude deserts of Ladakh. In Closer To The Gods, these are portrayed hard and directly in powerful, high-contrast black-and-white photography. Nature does not invite here, she imposes. Compelling, ominous, at times almost menacing. It is a nature that impresses and often looks as if it could insidiously swallow and crush us at any moment. TRANSCENDENTAL TRANQUILITY In his project Transcendental Tranquility he brings us seascapes, distilled to their essence, authentic without any post-processing. It all has to happen in the camera. If it doesn't happen there, it goes into the trash. Sometimes the oceans are no longer recognizable and they become Rothkosian color impressions, but his goal is not to show an ocean. The point is to create a scene that induces a state of tranquility in which what is perceived as troublesome in the psyche falls away. Nature does not impose itself here, but invites the viewer to drown in it and regain the peace that we so often lack today. Roseport sees the Transcendental Tranquility project as the antithesis of the Closer To The Gods work. FADING MEMORIES Always exploring, Roseport also created the Fading Memories project that invites viewers to create their own stories. Roseport: "As time passes, memories fade. What was once sharp, clear and vivid in our minds becomes blurred. Shapes and colors disappear. Bits and pieces are gone never to return. With Fading Memories, I try to visualize this feeling of losing the details. The images take on a dreamlike surreal atmosphere. And usually we will remember what has been forgotten, more beautifully - if hard or soft - than it actually was. That's what we do. That's how we survive. In Fading Memories, I know the story behind the image. The place. The time. The people. The viewers don't. There is an analogy here with projective tests like Rorschach, when ambigious stimuli reveal hidden emotions and internal conflicts. Thanks to what the viewers don't see, the images suggest more open stories than the ones I know. More open stories than they would see if the images were intact. So their minds will create their own story. Immediately. I invite them not to stop it. Have Fading Memories challenge their imagination."
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