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Anna Försterling
Anna Försterling
Anna Försterling

Anna Försterling

Country: Germany
Birth: 1995

Anna Försterling is a German photographer specializing in artistic nude and portrait photography. She was born in 1995 and grew up in Saxony, near Dresden. She successfully completed her training as a photographer from 2014 to 2017 and has been working as an independent photographer in Freiberg (Saxony) since January 2021.

Her work is all about minimalism and body shapes. Skin plays an important role for her, as skin is one of the most important and exciting means of expression of character and soul.
She also wants to show emotion and soul in her portraits and usually reduces to a presentation in black and white.
Anna photographs her work exclusively analog and mostly on black and white film and develops her films herself.

Websites

www.annafoersterling.com

@anna.foersterling

 

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More Great Photographers To Discover

Łukasz Korulczyk
Łukasz Korulczyk
Poland
1983
"My name is Łukasz Korulczyk, I'm 39 years old, and I live in Pruszków a city close to Warsaw in Poland. I work as a product designer, creating digital products. In addition, I'm proud to be the human father of two amazing creatures, a dog named Felek and a cat named Ósemka (eng. eight). The genre of photography that is closest to me is definitely street and documentary photography - I feel best there and do it most often. But that doesn't mean I don't touch other genres; I occasionally take landscape and portrait photos. My photos have won competitions organized by LensCulture - Critics' Choice, Bialystok InterPhoto - Street Art Photo and my photos have been honorable mentioned in competitions organized by IPA and Paris International Street Photo Award. In 2022, I started my studies at the Association of Polish Art Photographers."
John Coplans
John Coplans
United Kingdom
1920 | † 2003
John Rivers Coplans was a British artist, art writer, curator, and museum director. His father was Joseph Moses Coplans, a medical doctor and a man of many scientific and artistic talents. His father left England for Johannesburg while John was an infant. At the age of two, John was brought to his father in South Africa; from 1924-1927 the family was in flux between London and South Africa, settling in a seaside Cape Town suburb until 1930. Despite the instability of his early home life, Coplans developed an enormous admiration for his father, who took him to galleries at weekends and instilled within him a love for exploration, experimentation, and a fascination with the world. In 1937, John Coplans returned to England from South Africa. When eighteen, he was commissioned into the Royal Air Force as an Acting Pilot Officer. Due to his hearing being affected by a rugby match, two years later, he volunteered for the army. His childhood experience living in Africa led to his appointment to the King’s African Rifles in East Africa. He was active as a platoon commander (primarily in Ethiopia) until 1943, after which his unit was deployed to Burma. In 1945 Coplans returned to civilian life and decided to become an artist. After being demobilised, Coplans settled in London, rooming at the Abbey Art Centre; he wanted to become an artist. The British government was giving grants to veterans of the war, and he received one such grant to study art. He tried both Goldsmiths and Chelsea College of the Arts, but found that art school did not suit him. He painted part-time for clients including Cecil Beaton, Basil Deardon whilst running his business John Rivers Limited which specialised in interior decorating. In the mid-1950s, Coplans began attending lectures by Lawrence Alloway at the Institute of Contemporary Arts. Here he was introduced to the budding Pop Art movement, which he would become deeply involved in as both critic and curator. His experience viewing exhibitions such as the Hard-Edged Painting exhibition (ICA, 1959) and New American Painting (The Tate, 1959) helped to solidify his growing passion for not just Pop Art, but American art as well. During this period he struggled as a young artist to find his artistic voice, and developed an abstract painting practice which reflected trends of tachism and Abstract Expressionism pioneered by Americans Jackson Pollock and Willem de Kooning. Coplans would later refer to this early painting work as "derivative"; these paintings were shown in exhibitions at the Royal Society of British Artists (1950) and later at the New Vision Center. In 1960, Coplans sold all of his belongings and moved to the United States, initially settling in San Francisco and taking a position at UC Berkeley as a visiting assistant design professor. Here he met gallerist Phil Leider, the future editor of ArtForum. Leider connected Coplans to John Irwin, who wanted to start a magazine. Coplans convinced Irwin that the West Coast needed an art publication: one that gave voice to art that was important, but had not yet received critical attention. He further suggested that it should be published in square format so that both vertical and horizontal images would be viewed equally, thus giving birth to ArtForum's iconic shape—and to the successful foundation of ArtForum itself. Coplans was a regular writer for the magazine. His perspective on art writing was anti-elitist, using popular appeal and excitement over new work to “stimulate debate and awareness” especially for West Coast artists. Finding himself conflicted between his painting and writing careers, he chose the latter and devoted the next twenty years of his life to the magazine, as well as curatorial pursuits and a career as a museum director. It was not until 1981, at the age of 62, that he returned to his career as an artist.Source: Wikipedia John Coplans had a career in reverse. He was 60 by the time he established himself as a photographer, having already had a long and active life as a curator, editor, writer, artist and decorator. A pioneer of selfportraiture, he took large format black-and-white close-ups of his bare body that sent ripples of shock, recognition and frequent praise through the international art world. A major element in the fascination was an obsession with one of our few remaining taboos: the process of ageing and physical decrepitude. And with the anonymity of identity: in Coplans' words, "To remove all references to my current identity, I leave out my head." The blow-ups of sagging flesh, creased folds, odd protuberances and body hair of an old man become the documentary tale of the decline of Everyman. After a brief spell teaching at the University of California, Berkeley, in 1962 Coplans co-founded Artforum magazine and, for the next two decades, his career was to be as artistically various as it was financially precarious. Artforum was intended to combat the anti-intellectualism Coplans felt he had encountered at Berkeley, and the notion that there was nothing to be said about art, since you either made it or looked at it. His whole background was in stimulating debate and awareness, at a popular rather than an elite level. Inevitably, as he later explained, "The thing was how to get the eastern establishment to read about west coast art". Within five years, the magazine was relocated to Manhattan, with Coplans acting as west coast editor. As a museum curator, he enjoyed similarly shifting fortunes. His first project was a pop art exhibition at the Oakland art museum, and, in 1963, he became director of the university gallery at Irvine, organising an important show by Frank Stella. From 1967 to 1971, he transferred to the Pasadena art museum. Alongside established artists like Roy Lichtenstein, Andy Warhol and Donald Judd, he gave Robert Irwin, Richard Serra and James Turrell their first shows. In 1971, Coplans moved to New York to became editor of Artforum, and, in 1975, published his own version of events leading to the bankruptcy and takeover of the Pasadena art museum, “Diary Of A Disaster.” During his seven years at the helm, Artforum increasingly jettisoned the militant formalism with which it had been identified, and became a platform for the catholicity of Coplans' artistic tastes, including19th-century photography and contemporary European abstract art. In 1978, the publisher gave Coplans the choice of buying the magazine or quitting. Not being in a position to do the former, he became director of the Akron art museum in Ohio, where, again, he combined curatorial work with launching a new magazine, appropriately named Dialogue. He also published books on photographers, ranging from Weegee to Brancusi, and started his own photographic experiments. By 1980, Coplans was back in New York, and the following year had his first solo show at the Daniel Wolf Gallery. At last, he had found not only the medium but also the subject of his artistic expression. He called his works auto-portraits, and, created by means of a live-feedback video camera with an automatic shutter, they honed in on the physical landscapes of the body with all the sculptural focus - but without the distortions of the lens - of Bill Brandt's Perspective Of Nudes (1961). This was to become Coplans' constant subject matter. In 1986, he had his first show of self-portraits at the Pace/MacGill Gallery, New York. Sandra Phillips, the long-time photography curator at the San Francisco Museum of Modern Art, immediately saw the importance of the work. His first major museum exhibition followed at SF MoMA in 1988, and the exhibition traveled on to the Museum of Modern Art in New York that same year. The work was rapidly acquired and shown by the The J. Paul Getty Museum, the Museum of Modern Art in New York, and the Whitney Museum of Art; in 1997 (the same year he remarried), a major retrospective was staged MoMA PS1 Contemporary Art Centre in Queens. He published books of the work, principally the anonymous-sounding A Body, Body Parts and A Self-Portrait, and finally Provocations, which includes his photo-essays and criticism. Coplans has a daughter, Barbara, and a son, Joseph; he has two granddaughters. He was married four times. His fourth wife, photographer Amanda Means, is the Trustee for the John Coplans Trust in Beacon, New York. John Coplans was born June 20, 1920 in London and died on August 21, 2003 in New York.Source: The John Coplans Trust
María Tuleda
María Tuleda
Spain
Nurse by profession, I discovered photography by chance a little over a decade ago and since then I have dedicated part of my free time to taking photos. Self-taught, I conceive photography as an instrument to create, tell and transmit, but above all to feel. I do not follow norms or rules, and I confess to being more interested in suggesting than in the photographic technique itself. There's something nostalgic and beautiful about decadence, and maybe that's why almost all of my shots end up having a certain decadent feel to them. I have no idea why I make the images I make, I guess we look with a camera as we are, or one day we were. My photos are simply a visual diary, they show what I see, and how I felt. Photography allows me to return to that childlike curiosity, which makes me want to explore not only in the world, but within myself. When they ask me what I want to express with my photos or my way of creating them, the answer is simple: Provoke, simply provoke some sensation. A few years ago I decided to show my images on social networks, opening up a range of opportunities to disseminate my work, but if I have to choose a medium where I can express myself through photography, it is the photobook. Being able to create a visual narrative, with a set of photos between sheets of paper inside a book, has been a wonderful experience, yes, I confess, photobooks have me fascinated. On many occasions I don't know why some of the images I make exist. And honestly, I don't care to know. The birds What do birds represent in artistic photography? It is a simple filler in the composition, with the purpose of making it more attractive and attracting the viewer, or for the author, it has a meaning. The answer may be a little of both. It is easy to find the presence of symbols in creative or artistic photography, including birds. Jennifer Ackerman, a bird scholar, after spending time observing them, came to the conclusion that birds remember, think, feel, give gifts and love. And they also fly, and that is what makes them so special, that is what arouses so much interest and at the same time envy: the ability to fly. The author of the wonderful novel "Rebecca", Daphne du Maurier, is also the author of the story about "The Birds" in the Alfred Hitchcock film. Horror story where roles are exchanged, giving way to the revolution of the birds, and they are the ones who keep humans locked up, imprisoned and caged in their homes. Leonardo da Vinci's obsession with understanding the flight of birds led him to make a study and treatise on flight while painting the Mona Lisa. Some of the discoveries he made anticipated the foundations of modern aeronautics. Hundreds of birds fly over the Prado Museum of various species, a recent study reveals that there are nearly 700 paintings that illustrate frozen birds through the brushes of artists such as Rubens, Hieronymus Bosch or Goya. It is evident that birds have always aroused a lot of interest throughout history, and without a doubt they have been and are sources of inspiration, not only in art. But really, in artistic photography, what do they symbolize? The Mexican photographer and lady of symbols, Graciela Iturbide, is clear: "Birds are the eyes that help me fly." She claims that she loves them and for her they represent freedom. I share Graciela's considerations about the concepts she attributes to birds for her creations. I have no idea why they are so present in my work, why I go out into the world with my camera, sometimes, even with the sole intention of looking for them and photographing them. When they ask me what I want to express with their presence, I feel perplexed for not having a clear answer. I wish I could give you an exact answer about the important message behind this work. Birds, above all for me, are symbols of vision and freedom perfectly outlined in the process of the concept of creation, and at the same time, a metaphor alluding to an infinite number of things. My photos are simply a visual diary. They show what I see or what I saw, and how I felt. Photography allows me to return to that childlike curiosity, which makes me want to explore not only in the world, but within myself. On many occasions I don't know why some of the images I make exist. And honestly, I don't care to know. For others, the presence of birds perhaps blurs the composition, or they are representations that are too disturbing or tedious, and therefore contrary to what I intend to provoke, but perhaps that disparate vision that photography provokes is not part of its magic.
Ian van Coller
Ian van Coller
South Africa
1970
Ian van Coller was born in 1970, in Johannesburg, South Africa, and grew up in the country during a time of great political turmoil. These formative years became integral to the subject matter van Coller has pursued throughout his artistic career. His work has addressed complex cultural issues of both the apartheid and post-apartheid eras, especially with regards to cultural identity in the face of globalization, and the economic realities of every day life. Van Coller received a National Diploma in Photography from Technikon Natal in Durban, and in 1992 he moved to the United States to pursue his studies where he received a BFA from Arizona State University, and an MFA from The University of New Mexico. He currently lives in Bozeman, Montana with his wife, children, and three dogs, and is a Professor of Photography at Montana State University. His work has been widely exhibited nationally and internationally and is held in many significant museum collections, including The Philadelphia Museum of Art, The Getty Research Institute, The Metropolitan Museum of Art, The Library of Congress, and The South African National Gallery. Van Coller's first monograph, Interior Relations, was published by Charles Lane Press (New York) in 2011. He is a 2018 Guggenheim Fellow and a member of the Piece of Cake collective. Van Coller's most recent work focuses on environmental issues related to climate change and deep time. These projects have centered on the production of large scale artist books, as well as direct collaborations with paleo-climatologists. About Naturalists of the Long Now Climate change has compressed and conflated human and geologic time scales, making it essential to find ways to conceptualize “deep time.” My project, Naturalists of the Long Now, seeks to make notions of deep time comprehensible through visual exploration of glacier ice, as well as other earthly archives. Initially inspired by the 10,000 Year Clock Project of the Long Now Foundation, I have begun collaborating with scientists to make art that challenges viewers to think about the vast scales of geologic time-both past and future-that are recorded not only in the earth’s ice bodies, but in trees, sediments, corals and fossils. Photography is a unique and powerful visual language. However, what that language sometimes lacks is the information needed to bring about understanding of what is represented in the photograph itself. In 2015, I was able to accompany a team of geoscientists who specialize in climate science related to Quelccaya Glacier in Peru. I was astonished at the endurance of these men and women. Every day they would climb to the summit of the glacier at 18,600ft, and then work over 10 hours straight, drilling ice cores, digging snow pits, and collecting data. It would be exhausting work at sea level, let alone at altitude. I realized I really had a lack of understanding of what the scientists were trying to do. Where the symbolic conversations in my ice portraits ended, the deep knowledge of ice possessed by the scientists would sustain and expand it. When I was a young person, I was fascinated by the annotated drawings and paintings of Victorian era naturalists, botanists and ornithologists. These brought together the two things I loved most in the world-art and nature. Since that expedition to Peru, I have started intimate collaborations with scientists by having them annotate directly onto my photographic prints-a contemporary taxonomy of ice and climate-thus re-inventing a genre of naturalist imagery. Naturalists of the Long Now breaks down barriers between art and science, and creates a dialogue between text and image, landscape and viewer, expert and novice, past, present and future. My intention is that Naturalists of the Long Now is to encourage people to think in terms of longer spans of time, and consider what humanity will look like in 100 or even 10,000 years-instead of just considering our personal and immediate desires. Article Photography and Climate Change Awareness
Jason Langer
Jason Langer
United States
1967
Jason Langer is a notable photographer, best known for his black and white film photography, capturing atmospheric and introspective images. Langer was born in Tucson, Arizona and grew up in Ashland, Oregon. Langer studied photography at the University of Oregon from 1985 to 1989. After graduation, Langer moved to San Francisco and apprenticed with some of the Bay area's most well-renowned photographers including Ruth Bernhard, Arthur Tress, and Michael Kenna, who became his mentor and lifelong friend. During that time, Langer learned much from Michael Kenna and influences from Kenna remain present throughout Langer's two-decades of photographic work. His photographs have been exhibited in numerous galleries and museums internationally, including solo exhibitions in cities such as New York, Paris, London, Tokyo, and Moscow. Langer's work has also been featured in various photography publications and books. Many of Jason Langer's photographs have been praised for their poetic and evocative qualities. Langer shoots using film, meaning that he does not know exactly what photographs he has until the film is developed. He photographs in black and white and prefers to photograph at night. He avoids photographing human faces, which increases the mystery of his works. Langer is also a sought-after photography mentor, having taught photography at the Academy of Art University for 12 years and Santa Fe Workshops since 2014. Langer is known as a mentor in photography, teaching students to use the medium for self-understanding. “Jason seems to have absorbed the entirety of photo history, particularly the so-called “New York School”, identified by historian Jane Livngstone in her book of that title from the early 1990’s: Arbus; Avedon; Brodovitch; Croner; Davidson; Donaghy; Faurer; Frank; Grossman; Klein; Leiter; Levinstein; Levitt; Model; Vestal and Weegee. Jason loved shooting the city and printing it very darkly. He is a classicist. He is contemporary guy who sees things though more modern eyes.” He has received recognition and awards for his contributions to the field of photography. Langer's work continues to be exhibited and collected by art enthusiasts and collectors worldwide.
Yuan Su
Yuan Su
United States
1957
My name is Yuan Su, I am a retired biologist with a passion for photography. In my photographic work, I particularly enjoy capturing landscapes, wildlife, and cultural subjects. Whether it’s the magnificent beauty of nature or vibrant moments of human life, I strive to document any subject that resonates with me. Through my lens, I hope to share my love for nature and life.
Jaroslav Mares
Jaroslav Mares
Czech Republic
1958
Jaroslav Mares, graduate of the Faculty of Mechanical Engineering, lives and works as a designer in Polička, a small town in the Czech Republic. Photography has been his hobby since childhood, he has been intensively creating fine art photography for the last ten years. His work is based on the idea that photographic art should focus on finding extraordinary things in ordinary places. His photographs are mostly a spontaneous reaction to visually interesting scenes and situations that life brings. He realized several author exhibitions and photography projects, and participated in many others. His photos have been awarded many times and published in photography magazines.
Angela Fisher
Angela Fisher
United States
Thirty years of work on the African continent have carried Carol Beckwith and Angela Fisher across 270,000 miles and through remote corners of 40 countries in exploration of more than 150 African cultures. In the process, this team of world-renowned photographers has produced fourteen widely acclaimed books and made four films about traditional Africa. They have been granted unprecedented access to African tribal rites and rituals and continue to be honored worldwide for their powerful photographs documenting the traditional ceremonies of cultures thousands of years old. As an intrepid team of explorers, they are committed to preserving sacred tribal ceremonies and African cultural traditions all too vulnerable to the trends of modernity. The Beckwith-Fisher images are the result of a long, enduring and deeply respectful relationship with African tribal peoples. This, combined with their photographic skills, creates an intimate portrayal of ceremonies long held secret that might have never been recorded. Their work preserves and presents the power, complexity and celebration found within the rituals of African tribal life. Their extraordinary photographs are recorded in fourteen best-selling books and in their films. Their new book “Painted Bodies” (2012) follows “Maasai” (1980), “Nomads of Niger” (1983), “Africa Adorned” (1984), “African Ark” (1990), “African Ceremonies” (1999), “Passages” (2000), “Faces of Africa” (2004), “Lamu: Kenya’s Enchanted Island” (2009), and “Dinka” (2010). The special limited-edition books, hand printed in Santiago, Chile, are titled “Surma,” “Karo,” “Maasai,” and “Dinka.” “African Ceremonies,” their defining body of work, is a double volume, pan-African study of rituals and rites of passage from birth to death, covering 93 ceremonies from 26 countries. This book won the United Nations Award for Excellence for “vision and understanding of the role of cultural traditions in the pursuit of world peace.” Honored twice with the Annisfield-Wolf Book Award in race relations for “outstanding contributions to the understanding of cultural diversity and prejudice,” Angela and Carol are also winners of the Royal Geographical Society of London’s Cherry Kearton Medal for their contribution to the photographic recording of African ethnography and ritual. The photographers have made four films about traditional Africa, including Way of the Wodaabe (1986), The Painter and the Fighter, and two programs for the Millennium Series Tribal Wisdom and the Modern World. Numerous exhibitions of their photography and films have been shown in museums and galleries around the world. In 2000 their Passages exhibition opened at the Brooklyn Museum of Art featuring 97 mural photographs, six video films and a selection of African masks, sculpture and jewelry. This exhibition has traveled to seven museums on three continents. Aware that traditional cultures in Africa are fast disappearing, Carol and Angela are working with an urgency to complete the third volume of their ongoing study of African Ceremonies with the goal of covering the remaining traditional ceremonies in the 13 African cultures in which they have not yet worked. Source: carolbeckwith-angelafisher.com
Cindy Sherman
Cindy Sherman
United States
1954
Cindy Sherman was born in 1954 in Glen Ridge, New Jersey. Sherman earned a BA from Buffalo State College, State University of New York (1976). In self-reflexive photographs and films, Cindy Sherman invents myriad guises, metamorphosing from Hollywood starlet to clown to society matron. Often with the simplest of means—a camera, a wig, makeup, an outfit—Sherman fashions ambiguous but memorable characters that suggest complex lives that exist outside of the frame. Leaving her works untitled, Sherman refuses to impose descriptive language on her images—relying instead on the viewer’s ability to develop narratives, as an essential component of appreciating the work. While rarely revealing her private intentions, Sherman’s investigations have a compelling relationship to public images, from kitsch (film stills and centerfolds) to art history (Old Masters and Surrealism) to green-screen technology and the latest advances in digital photography. Sherman’s exhaustive study of portraiture and self-portraiture—often a playful mixture of camp and horror, heightened by gritty realism—provides a new lens through which to examine societal assumptions surrounding gender and the valuation of concept over style. Among her awards are the Guild Hall Academy of the Arts Lifetime Achievement Award for Visual Arts (2005); American Academy of Arts and Sciences Award (2003); National Arts Award (2001); a John D. and Catherine T. MacArthur Foundation Award (1995); and others. Her work has appeared in major exhibitions at Sprüth Magers, Berlin (2009); Jeu de Paume, Paris (2006); the Museum of Modern Art, New York (1997); and the Museum of Contemporary Art, Los Angeles (1997); among others. Sherman has participated in many international events, including SITE Santa Fe (2004); the Venice Biennale (1982, 1995); and five Whitney Biennial exhibitions. Cindy Sherman lives and works in New York.
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Exclusive Interview with Peter Ydeen
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