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FINAL CALL TO ENTER AAP MAGAZINE B&W: PUBLICATION AND $1,000 CASH PRIZES
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Cardell Phillips
Cardell Phillips
Cardell Phillips

Cardell Phillips

Country: United States
Birth: 1952

I'm a photographer living in Chicago. I discovered photography when I was in high school. My uncle was a photographer, and he showed me what the world looked like through a viewfinder. What I enjoyed the most about it was the freedom to explore the world and then show everyone what I found. When I got a job, I bought my first camera, an Olympus Trip 35, and learned how to use it by taking photographs of family and friends. Basically, anyone who would put up with me taking their picture when they weren't expecting it. When I was in grammar school, my two sisters and I spent our summer vacations at our grandparents' farm in Michigan. It was there that I experienced what it was like to live close to the land. So, when I thought about what kind of photography I wanted to specialize in, I chose landscape photography. Enchanted by the images taken by Ansel Adams and others, I traveled to the Canadian Rockies for a weeklong workshop where I learned some of the finer aspects of photography and gained confidence as a photographer. For years, I only shot portraits and landscapes. My interest in street photography began around 2008, when I came across the work of Walker Evans. His vision of the beauty in everyday life led me to other masters like Henri Cartier-Bresson, Vivian Maier, Roy DeCarava, and Wayne Miller. Their humanist approach to photography, to explore what it means to be human, inspired me. It's what I think about when I'm out with my camera and immersing myself in the flow of life, seeking to capture its disillusionment, solitude, and indigence but also the beauty, joy, and everyday wonders. In September 2021, the Praxis Gallery in Minneapolis chose one of my images for its "Shape of Things," exhibit. It was my first gallery showing.

Statement
One of the best places to take photographs in Chicago is the Lakefront. There, the beaches are strung out along Lake Michigan, from north to south, like pearls on a string, where there are many opportunities to photograph both people and landscapes. The 57th Street Beach is my favorite. It's a small beach with trees at the north and south ends that give it a touch of wilderness. As I photographed there, I noticed the people who came out to the lake in the early morning to engage in creative or spiritual work. As I began photographing them, I got the idea for a project about the power of the lake and the people who go there to resonate with the sky and water and to energize their hopes and dreams.
 

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More Great Photographers To Discover

Lello Fargione
Photographer for passion and empathetic traveler, I was born in Sicily where I live and have fun with photography. I continue to photograph, to tell things as they happen, as if I were not there, but at the same time remaining deeply inside the image, a "journey" for the desire to know new cultures and penetrate the most remote and inaccessible places by identifying with situations that I meet, to '' narrate '' through images. I remained, by nature and conviction, a freelance "photographer", who likes to "photograph" to tell stories, not to forget, not to stop "dreaming"... Asia, a woman's life Work, fatigue, the unhealthy environment in which women in Asia live, are the theme of my photographic journey in the Burmese and Vietnamese lands. A theme that has imposed itself with all the drama of the apparently impassive gazes of women who seem to be eternal figures in an exotic and enigmatic mosaic. Often in the shadows, as if to underline an obscure and forgetful role of the past, the gesture is repeated with the automatism forged in the labor of days that have consumed the face and limbs. It is known that once these women enjoyed a very different social status and one cannot help but know that what I see today is the result of a "commercialization" of the society that commodifies individuals. The anguish as the sense of guilt intervenes in a second moment: seeing oneself as a privileged observer of the condition of others. But reviewing and showing beyond glossy aesthetics is also a way (the photographer's only way) of going beyond the observer's impotence.
Lauren Semivan
United States
1981
Lauren Semivan (b. 1981) was born in Detroit, Michigan. She received a BA in studio art from Lawrence University in Appleton, Wisconsin, and an MFA in photography from Cranbrook Academy of Art. Her work has been exhibited at the Nelson Atkins Museum of Art, Detroit Center for Contemporary Photography, The Griffin Museum of Photography, The Hunterdon Art Museum, Cranbrook Art Museum, Paris Photo, and The AIPAD Photography Show among others. She has taught photography at College for Creative Studies, The Ohio State University, Virginia Commonwealth University, and Wayne State University. Semivan has received numerous awards for her work including Photolucida Critical Mass Top 50, and The Griffin Museum of Photography’s Griffin Award. In 2014, she was a finalist for The John Gutmann Photography Fellowship, and SF Camerawork’s Baum Award for Emerging Photographers. Her work was recently published in Series of Dreams (Skeleton Key Press, 2018) and has appeared in The New Yorker, Artforum, Harper's Magazine, Interview Magazine, The Village Voice, and Photograph magazine. Semivan’s work is part of permanent collections at the Nelson Atkins Museum of Art, Cranbrook Art Museum, The Wriston Art Galleries at Lawrence University, and The Elton John Photography Collection. She lives in Appleton, WI and is represented by Benrubi Gallery in New York, and David Klein Gallery in Detroit, Michigan. Artist Statement "The staged photograph exists as a document of a pre-conceived, imagined event. It can be compared to a scientific apparatus, utilizing both control and the unknown. My ongoing body of work, Observatory, combines drawing, an archive of objects, and the human presence as a narrative tool. In scientific disciplines, a line is classified as an event. Something as primitive as a scrawl on a surface reveals an aggregate of events, intersecting and changing course. Drawings made on the seamless backdrop describe an emotional space. Science is inherently experiential, as is art making. Knowing and feeling are not separate, and the whole of the environment can be used as a pedagogic instrument. Observatory elegantly draws upon a tension that exists between irrational and physical worlds. Within each image, ghosts of previous drawings create a sense of time suspended, evoking gesture, atmosphere and memory. Photographs allow me to access the extraordinary, to keep a record of dreams, and to employ the unknown. My interest in photography is interdisciplinary and synergistic, informed by the written word, painting, drawing, sculpture, and the raw material of human experience. All images are made using an early 20th century 8x10" view camera. Large format negatives are scanned and printed without digital manipulation in editions of 5 (40"x50") and 10 (24"x30")."Source: www.laurensemivan.com Her ongoing body of work, Observatory, combines drawing, an archive of objects, and the human presence as a narrative tool. Within each image, ghosts of previous drawings create a sense of time suspended, evoking gesture, atmosphere and memory. "Photographs allow me to access the extraordinary, to keep a record of dreams, and to employ the unknown. Science is inherently experiential, as is art making. Knowing and feeling are not separate, and the whole of the environment can be used as a pedagogic instrument. Observatory elegantly draws upon a tension that exists between irrational and physical worlds". Semivan’s work resides in the collections of the Nelson Atkins Museum, Cranbrook Art Museum, and the Wriston Art Center at Lawrence University, and has been featured in Wall Street International Magazine, the New Yorker, Artforum, and Photograph magazine.Source: Benrubi Gallery
David Katzenstein
United States
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Yukari Chikura
Yukari Chikura born in Tokyo, Japan. After graduated from university of music. She became music composer and computer programmer. She is the winner of STEIDL BOOK AWARD and her work has been published by STEIDL. She was selected as "FOTOFEST Discoveries of the Meeting Place 2018". She won LensCulture Emerging Talent Awards 2016, Sony World Photography Awards , Photolucida Critical Mass TOP50 2016 & 2015 among others. Her work has been published by New York Times, Guardian among others. She held 12 places solo exhibition and group exhibition at museum, gallery around the world. Some projects have collected in Griffin Museum in US and Bibliotheque national de France. ZAIDO This book is Yukari Chikura's preservation of the 1300-year-old Japanese ritual festivity "Zaido." Following a series of tragedies including her father's sudden death, her own critical accident and the 2011 Tohoku earthquake and tsunami, Chikura recalls how her father came to her in a dream with the words: "Go to the village hidden deep in the snow where I lived a long time ago." And so with camera in hand she set off on a restorative pilgrimage to northeast Japan (the first of numerous journeys), which resulted in this book. Chikura arrived at the village, surreally silver in the snow and mist, and there discovered Zaido, where inhabitants from different villages gather on the second day of each new year and conduct a ritual dance to induce good fortune. The performers dedicate their sacred dance to the gods and undergo severe purifications. Combining photos of snowscapes that border on abstraction with images of the intricate masks and costumes of Zaido, Chikura depicts the cultural diversity of the participants as well as their common bond in creating collective memory and ensuring the survival of this ritual. More about Zaido by Ann Jastrab
Zaharia Cusnir
Moldova
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Zaharia Cuşnir (1912-1993) was an amateur photographer born in Rosietici village, Floresti region, Moldova. He was photographing people within 1955-1973, and left a collection of negative films 6x6 cm, from which 3751 were discovered in his abandoned house in 2016. The photographs portray groups, landscapes, scenes from everyday life: work in the kolkhoz, weddings, funerals, national celebrations. Life Zaharia Cuşnir was born as the last child in the family of 16 children in Rosietici village, Soroca district. His father was a Moldovan businessman (born 1870), and his mother was of German origins (born in approx. 1870). Zaharia was born in Bessarabia, at that time part of the Russian Empire, educated in Romania (Iasi city), and after WW-II, became a USSR citizen. He went to school to the neighbouring Rogojeni village and later attended the pedagogical lyceum in Iasi, Romania. He began teaching in Rogojeni, then though he worked in kolhoz, performing works as carrying stones, digging the frozen ground, carrying loam, destroying fences, herding cows. Villagers also remember him as a blacksmith. He also built a family of 4 children with his wife, Daria. Zaharia learned photography from his nephew, who returned from the army. The nephew was living in another village, so they decided to split the territory for the photographic activities. So, Zaharia stayed responsible for the surrounding villages: Caşunca, Rogojeni, Țâra, Ghindeşti, Roşietici, and Cenuşa. The first pictures were taken in 1955. Zaharia was photographing mainly portraits of neighbours and then he was selling the photos. He had a bicycle, which he was usually lending to people for a photograph, as well he had a black blanket, which he was using as a background when he was taking portraits. Up to 1973, he had taken around 4000 pictures of the medium format 6x6 cm. In 1993, after he died, the house was abandoned and the pictures were stocked in a suitcase and placed in the attic. Discovery In spring 2016, Victor Galuşca, being a student at the Academy of Arts in Chisinau, Moldova, arrived in Rosietici village to film his documentary film for the bachelor's degree exam. He entered the abandoned house and found several negative films scattered through the trash all around the floor. Victor inquired from the villagers whose house was it and found the daughter of Zaharia Cusnir, living in the neighbourhood. With her permission, within several days, he picked all of them, and together with his photography professor, Nicolae Pojoga started the cleaning and indexing process of the archive. Among all, there were found old documents, among which was an edited request for admission to the school, adjusted to a stilted language used at the time. There was also found a table of exercises written in Russian Cyrillic script, as well as elementary calculus tests designed for primary school. Other documents and archival remnants reveal a struggle between life and death for the majority of the population; these include bread allowances and checks listing debts. Further Development The archive has a high resonance and was appreciated within several exhibitions: at the Museum of Art of Moldova (curated by Cervinscaia Nadejda) and the Romanian Peasant Museum in Romania in 2018, and at the Ethnographic Museum of Transilvania, the Subway Gallery of the House of Arts in Timisoara, Romania and at the Museum of Ethnography and Folklore MARAMUREş from Baia Mare, Romania in 2019. In 2017 a Moldovan Publishing house Cartier published a photo album "Lumea lui Zaharia" ("Zaharia's World"). At the beginning of 2020, was launched the website and facebook page, aiming to give open access to the usage of the Zaharia Cusnir archive. The team is working on few coming exhibitions in Europe in 2020.
Philip Metcalf
United States
Philip Metcalf was born in the Finger Lakes area of central New York State. He is a photographer who focuses mainly on the landscape, shooting in black & white infrared. The Fire Ghosts portfolio explores the devastation and unexpected beauty caused by the 2011 Las Conchas forest fire in New Mexico. In 2013, a photo from this portfolio was selected for the Art of Photography show, curated by Julia Dolan, the Curator of Photography at the Portland Art Museum and hung in the San Diego Art Institute. Also in 2013, he was a Nominee in the Black & White Spider Awards. In 2014, another photo from the portfolio was selected for the cover of Black & White Magazine (issue # 104). A graduate of Princeton University, Philip and his wife, photographer Patricia Galagan, live in Santa Fe, New Mexico. Interview with Philip Metcalf AAP: Where did you study photography? With Whom? Two most important teachers were Charles Harbutt and Kate Carter back in the 1970’s. Harbutt’s class at The Maine Photo Workshops was ostensibly about the camera, but the real message was the difference between how your eye sees the world vs how a camera sees the world. Like many young photographers, I started with a couple of camera bodies and several lens. Accordingly, much of one’s time and attention was spent on thinking about equipment combinations. In Ireland with Kate, I was bemoaning the lack of great results. Kate said something was elegantly simple and utterly true: “Remember, it’s all about the light.” That afternoon I went shooting with one body and one lens, a practice that I have followed ever since. AAP: What or who inspires you? Nature, especially the wide-open spaces of the Western United States. When I lived on the East Coast, I asked a friend visiting from the West what he thought of the Eastern part of the US. He said it was fine except that he couldn’t see anything. I never really understood what he meant until moving to Santa Fe, New Mexico. The vast expanses of the West with their unobstructed views for miles and miles are a very different experience than the more circumscribed views of the East. AAP: How could you describe your style? Based on nature and the real world, but slightly abstracted. AAP: Do you have a favorite photograph or series? My Fire Ghosts portfolio.
Astrid Reischwitz
Astrid Reischwitz is a lens-based artist whose work explores storytelling from a personal perspective. Using keepsakes from family life, old photographs, and storytelling strategies, she builds a visual world of memory, identity, place, and home. Her current focus is the exploration of personal and collective memory influenced by her upbringing in Germany. Reischwitz has exhibited at national and international museums and galleries including Newport Art Museum, Griffin Museum of Photography, Danforth Art Museum, Photographic Resource Center, The Center for Fine Art Photography (CO), Rhode Island Center for Photographic Arts, Center for Photographic Art (CA), FotoNostrum, and Gallery Kayafas. She was a Top 50 photographer at Photolucida's Critical Mass in 2020, 2019 and 2016, and a Finalist for the 2017 Lens Culture Exposure Awards. She is the recipient of the Griffin Award 2020 and was awarded solo exhibitions at Soho Photo Gallery and The Center for Fine Art Photography. Reischwitz is a Category Winner at the 14th and 15th Julia Margaret Cameron Award for Women Photographers and at the 14th and 15th Pollux Awards. Honors also include Gold and Silver Medal Awards, a Portfolio Award and the Daylight Multimedia Award at the San Francisco International Photo Show. Her work was featured in Fraction Magazine, Lenscratch, LensCulture, What Will You Rembember?, Wired Japan, Il Post Italy, P3 Portugal, Aint-Bad Magazine, The Boston Globe, NRC Handelsblad Amsterdam, as well as other media outlets. Reischwitz is a graduate of the Technical University Braunschweig, Germany, with a PhD in Chemistry. Spin Club Tapestry An exploration of memory I grew up in a small farming village in Northern Germany. A village that is bound to its history and that stands out through its traditions even today. Long ago, village women met regularly in "Spinneklumps" (Spin Clubs) to spin wool, embroider, and stitch fabrics for their homes. I imagine their conversations as they worked, the beautiful stories that lifted their spirits, as well as the stories of sadness, sorrow and loss. In modern times, village women continued to meet in this tradition, but shared stories over coffee and cake instead of needlework. These close-knit groups of women often stayed together until their death. In this series, my composite images take the form of tapestries, combining images of embroidered Spin Club fabrics with new and old photographs from the village. I connect the present and the past by recreating and re-imagining pieces of the embroidery. Spin Club tablecloths, napkins and wall hangings (some dating back to 1799) have been passed down from generation to generation. By following the stitches in these fabrics, I follow a path through the lives of my ancestors - their layout of a perfect pattern and the mistakes they made. Along the way, I add my own mistakes. The fabrics also reveal the passage of time, stained and distorted after sometimes decades of use. The patterns I have stitched myself into the paper are only abstractions of the original Spin Club designs, fragments of memory. After all, memory is fleeting, and changed forever in the act of recollection. Sometimes the stitching is incomplete, creating an invitation for future generations. Every decision we make is influenced by our history, our environment, and the society we live in. The tapestry of my life belongs to me but is stitched through with the beauty and heartache of past generations. Discover the Spin Club Tapestry Solo Exhibition
Eugène Atget
France
1857 | † 1927
Eugène Atget was a French photographer who is celebrated for his mixture of urban documentary photography and street photography which recorded the disappearing neighborhoods, street scenes and architecture of Paris. Taken during the period 1897 until his death in 1927, his images formed a huge archive of architectural ornamentation, featuring metalwork, stairways, door knockers and shop signs. Jean-Eugène-Auguste Atget was born 12 February 1857 in Libourne. His father, carriage builder Jean-Eugène Atget, died in 1862, and his mother, Clara-Adeline Atget née Hourlier died shortly after. He was brought up by his maternal grandparents in Bordeaux and after finishing secondary education joined the merchant navy. Atget moved to Paris in 1878. He failed the entrance exam for acting class but was admitted when he had a second try. Because he was drafted for military service he could attend class only part-time, and he was expelled from drama school. Still living in Paris he became an actor, performing in the Paris suburbs and the provinces. He met actress Valentine Delafosse Compagnon, who became his companion until her death. He gave up acting because of an infection of his vocal chords in 1887, moved to the provinces and took up painting without success. His first photographs, of Amiens and Beauvais, date from 1888. 1890 Atget moved back to Paris and became a professional photographer, supplying documents for artists: studies for painters, architects and stage-designers. Starting 1898 institutions such as the Musée Carnavalet and the Bibliothèque historique de la ville de Paris bought his photographs. The latter commissioned him ca. 1906 to systematically photograph old buildings in Paris. 1899 he moved to Montparnasse. While being a photographer Atget still also called himself an actor, giving lectures and readings. During World War I, Eugène Atget temporarily stored his archives in his basement for safekeeping and almost completely gave up photography. Valentine's son Léon was killed at the front. 1920-1921 he sold thousands of his negatives to institutions. Financially independent he took up photographing the parks of Versailles, Saint-Cloud and Sceaux and produced a series of photographs of prostitutes. Berenice Abbott visited Atget in 1925, bought some of his photographs, and tried to interest other artists in his work. 1926 Valentine died and Man Ray published several of Atget's photographs in la Révolution surréaliste. Abbott took Atget's portrait in 1927. Eugène Atget died 4 August 1927 in Paris.Source: Wikipedia Eugène Atget (1857–1927) turned to photography in his late 40s, building a body of work that described the city of Paris and its environs. In its simplicity and clarity of vision, this project, resulting in over 10,000 photographs, became a modern urban portrait that has influenced many photographers since. Inspired to make a portrait of Paris at the moment when historic Paris was becoming Haussman’s modern Paris, Atget captured the changing city with eloquence and sensitivity. Atget received little recognition before his death in 1927, but due to the posthumous efforts of photographer Berenice Abbott, his work was preserved, promoted, and gained its rightful place in history. A significant number of his prints, including many negatives, are held by the Museum of Modern Art, New York City, the National Gallery of Art, Washington D.C., along with the Bibliothèque Nationale de France.Source: Fraenkel Gallery Photos © Library of Congress, Prints & Photographs Division
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