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Landry Major
Landry Major
Landry Major

Landry Major

Country: United States

Landry Major is an American artist based in Los Angeles, California. Her work explores the ideas of home, culture and our relationship to the land and animals that we steward. Her work has led her to connect her family's heritage ranching in Canada, with the family-owned ranches in the American West. It is this connection that brings the grace and poetry to her images. Her work has been exhibited in a number of notable exhibitions, including a solo exhibition at The Griffin Museum of Photography in Boston, Massachusetts.

Keepers of the West
My childhood summers were spent on a family dairy farm in Nova Scotia. Waking at dawn and herding cows alone in the field, where the only sounds were the birds waking and the gentle murmurs of the cows. The smell of fresh milk and fields of grass were the touchstones of my youth. The barn where I helped my uncle hand-milk the cows is now gone back into the earth.

My ongoing series Keepers of the West took me back to fields at dawn, this time on the family-run ranches of the American West. Visions of the West have long been central to our culture, but the way of life of the cowboy and the family-run ranch is fast disappearing.

Over half of all family owned ranches in Montana are run by people over 65 and many of their children are not choosing to remain in ranching.

It is because I recognize these struggles that my series celebrates the beauty of family-run ranches. The lives of these people are framed by hardship, yet they thrive in the simpler way of life that remains their routine, and in the stewardship of the land and the animals they tend.

Over the past four years I have witnessed the strength, determination and commitment of these families to continue this way of life, and pass it on to their children. The images are made up of the places, people, and creatures that have welcomed me into their world to remind us of the arresting moments of grace and beauty found in a life lived under the wide-open western skies.

Something will have gone out of us as a people if we ever let the remaining wilderness be destroyed ... We simply need that wild country available to us, even if we never do more than drive to its edge and look in. Wallace Stegner, The Sound Of Mountain Water
 

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Laurie Freitag
United States
1956
Imed Kolli
France/Algeria
1995
Imed Kolli is a 24-year-old photographer based in Algeria. By the time I was 16, my real eduction came from observing what is happening around me and observing that richness don't comes without struggle, and I was looking for a way to translate what I was seeing through my eyes and photography became my voice in this very big confusing world. I started to realize that photography has the power to change prescriptive on life and surprise people with something they don't usually see and sometimes they don't have any idea existed, and it began to push my life in such dramatic direction towards telling the larger story of what it means to be a human, so I bought my first camera , and that was the beginning. To say that my work is evocative would be something of an understatement. Specializing in harrowing, monochrome photos of people living on the fringes of society. I have been doing photography for the last 7 years, I specialized in street documentation photography toward telling the larger story of what it means to be a human and capturing the human condition. In the last 5 years, I had what you would call much a formal eduction by getting my Bachelor degree majoring photography at the highest institute of perfuming arts and audio visuals here in Algeria, I also had the chance to follow my main passion by continuing my master of fine art online degree program at the Academy of Art University in San-Fransisco. My passion for photography has actually never been stronger than it is today and it's 6 years that I've been making pictures that I've involved in visual storytelling. Most of what I know about the world has come through this medium, through practicing it through, learning about it. I've often said that photography is sort of like a condition that you catch and I caught it when I was 18 years old within about three months of learning about photography and I would say that today 7 years later that condition has never been more severe. During years I became obsessed with the idea of combining photography and documenting the human condition and that maybe that could be a way to bring these theories to the audience and perhaps get to learn and tell about the stories that need to be tell. My practice has always been predicated on international work mostly documenting work, documenting the human condition, but I've also done probably the largest project of my career so far ETERNAL FACES was obviously a domestic project, I spent 3 years on that and actually even since that project, I've continued to look at the issue of aging more so through film and multimedia and as time goes on and this is kind of connected to the question about my passion for photography. I feel like my repertoire for the kinds of stories that I want to do, the kinds of issues that I'm interested in are actually expanding, they're not narrowing, so I'm much more open to working on stories that in the past I might have considered you know softer or irrelevant. I'm talking about the world that is grinding out a lot of a critical issues that humanity is facing today, social issues political issues resource, issues you know climate change, how to deal with a permanent underclass of homelessness, I believe there's so many issues in the world that are critically important to look at. Statement This work is being classified as a Street-Portrait Photography which could actually offer a new way of prescriptive of people's portraits in black and white. I tried to reach the authenticity of people who had contracted the bitterness or resentfulness through their lives. The idea comes from street photography and how to shoot homeless, poor people in a beautiful manner from basic. It was all about dramatic situations and the spirituality of portraiture. To me, the most important characteristic was having a sharp eye and being aware of the environment around me. This means looking out for, not just colors, shapes, lights, shadows and so on, but observing my subjects and how they appear and act as well. I exposed the hardships and poor conditions of life of the deprived people through face expression. I did this in an attempt to assuage these problems. Vividly I wanted to expose the realities of squalid living and misery faced by homelessness every day. Harrowing street-portraits photography combined with emotion storytelling, were intended to engage and inform the audience and exhort them to act. What I accomplished by taking these photographs from the streets was to inform the world, How people are suffering every day. I wanted to show the life of these people lived, I had experimented with illustrations that dramatized the devastating human cost of the emotional expressions. I realized finally that only photographs seemed to capture the reality with sufficient resolution to change hearts. The singular emphasis in others on subjects, divested of a story, is all the more remarkable for this reason. In this project, I emphasized the reflective mode over the nature of my body of work envisaging,.The images chosen for The -Eternal Faces- did privilege the inventorial, world of observation and artistic classification as it reflects reality, with the objects taken out of context. There is no doubt that my body of work has profoundly shifted the way that we perceive these people in reality, the sensual appeal of reflection outcome intents in the real world has proved irresistible to photographers including my project Eternal Faces. Beginning with the intent to reflect these people's realities and finding expression in practitioners of widely differing outlooks and goals. Photographing these kind of subjects acquire an aura by being taken from their casual, often overlooked, position and put under intense scrutiny. The outcome intent tool which should look upon my project dispassionately is capable of creating images, filtered through the imagination, which compellingly engages the viewer's imagination and emotions. It wasn't empathy, It wasn't sympathy, it was more of a forced, intrinsic, and integral self-reflection. What I did is photograph emotions, I was photographing the initial moment when I laid eyes on the human being beautiful face shape that reflects the whole story of what it means to be broke, Injured, homeless, beggar and poor underprivileged and sometimes even hopeless. I gave with the often willing and knowing collaboration of my subjects, a metonymic typology of people who lived in dark side of society, representing for us the poor, homelessness, the other half. I was after the general truth of a general category, and the finer truths of individuals necessarily caught my inspiration to pick up this precise subject matter to photograph. The center of each picture was the subject matter: a person and his or her experience at that moment in time. To me and many other progressives, the rock bottom status added them from personal contact with the impoverished even when Christianity and the Social Gospel created a burden to extent charity to the disfranchised and discarded in society. I came imbuing them with the iconic soul of humanity and left almost engaging a subject in eyes contact. All of my photographs with human subjects refer to not where the subject is located, but the person before the lens and how did I visualize their emotions and feelings in a humanitarian neutral way. My images are intended to resonate with the viewer on a spiritual and human level and I try to pack in the metaphysical…attributes which tell their own story. I try to provoke an imaginative and intelligent response from the viewer with a purely visual reference.
Chad Ress
United States
1972
Chad Ress, born (1972) in Louisville, Kentucky lives in Ojai, California His work has been recognized in Photo District News; American Photography; Communication Arts; ; The One Show; D&AD Awards; The Forward Thinking Museum; and the PH Museum. Recent clients include Harper's Magazine, The New York Times, Toyota, Liberty Mutual, Pirelli, and MIT Technology Review. Ress first became interested in photography under the influence of the extensive archive of FSA photographs in Louisville's Speed Museum. His project America Recovered - A Survey of the ARRA looks to reconsider that legacy in the context of the recent economic collapse and subsequent stimulus legislation. It was accepted at Center - Photo Santa Fe; awarded distinction by The Forward Thinking Museum; and published in Time Magazine's Lightbox, The Wall Street Journal and Harper's Magazine. Ress recently completed a fellowship with the Center for Social Cohesion and Arizona State University and in conjunction with the New America Foundation. The resulting archive of images documents where Americans go to find a sense of community and connection to place. A series on the California aqueduct was recently published in UCLA's BOOM Magazine and included in "After the Aqueduct," an exhibition at Los Angeles Contemporary Exhibitions, Los Angeles, CA. America Recovered was featured at the 2015 Reyner Banham Symposium with a theme "The Aesthetics of Citizenship" at The University of Buffalo, Buffalo, NY. In 2020, America Recovered was published by Actar, with a foreward by Bonie Honig and essays by Miriam Paeslack and Jordan H. Carver. He currently lives in Ojai, California, with his partner and son. America Recovered In late 2009, in response to the financial crash of 2008, the Obama Administration passed the American Recovery and Reinvestment Act of 2009. The Administration advocated for an unprecedented level of transparency in the disbursement of stimulus spending and established Recovery.gov as a resource by which the public might track expenditures, which totaled over $800 billion. I used the text publicized on Recovery.gov, and related government websites, as a guide to photograph ARRA projects. The language accompanying the images has been transcribed verbatim from the original sources. The conceptual framework of this project is to reveal the point where abstract political processes manifest themselves in the physical world, thus providing an alternate means of experiencing the contemporary American landscape. The projects range in scale from fully realized housing projects to concrete drainage basins that could easily be overlooked. The projects are located in almost every community in the country, from remote and rural stretches of the American West to dense urban centers. The appropriated text, descriptions of the projects taken from various government databases, serve as very simple identifiers and are often written in dry bureaucratic prose. On the other hand, the images themselves contextualize the spending projects within the physical details of a specific place and moment.
Paul Fusco
United States
1930 | † 2020
John Paul Fusco (August 2, 1930 – July 15, 2020) was an American photojournalist. Fusco is known in particular for his photographs of Robert F. Kennedy's funeral train, the 1966 Delano Grape strike and the human toll of the Chernobyl nuclear disaster. Fusco began his career as a photographer for Look magazine, and was a member of Magnum Photos from 1973 until his death in 2020. Paul Fusco was born in Leominster, Massachusetts, and started pursuing photography as a hobby at the age of 14. During the Korean War, from 1951 to 1953, he gained more experience while he worked as a photographer for the United States Army Signal Corps. He first studied at Drake University and in 1957 received a Bachelor of Fine Arts in photojournalism from Ohio University. He then moved to New York City to work professionally as a photographer. Fusco first worked for Look Magazine in New York City. While working there, in 1968, he took what would become a well-known series of photographs of mourners along the route of Robert F. Kennedy's funeral train. His photography often documented social issues and injustices, such as poverty, ghetto life, the early days of the HIV crisis, and cultural experimentation across America. His 1966 photos of California's Delano grape strike documented migrant farmworkers' struggles to form a union, supported by Caesar Chavez. The photos were released as a book, with text by George D. Horowitz, titled La Causa: The California Grape Strike. Fusco moved to Mill Valley, California in the 1970s. In 1973 he became an associate of Magnum Photos and a full member a year later. Over the years, Fusco also contributed to such publications as Life, Mother Jones, The New York Times Magazine, Newsweek, Psychology Today, and TIME Magazine. Fusco also worked internationally covering events in Europe, the Middle East, and Southeast Asia. In the late 1990s, he spent two months making photographs of the lingering effects of the Chernobyl nuclear disaster in Belarus, eventually published in the book Chernobyl Legacy, which featured a foreword by Kofi Annan. In the early 2000s, Fusco pursued a personal project he called Bitter Fruit, documenting the funerals of US service members killed in the Iraq War. He left Mill Valley for New Jersey in 1993, but later returned to California, in 2009, to live in Marin County. Fusco died on July 15, 2020, aged 89, in San Anselmo, California. Many of his photographs are in the Magnum Photos archive currently held at the Harry Ransom Center at the University of Texas at Austin. Two hundred of his photographs of the United Farm Workers Organizing Committee and Caesar Chavez, taken during a farm worker's strike in Delano, California, are held by the Library of Congress, as are 1,800 Kodachrome slides taken in June 1968 from the funeral train carrying Robert Kennedy's body from New York City to Washington, D.C., for burial in Arlington National Cemetery.Source: Wikipedia
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