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Joshua Lutz
Joshua Lutz

Joshua Lutz

Country: United States
Birth: 1975

Joshua Lutz is an American artist working with large-format photography and with video. Lutz was given his first solo exhibition at Gitterman Gallery during the summer of 2004.

In 2008 Lutz's first book, Meadowlands, was published with powerHouse Books. In essayist Robert Sullivan's introduction to the book he describes the Meadowlands as “… that giant swath of swamp and space that separates New Jersey from New York City, or, put another way, from New York City and the rest of the United States of America.” The New Yorker wrote "Joshua Lutz takes the New Topographics of Adams, Shore, and Sternfeld into its current era of urban sprawl.”

In the fall of 2008 Lutz had a solo exhibition for the Meadowlands series at ClampArt Gallery in New York City. 2013 saw the release of Hesitating Beauty. A series of photographs revealing a different side of Lutz's photography, it tells the story of his mother.

Mind the Gap (2018) is "an exploration through photographs and text of how our society and the things we experience affect our mental health".

Source: Wikipedia


Joshua Lutz‘s large-format photographs of urban sprawl and suburban portraiture capture intimate details of places and their inhabitants in a soft, moody palette. The subtle tension in Lutz’s photographs between natural and man-made structures expands upon themes of Stephen Shore and the New Topographics. From an image of an airplane take-off framed by trees and a cell phone tower in his Meadowlands series to rows of wind turbines amid factories on a grassy plain in his new Am Dam series, Lutz’s photographs offer new views of the post-suburban landscape, capturing on film the spirit of simultaneous progress and decay.

Meadowlands, Lutz’s debut monograph, was published by powerHouse Books in 2008, and has received considerable acclaim including being named Village Voice “Best in Show,” and Photo District News and American Photo‘s “Best Photography Books of 2008.” The recipient of the Tierney Fellowship, Best Editorial awards from Photo District News and Communication Arts, Lutz was also named one of Photo District News‘ top 30 emerging photographers. His work has been featured in The New Yorker, Harper’s, The New York Magazine, Newsweek, ArtNews, and Time. Lutz received his B.F.A. from Bard College in 1997, and his M.F.A. from Bard College at the International Center of Photography in 2005. He is currently on the faculty at the International Center of Photography in New York.

Source: Robert Koch Gallery

Selected Books on Available on Amazon
George Saunders and Joshua Lutz: Orange Blossom Trail
George Saunders and Joshua Lutz: Orange Blossom Trail
Joshua Lutz
Joshua Lutz: Mind The Gap
Joshua Lutz: Mind The Gap
Joshua Lutz
Hesitating Beauty
Hesitating Beauty
Joshua Lutz
Meadowlands
Meadowlands
Joshua Lutz

Gallery

ClampArt Gallery

Websites

www.joshualutz.com

@joshua__lutz

 

Joshua Lutz's Video

Selected Books

George Saunders and Joshua Lutz: Orange Blossom Trail
George Saunders and Joshua Lutz: Orange Blossom Trail
Joshua Lutz
Joshua Lutz: Mind The Gap
Joshua Lutz: Mind The Gap
Joshua Lutz
Hesitating Beauty
Hesitating Beauty
Joshua Lutz
Meadowlands
Meadowlands
Joshua Lutz

Inspiring Portfolios

Aline Smithson
© Aline Smithson
Lydia Panas
© Lydia Panas
Grace Weston
© Grace Weston
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More Great Photographers To Discover

Steeve Luncker
Steeve Luncker
Switzerland
1969
Born in 1969 in Switzerland, Steeve Iuncker lives and works in Geneva. He studied at the Photography School in Vevey and is Agence VU' member since 2000.“Press photographer (he works part-time for a daily newspaper), Steeve Iunker tirelessly questions the role(s) of photography and of the image in the fields of information and documentary today in a radical and political way…[his work] aims to get close to the taboos relating to the body, to death and to the standard social conception of big issues that affect human thought. Either he stays with an Aids patient in the terminal phase, he represents the professional life of an old prostitute, he confronts himself with the crisis in Gaza, he stores images of celebrities adorned with diamonds at Cannes Festival, discovers the backstage area of a fashion show, follows the police while investigating on crimes, or reveals the astounding world of plastic surgery, Steeve Iunker doesn’t chase icons. He shows. In a realistic, free and salutary way. Even if it might seem provocative or shocking. He only wants us to agree to see. To be responsible and clear-sighted.”Christian Caujolle.He has recently finished the first phase of a project dealing with the subject of death. He wishes to expose to Geneva the realities that its police department, University Institute of Legal Medicine and the Murith Funeral Services must face regularly. The second ongoing phase of the project consists of photographing the places and traces behind individual deaths in order to reveal an often unknown reality that is tossed into the realm of fiction by Hollywood movies. Source: Agence VU
Builder Levy
Builder Levy
United States
New Yorker Builder Levy has been photographing America and her inhabitants for the past 50 years. His social consciousness took him to significant areas of our country during tumultuous times. His commitment to aesthetically [or artistically] documenting the world around him earned him the prestigious Guggenheim Fellowship in 2008. Levy's work is in more than 50 public collections, including the Metropolitan Museum of Art, Brooklyn Museum, High Museum of Art, International Center of Photography, Victoria and Albert Museum, and La Bibliotheque Nationale. He is also the author of two published photographic books. Source: Arnika Dawkins Gallery Intertwining social documentary, art and street photography, Builder Levy has been making photographs as objects of art that celebrate the human spirit for almost fifty years. He was awarded a John Simon Guggenheim Memorial Foundation Fellowship (’08), an Alicia Patterson Foundation Fellowship (‘04), a Furthermore Grant (‘03), Puffin Foundation Grant (‘01), and National Endowment for the Arts Visual Artists Fellowship in Photography (‘82), and two commissions from the Appalachian College Association (’95 and ‘02). Levy’s two books are Images of Appalachian Coalfields, Temple Univ. Press, with a foreword by Cornell Capa, and Builder Levy Photographer, A.R.T. Press, with an introduction by noted photo historian Naomi Rosenblum. Levy has exhibited in more than 200 shows, including more than 50 one-person exhibitions in New York City, throughout the United States and around the world. In the Fall 2011, he is included in the exhibits Coal + Ice, curated by Susan Meiselas & Jeroen de Vries, a project of the Asia Society, at the Three Shadows Art Centre in Beijing; Posing Beauty, curated by Deborah Willis at Fisher Museum of Art, USC, Los Angeles (9/11-12/11); Photo Folio at the Museum of Fine Arts, Houston (10/11-1/12); at the Arnika Dawkins Gallery (Black & White and Color), (with 13 photographs) (10/1-10/29/11) in conjunction with Atlanta Celebrates Photography; and Mirrors and Reflections: A Group Show, curated by Evelyne Z. Daitz with co-curator Alison Bradley at the Robert Anderson Gallery at 24 West 57th Street, New York (11/17/11-1/7/12) The High Museum of Art included Levy’s photographs in the historic exhibition, Road to Freedom: Photographs of the Civil Rights Movement, 1956-1968 (and the accompanying eponymous book/catalogue), curated by Julian Cox. It opened at the High Museum of Art in 2008, and traveled for two years to museums in D.C., Chicago, Los Angeles and New York City. The Rubin Museum of Art in NYC featured 14 of Levy’s photographs in the show Mongolia: Beyond Chinggis Khan, 11/06-4/07. Levy’s work is in more than 50 public collections in the US and around the world, including the Metropolitan Museum of Art, Brooklyn Museum, High Museum of Art, International Center of Photography, Victoria and Albert Museum, and La Bibliotheque Nationale. His photographs are featured in more than 25 books including, Harlem, A Century in Images, Studio Museum of Harlem, Skira/Rizzoli 2010, Freedom, Phaidon Press, 100 New York Photographers, Schiffer Press ‘09, Deborah Willis’ Posing Beauty, Norton Press, ‘09, Coal Country, Sierra Club Books, ’09, and Road To Freedom: Photographs of the Civil Rights Movement, 1956-1968. He was the featured artist (with 22 photos) in Appalachian Heritage, (Spring 2010). His subjects include inner-city New York City where he was a NYC teacher of at-risk adolescents for 35 years; coalfield Appalachia (spanning more than 40 years), civil rights and peace demonstrations (in the 1960s), Mongolia and other developing nations. He is completing a new book, Appalachia USA. Source: builderlevy.com
Lalla Essaydi
Lalla Essaydi
Morocco
1956
Lalla Essaydi (Lalla A. Essaydi) is a Moroccan-born photographer known for her staged photographs of Arab women in contemporary art. She currently works in Boston, Massachusetts, and Morocco. Her current residence is in New York. Essaydi was born in Marrakesh, Morocco in 1956. She left to attend high school in Paris at 16. She married after returning to Morocco and moved to Saudi Arabia where she had two children and divorced. Essaydi returned to Paris in the early 1990s to attend the École nationale supérieure des Beaux-Arts. She moved to Boston in 1996 and earned her BFA from Tufts University in 1999 and her MFA in painting and photography from the School of the Museum of Fine Arts in 2003. Influenced by her experiences growing up in Morocco and Saudi Arabia, Essaydi explores the ways that gender and power are inscribed on Muslim women's bodies and the spaces they inhabit. She has stated that her work is autobiographical and that she was inspired by the differences she perceived in women's lives in the United States versus in Morocco, in terms of freedom and identity. She explores a wide range of perspectives, including issues of diaspora, identity, and expected location through her studio practice in Boston. She also looks at the ways of viewing reality while questioning limits of other cultures and challenging Orientalist art, engaging tradition, history, art, and technology. Her Grand Odalisque from the series Les Femmes du Maroc (2008), for example, cites the French painter Jean-Auguste-Dominique Ingres' painting La Grande Odalisque (1814), although her model is dressed. She also presents the resistance of stereotypes maintained by Western and Eastern societies. The inspiration for many of her works came from her childhood, in the physical space where she, as a young woman, was sent when she disobeyed. She stepped outside the permissible behavioral space, as defined by Moroccan culture. Essaydi said her works will become haunted by spaces she inhabited as a child. Several pieces of her work (including Converging Territories) combine henna, which is traditionally used to decorate the hands and feet of brides, with Arabic calligraphy, a predominantly male practice. While she uses henna to apply calligraphy to her female subjects' bodies, the words are indecipherable in an attempt to question authority and meaning. According to Essaydi, "Although it is calligraphy that is usually associated with 'meaning' (as opposed to 'mere' decoration), in the visual medium of my photographs, the 'veil' of henna, in fact, enhances the expressivity of the images. Yet, by the same token, the male art of calligraphy has been brought into a world of female experience from which it has traditionally been excluded." The women depicted in her exhibition of photographs, Les Femmes du Maroc, are represented as decorative and confined by the art of henna. Essaydi thus poses her subjects in a way that exemplifies society's views of women as primarily destined for mere beauty. Henna, however, is extremely symbolic, especially to Moroccan women. It is an association with familial celebrations of a young girl reaching puberty and transitioning into a mature woman. The use of henna in her work creates a silent atmosphere of the women "speaking" to each other through a quality of femininity. It is predominantly a painting process where women who are discouraged to work outside the home find a profitable work in applying a tattoo-like material. Beyond creating powerful pieces revolving around the art of henna, Essaydi includes interpretations of traditional Moroccan elements, including draped folds of cloths adorning women's bodies, mosaic, tiles, and Islamic architecture. 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Her work has been exhibited around the world, including at the National Museum of African Art, and is represented in a number of collections, including the Art Institute of Chicago; the Museum Fünf Kontinente Munich/ Germany; the San Diego Museum of Art; the Cornell Fine Arts Museum, Winter Park, Florida; the Fries Museum in Leeuwarden, The Netherlands; the Museum of Fine Arts, Boston; and the Williams College Museum of Art in Williamstown, Massachusetts. She was named as #18 in Charchub's "Top 20 Contemporary Middle Eastern Artists in 2012-2014". In 2015, the San Diego Museum of Art mounted the exhibition, Lalla Essaydi: Photographs. Source: Wikipedia Lalla A. Essaydi grew up in Morocco and now lives in USA where she received her MFA from the School of the Museum of Fine Arts/TUFTS University in May 2003. Essaydi’s work is represented by Howard Yezerski Gallery in Boston and Edwynn Houk Gallery in New York City. Her work has been exhibited in many major international locales, including Boston, Chicago, Minneapolis, Texas, Buffalo, Colorado, New York, Syria, Ireland, England, France, the Netherlands, Sharjah, U.A.E., and Japan and is represented in a number of collections, including the Williams College Museum of Art, The Art Institute of Chicago, the Fries Museum, the Netherlands, and The Kodak Museum of Art. Her art, which often combines Islamic calligraphy with representations of the female body, addresses the complex reality of Arab female identity from the unique perspective of personal experience. In much of her work, she returns to her Moroccan girlhood, looking back on it as an adult woman caught somewhere between past and present, and as an artist, exploring the language in which to “speak” from this uncertain space. Her paintings often appropriate Orientalist imagery from the Western painting tradition, thereby inviting viewers to reconsider the Orientalist mythology. 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John Simmons
John Simmons
United States
1950
John Simmons is a multi-talented artist whose work has spanned across decades. Born in Chicago and coming of age during the Civil Rights Era, Simmons' photography started at the peak of political and racial tension of the 1960s, mentored by a well known Chicago Civil Rights photographer, Bobby Sengstacke. After completing an undergraduate degree from Fisk University in art and photography, Simmons went on to study cinematography at the University of Southern California, and then to move to LA, where he currently lives. In 2004, Simmons was inducted into the American Society of Cinematographers (ASC) and now serves as Vice President and as co-chair of the ASC Vision Committee. He is also on the Board of Governors of the Television Academy, working to increase diversity on-set, and taught at UCLA for 26 years before leaving to focus on his photography. Simmons has also filmed music videos and commercials for artists such as Stevie Wonder, Britney Spears, Snoop Dogg and many more. As a filmmaker, Simmons has collaborated with industry giants such as Spike Lee and Debbie Allen, and has served as the Director of Photography for more than 25 television series. Simmons earned an Emmy for his work on Nicky, Ricky, Dicky & Dawn. Outside of the aforementioned exhibits, his photographs are also held at the High Museum of Art in Atlanta, the Museum of Fine Arts in Houston, the Center for Creative Photography, the David C. Driskell Center, University of Maryland, and Harvard University, where they exhibited in "Time is Now: Photography and Social Change in James Baldwin's America" at the Carpenter Center for the Visual Arts. His work is also in the permanent collection of the ASC. Exclusive Interview with John Simmons
Zaharia Cusnir
Zaharia Cusnir
Moldova
1912 | † 1993
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.
Anna Atkins
Anna Atkins
United Kingdom
1799 | † 1871
Anna Atkins (1799-1871) was an English botanist and photographer best known for her early work in photography. She is widely regarded as the first female photographer and one of the art form's pioneers. Anna Atkins was born on March 16, 1799, in Tonbridge, Kent, England, into a family with a strong interest in science and botany. Her father, John George Children, was a well-known chemist and mineralogist, which may have influenced her early interest in science. Anna was educated in science, art, and natural history, which was unusual for a woman of her time. She developed a particular interest in botany and was well-versed in plant classification and study. Anna Atkins worked with her father's close friend, Sir John Herschel, an astronomer and mathematician who had also made significant contributions to the early development of photography, in 1841. She adopted the cyanotype process, an early photographic technique that produces blue-toned images, after being inspired by Herschel's work. Botanical specimens, such as ferns and seaweeds, were placed on light-sensitized paper and then exposed to sunlight as part of the cyanotype process. The areas that were not covered by the specimens turned blue, while the areas that were covered by the plants remained white. Anna Atkins used this technique to create a series of stunning and scientifically accurate photograms. In October 1843, Anna released her most famous work, "Photographs of British Algae: Cyanotype Impressions." This three-volume collaboration with Anne Dixon featured over 400 cyanotype images of various algae species found along the British coast. It was the first book to be entirely illustrated with photographs. Only a few copies of the book are known to exist today, as each copy was hand-assembled. Anna Atkins' work was not only artistic; it was also scientifically significant. The cyanotype images were a valuable resource for botanical documentation and classification, as well as an early example of photographic scientific illustration. Despite her contributions to photography and botany, Anna Atkins received little recognition during her lifetime. Photography was still a new medium at the time, and her work was relatively unknown until recently. Anna Atkins died on June 9, 1871, in Halstead, Kent, leaving behind a legacy as a pioneering female photographer and a prominent figure in photography and botany history. Her innovative use of the cyanotype process, as well as her dedication to scientific documentation through photography, are still admired and recognized by the art and science communities.
Lewis Carroll
Lewis Carroll
United Kingdom
1832 | † 1898
Charles Lutwidge Dodgson (27 January 1832 - 14 January 1898), better known by his pen name Lewis Carroll, was an English writer of world-famous children's fiction, notably Alice's Adventures in Wonderland and its sequel Through the Looking-Glass. He was noted for his facility at word play, logic and fantasy. The poems Jabberwocky and The Hunting of the Snark are classified in the genre of literary nonsense. He was also a mathematician, photographer and Anglican deacon. Carroll came from a family of high church Anglicans, and developed a long relationship with Christ Church, Oxford, where he lived for most of his life as a scholar and teacher. Alice Liddell, daughter of the Dean of Christ Church, Henry Liddell, is widely identified as the original for Alice in Wonderland, though Carroll always denied this. Photography (1856–1880) In 1856, Dodgson took up the new art form of photography under the influence first of his uncle Skeffington Lutwidge, and later of his Oxford friend Reginald Southey. He soon excelled at the art and became a well-known gentleman-photographer, and he seems even to have toyed with the idea of making a living out of it in his very early years. A study by Roger Taylor and Edward Wakeling exhaustively lists every surviving print, and Taylor calculates that just over half of his surviving work depicts young girls, though about 60% of his original photographic portfolio is now missing. Dodgson also made many studies of men, women, boys, and landscapes; his subjects also include skeletons, dolls, dogs, statues, paintings, and trees. His pictures of children were taken with a parent in attendance and many of the pictures were taken in the Liddell garden because natural sunlight was required for good exposures. He also found photography to be a useful entrée into higher social circles. During the most productive part of his career, he made portraits of notable sitters such as John Everett Millais, Ellen Terry, Dante Gabriel Rossetti, Julia Margaret Cameron, Michael Faraday, Lord Salisbury, and Alfred Tennyson. By the time that Dodgson abruptly ceased photography (1880, over 24 years), he had established his own studio on the roof of Tom Quad, created around 3,000 images, and was an amateur master of the medium, though fewer than 1,000 images have survived time and deliberate destruction. He stopped taking photographs because keeping his studio working was too time-consuming. He used the wet collodion process; commercial photographers who started using the dry-plate process in the 1870s took pictures more quickly.[62] Popular taste changed with the advent of Modernism, affecting the types of photographs that he produced. He died of pneumonia following influenza on 14 January 1898 at his sisters' home, "The Chestnuts", in Guildford. He was two weeks away from turning 66 years old. His funeral was held at the nearby St Mary's Church. He is buried in Guildford at the Mount Cemetery.Source: Wikipedia
Lewis Hine
Lewis Hine
United States
1874 | † 1940
Lewis Hine was an American sociologist and photographer known for using his camera as a tool for social reform. His photographs were instrumental in changing child labor laws in the United States. There were two things I wanted to do. I wanted to show the things that had to be corrected. I wanted to show the things that had to be appreciated. -- Lewis Hine Lewis Hine was born on September 26, 1874, in Oshkosh, Wisconsin. After his father was killed in an accident, Hine began working and saving for college. He attended the University of Chicago, Columbia University, and New York University to study sociology. He became a teacher at the Ethical Culture School in New York City, where he encouraged his students to embrace photography as an instructional tool. Hine took his sociology pupils to New York Harbor's Ellis Island, where he photographed the thousands of immigrants that landed each day. Between 1904 and 1909, he shot over 200 plates (photographs) and realized that documentary photography could be used to effect social change and reform. Hine joined the Russell Sage Foundation's staff photographer in 1907, photographing life in the steel-making regions and inhabitants of Pittsburgh, Pennsylvania, for the landmark sociological study The Pittsburgh Survey. The next year, he left his teaching post to work as a photographer for the National Child Labor Committee (NCLC). Lewis Hine recorded child labor during the next decade, with a concentration on the use of child labor in the Carolina Piedmont, to aid the NCLC's lobbying attempts to abolish the practice. In 1913, he chronicled juvenile laborers among cotton mill workers with a series of composite pictures by Francis Galton. Charlie Foster has a steady job in the Merrimack Mills. Huntsville, Alabama.© Lewis Hine / Library of Congress Prints and Photographs Division Washington, D.C. Lewis Hine's work for the NCLC was frequently hazardous. Factory police and foremen routinely threatened him with violence or even death as a photographer. The immorality of child labor was intended to be hidden from the public at the time. Photography was not only forbidden, but it also posed a significant danger to the enterprise. Hine was compelled to disguise himself in order to gain access to the mills, mines, and factories. He worked as a fire inspector, postcard vendor, bible salesman, and even an industrial photographer documenting manufacturing technology. During and after World War I, he shot relief efforts for the American Red Cross in Europe. Hine created a series of work portraits in the 1920s and early 1930s that stressed the human contribution to modern industry. Lewis Hine was commissioned to photograph the Empire State Building's construction in 1930. He photographed the workers in perilous positions as they secured the structure's steel framework, taking many of the same hazards as the employees. He was hoisted out in a specially built basket 1,000 feet above Fifth Avenue to get the best views. He recalls hanging above the city at times, with nothing below but "a sheer drop of nearly a quarter-mile." Cherryville Mfg. Co., Cherryville, N.C. One of the smallest boys. Doffer. 1908© Lewis Hine / Library of Congress Prints and Photographs Division Washington, D.C. During the Great Depression, Hine worked for the Red Cross, photographing drought relief in the American South, and for the Tennessee Valley Authority (TVA), documenting life in the mountains of eastern Tennessee. He was also the chief photographer for the Works Progress Administration's National Research Project, which investigated changes in the industry and their impact on employment. Hine was also on the faculty of the Ethical Culture Fieldston School. Lewis Hine was chosen as the photographer for the Works Projects Administration's National Research Project in 1936, but his work there was never completed. His final years were filled with professional struggles caused by the loss of government and corporate patronage. Hine hoped to participate in the Farm Security Administration photography project, but despite numerous letters to Roy Stryker, Stryker always declined. Hine lost his house and applied for welfare because few people were interested in his work, past or present. After an operation, he died on November 3, 1940, at Dobbs Ferry Hospital in Dobbs Ferry, New York. He was 66 years old at the time. Group of workers, including boys and girls, standing outdoors© Lewis Hine / Library of Congress Prints and Photographs Division Washington, D.C. Hine's photographs aided the NCLC's campaign to end child labor, and the Children's Bureau was established in 1912. The Fair Labor Standards Act of 1938 eventually put an end to child labor in the United States. Corydon Hine, Hine's son, donated his father's prints and negatives to the Photo League, which was disbanded in 1951. The Museum of Modern Art declined to accept his photographs, but the George Eastman House did. Wendy Lamb Books published Elizabeth Winthrop Alsop's historical fiction middle-grade novel Counting on Grace in 2006. The final chapters focus on Grace, a 12-year-old girl, and her life-changing encounter with Lewis Hine during his 1910 visit to a Vermont cotton mill known to employ a large number of child laborers. The iconic photograph of Grace's real-life counterpart, Addie Card (1897-1993), taken during Hine's undercover visit to the Pownal Cotton Mill, graces the cover. In 2016, TIME Magazine published colorized versions of several of Hine's photographs of child labor in the US. In the early days of my child labor activities I was an investigator with a camera attachment... but the emphasis became reversed until the camera stole the whole show. -- Lewis Hine Lewis Hine was trained to be an educator in Chicago and New York. A project photographing on Ellis Island with students from the Ethical Culture School in New York galvanized his recognition of the value of documentary photography in education. Soon after, he became a sociological photographer, establishing a studio in upstate New York in 1912. For nearly ten years Hine was the photographer for the National Child Labor Committee, contributing to exhibitions and the organization's publication, The Survey. Declaring that he "wanted to show things that had to be corrected," he was one of the earliest photographers to use the photograph as a documentary tool. Around 1920, however, Hine changed his studio publicity from "Social Photography by Lewis W. Hine" to "Lewis Wickes Hine, Interpretive Photography," to emphasize a more artistic approach to his imagemaking. Having joined the American Red Cross briefly in 1918, he continued to freelance for them through the 1930s. In 1936 Hine was appointed head photographer for the National Research Project of the Works Projects Administration, but his work for them was never completed. His last years were marked by professional struggles due to diminishing government and corporate patronage, and he died in 1940 at age sixty-six.Source: The J. Paul Getty Museum Born in Oshkosh, Wisconsin, Lewis W. Hine studied sociology before moving to New York in 1901 to work at the Ethical Culture School, where he took up photography to enhance his teaching practices. By 1904 he had begun a series of photographs documenting the arrival of immigrants at Ellis Island; this project, along with his pictures of harsh labor conditions published in the Pittsburgh Survey, brought his work to the attention of the National Child Labor Committee. He served as its official photographer from 1911 to 1916, and later traveled with the Red Cross to Europe, where he documented the effects of World War I in France and the Balkans for Red Cross Magazine. After returning to the United States in 1922, he accepted commercial assignments, produced another series on Ellis Island immigrants, and photographed the construction of the Empire State Building. Several of these construction pictures were published in Men at Work (1932), a book celebrating the individual worker's interaction with machines in the modern world. Despite the success of this book, Hine's financial situation became desperate and his photography was virtually forgotten. Berenice Abbott and Elizabeth McCausland learned of his work through the New York City Photo League and mounted a traveling retrospective exhibition of his work to revive interest in it in 1939. Lewis Hine is best known for the documentary images of child labor practices that he produced under the aegis of the National Child Labor Committee from 1911 to 1916. These photographs not only have been credited as important in the passing of child labor laws, but also have been praised for their sympathetic depiction of individuals in abject working conditions. Hine labeled his pictures "photo-interpretations," emphasizing his subjective involvement with his subjects; this approach became the model for many later documentary photographers, such as Sid Grossman and Ben Shahn.Source: International Center of Photography
Jingyi Zhang
Jingyi Zhang
China
2001
Jingyi Zhang is a New York– and Beijing-based artist who earned her M.A. in Film and Media Studies (Emergent Media track) from Columbia University. Her practice spans photography, moving images, and interactive design, with a particular focus on metaphors embedded in natural objects. Her work has been exhibited internationally in the United States, China, Japan, and Brazil, at venues including Yachang Art Center, Yan Art Gallery, Moon Gallery & Studio, Brooklyn Art Cave, The Peripheral Experiment, and Flowing Space Gallery. Zhang has received multiple honors, including the Young Talent Award at the 5th International Photo Festival Olten (IPFO), Photoville4600,shortlisted for the Visual Art Open 2025 (VAO), the Third Place in the All About Photo Contest and AAP Magazine #50 “Shapes”, and the Merit Prize in the “Abstract” Photography Competition organized by the National Photographic Society. AAP Magazine AAP Magazine 50 Shapes
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Latest Interviews

Exclusive Interview with Anastasia Samoylova
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Exclusive Interview with Anastasia Samoylova
Anastasia Samoylova is an American artist whose photographic practice is shaped by close observation and a deep attentiveness to place. Working between documentary and formal exploration, she photographs landscapes, architecture, and everyday scenes with a sensitivity to light, structure, and atmosphere. Since relocating to Miami in 2016, her work has increasingly focused on how environments—both natural and built—carry social, cultural, and emotional traces. We asked her a few questions about her practice and her way of seeing, to better understand the thoughts and experiences that shape her work—while allowing the images themselves to remain open and speak in their own time.
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Exclusive Interview with Marijn Fidder
Interview
Exclusive Interview with Marijn Fidder
Marijn Fidder is a Dutch documentary photographer whose work powerfully engages with current affairs and contemporary social issues. Driven by a deep sense of social justice, she uses photography to speak on behalf of the voiceless and to advocate for the rights of those who are most vulnerable. Her images have been widely published in major international outlets including National Geographic, CNN Style, NRC Handelsblad, Volkskrant, GUP New Talent, and ZEIT Magazin. Her long-term commitment to disability rights—particularly through years of work in Uganda—culminated in her acclaimed project Inclusive Nation, which earned her the title of Photographer of the Year 2025 at the All About Photo Awards. She is also the recipient of multiple prestigious honors, including awards from World Press Photo and the Global Peace Photo Award. We asked her a few questions about her life and work.
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Exclusive Interview with Josh S. Rose
Interview
Exclusive Interview with Josh S. Rose
Josh S. Rose is a multidisciplinary artist working across photography, film, and writing. His practice bridges visual and performing arts, with a strong focus on movement, emotion, and the expressive potential of the image. Known for his long-standing collaborations with leading dance companies and performers, Rose brings together authenticity and precise composition—a balance he describes as “technical romanticism.” His work has been commissioned and exhibited internationally, appearing in outlets such as Vogue, at the Super Bowl, in film festivals, and most recently as a large-scale installation for Lincoln Center for the Performing Arts. A sought-after collaborator, he has worked with major artists, cultural institutions, and brands, following a previous career as Chief Creative Officer at Interpublic Group and the founder of Humans Are Social. We asked him a few questions about his life and work.
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Interview with Maureen Ruddy Burkhart
Interview
Interview with Maureen Ruddy Burkhart
Photographer Maureen Ruddy Burkhart brings a quietly attentive and deeply human sensibility to her exploration of the world through images. Shaped by a life immersed in photography, film, and visual storytelling, her work is guided by intuition, observation, and an enduring interest in the emotional undercurrents of everyday life. With a practice rooted in both fine art traditions and documentary awareness, she approaches her subjects with sensitivity, allowing subtle moments to emerge naturally rather than be imposed. Her series Til Death, selected as the Solo Exhibition for February 2025, reflects this long-standing commitment to photography as a space for reflection rather than spectacle. Drawn to moments that exist just outside the expected frame, Burkhart’s images suggest narratives without resolving them, leaving room for ambiguity, humor, and quiet connection. We asked her a few questions about her life and work.
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Exclusive Interview with Peter Ydeen
Interview
Exclusive Interview with Peter Ydeen
Winner of AAP Magazine #45 Travels, his series reflects this unique vision—capturing the spirit of place through subtle layers of light, color, and emotion. Whether traveling abroad or observing the rhythms of his own surroundings, Ydeen creates images that feel both grounded and enchanted, inviting viewers into a world where reality and reverie meet.
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Exclusive Interview with Julie Wang
Interview
Exclusive Interview with Julie Wang
Chinese-born photographer Julie Wang brings a poetic, contemplative sensitivity to her visual exploration of the world. Having lived for nearly equal parts of her life in China, Europe, and the United States, she approaches her subjects with the nuanced perspective of someone shaped by many cultures. This blend of distance, curiosity, and emotional resonance infuses her work with a quiet depth, allowing her to reveal the fragile beauty and subtle tensions that often pass unnoticed.
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Exclusive Interview with Ghawam Kouchaki
Interview
Exclusive Interview with Ghawam Kouchaki
American photographer Ghawam Kouchaki brings a sharply observant and introspective gaze to the streets of Japan’s capital. Based in Los Angeles, he approaches Tokyo with the distance — and curiosity — of an outsider, allowing him to uncover the city’s subtle contradictions, quiet tensions, and fleeting gestures that often go unnoticed. His series Tokyo no no, selected as the Solo Exhibition for December 2024, explores the hidden undercurrents of urban life: the unspoken rules, the small ruptures in routine, the poetic strangeness found in everyday moments. Through muted tones, instinctive timing, and meticulous framing, Kouchaki reveals a Tokyo that exists somewhere between reality and imagination — both intimate and enigmatic. We asked him a few questions about his life and work.
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Exclusive Interview with Tommi Viitala
Interview
Exclusive Interview with Tommi Viitala
Tommi Viitala, winner of AAP Magazine #44: Street, is a Finnish photographer celebrated for his striking and cinematic street photography. With a keen eye for atmosphere and composition, he captures fleeting urban moments that reveal the poetry of everyday life. His work often explores the tension between solitude and connection within contemporary cityscapes, blending documentary realism with artistic sensibility. Viitala’s photographs have been exhibited internationally and recognized for their strong visual storytelling and emotional depth. We asked him a few questions about his life and work.
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Exclusive Interview with Robert Mack
Interview
Exclusive Interview with Robert Mack
Robert Mack is a California-based visual artist, photographer, and filmmaker. His fine art photography and films have been exhibited widely in the United States and Europe, with major shows at the Baltimore Museum of Art and the Reiss-Engelhorn Museum in Mannheim, Germany. Both institutions hold his work in their permanent collections. Working across different media, Mack has built a career exploring the complexities of human presence and representation. In 1981, while living in Baltimore, he produced The Perkins Project: Not Guilty by Reason of Insanity, a rare photographic and film study inside Maryland’s hospital for the criminally insane. These stark yet compassionate black-and-white portraits remain one of his most powerful and controversial bodies of work.
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