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Svet Jacqueline
Svet Jacqueline
Svet Jacqueline

Svet Jacqueline

Country: United States
Birth: 1992

Svet Jacqueline grew up In Baltimore, Maryland. She earned a Bachelor of Science in Photography from the S.I. Newhouse School of Public Communications at Syracuse University in 2014. She moved to Los Angeles, California in 2016 to work on freelance projects with Sony Entertainment, Apple, and other editorial clients. In 2020, she documented the uprising of the Black Lives Matter movement and published her first book, 100 days of Protest, 2021. Last year, she split her time in Los Angeles, Mexico, and Texas documenting migration at the border and the cycle of poverty on Skid Row where her work won first place in the International Photography Awards and NPPA Best of Photojournalism 2022. Her recent efforts focus on the humanitarian impact of displacement in conflict zones and Russia's war on Ukraine. She has published with Göteborgs-Posten, Teen Vogue, The Jewish Times, and HBO. focus on the humanitarian impact of displacement in conflict zones and Russia's war on Ukraine. In her free time, she trains for marathons, cooks, and volunteers with local nonprofits to feed underfunded communities and support public art programs.

Agency

ZUMA Press

Websites

www.svetjacqueline.com

@___svetj

 

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More Great Photographers To Discover

Christopher Felver
Christopher Felver
United States
1946
Christopher Felver (born October 1946) is a photographer and filmmaker who has published several books of photos of public figures, especially those in the arts, most notably those associated with beat literature. He has made numerous films (as director, cinematographer, or producer), including a documentary on Lawrence Ferlinghetti, Ferlinghetti: A Rebirth of Wonder, released in 2013. Christopher Felver has photographed numerous writers, intellectuals and filmmakers such as Charles Bukowski, William Burroughs, Noam Chomsky, Gregory Corso, Clint Eastwood, Lawrence Ferlinghetti, Allen Ginsberg, Dennis Hopper, Oliver Stone, Elizabeth Taylor, Hunter S. Thompson and Kurt Vonnegut. His photography has been exhibited internationally, with solo photographic exhibitions at the Arco d'Alibert, Rome (1987); the Art Institute for the Permian Basin, Odessa, Texas (1987); Torino Fotografia Biennale Internazionale, Turin, Italy (1989); Centre Georges Pompidou, Paris (1994); Roosevelt Study Center, Middelburg, Netherlands (1998); Fahey/Klein Gallery, Los Angeles (2002); the Maine Photographic Workshop (2002); Robert Berman Gallery, Los Angeles (2007); the San Francisco Public Library (2018)[3] and other galleries and museums. His works have also appeared in major group exhibitions, including The Beats: Legacy & Celebration, New York University (1994) and Beatific Soul: Jack Kerouac On The Road, New York Public Library (2007). A collection of his photographs is held by the University of Delaware. Source: Wikipedia Christopher Felver is a cultural documentarian. His distinctive visual signature is a lasting contribution to the legacy of our national cultural community. Felver’s films & photographs reads like a roster of American mid-century avant-garde. Aside from portraits, Christopher Felver has also produced another body of work entitled: Ordered World. About this body of work, curator, James Crump writes, “Mr. Felver celebrates the elemental essences manmade and natural objects that tend to elude observation. Working in a manner not unlike Karl Blossfeldt, Albert Renger-Patzsch and the New Objectivity artists of 1920s and ’30s Germany, Felver asserts his own contemporary vision here. His pictures are informed by Minimalism and the keen, refined observation of a poet unwilling to discard the mundane or topical content that surrounds us but, nevertheless, is overlooked in the quickened pace of our technologically frenzied age. The series, while concerned with monumentalizing and focusing our attention on the ordered and structured surfaces of objects, resists any historical referencing to the hardened gaze of the twentieth century. It asks the viewer to ruminate on the overlooked beauty which surrounds us, the wonderment that unfolds, with careful and refined examination.” In 1994 Felver attended a Connecticut gathering of Native American dancers in ceremonial dress. These 20 photographs capture a traditional gathering of Northeastern tribes in Felver’s direct portrait style. As visiting artist in 1988 & 1989 at the American Academy in Rome, Christopher Felver made over 250 portraits of European artists across the continent. Felver’s 1350 portraits represent American and European cultural icons. In 1984 Christopher Felver traveled as a journalist to Japan, Hong Kong and Beijing documenting the customs and social conditions. Writers Lawrence Ferlingetti, Robert Creeley, David Amram, Amiri Baraka, George Plimpton, David Shapiro, Luc Sante, Lee Ranaldo, William Parker, Douglas Brinkley, Gary Snyder, Lance Henson, Linda Hogan and Simon Ortiz have written introductions for Christopher Felver’s books. Source: chrisfelver.com "With his gravelly voice, Felver would have made a great gumshoe in a mystery serial during the Golden Age of American radio, which ended around 75 years ago. Luckily for us, he did not miss his calling, which is to take portraits of the people who make up the cultural backbone of America — its artists, writers, composers, and musicians — people in the public eye, even if that audience is tiny." "Felver didn’t just take a photograph, as each portrait is accompanied by a short poem or line of poetry written by the subject in his or her own hand. He finds another way to be a witness." "I cannot think of another person who has given us such intimate portraits of Sherman Alexie, Amiri Baraka, Louise Erdrich, Lawrence Ferlinghetti, Allen Ginsberg, Joy Harjo, Eartha Kitt, Jasper Johns, Toni Morrison, Patti Smith, and Anne Waldman. He has made photographic portraits of Native American writers, and of composers and musicians from John Cage and Doc Watson to Mavis Staples and Ozzy Osbourne. He spent a week in Nicaragua in early part of 1984 with Lawrence Ferlinghetti, five years after the 1979 July revolution there. The photographs in Felver’s book, The Late Great Allen Ginsberg (2002), were taken between 1980 and 1997, in which various other people make appearances: Philip Glass, Ray Manzarek, Ed Sanders, Norman Mailer, Robert Frank, and Gary Snyder." "Each of these projects reveals another side of Felver’s capacity to engage with others and the world, as well as to stand aside and let his subjects speak. I cannot think of anyone who has been as devoted as Felver has been to his subjects. Perhaps it is time we find a way to return that devotion." -- John Yau Source: Hyperallergic
Manjari Sharma
Manjari Sharma
India
1979
Manjari Sharma is a photographer born and raised in Mumbai, India and based in Brooklyn, New York. Rooted in the study of relationships and personal mythology, since it’s inception Manjari’s work has been recognized as walking the line of fine art and traditional portraiture. Manjari‘s work has been showcased in several group and solo exhibitions both in the US and internationally and she's been invited to speak at the School of Visual arts and the Rubin Museum of Art in New York City. Manjari was chosen as an honorable mention for the Santa Fe Prize in 2012, her work selected by Review Santa Fe and featured by the Critical mass top 50. Manjari has been featured in various magazines print and online. Her works have appeared with Forbes India Magazine, Vogue India, Geo Magazine, America Online. She has been commisioned to work with advertising agencies such as JWT and Contract, India and has had features and interviews with New York Times, lens blog, Wired Raw File Nikon Asia, NPR, Time, PDN, Huffington Post, CNBC, Mumbai, The Times of India group and Leica, China. Before moving to the U.S. in 2001 Manjari worked for the national news daily of her country, The Times of India. Manjari has also worked as a staff photojournalist with the leading south asian photography magazine, Better Photography. She holds a bachelors degree in Visual Communication from S.N.D.T University, Mumbai and a Bachelor of Fine Arts in Still Photography from Columbus College of Art and Design in Columbus, Ohio.
Jacque Rupp
Jacque Rupp
United States
Jacque Rupp is a humanist photographer residing in Silicon Valley. She picked up her first camera, a Rollei, in her teens, and immediately fell in love with the entire process- but especially how the camera connected her to others. Because she moved extensively as a child, Jacque learned quickly how to walk into new situations and build trust with people. She draws on these early experiences when creating a rapport with her photographic subjects. Jacque was an executive in the technology industry, responsible for recruiting top talent for many years. Interviewing and learning about people's stories fits directly into her style of photography. Jacque goes deep, looking to capture the human spirit by using layers, complexity, and emotion in her work. She received her MBA from Santa Clara University. She is on the Advisory Board for the United Nations Affiliated Film Festival at Stanford University and for the Weston Collective in Carmel. She has exhibited at the Center for Photographic Arts in Carmel, Foothill College in Los Altos Hills, The Daily Photograph and numerous on-line venues. Statement It's always about the people. Curiosity and connection. It's very personal for me. I'm drawn by intensity, intimacy and authenticity in my subjects. I am curious about different cultures, here and abroad, and search for stories about everyday people in everyday life. I look for a face that is lived in, a spirit I can connect with, a truth that is shared and a story to tell. I am seeking a sense of identity and place. When I engage with my subjects, this moment shared between us is an honor. In my photographs, I strive to show the humanity and universal spirit that binds all of us together. Spirit of India India, and especially its religious spirit, has always held a special place in my heart. My first visit was during a very vulnerable time in my life, my husband was terminally ill, and I found the calming spirit to be very healing. These images are a collection of my favorites over years. I love the spirit, the orderly chaos and the warmth of its people. As a visual artist, I see and very much appreciate the theatre and cast of characters.
Oliver Raschka
Oliver Raschka
Germany
1975
Oliver Raschka is a self-taught photographer and holds a doctorate in behavioral economics. His focus is on the visual sociology of the everyday with an emphasis on trauma, identity, the family narrative, youthhood and adolescence. With more than 20 years of experience as an expert on behavioral issues in markets and organizations, he is able to capture the dynamics and peculiarities of social relationships in his photographs. This experience also helps him better understand the nature of psychological effects. For many years, the self-taught photographer has been exploring the theme of family and the search for identity in documentary form. A project that documented the everyday life of two brothers from childhood to adolescence over a total of fifteen years is the subject of two books. Oliver Raschka lives in Stuttgart, Germany. Sorrow Is All The Pain Of Love: Sorrow Is All The Pain Of Love is a visual diary exploring sorrow, trauma and identity. Oliver Raschka investigates how depression, personal traumas caused by drastic events, addiction issues in the family, and deep burnout manifest visually. It’s archival work with photographs from 2004-2025. By using photographs taken unintentionally and unconsciously, Oliver Raschka gains authentic and deep access to what really concerns. The confrontation with visual narratives through active trauma therapy enables alternative possibilities for action. The photographs often represent the symptoms or results of much deeper events that have shaped and preoccupied (unconsciously) a lifetime. The recontextualization of decontextualized photographs from the archive leads to a reawakened sensitivity for the original events. In essence, the work offers a deeper psychogram, showing how the unintentional and unconscious documentation of mental states in search of one's own identity are transformed into photographs in order to process these sensations. As dark as the photographs may appear, everything is ultimately infused with light, which promotes strength, inner power and clarity. The work is therefore about healing and growth and about strengthening mindfulness. Awarded Photographer of the Week - Week 28
James Fee
James Fee
United States
1949 | † 2006
James Fee was an American photographer best known for his photographs of abandoned factories and lonely highways. He was born in the town of Knoxville, Iowa. Fee drove from Iowa to California after graduating from high school and settled in San Francisco. He married Sharon Kitzman in San Francisco. Fee has also lived in New York City and Los Angeles. A Graflex Norita 66 with extension tubes, tele-extenders, and mid-century telephoto lenses was used for much of Fee's earlier personal work. The camera and equipment were stolen in the early 1990s while he was working on his "Photographs of Americana" series. Fee discovered that it was difficult to replace the camera and began experimenting with the Russian-made Kieve 90 with lens embellishments. Fee appreciated the irony of finishing the series with a Russian camera. Because of Fee's approach to photography, museum curators gave his exhibitions titles like "American Noir" and "The Weight of Time." His photographs can be found in the permanent collections of the San Diego Museum of Photographic Arts, the William Benton Museum of Art, and the Getty Museum. Fee once worked with sculptor George Herms, who shared his love of the Beat Generation. Fee later taught photography at the Art Center College of Design in Pasadena, California, from 1994 to 2003. He began teaching at Otis College of Art and Design in Los Angeles in 1993. Fee photographed images he thought represented declining cultural icons in the United States, such as crumbling drive-in movie theaters and rusted, abandoned cars. During World War II, Fee's father, Russell James Fee, served in the United States Navy as a medical corpsman attached to the Marine Corps. During a tense battle on Peleliu Island in 1944, he captured images of his fellow sailors and Marines as well as the aftermath of battles. Russell Fee passed away in 1972. In 1998, James Fee visited Peleliu Island and photographed remnants of World War II battles, such as rusted and overgrown tanks, roads, and the tip of a sunken Japanese fighter plane. He attempted to photograph the same scenes that his father had captured more than 50 years before. Fee created an exhibit called the "Peleliu Project" in which he artistically combined his own photographs with images taken by his father. The exhibition toured the United States and was first shown at the Craig Krull Gallery in Santa Monica in 2001 before being permanently housed at the San Diego Museum of Photographic Arts. James Fee is survived by his wife of 30 years, Elena Stoyanov (NJ), and Illya Eric Isaac Fee (CA), his son from his first marriage. Fee was found dead in Beverly Hills, California. Hepatitis C and liver cancer were the causes of his death. At the time of his father's death, Illya Fee was by his side.
Federico Tisa
Federico Tisa
Italy
1982
I studied Architecture at the Polytechnic of Turin, Italy and only after the University did I have the courage to take a path that I really loved. So I studied photography at an Academy in my home town. I Started to shoot and practice under the stages of big concerts, having the opportunity to shoot for important national and international music magazines and go to the shows of artists like Ben Harper, Pearl Jam, Nick Cave, Leonard Cohen, P.J Harvey, Ennio Morricone and others. Only later, in 2013 after having participated as a visitor to a photojournalism festival, I decided that I wanted to take that road and so I studied reportage in Milan and later in Rome. From 2014 I'll be carrying out long term projects.
Nihal Araptarlı
Nihal Araptarlı
Turkey
1959
Nihal Araptarlı is an expert clinical psychologist. She started taking photographs in her high school years but stayed away from photography during her intensive education and work life. She picked up her camera again 5 years ago and made photography the most enjoyable part of her life. Although she mostly does street photography with the advantage of living in Istanbul, which is a very rich photographic city, she continues to improve herself by shooting in every branch of photography and making new experiences. While she provides therapy to her clients with various methods, she also uses photography as a therapeutic treatment tool for herself. Statement: Photography is my therapy Awarded Photographer of the Week - Week 22
Tina Modotti
Tina Modotti
Italy / United States
1896 | † 1942
With her camera, Tina Modotti presents a distinctive vision of 1920s Mexico. As a Hollywood actress turned Comintern agent, Modotti used photography as an artistic and political outlet. Born​ in Udine,Italy,​ ​Modotti emigrated to San Fransico at the age of sixteen. She quickly established herself as a successful actress and modeled for notable photographers including Jane Reece and Edward Weston. The latter became her lover and artistic mentor. In 1923, Weston and Modotti set up a successful portrait studio in Mexico City. While there, Modotti moved within avant-garde circles, befriending Frida Kahlo and Diego Rivera. It was during this period in Mexico that she developed her passion for both photography and politics; this culminated in a solo exhibition at the National Library in 1929 which emphasized the revolutionary quality of her work. A year later Modotti was exiled from Mexico because of anti-communist sentiments and in 1931 she set aside a promising career in photography to devote herself entirely to political activism. She worked as a Comintern agent until her death in 1942. Although her life and photographic style are often linked with Edward Westo​n, her political engagement and the eye for composition she harnessed to express it are her own. Calla Lilies (1925) represents a cool appraisal of natural beauty and shows Modotti’s interest in formalism, something she shared with Weston, as she emphasizes the stark lighting, the near symmetry, and the tactile presence of the flowers. In Workers Parade (1926), however, while Modotti’s skill in formal composition is still evident, as the lighting and angle emphasize the repeated pattern of the hats, this dramatic view of a May Day parade in Mexico City reveals Modotti’s Communist sympathies and her ambition to use photography to promote political change.Source: Hundred Heroines Tina Modotti was an Italian American photographer, model, actor, and revolutionary political activist for the Comintern. She left Italy in 1913 and moved to the USA, where she worked as a model and subsequently as a photographer. In 1922 she moved to Mexico, where she became an active Communist. Modotti was born Assunta Adelaide Luigia Modotti Mondini in Udine, Friuli, Italy. Her mother, Assunta, was a seamstress; her father, Giuseppe, was a mason. In 1913, at the age of 16, she immigrated to the United States to join her father in San Francisco, California. Attracted to the performing arts supported by the Italian émigré community in the San Francisco Bay Area, Modotti experimented with acting. She appeared in several plays, operas, and silent movies in the late 1910s and early 1920s, and also worked as an artist's model. In 1917, she met Roubaix "Robo" de l'Abrie Richey. Originally a farm boy from Oregon named Ruby Ritchie, the artist and poet assumed the more bohemian name Roubaix. In 1918, Modotti began a romantic relationship with him and moved with him to Los Angeles to pursue a career in the motion picture industry. Although the couple cohabited and lived as a "married couple", they were not married. She was listed as a U.S. citizen in the 1920 Los Angeles township census. Often playing the femme fatale, Modotti's movie career culminated in the 1920 film The Tiger's Coat. She had minor parts in two other films. The couple entered into a bohemian circle of friends. One of these fellow bohemians was Ricardo Gómez Robelo. Another was the photographer, Edward Weston. As a young girl in Italy her uncle, Pietro Modotti, maintained a photography studio. Later in the U.S., her father briefly ran a similar studio in San Francisco. While in Los Angeles, she met the photographer Edward Weston and his creative partner Margrethe Mather. It was through her relationship with Weston that Modotti developed as an important fine art photographer and documentarian. By 1921, Modotti was Weston's lover. Ricardo Gómez Robelo became the head of Mexico's Ministry of Education's Fine Arts Department, and persuaded Robo to come to Mexico with a promise of a job and a studio. Robo left for Mexico in December 1921. Perhaps unaware of his affair with Modotti, Robo took with him prints of Weston's, hoping to mount an exhibition of his and Weston's work in Mexico. While she was on her way to be with Robo, Modotti received word of his death from smallpox on February 9, 1922. Devastated, she arrived two days after his death. In March 1922, determined to see Robo's vision realized, she mounted a two-week exhibition of Robo's and Weston's work at the National Academy of Fine Arts in Mexico City. She sustained a second loss with the death of her father, which forced her to return to San Francisco later in March 1922. In 1923, Modotti returned to Mexico City with Weston and his son Chandler, leaving behind Weston's wife Flora and their youngest three children. She agreed to run Weston's studio free of charge in return for his mentoring her in photography. Together they opened a portrait studio in Mexico City. Modotti and Weston quickly gravitated toward the capital's bohemian scene and used their connections to create an expanding portrait business. Together they found a community of cultural and political "avant-gardists", which included Frida Kahlo, Lupe Marín, Diego Rivera, and Jean Charlot. In general, Weston was moved by the landscape and folk art of Mexico to create abstract works, while Modotti was more captivated by the people of Mexico and blended this human interest with a modernist aesthetic. Modotti also became the photographer of choice for the blossoming Mexican mural movement, documenting the works of José Clemente Orozco and Diego Rivera. Between 1924 and 1928, Modotti took hundreds of photographs of Rivera's murals at the Secretariat of Public Education in Mexico City. Modotti's visual vocabulary matured during this period, such as her formal experiments with architectural interiors, blooming flowers, urban landscapes, and especially in her many beautiful images of peasants and workers during the depression. In 1926, Modotti and Weston were commissioned by Anita Brenner to travel around Mexico and take photographs for what would become her influential book Idols Behind Altars. The relative contributions of Modotti and Weston to the project has been debated. Weston's son Brett, who accompanied the two on the project, indicated that the photographs were taken by Edward Weston. In 1925, Modotti joined International Red Aid, a Communist organization. In November 1926, Weston left Mexico and returned to California. During this time Modotti met several political radicals and Communists, including three Mexican Communist Party leaders who would all eventually become romantically linked with her: Xavier Guerrero, Julio Antonio Mella, and Vittorio Vidali. Starting in 1927, a much more politically active Modotti (she joined the Mexican Communist Party that year) found her focus shifting and more of her work becoming politically motivated. Around that time her photographs began appearing in publications such as Mexican Folkways, Forma, and the more radically motivated El Machete, the German Communist Party's Arbeiter-Illustrierte-Zeitung (AIZ), and New Masses. Mexican photographer Manuel Álvarez Bravo divided Modotti's career as a photographer into two distinct categories: "Romantic" and "Revolutionary", with the former period including her time spent as Weston's darkroom assistant, office manager and, finally, creative partner. Her later works were the focus of her one-woman retrospective exhibition at the National Library in December 1929, which was advertised as "The First Revolutionary Photographic Exhibition In Mexico". As a result of the anti-communist campaign by the Mexican government, Modotti was exiled from Mexico in 1930. She first spent several months in Berlin, followed by several years in Moscow. Traveling on a restricted visa that mandated her final destination as Italy, Modotti initially stopped in Berlin and from there visited Switzerland. The Italian government made concerted efforts to extradite her as a subversive national, but with the assistance of International Red Aid activists, she evaded detention by the fascist police. She apparently intended to make her way into Italy to join the anti-fascist resistance there. In response to the deteriorating political situation in Germany and her own exhausted resources, however, she followed the advice of Vittorio Vidali and moved to Moscow in 1931. After 1931, Modotti no longer photographed. Reports of later photographs are unsubstantiated. During the next few years she engaged in various missions on behalf of the Workers International Relief organizations as a Comintern agent in Europe. When the Spanish Civil War erupted in 1936, Vidali (then known as "Comandante Carlos") and Modotti (using the pseudonym "Maria") left Moscow for Spain, where they stayed and worked until 1939. She worked with Canadian Dr. Norman Bethune during the disastrous retreat from Málaga in 1937. In 1939, following the collapse of the Republican movement in Spain, Modotti left Spain with Vidali and returned to Mexico under a pseudonym. In 1942, at the age of 45, Modotti died from heart failure while on her way home in a taxi from a dinner at Hannes Meyer's home in Mexico City, under what are viewed by some as suspicious circumstances. After hearing about her death, Diego Rivera suggested that Vidali had orchestrated it. Modotti may have "known too much" about Vidali's activities in Spain, which included a rumoured 400 executions. An autopsy showed that she died of natural causes, namely congestive heart failure. Her grave is located within the vast Panteón de Dolores in Mexico City. Source: Wikipedia
Stéphan Gladieu
Stéphan Gladieu
France
1969
Stéphan Gladieu was born in 1969 and lives in Boulogne-Billancourt. He is represented by Olivier Castaing of the School Gallery in Paris and Artco Gallery in Germany, Cape Town and Joshua Tree. He began his career in 1989, covering war & social issues, travelling across Europe,Central Asia, the Middle East (Afghanistan, Iran, Iraq, Israel, Egypt, Pakistan) and Asia (India, Nepal, Vietnam, China, etc). Going back to his beginnings, he very quickly enriched his photographic writing by using portraiture to bear witness to the human condition in the world. His main focus is on his personal and artistic work through series of portraits in which DNA is colour and the play of contrast between subject and background in natural settings. Stéphan Gladieu plays on the iconic character of the frontal image and on the frontier between the real and the unreal. His portraiture has included covering the Saudi Princes, Princesses in Nepal, actors & directors behind the scenes at Cannes Film Festival, politicians, intellectuals, but also everyday people the world over. Stephan still realize international features and portraits series, for international magazines but he is mainly focused on is personal work: human story through colorful portrait collection. On the side of his journalist activity, Stephan is working with private company (LVMH, Danone, TOTAL…) and International institutions (World Bank, UNICEF) to work on their visual identity. Nowadays, Stephan Gladieu’s work is published in leading publications in France and internationally.Source: www.stephangladieu.fr Exclusive Interview with Stephan Gladieu
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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
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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
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Exclusive Interview with Ghawam Kouchaki
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Exclusive Interview with Ghawam Kouchaki
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Exclusive Interview with Robert Mack
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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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