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FINAL CALL TO ENTER AAP MAGAZINE PORTRAIT: PUBLICATION AND $1,000 CASH PRIZES
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Mona Singh
Mona Singh
Mona Singh

Mona Singh

Country: India

Gurgaon, (India) based street/ travel photographer. Capturing emotions is one of the key ingredients in Mona Singh’s work. She firmly believes in making photographs that she resonates with. Even though it is the emotions of her subjects that she is documenting, she finds a reflection of herself in them. Her love for the unexpected and candid moments gives her the ability to find visual order within the chaos of the world and an unparalleled creative vision.

She loves to creatively capture the weird and wonderful fleeting moments as they unfold in front of her eyes. She beautifully fuses emotions and art to tell stories through her pictures. Photography for her has been a life-transforming experience. Photography is the love of her life and traveling is like blood in her veins. She loves waking up to new horizons, making new friends and exploring the world.

Silent Colors:
"Who doesn't like colors? Well, we all do... but these women are considered a curse and have lost the joy and privilege of having colors in their lives. These are the widows of Vrindavan, the abandoned and forgotten souls in one of the holiest cities of India. Thousands of them have made this city their home and the place is known as 'The city of widows'. Sitting cross-legged in a dingy room with a noisy fan, plaster peeling off the walls, watching her favorite Bengali serial on an old T.V. set, Purba (name changed) greeted me by saying 'Radhe Radhe', the only popular way to greet in Vrindavan.

She left her family in Bengal and came to the Widows Ashram in Vrindavan after her husband’s death. Many others like her in the room have either been abandoned by their families or have decided to stay away from the societal pressures and people ostracizing them. Breaking the age-old rigid Indian tradition, these widows celebrate Holi, the vibrant festival of colors at the ancient Gopinath temple. Soaked in colors, they throw rose and marigold flower petals at each other and dance with joy. It is a blissful experience for all. It is mesmerizing to see such a sight. Their white saris turn bright and colorful. It is like getting revived in the most tender way."
 

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László Moholy-Nagy
Hungary
1895 | † 1946
László Moholy-Nagy (July 20, 1895 - November 24, 1946) was a Hungarian painter and photographer as well as professor in the Bauhaus school. He was highly influenced by constructivism and a strong advocate of the integration of technology and industry into the arts. Moholy-Nagy was born László Weisz in Bácsborsód to a Jewish-Hungarian family. His cousin was the conductor Sir Georg Solti. He attended Gymnasium (academic high school) in the city of Szeged. He changed his German-Jewish surname to the Magyar surname of his mother's Christian lawyer friend Nagy, who supported the family and helped raise Moholy-Nagy and his brothers when their Jewish father, László Weisz left the family. Later, he added "Moholy" ("from Mohol") to his surname, after the name of the Hungarian town Mohol in which he grew up. One part of his boyhood was spent in the Hungarian Ada town, near Mohol in family house. In 1918 he formally converted to the Hungarian Reformed Church (Calvinist); his Godfather was his Roman Catholic university friend, the art critic Ivan Hevesy. Immediately before and during World War I he studied law in Budapest and served in the war, where he sustained a serious injury. In Budapest, on leaves and during convalescence, Moholy-Nagy became involved first with the journal Jelenkor ("The Present Age"), edited by Hevesy, and then with the "Activist" circle around Lajos Kassák's journal Ma ("Today"). After his discharge from the Austro-Hungarian army in October 1918, he attended the private art school of the Hungarian Fauve artist Róbert Berény. He was a supporter of the Communist Dictatorship (known as "Red Terror" and also "Hungarian Soviet Republic"), declared early in 1919, though he assumed no official role in it. After the defeat of the Communist Regime in August, he withdrew to Szeged. An exhibition of his work was held there, before he left for Vienna around November 1919. He left for Berlin early in 1920. In 1923, Moholy-Nagy replaced Johannes Itten as the instructor of the foundation course at the Bauhaus. This effectively marked the end of the school's expressionistic leanings and moved it closer towards its original aims as a school of design and industrial integration. The Bauhaus became known for the versatility of its artists, and Moholy-Nagy was no exception. Throughout his career, he became proficient and innovative in the fields of photography, typography, sculpture, painting, printmaking, and industrial design. One of his main focuses was photography. He coined the term "the New Vision" for his belief that photography could create a whole new way of seeing the outside world that the human eye could not. His theory of art and teaching is summed up in the book The New Vision, from Material to Architecture. He experimented with the photographic process of exposing light sensitive paper with objects overlain on top of it, called photogram. While studying at the Bauhaus, Moholy's teaching in diverse media — including painting, sculpture, photography, photomontage and metal — had a profound influence on a number of his students, including Marianne Brandt. Perhaps his most enduring achievement is the construction of the "Lichtrequisit einer elektrischen Buehne" [Light Prop for an Electric Stage] (completed 1930), a device with moving parts meant to have light projected through it in order to create mobile light reflections and shadows on nearby surfaces. Made with the help of the Hungarian architect Istvan Seboek for the German Werkbund exhibition held in Paris during the summer of 1930, it is often interpreted as a kinetic sculpture. After his death, it was dubbed the "Light-Space Modulator" and was seen as a pioneer achievement of kinetic sculpture. It might more accurately be seen as one of the earliest examples of Light Art. Moholy-Nagy was photography editor of the Dutch avant-garde magazine International Revue i 10 from 1927 to 1929. He resigned from the Bauhaus early in 1928 and worked free-lance as a highly sought-after designer in Berlin. He designed stage sets for successful and controversial operatic and theatrical productions, designed exhibitions and books, created ad campaigns, wrote articles and made films. His studio employed artists and designers such as Istvan Seboek, Gyorgy Kepes and Andor Weininger. After the Nazis came to power in Germany in 1933, and, as a foreign citizen, he was no longer allowed to work, he operated for a time in Holland (doing mostly commercial work) before moving to London in 1935. In England, Moholy-Nagy formed part of the circle of émigré artists and intellectuals who based themselves in Hampstead. Moholy-Nagy lived for a time in the Isokon building with Walter Gropius for eight months and then settled in Golders Green. Gropius and Moholy-Nagy planned to establish an English version of the Bauhaus but could not secure backing, and then Moholy-Nagy was turned down for a teaching job at the Royal College of Art. Moholy-Nagy made his way in London by taking on various design jobs including Imperial Airways and a shop display for men's underwear. He photographed contemporary architecture for the Architectural Review where the assistant editor was John Betjeman who commissioned Moholy-Nagy to make documentary photographs to illustrate his book An Oxford University Chest. In 1936, he was commissioned by fellow Hungarian film producer Alexander Korda to design special effects for Things to Come. Working at Denham Studios, Moholy-Nagy created kinetic sculptures and abstract light effects, but they were rejected by the film's director. At the invitation of Leslie Martin, he gave a lecture to the architecture school of Hull University. In 1937, at the invitation of Walter Paepcke, the Chairman of the Container Corporation of America, Moholy-Nagy moved to Chicago to become the director of the New Bauhaus. The philosophy of the school was basically unchanged from that of the original, and its headquarters was the Prairie Avenue mansion that architect Richard Morris Hunt designed for department store magnate Marshall Field. Unfortunately, the school lost the financial backing of its supporters after only a single academic year, and it closed in 1938. Moholy-Nagy was also the Art Advisor for the mail-order house of Spiegel in Chicago. Paepcke, however, continued his own support, and in 1939, Moholy-Nagy opened the School of Design. In 1944, this became the Institute of Design. In 1949 the Institute of Design became a part of Illinois Institute of Technology and became the first institution in the United States to offer a PhD in design. Moholy-Nagy authored an account of his efforts to develop the curriculum of the School of Design in his book Vision in Motion. Moholy-Nagy died of leukemia in Chicago in 1946. Moholy-Nagy University of Art and Design in Budapest is named in his honour. Works by him are currently on display at the National Gallery of Art in Washington, DC. The software company Laszlo Systems (developers of the open source programming language OpenLaszlo) was named in part in honor of Moholy-Nagy. In 1998, he received a Tribute Marker from the City of Chicago. In the autumn of 2003, the Moholy-Nagy Foundation, Inc. was established as a source of information about Moholy-Nagy's life and works.Source: Wikipedia
Bruce Weber
United States
1946
Bruce Weber (born March 29, 1946) is an American fashion photographer and occasional filmmaker. He is most widely known for his ad campaigns for Calvin Klein, Ralph Lauren, Pirelli, Abercrombie & Fitch, Revlon, and Gianni Versace, as well as his work for Vogue, GQ, Vanity Fair, Elle, Life, Interview, and Rolling Stone magazines. Weber was born in Greensburg, Pennsylvania, to a Jewish family. His fashion photography first appeared in the late 1970s in GQ magazine, where he had frequent cover photos. Nan Bush, his longtime companion and agent, was able to secure a contract with Federated Department Stores to shoot the 1978 Bloomingdales mail catalog. He came to the attention of the general public in the late 1980s and early 1990s with his advertising images for Calvin Klein, and his portrait of the then young actor Richard Gere. His straightforward black-and-white shots, featuring an unclothed heterosexual couple on a swing facing each other, two clothed men in bed, and model Marcus Schenkenberg barely holding jeans in front of himself in a shower, catapulted him into the national spotlight. His photograph for Calvin Klein of Olympic athlete Tom Hintnaus in white briefs is an iconic image. He photographed the winter 2006 Ralph Lauren Collection. Some of Weber's other earliest fashion photography appeared in the SoHo Weekly News and featured a spread of men wearing only their underwear. The photos became the center of controversy and Weber was told by some that he would never find work as a fashion photographer again. This reputation stuck with him, as he says: "I don't really work editorially in a large number of magazines because a lot of magazines don't want my kind of photographs. It's too risky for them". After doing photo shoots for and of famous people (many of whom were featured in Andy Warhol's Interview magazine), Weber made short films of teenage boxers (Broken Noses), his beloved pet dogs, and later, a longer film entitled Chop Suey. He directed Let's Get Lost, a 1988 documentary about jazz trumpeter Chet Baker. Weber's photographs are occasionally in color; however, most are in black and white or toned shades. They are gathered in limited edition books, including A House is Not a Home and Bear Pond, an early work that shows Eric Nies from MTV's The Real World series, among other models. Weber began collaborating with crooner Chris Isaak in the mid-1980s, photographing Isaak in 1986 for his second album, Chris Isaak. In 1988, Weber photographed a shirtless Isaak in bed for a fashion spread in Rolling Stone. Isaak appeared in Let's Get Lost and Weber has directed a music video for Isaak. Weber photographed Harry Connick, Jr. for his 1991 album Blue Light, Red Light. In 1993, Weber photographed singer-songwriter Jackson Browne for his 1993 album I'm Alive.Source: Wikipedia
Isabeau De Rouffignac
I followed an artistic career path with a drawing baccalaureate, 2 years of preparatory classes at the Met de Penninghen studio, then I entered the graphic art school. This was followed by a long experience in design agencies (Design Strategy Orchestra), communication agencies (CPP) and manufacturing agencies (Vision Prod) as an employee and then as a freelancer since 1999. It is this status that will allow me to devote myself to photography, which I discovered in the 2000s. It was a revelation, and soon became obvious. Since then, I have been photographing worlds far and near, between a documentary approach and a resolutely artistic approach. A line of conduct, like a thread that runs through my work and gives it coherence: approaching the other, taming them, taking the time, learning their language, being forgotten, with a gaze that is always curious and fundamentally empathetic. Four photographic editions were born from this work. Since 2017, I devote all my time to photography. And although I have an initial training that integrates the work of the image and a long-standing photographic practice, I felt the need to go further, to question my writing, and I have therefore attended several workshops and training courses. (Arles, Cifap, Gobelins) In 2018, I became a member of Studio Hans Lucas Today, the more I advance in my artistic practice, the more I approach my projects from a documentary point of view, but with an aesthetic or even plastic approach from the start. By mixing these different ways of working on my subject, I leave the imposed categories (documentary, plastic photography, etc.) to invent my own language that allows me to convey a message (environmental, social, humanitarian, political, etc.). This is the case in my latest work in India, pleas. In Bhopal, they point out the consequences of the worst chemical disaster the world has ever known, and in Rajsamand, they tell of the difficult working conditions of the miners. Statement An intuition, a call following the reading of an article or a book, moves me from my daily life in the metropolis and I set off to meet the other. The country is always far away, the situation speaks of a reprieve. Through photography I seek an encounter with the other, the other in what is different about him, his way of life, his language, which I try as much as possible to learn in order to be in touch with him. I am looking for an encounter with a place that also has its own language that often says the impalpable, what does not always appear at first sight, a place to be deciphered. In these encounters, I also seek an encounter with myself, because the other person questions me, challenges me, shakes up my preconceptions, pushes me to question myself. In my last work on the miners of Rajasthan, I sought to pay tribute to men in pain, working in sandstone or marble quarries, working without safety clothing, for a ridiculous salary, without a work contract, and more than half of whom suffer from silicosis because they work without masks. In most of my other photographic works, I try to bear witness but also to show a cultural heritage that is on the verge of disappearing, and to talk about those who keep it alive and often fight against a progressive assimilation. Of course, the time needed for these encounters, for this acceptance by the communities in which I immerse myself, implies taking time. A lot of time. It is the only way to establish the links that open doors, give access to knowledge, beliefs, and sometimes even confidences. Learning the Hindi language has helped me to better understand the personal stories of all the men and women I have photographed, to understand the distress that lies behind their dignity. I try to document the issues through personal stories that are each unique and singular. This is what I have done here with the miners of Rajasthan, or previously with the women of Bhopal, the postmen of Rajasthan, or the Akhas of Thailand. I offer you my view, nourished by what my encounters have revealed to me, my way of documenting it, as close as possible or with distance when necessary. A view that I hope will open up the possibility of better understanding, or at least of trying. That's already a lot.
Sean Gallagher
United Kingdom
1979
Sean Gallagher is a British photographer and filmmaker, who has been in Asia for over 15 years. Based out of Beijing, China, he specialises in covering issues surrounding the climate crisis and other global environmental issues for some of the world's leading news outlets. He creates innovative photographic, video and multimedia projects that highlight individual's stories from communities that are affected by issues such as climate change, biodiversity loss, pollution, desertification and deforestation. He is a 8-time recipient of the Pulitzer Center on Crisis Reporting travel grant, his images are represented by the National Geographic Image Collection and he is a Fellow of the UK Royal Geographical Society. He graduated in Zoology from university in the United Kingdom and it is his background in science that has led to much of his work being focused on communicating environmental issues through visual storytelling. His selected awards include; Environmental Photographer of the Year - Changing Environments Prize (2019), Resilience Science Journalism Fellow - Craig Newmark Graduate School of Journalism at City University New York (2019), Woods Hole Oceanographic Institute Science Journalism Fellow (2017), Environmental Film of the Year - Winner - 'The Toxic Price of Leather', Environmental Photographer of the Year Competition (2014), Published 'Meltdown', a multimedia eBook documenting China's environmental crises in the early 21st Century (2013). Photography and Climate Change Awareness
Jennifer Garza-Cuen
United States
Jennifer Garza-Cuen is an artist from the Pacific Northwest. Currently Assistant Professor of Photography at Texas A&M University-Corpus Christi, she received her MFA in photography and MA in the History of Art and Visual Culture from the Rhode Island School of Design in 2012. Her BA in comparative literature was completed at the American University in Cairo. During both years of her attendance at RISD, she received the RISD GS competitive grant. She was also awarded the Daniel Clarke Johnson, Henry Wolf, and Patricia Smith Scholarships. Additionally, she has received fellowships to attend residencies at The Robert Rauschenberg Foundation, Light Work, Ucross, Oxbow, Hambidge, Brush Creek, and the Vermont Studio Center. Her work has been exhibited nationally and internationally and published in contemporary photography journals such as Dear Dave, Contact Sheet, Musée, Blink, PDN, Der Greif, The Photo Review, and Conveyor Magazine as well as on-line journals such as i-D, Conscientious, Feature Shoot, Aint-Bad, Fubiz, iGNANT, Dazed, and Juxtapoz. Eden Imag[in]ing America depicts a series of locations in the United States as a residue of cultural memory, an inheritance. It is a metaphorical memoir, a narrative re-telling of facts and fictions and it is also a discovery of the dreamland that still is America. Located in Vermont's Northeast Kingdom, Eden appears a quiet community of Adventists, Mennonites, and Quakers where dairy farmers, mill workers, and craftsmen gather at the general stores, dinners are served in old wooden churches, and dances are held at the local Grange Hall. The rivers of Eden all spring from Eden and the views are as ravishing as the garden from which it takes its name. But it is also a hard and rugged place, where resourceful and independent inhabitants still labor stoically, as their ancestors before them.
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