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Frédéric Lipzyc
Frédéric Lipzyc
Frédéric Lipzyc

Frédéric Lipzyc

Country: France
Birth: 1954

Frédéric Lipzyc was born in Paris in 1954, he has been a professional photographer for fifteen years. His passion is Street Photo, he never goes out without his little Lumix GX8 which allows him to photograph in a humble and discreet way.

According to his encounters in Paris or elsewhere, with easy contact and full of humanity, he wanders the streets with no specific project other than to catch what moves him. He prefers to move than to surprise.

He allows us to see the most different aspects, the human being is at the center of his compositions. Social photographer, street photographer, he captures what we do not always see, anonymous people whom we wonder who they truly are, what are their joys and sufferings.

The face, the body, the urban life in all its forms are captured by his curious and pure eye.

Frédéric is a photographer of emotion and modesty, expressionist, he conveys emotion through the posture of his characters.

In most of his photos, the urban is there as a character in its own right.

He is the photographer of the human and the emotion in the city.
 

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More Great Photographers To Discover

Elaine Mayes
United States
1936
Elaine Mayes has been an active visual artist since 1960. A main focus and emphasis for her work has been investigations of ‘seeing’ and documentary forms in photography. This interest led to a number of projects and seeking out various close at hand situations in the world as subject material for her photographs. Elaine majored in painting and art history at Stanford University and then studied at the San Francisco Art Institute with John Collier, Jr. Paul Hassel, Minor White, Nathan Oliviera and Richard Diebenkorn. Between 1961 and 1968 she was an independent photojournalist working in San Francisco for magazines and graphic designers. During 1967 and 1968 she was a rock and roll photographer and photographed the ‘Summer of Love’ and scene in the Haight Ashbury District of San Francisco. One of her assignments was to photograph the Monterey Pop Festival. This work was published in her book called, It Happened In Monterey. Elaine taught photography for thirty-five years, beginning at the University of Minnesota in 1968. Then she taught at Hampshire College from 1971 to 1981, at Bard College during 1982 and 1983, and at New York University’s Tisch School of the Arts from 1983 until 2001. Elaine was Chair of the Tisch Photography Department from 1997 until her retirement from teaching. Currently, she is Professor Emeritus and is living in the Catskill Mountains of New York actively continuing her work. Elaine’s photography has been exhibited extensively, with recent exhibitions connected with The Fiftieth Anniversary of the Summer of Love and The Monterey Pop Festival and includes the de Young Museum, The California Historical Society, The SFO Museums United Airlines Terminal, The Monterey Art Museum, The Grammy Musuem, Spazio Gerra - Comune di Reggio Emilia, Italy and the Joseph Bellows Gallery in La Jolla. Elaine has received a number of awards including three grants from the National Endowment for the Arts and a Guggenheim Fellowship. She also was awarded funding from The Atherton Foundation for her Hawaiian images and book production for a limited edition handmade book called, Ki i ‘no Hawai’i. Her newest publication is, Recently, Daylight Press, 2013. Elaine is affiliated with Getty Images, Joseph Bellows Gallery, Morrison Hotel Galleries, and Liberal Arts Roxbury.Source: www.elainemayesphoto.com
Janet Delaney
United States
Janet Delaney’s current photographic work uses a fine art approach to explore the social and political dynamics of city life. Her books include South of Market (MACK 2013), which documents the gentrification of a working-class neighborhood. Public Matters, (MACK 2018) addresses public life in Reagan era San Francisco and Red Eye to New York, (MACK 2021) finds public and private worlds on the stage of 1980s Manhattan. She is currently working on a sequel to South of Market, examining the impact of the arrival of new technology companies on her old neighborhood. Delaney’s awards include a Guggenheim Fellowship in 2020 and three National Endowment for the Arts Grants. Her photographs are in the collections of the San Francisco Museum of Modern Art, the de Young Museum and the High Museum, Atlanta among others. She has shown in museums and galleries locally and internationally. Janet Delaney received her MFA from the San Francisco Art Institute and held a faculty position at the University of California, Berkeley. She lives and works in Berkeley, California. Artist Statement My photographic practice actively engages the art of storytelling. I focus on both large public issues as well as more intimate, prosaic subject matter. I immerse myself fully in a place or a state of being and photograph without assumptions. Back in the studio, I organize these images to construct narratives that reflect my experience. Research is integral to each project, and when needed, I incorporate text to deepen and expand the storyline. Exhibitions offer me the opportunity to play with sequence and scale, while books provide a means to solidify and preserve my ideas. Over the years I’ve worked across various formats, exploring subjects as diverse as foreign wars, my kitchen table, forests, and cities worldwide. Artist Statement for the work submitted Revisiting a place I once called home creates a curious dissonance. During the 1980s I chronicled the early stages of gentrification in the South of Market district of San Francisco. Now, as I revisit my old neighborhood, rechristened SoMa by millennial marketers, I see a skyline bulging with new buildings. My former neighbors are eclipsed by both high-earning technology workers and those without homes whose tents line alleys and broad boulevards. In this new world I often feel as if I am standing in two places at once; the past infuses the present with both longing and confusion. In SoMa Now (working title), I sew together a complex narrative of a city I know well, blending fact and feeling to convey what is lost, what is gained and what remains in this new terrain. Article Exclusive Interview with Janet Delaney about 'Too Many Products, Too Much Pressure!'
Pascal Maitre
France
1955
Born in Buzançais, France, in 1955, Pascal Maitre studied psychology before beginning a career in photojournalism in 1979. His numerous assignments have taken him all over the Earth, from Afghanistan to South America. His books, In the Heart of Africa and Madagascar: Travels in a World Apart, gather images from 15 years of work in Africa. His photographs have been published in publications around the world, including GEO, Le Figaro Magazine, Newsweek, Life, and many others. His photographs first appeared in National Geographic in a September 2005 article on oil in Africa. Maitre is based in Paris, France. Source: National Geographic After studying psychology, he starts his carrier as photojournalist with the Jeune Afrique press group. In 1984 he joins the Gamma staff and then in 1989, he cofounds the Odyssey Images agency. From 1994 to 2018, he was a member of Cosmos Agency. He is now represented by MYOP. He has worked with many prestigious international magazines including, the Figaro Magazine, Geo, Paris Match, Stern, Brigitt and the National Geographic. In 2000, he published My Africa, a book that compiles 15 years of his work on this continent, with Aperture in the USA and Geo in Germany. In September 2001, the French version is released by Vents de Sable editions. In 2012 he publishes Amazing Africa, a compilation of 30 years of his work on Africa, with edition Lammerhuber and Unesco. Pascal Maitre has worked in over 40 countries in Africa, while tackling many different aspects, men and their way of life, politics, conflicts, tradition or the environement. He received numerous awards, including some World Press Photo awards, the AFD/Polka Prize for the Best Photo Report Project, the VISA D’Or 'Honneur for Lifetime Achievement'. He had eight personal exhibitions at Visa pour l'Image in Perpignan, two personal exhibitions at the Maison Européenne de la Photographie in Paris and a personal exhibition about his work at The Arche de la Défense in Paris.Source: MYOP
Spencer Tunick
United States
1967
Spencer Tunick is an American photographer best known for organizing large-scale nude shoots. Since 1994, he has photographed over 75 human installations around the world. Spencer Tunick was born in Middletown, Orange County, New York into a Jewish family. His father Earl owned a keychain photo-viewer franchise in the Catskills. In 1986, he visited London, where he took photographs of a nude at a bus stop and of scores of nudes in Alleyn's School's Lower School Hall in Dulwich, Southwark. He earned a Bachelor of Arts from Emerson College in 1988. In 1992, Tunick began documenting live nudes in public locations in New York through video and photographs. His early works from this period focus more on a single nude individual or small groups of nudes. Tunick cites 1994, when he posed and photographed 28 nude people in front of the headquarters of the United Nations in midtown Manhattan, as a turning point in his career; "It all started there, moving my work from just photography into installation and performance photography," he says. Since then, he has organized and photographed over 65 temporary site-related installations in the United States and abroad. Tunick's philosophy is that "individuals en masse, without their clothing, grouped together, metamorphose into a new shape. The bodies extend into and upon the landscape like a substance. These grouped masses which do not underscore sexuality become abstractions that challenge or reconfigure one's views of nudity and privacy." Sometimes, after gathering his subjects together, Tunick grades them by gender, long hair, age or other characteristics. Registration for modeling on his website includes questions about skin tone. A color chart shows seven boxes ranging from stark white to baby-powder pink and dark chocolate. In his work, he plays off different flesh tones or groups people of the same color. Tunick is also interested in the juxtaposition between the organic and the mechanical, and often chooses famous buildings or unusual structures as his backdrop. As of 2021, Tunick is the star of forthcoming pandemic documentary film Stay Apart Together, directed by Nicole Vanden Broeck, in which Tunick reinvents his photography "to find a way to bring everyone together while staying apart". To mark International Women's Day on March 8, 2021, the twenty-fourth session of the Stay Apart Together project saw Tunick and Vanden Broeck collaborate with Mexican-American visual artist Daniela Edburg to depict 75 Latin American women in 11 poses, incorporating the colors purple and green (symbols of the Latin American feminist movement) and hot pink, selected by Edburg for its liveliness.Source: Wikipedia Spencer Tunick has been documenting the live nude figure in public, with photography and video, since 1992. Since 1994, he has organized over 100 temporary site-related installations that encompass dozens, hundreds or thousands of volunteers, and his photographs are records of these events. In his early group works, the individuals en masse, without their clothing, grouped together, metamorphose into a new shape. The bodies extend into and upon the landscape like a substance. These group masses, which do not underscore sexuality, often become abstractions that challenge or reconfigure one's views of nudity and privacy. The work also refers to the complex issue of presenting art in permanent or temporary public spaces. Spencer Tunick stages scenes in which the battle of nature against culture is played out against various backdrops, from civic center to desert sandstorm. In 2002 he started to work with standing positions for his group formations referencing traditional group portraiture. Now, for some installations, he adds objects that the participants are often holding or wearing and has included body paint. Spencer has and continues to make group installations/photographs elevating awareness of HIV/AIDS, LGBTQ rights, equality and climate change, among other issues. Near the end of installations, for the final setups, he sometimes separates the participants into smaller groups to make additional assemblages: sometimes by sex, sometimes by age, or even by hair color. However, no one is ever excluded from an installation because of the color of their skin, ethnicity, gender identity, sex, race, religion, or political affiliation. If you can make it to an installation you can participate, unless of course there are space limitations. Spencer could not make his art without the generosity of the participants. He is eternally grateful for their participation. He wishes he could credit everyone in his individual and group photographs but there are hundreds and thousands who have taken part collectively. In exchange for taking part, participants receive a limited edition print. Spencer Tunick's temporary site-specific photographic installations have been commissioned by the XXV Biennial de Sao Paulo, Brazil (2002); Institut Cultura, Barcelona (2003); The Saatchi Gallery (2003); MOCA Cleveland (2004); Vienna Kunsthalle (2008) and MAMBO Museum of Modern Art, Bogota (2016), among others.Source: www.spencertunick.com
Frieke Janssens
Belgium
1980
Over the past 25 years, Frieke Janssens has acquired a reputation as a photographer of surreal staged tableaux and group portraits, often originating in a specific concept, and almost always stemming from an inexhaustible interest in human diversity. Her series often stand out because of their confrontational nature. Notable series include, among others, Smoking Kids, Your last shot, Diana's, Animalcoholics, and recently Lightness. In the same way that an oil painter builds up a work layer by layer, she too meticulously creates each image, down to the smallest detail. In every picture we can recognise the same artistic touch, the same technical perfection, combined with a playful duality between reality and fiction. At first glance, her images attract the viewer because of their pared-down beauty. Yet once one really starts to look in earnest, one realises that there are always multiple layers of meaning. It seems as if the people portrayed are trying to tell us something. However, they are silent, and consequently have to rely on the viewers to create the story for themselves. Frieke does not adopt any particular position, but aims to convey the feeling that one is not only looking at a photograph, but at a mirror as well. As such, she leaves the viewers free in their interpretation, yet never leaves them indifferent. She sometimes lends her pared-down style to clients with whom she has a good connection, like a cultural centre, or a campaign, or a newspaper or magazine. In recent years, Frieke Janssens has exhibited in New York, Chicago, London, Hull, Bilbao and obviously also in her own country, including in Antwerp and Knokke-Heist. Her work has appeared in The Guardian, The Atlantic, Huffington Post, Knack, De Morgen, De Tijd and NRC, among others. Her book The Sweetest Taboo won gold at the 2019 Henry Van De Velde awards. In 2022, her third book Lightness was published on the occasion of the eponymous exhibition in Foto Knokke-Heist.
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