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FINAL CALL TO ENTER AAP MAGAZINE WOMEN: GET PUBLISHED AND WIN $1,000
FINAL CALL TO ENTER AAP MAGAZINE WOMEN: GET PUBLISHED AND WIN $1,000
Gerhard Wagner
Gerhard Wagner
Gerhard Wagner

Gerhard Wagner

Country: Austria
Birth: 1966

The reason why I take street-pictures is to catch and perpetuate short moments in life. I love Street photography and have been photographing on the street with passion since 2015... Although I probably already did street photography unconsciously in 1998, partly in my subconscious, when I look at some photos from the archive today... In my opinion, honest authentic photography does not have anything to do with image processing application or image montage. I shot only candid and unposted scenes. I took my first pictures with a Polaroid camera when I was 11 years old...I try to get better every day...Here you’ll get an impression about street photography, the way I see it. Let us retain and admire (urban) moments together
 

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Peter Ydeen
United States
1957
Peter Ydeen is a photographer and artist currently living in Easton, Pennsylvania, working in New York City, and frequently traveling abroad. He works within the now-established tenet of Urban Landscape Photography, celebrating the complexity and beauty of the mundane world. Although his work draws inspiration from New Topographics, his photographs depart from its stoic aesthetic, embracing the ethereal layering typical of a romantic. His work is introspective and pictorial in nature, and has found inspiration in the poetics of George Tice, the playful lyricism of Paul Klee, the readymades of Marcel Duchamp, and the eccentric energy of Charles Burchfield—elements that seem to bring the work together as if in the setting of an E.T.A. Hoffmann tale. The thrust of Ydeen’s work has been the night series Easton Nights; however, he has also created several other series, including Waiting for Palms, shot in Egypt and Morocco; Commuter Motions, a motion study of his commute from Easton to New York City; Black White and Gray, a more traditional monochrome series also shot along the Interstate 78 corridor from Easton to New York; Valley Days and its subset Valley Days Rondels, a series of daylight shots in the Lehigh Valley; and finally, the ongoing series Away, which studies urban landscapes Ydeen encounters on his travels. All of these works have found their way into many books and publications, as well as into numerous creative exhibitions. Ydeen received his BA in painting and sculpture at Virginia Tech under Ray Kass, and his MFA in painting and sculpture at Brooklyn College (Fellowship) under Robert Henry, Phillip Pearlstein, and Alan D’Arcangelo, followed by a scholarship to the Skowhegan School of Painting and a fellowship to the Sculpture Center in NYC. Following his education, he made his way as a technician in a number of fields, including technical illustration, industrial set construction, display, architectural drafting, and model making. He was the Director of Joseph Zelvin Models, where he built finished models for many architects, including Philip Johnson, Michael Graves, and Robert Stern, and for several years ran the model shop for the visionary architect Emilio Ambasz, with many of Ydeen’s models being published and exhibited. This period of exacting craftsmanship later became an important foundation for his immersive three-dimensional photography installations and hand-built framing techniques applied to his many exhibits. After meeting his wife, the art dealer Mei Li Dong, and with the help of African art dealer and scholar Marc Leo Felix, they opened the gallery Arts du Monde Inc. in New York City, selling African, Chinese, and Tibetan art and presenting a number of important exhibitions. This experience furthered his knowledge of display, working with designers such as Joaquin Carter, as well as enabling him to handle a vast cross-section of art daily, providing a humbling lesson in the aesthetics and history of those traditions. Easton Nights Easton Nights is a story which grew from the unique and uncommon valley in which the city lies; and is told with the images of unpeopled landscapes taken at night. Here, in the small hours, the world we see as mundane, cascades into dream. Like a surreal scene from a Guillermo del Toro film, trash bins and Toyotas, stop signs and doorways; all become animated. They lean; they stretch, and emanate, all with umbrageous hues, which seem to exhale from the nights own personal color wheel. Scattered signs give the words, marking our place in time, while the geometries show our relentless effort to arrange our world in a box. These are our stages, with the houses our beehives, the machines our toys, and the doors our portals. Complete they are a mimesis of our daily life, as can only shown in the mystical emptiness of night. Then with the dawn comes the beginning, where we all wake, then act; all while these magical and romantic worlds return to sleep. WAITING FOR PALMS Waiting for Palms is a series of urban landscape photographs taken in two corners of North Africa—Morocco and Egypt—that reflect their contrasting peoples and places with a gestalt that is private and colorful, foreign yet familiar, and often fiercely guarded. The photographs capture a world brought inward only to reemerge through the landscapes' 'spirit of place,' where every corner is layered with an unusual elegance and underlying beauty—a waiting and wanting—all presented to us as if the seen world is built on top of a myriad of swallowed dreams. BLACK WHITE and GRAY Black White and Gray is a series of urban landscape photographs shot along the eighty mile I-78 corridor, beginning in Pennsylvania’s Lehigh Valley, traveling through a cross section of both desolate and urbanized New Jersey, and then landing in the core of New York City. These are Images living in the mid tones, which find their origins in the stoic tenets of New Topographics only to wander towards a more romantic embrace of the animism of our places; a quality so often unseen in our daily life. This is a Lewis Baltz industrial park with a Bertolucci perspective, or a Robert Adams trailer topped with a Fragonard Cloud. Here, geometry melds with movement, sometimes contorted. cluttered or even stretched like a rubber band, while still presenting a respect of the classic, formal and academic qualities of our built environment. There is an overlay of chimerical wonderment which reflects the dreams and concerns of the countless stream of unobservant passersby who traverse these spaces daily. Gray, both in tone and subject matter, this is a study built with tensions which then lay us down in an elegant romance, interacting with both the monumental shapes and structures which move from simplicity into the cacophony of our urban landscape. Commuter Motions Traveling from the industrial town of Easton, Pennsylvania, through sparsely populated western New Jersey, and into the cacophony of New York City, Commuter Motions is a photography series that develops from the experiential capture of an eighty-mile commute. By opposing the usual fixity of photography, the series attempts to capture the energy and movement of that commute using an almost Bergsonian approach, which, through time-lapse, builds images from segments of a continuous dynamic. These photographs are not about the specificity of a “decisive moment” but are more in line with the thoughts and theories of late 19th and early 20th-century artists, who were immersed in the concepts of perpetuity, fleeting moments, change, chance and dynamism. Time surfaces as a fourth verity, adding to Robert Adam’s three: geography, biography and metaphor. It is that fourth that which gives us not a moment in time, but instead, a cross-section of a continuum. The usually narrow focus of our memory is substituted with an accumulation of peripheral vision, which creates an image reflecting the gestalt of these movements, a gestalt we perceive and experience but do not visually remember. Through this unusual form of capture, Commuter Motions frames the labyrinth of oscillating movements of our highways, bridges, and cities into photographs that reflect the élan vital of our daily commute. Winner AAP Magazine 45 Travels
Yoni Blau
Israel
1982
I consider myself a travel photographer, but my primary focus is on people and cultures rather than nature, landscape and wildlife. I was fortunate enough to be able to spend a good amount of time traveling and I genuinely wish I will be able to keep exploring this beautiful planet of ours and the fascinatingly different cultures around the globe. Proud Women of the Omo Valley This project ("Proud Women of the Omo Valley") was taken inside a Suri tribe in the Omo Valley in Southern Ethiopia. The models were not dressed, simply recorded as is. No artificial lighting was used. The pictures with the black backdrop were taken within a dark tent with the light coming in from the entrance of the tent. In the Omo Valley, it feels as if time has no meaning. Days, months, seasons and years are irrelevant in this timeless corner of the world. Same goes for the concept of money, or the modern angst that comes with intellectual pursuit of the meaning of life and death. There, it's about life's essentials. It's about freedom and bare necessities. About being satisfied, joyful and surrounded by loved ones. I tried capturing the essence of what it means to be "stuck in time" which made me keep wondering whether they were left behind or whether the modern world is the one who made the wrong turn. This project taken in Dec 2019 feels more current than ever, especially in times like these with the Covid-19 global health crisis and the economic downturn, when we all got to spend some alone time and got back in touch with our most basic human needs and what "really matters".
Robin Hammond
New Zealand
1975
Thomas Dworzak
Germany
1972
Thomas Dworzak (born 1972) is a German photographer. He became a Magnum Photos nominee in 2000 and a full member in 2004. He was elected President of Magnum in 2017. Dworzak won a World Press Photo award in 2001 and in 2018 received the Hood Medal from the Royal Photographic Society in the UK. Dworzak was born in Kötzting, Germany. He decided to become a photographer from an early age, travelling to Northern Ireland, Israel, Palestine and to Yugoslavia while still in high school. Dworzak lived in Tbilisi, Georgia from 1993 until 1998 where he documented the conflicts in Chechnya, Karabakh and Abkhazia. Whilst there he worked on a project about the Caucasus region and its people, the impact years of brutal war had on the region, and the interplay between Russian literature and the typical imagery of the Caucasus. This was published as the book Kavkaz.Source: Wikipedia In the years following the 9/11 attacks, he spent time covering the wars in Afghanistan and Iraq as well as their impact on the U.S. During a several-months assignment in Afghanistan for The New Yorker, he discovered studio portraits of the Taliban; these images would form his first book, Taliban. The images that were taken during his many assignments in Iraq, most of which were shot for TIME Magazine, were used to create his next book: M*A*S*H* IRAQ. From 2005 to 2008, as a TIME magazine contract photographer, Dworzak covered many major international news stories including: Macedonia, Pakistan, Chechnya, Sri Lanka, Nigeria, Lebanon, Haiti, Chad, C.A.R., the London attacks, Ethiopia, Iran, U.S. presidential campaigns, Hurricane Katrina, and the revolutions in the former Soviet republics of Georgia, Kyrgyzstan, and Ukraine. During breaks from conflict areas and war zones he regularly photographed Fashion Weeks in major cities. In 2006, Thomas photographed the New York Marathon while participating himself. Thomas remained in Georgia after the 2008 war with Russia. This would lead to the Magnum Group project Georgian Spring, which was a starting point for a new, several-year-long engagement with the "New Georgia" under President M. Saakashvili. In 2012, Thomas photographed Nowrooz celebrations in Georgia. Dworzak spent 2009-2010 in Afghanistan, documenting the deployment of ISAF troops and their return home. In 2009, he also visited Iran to photograph Ashura. A National Geographic assignment on the Sochi Olympics became later the book Beyond Sochi. In 2013, a commission for the Bruges Museum led him to photograph the memory of WWI. This has since become an ongoing project concerning the legacy of the First World War around the world, which he planned to finish in 2018, 100 years after the end of the conflict. Always an avid collector, Thomas started gathering Instagram screenshots of a variety of subjects and has been grouping them together into ever-growing collections of Instagram artist scrapbooks. A final set of 20 of these books has been presented at the International Center of Photography, ICP, in New York from February 2017. Besides his personal stories, Thomas Dworzak continues to cover international stories, including the 2015 Paris terror attacks, Pokemon Go!, the 2016 U.S. elections, and the run-up to the 2017 French presidential elections. When covering the escalation of the refugee crisis in 2015, he conceived the idea of "Europe - a photographic guide for refugees," which was produced and distributed free of charge to migrants with the support of a Magnum Foundation Emergency Grant and AFAC in 2016. Dworzak has also been teaching a number of workshops.Source: Pulitzer Center With an unflinching eye and depth of vision, Thomas Dworzak has documented many of this century’s most important news stories since the 1990s. Dworzak started travelling aged 16 to photograph conflicts in Northern Ireland, Israel/Palestine and the disintegrating Yugoslavia. Since then, he has gone on to photograph wars in Afghanistan and Iraq post 9/11, the revolutions in the former Soviet republics of Georgia, Kyrgyzstan and Ukraine. After graduating from Robert-Schuman Gymnasium, Cham (specializing in English, French, History and Russian Literature) he left Germany, always combining his travels and attempts to become a photographer with studying languages: Spanish in Avila, Czech in Prague, Russian in Moscow. During the Nineties, Dworzak lived in Georgia, exploring the people, culture and conflicts in the Caucasus, which resulted in the book, Kavkaz in 2010. Significant projects include a several-month assignment in Afghanistan for The New Yorker, where he discovered studio portraits of the Taliban. This became his first book, Taliban. Meanwhile, images taken during his many assignments in Iraq, most of which were shot for TIME Magazine, were used to create his next book:M*A*S*H* IRAQ. In his most recent project, Feldpost (2013 – 2018), he photographed the ‘memory’ of WWI in more than 80 countries, producing 1568 ‘postcards’ (one for every day of the war). It was completed on 11/11/2018, 100 years after the end of the conflict. Dworzak is also a keen curator, with a particular interest in digital culture. His work mining Instagram memes under various hashtags—ranging from animals dressed as the pope to the aftermath of the Boston marathon bombing‚—has resulted in 20 sketchbooks compiled of his findings.Source: Magnum Photos Since 2011 he is also represented by Gallery Clair in Munich and St.Paul.
Kenneth Josephson
United States
1932
Kenneth Josephson is an American photographer, born on July 1, 1932 in Detroit, Michigan. He completed his elementary education in Detroit. In 1953 after being sent in Germany by the United States Army he was trained in photolithography and aerial reconnaissance photography. In 1957 he earned a Bachelor of Fine Arts from the Rochester Institute of Technology, located in New York. There he studied under Minor White. In 1960 he earned a master's degree from the Institute of Design of the Illinois Institute of Technology. While studying there he was influenced by Aaron Siskind and Harry Callahan. After earning his master's degree in 1960 Kenneth Josephson worked at the School of the Art Institute of Chicago from 1960 to 1997, when he retired. In 1963 he co-founded the Society for Photographic Education with thirty other notable photographers. His works in the 1960s and 1970s which were focused on conceptual photography placed him at the forefront of conceptual photography. In 1972 he was awarded with the Guggenheim Fellowship grant by the John Simon Guggenheim Memorial Foundation. In 1975 and in 1979 he was awarded with the NEA grant by the National Endowment for the Arts agency. Many of his collections are found in museums such as the Metropolitan Museum of Art of New York City, the Museum of Contemporary Art, Chicago, the Smithsonian Institution in Washington, the National Museum of American Art and The Bibliothèque nationale de France in Paris. In 1977 and 1983 many of his works became part of exhibitions in Austria, the United Kingdom, Germany, the Netherlands, Sweden, Switzerland, and France.Source: Wikipedia Kenneth Josephson is recognized as one of the pioneers of conceptual photography. He has explored the concepts of photographic truth and illusion throughout his career, producing a varied oeuvre that utilizes a range of techniques from collage and construction to multiple exposures and single negative photographs. Focusing on what it means to make a picture, Josephson’s work playfully highlights the illusive nature of photography. New York State (1970) is one of Josephson’s most well known photographs, and one of a much larger series incorporating pictures within pictures. We see the artist’s arm, stretching over a body of water, and just above the horizon line he holds a picture of a ship. Positioning this ship so that it appears proportionally equal to a full-sized ship in the distance, the photograph is deliberately composed to draw attention to its artifice. Source: Yancey Richardson In 1963 he became a founding member of the Society for Photographic Education, and in 1964 his work was included in John Szarkowski’s exhibition, “The Photographer’s Eye,” which traveled internationally to forty venues from 1964 to 1972. Josephson received his first museum retrospective in 1999–2000 at the Art Institute of Chicago and the Whitney Museum. His work is featured in numerous collections around the world and his monographs include: Kenneth Josephson Museum of Contemporary Art, Chicago, 1983; Kenneth Josephson: A Retrospective The Art Institute of Chicago, 1999; Kenneth Josephson: The First Fifty Years Stephen Daiter Gallery, 2008; Kenneth Josephson: Matthew 2054 Press and Stephen Daiter Gallery, 2012; Kenneth Josephson: Selected Photographs Only Photography, 2013; and The Light of Coincidence: The Photographs of Kenneth Josephson University of Texas Press, 2016.Source: Gitterman Gallery
Ming Smith
United States
1973
Ming Smith is an American photographer. She was the first African-American female photographer whose work was acquired by the Museum of Modern Art in New York City. Smith was born in Detroit, Michigan, and raised in Columbus, Ohio. After graduating from Howard University in 1973, she moved to New York City, where she found work modeling. While in New York she met photographer Anthony Barboza, who was an early influence. Smith's approach to photography has included in-camera techniques such as playing with focus, darkroom techniques like double exposure, collage techniques and paint on prints. Her work is less engaged with documentation of events than with expression of experience. It has been described as surreal and ethereal, as the New York Times observed: "Her work, personal and expressive, draws from a number of artistic sources, preeminently surrealism. She has employed a range of surrealist techniques: photographing her subjects from oblique angles, shooting out of focus or through such atmospheric effects as fog and shadow, playing on unusual juxtapositions, even altering or painting over prints." Smith's early work was composed of photos that were shot quickly to produce elaborate scenes, and due to this process many of her photos have double dates. She has used the technique of hand-tinting in some of her work, notably her Transcendence series. Ming Smith has photographed many important black cultural figures during her career, including Alvin Ailey and Nina Simone. In 1973 Smith was featured in the first volume of the Black Photographers Annual, a publication closely affiliated with the Black Arts Movement of the 1960s and early 1970s. Smith had her first exhibition at Cinandre, a hairdressing salon, in 1973 as well. At Cinandre, she met Grace Jones, whom she photographed wearing a black and white tutu on occasion. Smith recalls that she and Jones would talk about surviving as black artists. Smith reflects on the memories by saying: "We came out of Jim Crow. And so just coming to New York and trying to be a model or anything was new." Two years later (1975), Smith became the first female member of the Harlem-based photography collective Kamoinge, under director Roy DeCarava. The Kamoinge Workshop was founded in New York in 1963 to support the work of black photographers in a field then dominated by white men. The collective, which still exists today, has undertaken a range of initiatives, including exhibitions, lectures, workshops, and the publishing of portfolios for distribution to museums. Smith participated with Kamoinge in three groups shows in New York and Guyana. Smith dropped off a portfolio at the Museum of Modern Art (MOMA), where the receptionist mistook her for a messenger. When she returned, she was taken into the curator's office. Susan Kismaric named a price for Smith's work, which Smith declined due to the price not paying off her bills. Kismaric asked Smith to reconsider, which she eventually did. Shortly after, she became the first Black woman photographer to be included in the collections of the Museum of Modern Art (MOMA) in New York City. In addition to the MOMA, Smith's art has been featured at the Schomburg Center for Research in Black Culture and the Smithsonian Anacostia Museum & Center for African American History and Culture in Washington, D.C. Smith has twice exhibited at the Bellevue Hospital Centre in Morristown, New Jersey, through their Art in the Atrium exhibitions. The first was in 1995, for Cultural Images: Sweet Potato Pie, an exhibit curated by Russell A. Murray. In 2008 she contributed as part of the exhibition New York City: In Focus, part of Creative Destinations 2008 Exhibition of African American Art. Smith's photographs are included in the 2004 Ntozake Shange book The Sweet Breath of Life: A Poetic Narrative of the African-American Family and Life. In 2010, her work was included in MOMA's exhibition Pictures by Women: A History of Modern Photography. This exhibition recontextualized Smith's work alongside that of Diane Arbus and marked a growing interest in Smith's work. Organized by curator Roxana Marcoci, it was curated by Sarah Meister through the Department of Photography. In 2017, a major survey exhibition of Smith's work was held at the Steven Kasher Gallery in New York. The exhibition featured 75 vintage black-and-white prints that represented Smith's career. Smith has collaborated with filmmaker Arthur Jafa in the Serpentine Sackler Gallery's 2017 show, Arthur Jafa: A Series of Utterly Improbable, yet Extraordinary Renditions (Featuring Ming Smith, Frida Orupabo and Missylanyus). That same year, she was featured in the Tate Modern group exhibition Soul of a Nation: Art in the Age of Black Power, curated by Mark Godfrey and Zoé Whitley. The show received international acclaim before traveling to Crystal Bridges Museum of American Art, The Brooklyn Museum, The Broad, the de Young Museum of San Francisco and the Museum of Fine Arts, Houston. Since then, Smith's work was featured in solo presentations by Jenkins Johnson Gallery both at Frieze New York and Frieze Masters in 2019, the former of which receiving the Frieze Stand Prize. In 2020, Ming's work will be included in the group exhibition Working Together: Louis Draper and the Kamoinge Workshop at the Virginia Museum of Fine Arts in Richmond, VA. From there, the exhibition will travel to The J. Paul Getty Museum in Los Angeles, CA, and the Whitney Museum of American Art, New York, NY.[19] Smith's work is in museum collections including the National Gallery of Art, Whitney Museum of American Art, Brooklyn Museum of Art, Philadelphia Museum of Art, Detroit Institute of Arts, Virginia Museum of Fine Arts, and the Schomburg Center for Research in Black Culture. Some of Smith's work displayed in the Museum of Modern Art depicts motherhood in Harlem. These photos are taken using a documentary style way of photographing these subjects. Ming Smith lives and works in New York City.Source: Wikipedia Ming Smith is known for her informal, in-action portraits of black cultural figures, from Alvin Ailey to Nina Simone and a wide range of jazz musicians. Ming’s career emerged formally with the publication of the Black Photographer’s Annual in 1973. She was an early member of the Kamoinge Workshop, an association of several generations of black photographers. Ming has traveled extensively, showing her viewers a cosmopolitan world filled with famous landmarks and extraordinary landscapes. People continue to be her most treasured subjects. This is most apparent in her series depicting African American life. Ming’s early style was to shoot fast and produce complicated and elaborate images in the developing and post-printing processes, so that many of her pictures carry double dates. She experimented with hand-tinting in My Father’s Tears, San Miguel de Allende, Mexico (1977/1979). Ming continues to expand the role of photography with her exploration of image and paint in the more recent, large-scale Transcendence series. Ming’s place in photography’s 175-year history was recognized by her inclusion in the Museum of Modern Art’s groundbreaking exhibition Pictures by Women: A History of Modern Photography in 2010. Ming Smith's photography is held in collections in the Museum of Modern Art, New York; the Schomburg Center for Research in Black Culture, New York; the Smithsonian Anacostia Museum & Center for African American History and Culture, Washington, DC and the AT&T Corporation.Source: Steven Kasher Gallery
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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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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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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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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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AAP Magazine #55 Women
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