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Qingjun Huang
Qingjun Huang
Qingjun Huang

Qingjun Huang

Country: China
Birth: 1971

A freelancer artist, photographer. He was born in 1971 in China. He has been engaged in photographic art creation for 30 years, currently lives and works in Peoria, IL USA. Qingjun's representative work is series from 2003 and it is still on-going. The series has reached 150 works till 2023. Robert Frank reviewed Qingjun’s works in 2012 and evaluated “ Your work is an open window to look at China. 'Family Stuff' contains the main series and some sub-series includes 'Online Shopping Family Stuff', 'Homeless People’s Family Stuff', 'China Intangible Cultural Heritage Inheritor’s Belongings', 'The Stuffs of Live Streamers', and 'Family Stuff USA'. BBC interviewed Qingjun four times, Various international media, such as New York Times, Bloomberg, Harvard Business Review and Wired, have also covered his works. His works have also been published widely on paper media, online media, photo books such as National Geographic, Architecture Boston, Business Insider, GEO, Chinese National Geography, Discovery Cultural Geographic Monthly, Guardian Weekend, China Daily, Chinese Photography Magazine, Grazia France, Dutch Weekly Magazine, Vrij Nederland, Dutch Financial Daily, Family Photography Now etc. Some of his works appeared in textbooks published by Oxford University Press, and National Geographic learning.

Family Stuff
I have been making my long-term project "Family Stuff" series for 20 years, which now includes 150 photographs. I gather a family’s belongings from different spaces in the home and arrange them in one place to take a photograph with the family members. Most of these photos are taken outdoors, with the home as the background. Ninety percent of my previous works were shot in China during a time of rapid economic development, modernization and globalization. I used this method of staged photographs to record history. In the photos, a household’s real interior space is briefly exposed in an external space; also can be seen are environment changes, urban expansion, technological advancements and shifts in people's lifestyles. Through static documentation of the above, I create a dynamic social panorama.

From 2022, I started photographing American families. The family is the smallest unit that forms society, and many such units make up this society. I continue to use the "Family Stuff" series to reflect the internal structure and diversity of contemporary American society. I have observed that among American families, whether they live in big cities or small townships, there isn't much difference in their basic material living standards. Therefore, I pay more attention to showcasing their cultural and spiritual life. I spend a significant amount of time preparing for each photo, getting to know the story of the subjects, visiting their rooms, contemplating the concept of the shoot, and carefully selecting the items for display. The concepts of these works cover the lifestyle of native-born Americans, immigrants' nostalgia for their homeland, as well as themes of love, work, identity, gender and the passage of time. Each material object is carefully chosen to reflect the subject’s interests and aspirations. I move these items and arrange them in overlapping frames, visually enhancing the familiar scenes and highlighting the current life status, beliefs and emotional memories of the family or individual.

In Oct.2023, I had photographed a Swiss man living in a camp, with his Harley motorbike and sports car living a different lifestyle in Switzerland, which makes me thinking about to document different lifestyles around the world as much as I can. I then came back to China and photographed two more interesting subjects in December 2023. I hope to move on to showing people’s spiritual life through their material life. Through a single photograph, I depict both the external reality and their inner world. The images help viewers to look at humanity itself, understand the stories and often provoke contemplation.
 

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Berenice Abbott
United States
1898 | † 1991
Berenice Abbott was an American photographer best known for her portraits of between-the-wars 20th-century cultural figures, New York City photographs of architecture and urban design of the 1930s, and science interpretation in the 1940s to 1960s. Abbott was born in Springfield, Ohio, and brought up in Ohio by her divorced mother, née Lillian Alice Bunn (m. Charles E. Abbott in Chillicothe OH, 1886). She attended Ohio State University for two semesters but left in early 1918 when her professor was dismissed because he was a German teaching an English class. She moved to New York City, where she studied sculpture and painting. In 1921 she traveled to Paris and studied sculpture with Emile Bourdelle. While in Paris, she became an assistant to Man Ray, who wanted someone with no previous knowledge of photography. Abbott took revealing portraits of Ray's fellow artists. Abbott was part of the straight photography movement, which stressed the importance of photographs being unmanipulated in both subject matter and developing processes. She also disliked the work of pictorialists who had become popular during a substantial span of her career, leaving her work without support from this school of photographers. Most of Abbott's work was influenced by what she described as her unhappy and lonely childhood. This gave her the strength and determination to follow her dreams. Throughout her career, Abbott's photography was very much a reflection of the rise in the development of technology and society. Her works documented and extolled the New York landscape. This was guided by her belief that a modern-day invention such as the camera deserved to document the 20th century. The film Berenice Abbott: A View of the 20th Century, which showed 200 of her black and white photographs, suggests that she was a "proud proto-feminist"; someone who was ahead of her time in feminist theory. Before the film was completed she questioned, "The world doesn't like independent women, why, I don't know, but I don't care." She identified publicly as a lesbian and lived with her partner, art critic Elizabeth McCausland, for 30 years. Berenice Abbott's life and work are the subject of the 2017 novel The Realist: A Novel of Berenice Abbott, by Sarah Coleman.Source: Wikipedia Let us first say what photography is not. A photograph is not a painting, a poem, a symphony, a dance. It is not just a pretty picture, not an exercise in contortionist techniques and sheer print quality. It is or should be a significant document, a penetrating statement, which can be described in a very simple term—selectivity. -- Berenice Abbott Berenice Abbott was born and raised in Ohio where she endured an erratic family life. In 1918, after two semesters at Ohio State University, she left to join friends associated with the Provincetown Players, in Greenwich Village. There she met Djuna Barnes, Kenneth Burke, Elsa von Freytag-Loringhoven, Edna St. Vincent Millay, Little Review editors Margaret Anderson and Jane Heap, and other influential modernists. From 1919-1921, while studying sculpture, Abbott supported herself as an artist's model, posing for photographers Nikolas Muray and Man Ray. She also met Marcel Duchamp, and participated in Dadaist publications. Abbott moved to Paris in 1921, where she continued to study sculpture (and in Berlin), and to support herself by modeling. During 1923-1926, she worked as Man Ray's darkroom assistant (he had also relocated to Paris) and tried portrait photography at his suggestion. Abbott's first solo exhibition, in 1926, launched her career. In 1928 she rescued and began to promote Eugène Atget's photographic work, calling his thirty years of Parisian streetscapes and related studies "realism unadorned." In 1929 Abbott took a new artistic direction to tackle the scope (if not the scale) of Atget's achievement in New York City. During 1929-38, she photographed urban material culture and the built environment of New York, documenting the old before it was torn down and recording new construction. From 1934-58, she also taught photography at the New School. During 1935-39, Abbott worked as a "supervisor" for the Federal Art Project to create Changing New York (her free-lance work and New School teaching commitment made her ineligible for unemployment relief) . From 1939-60, Abbott photographed scientific subjects, concluding with her notable illustrations for the MIT-originated Physical Sciences Study Committee's revolutionary high school physics course. In 1954, she photographed along the length of US 1; the work never found a publisher. In 1968, Abbott sold the Atget archive to the Museum of Modern Art in New York, and moved permanently to her home in central Maine (bought in 1956 and restored over several decades) . 1970 saw Abbott's first major retrospective exhibition, at the Museum of Modern Art. Her first retrospective portfolio appeared in 1976, and she received the International Center of Photography's Lifetime Achievement Award in 1989. She died at home in Monson, Maine in December 1991.Source: New York Public Library I took to photography like a duck to water. I never wanted to do anything else. Excitement about the subject is the voltage which pushes me over the mountain of drudgery necessary to produce the final photograph. -- Berenice Abbott In 1929, Abbott returned to the United States, where she embarked on her best-known body of work--a documentation of New York City for which she developed her famous bird's-eye and worm's-eye points of view. She worked on the project independently through the early years of the Depression, and in 1935, secured funding from the Federal Art Project (a part of the Works Progress Administration). Her pictures were published as Changing New York (1939), which was both critically and commercially successful; it remains a classic text for historians of photography. One of Abbott's later final projects was an illustration of a scientific phenomenon, produced in the 1950s in collaboration with the Physical Sciences Study Committee based at the Massachusetts Institute of Technology. Although not as well known as her New York work, these pictures are exquisite examples of her acumen for technical experimentation and her natural instinct for combining factual photographic detail with stunning artistic accomplishment. With their clear visual demonstration of abstract scientific principles, the photographs were chosen to illustrate physics textbooks of the 1950s and 1960s.Source: International Center of Photography
Richard Misrach
United States
1949
Richard Misrach (born 1949) is an American photographer "firmly identified with the introduction of color to 'fine' [art] photography in the 1970s, and with the use of large-format traditional cameras" (Nancy Princenthal, Art in America). David Littlejohn of the Wall Street Journal calls Misrach "the most interesting and original American photographer of his generation," describing his work as running "parallel to that of Thomas Struth and Andreas Gursky, two German contemporaries." Littlejohn notes that all three used a large scale color format that defied the expectations of fine art photography at the time. Misrach is widely recognized as "one of this century’s most internationally acclaimed photographers." He is perhaps best known for his depictions of the deserts of the American west, and for his series documenting the changes brought to bear on the environment by various man-made factors such as urban sprawl, tourism, industrialization, floods, fires, petrochemical manufacturing, and the testing of explosives and nuclear weapons by the military. Curator Anne Wilkes Tucker writes that Misrach's practice has been "driven [by] issues of aesthetics, politics, ecology, and sociology." In a 2011 interview, Misrach noted: "My career, in a way, has been about navigating these two extremes - the political and the aesthetic." Describing his philosophy, Tracey Taylor of the New York Times writes that "[Misrach's] images are for the historical record, not reportage." Misrach has been married since 1989 to writer Myriam Weisang and has a son, Jake, from his first marriage to Debra Bloomfield. Misrach's book Desert Cantos received the 1988 Infinity Award from the International Center of Photography, and his Bravo 20: The Bombing of the American West, co-authored with Myriam Weisang Misrach, was awarded the 1991 PEN Center West Award for a nonfiction book. His Katrina monograph Destroy This Memory won Best Photobook of the Year 2011 at PhotoEspaña. He has received numerous awards including four National Endowment for the Arts Fellowships, a Guggenheim Fellowship, an International Center of Photography Infinity Award for a Publication, and the Distinguished Career in Photography Award from the Los Angeles Center for Photographic Studies. In 2002 he was given the Kulturpreis for Lifetime Achievement in Photography by the German Society for Photography, and in 2008 he received the Lucie Award for Outstanding Achievement in Fine Art Photography. In 2010, Apple licensed Misrach's 2004 image Pyramid Lake (at Night) as the inaugural wallpaper for the first iPad. The opening credits of the 2014 HBO series True Detective featured a montage of images from Misrach's Petrochemical America. In 2016, the AIGA selected Border Cantos for its "50 Books | 50 Covers" competition, a "survey of the best in book design represent[ing] perhaps the longest-standing legacy in American graphic design." Source: Wikipedia Richard Misrach is one of the most influential photographers of his generation. In the 1970s, he helped pioneer the renaissance of color photography and large-scale presentation that are in widespread practice today. Best known for his ongoing series, Desert Cantos, a multi-faceted approach to the study of place and man’s complex relationship to it, he has worked in the landscape for over 40 years. A recent chapter of the series, Border Cantos, made in collaboration with the experimental composer Guillermo Galindo, explores the unseen realities of the US-Mexico borderlands. This work was exhibited at the Amon Carter Museum of Art, Crystal Bridges Museum of American Art, and San Jose Museum of Art in 2016-17. In the most recent chapters, Premonitions and The Writing on the Wall, Misrach documents graffiti on abandoned buildings throughout the Southwest and Southern California, finding an angry and ominous response to the highly charged political climate before and after the 2016 election. Both series premiered at Fraenkel Gallery in 2017. Other notable bodies of work include his documentation of the industrial corridor along the Mississippi River known as Cancer Alley, the study of weather, time, color and light in his serial photographs of the Golden Gate Bridge, and On The Beach, an aerial perspective of human interaction and isolation. Recent projects mark departures from his work to date. In one series, he has experimented with new advances in digital capture and printing, foregrounding the negative as an end in itself and digitally creating images with astonishing detail and color spectrum. In another, he built a powerful narrative out of images of graffiti produced in the aftermath of Hurricane Katrina, made with a 4-megapixel pocket camera. In fall 2012, in collaboration with landscape architect Kate Orff, Misrach launched a major book and exhibition entitled Petrochemical America, which addresses the health and environmental issues associated with our dependency on oil. Source: Fraenkel Gallery
Erich Hartmann
Germany / United States
1922 | † 1999
Erich Hartmann was a German-born American photographer. Hartmann was born July 29, 1922 in Munich, Germany, the eldest child of Max and Irma Hartmann who lived in Passau, a small city on the Danube near the Austrian border in which they were one of a five Jewish families. Erich Hartmann's family belonged to the middle class, and his father, a social-democrat who served during World War I and been imprisoned by the British, was highly respected. In 1930, only eight years old, Erich took his first photographs. Life became increasingly difficult after the Nazi takeover in 1933, including personal, financial, business, and family restrictions and the beginning of deportations of Jews to the first so-called 'labor camp' in the village of Dachau. The Hartmann family moved to Munich that year, in search of a more tolerant and cosmopolitan environment. The situation only worsened, however, and the family determined that they had to leave Germany. In August 1938, they accepted the opportunity to emigrate to the United States, having received the necessary affidavit of support from distant relatives there. They sailed from Hamburg to New York, staying initially in Washington Heights, before settling outside Albany, New York. The only English speaker in the family, Erich Hartmann worked in a textile mill in Albany, New York, attending evening high school and later taking night courses at Siena College. On December 8, 1941, the day after the attack on Pearl Harbor, the US entered the war, and Erich enlisted in the US Army. Trained in Virginia and at Ohio State University, he had to wait until 1943 before serving in England, Belgium (Battle of the Bulge) and France, and with the liberating forces as a court interpreter at Nazi trials in Cologne, Germany. At the end of the war he moved to New York City where, in 1946, he married Ruth Bains; they had two children, Nicholas (born in 1952) and Celia (born in 1956). During these years, he worked as an assistant to portrait photographer George Feyer, and then as a freelancer. He studied at the New School for Social Research with Charles Leirens, Berenice Abbott, and Alexey Brodovitch. His portrait subjects over the years included architect Walter Gropius, writers Arthur Koestler and Rachel Carson, musicians Leonard Bernstein and Gidon Kremer, actor Marcel Marceau, fellow photographer Ed Feingersh, and many other literary and musical personalities. Music played a great role in his life and work: "Music captured me before photography did," he recalled. "In my parents' house there was not much music except for a hand-cranked gramophone on which I surreptitiously and repeatedly played a record of arias from Carmen. This was before I could read!″ In the 1950s Erich Hartmann first became known to the wider public for his poetic approach to science, industry and architecture in a series of photo essays for Fortune magazine, beginning with The Deep North, The Building of Saint Lawrence Seaway and Shapes of Sound. He later did similar essays on the poetics of science and technology for French, German and American Geo and other magazines. Throughout his life he traveled widely on assignments for the major magazines of the US, Europe and Japan and for many corporations such as AT&T, Boeing, Bowater, Citroën, Citibank, Corning Glass, DuPont, European Space Agency, Ford, IBM, Johns Hopkins University, Kimberly-Clark, Pillsbury Company, Nippon Airways, Schlumberger, TWA, and Woolworth, for all of which he used color. In 1952 he was invited to join Magnum Photos, the international photographers’ cooperative founded in 1947 by Robert Capa, David Seymour, George Rodger and Henri Cartier-Bresson, he served on the board of directors from 1967 to 1986, and as President in 1985–1986. For more than eight weeks in 1994, Erich and Ruth Hartmann undertook a winter journey to photograph the remains of the Nazi concentration and extermination camps, and places of deportation, throughout Europe. He was determined to take only black and white photographs and to capture only what he saw, immediately when arriving, no matter whether days looked like nights. He returned to New York with 120 rolls of film, from which he made a first edit of 300 photographs and a final selection of only 74 frames. These, together with text by Ruth Bains Hartmann, formed the book and exhibition In the Camps, published in 1995 in English, French, and German and exhibited in more than twenty venues in the US and Europe in the years since. In all of his travel, for work and pleasure, Hartmann carried a small camera with a few rolls of black and white film, prepared for every visual opportunity. He also deliberately pursued a series of imaginative projects including experiments with ink in water, stroboscopic light effects, beach pebbles constrained in boxes, and others. In the late 1990s, with an eye to a future retrospective exhibition, Hartmann began making a definitive selection from fifty years of this personal work in black and white. Just a few months before his death he began discussions with a gallery in Austria about organizing an exhibition called Where I Was. On February 4, 1999 Erich Hartmann died unexpectedly from a heart attack in New York. Source: Wikipedia In the late 1960s and 1970s he lived in London. He documented the construction of the Britannia aircraft for the Bristol Aeroplane Company and he photographed for the leading colour magazines: the Sunday Times, the Observer and the Telegraph, notably on such stories as Shakespeare's Warwickshire and The Norman Conquest Descendants. For the Weekend Telegraph he made sensitive colour pictures of Styles of English Architecture, in a series of photo-essays for which Sir John Betjeman wrote the words, and he also travelled with Betjeman to the Faeroe Islands. Later Hartmann returned to Germany where he had lived in the shadow of the Nazis until he was 16, and chose a project for himself: the death camps. He made an unforgettable book, In the Camps (1995). He said, "I simply felt obliged to stand in as many of the camps as I could reach, to fulfill a duty that I could not define and to pay a belated tribute with the tools of my profession." The book is a magnificent tribute. There is hardly a person in it. So solitary is it, so desolate, that we people the pages with our own ghosts, we bring to it our own fears and imagery. These imaginings have the feeling of poetry. We see a room full of broken shoes; another room of battered satchels; another of torn children's clothes; the windowless barracks in four tiers in which multitudes tried to survive; or a square in which a gallows hangs in the wind. The railway tracks which many took into the camp; a single gas chamber in Auschwitz. It is hard to go from examining the book to describe all Erich Hartmann did for the Magnum co-operative when he served on the board or was vice-president (1975 and 1979) or president (1985). Burt Glinn describes how he and Hartmann came to Magnum at the same time, almost 47 years ago: "We have photographed together and met together and consulted together about ethics and journalism, and we have attended 46 Magnum General Meetings, the first with only eight other photographers and the last with more than 50, but all of them passionate, contentious and personal." He goes on: "Through all these years Erich, more than anyone else, has been my moral compass. No matter how knotty the problem he never settled for the facile compromise. He was always wise, judicious, and ferocious to find the right answer rather than the easy one. When I suspected that I was pursuing my self-interest rather than the common good I would glance over at Erich and if I encountered his quizzically cocked eyebrow I would shut up."Source: Independent
Matthew Pillsbury
United States / France
1973
Matthew Pillsbury is a French-born American photographer, living in New York City. The Screen Lives series, inspired by Sugimoto's movie theater photos, features black and white, long-exposure photographs of family and friends sitting in their apartments interacting with their computer and television screens. In 2004 The New York Times Magazine commissioned him to do a portfolio of photos of New York museums after hours. One such photo was taken at the Guggenheim Museum: An installation in progress in the Ronald O. Perelman Rotunda (Oct. 1, 2004.) In addition to New York, he continued to shoot within museums in both London and Paris, including the Musée du Louvre. At the Louvre he photographed the Mona Lisa. The New York Times and the Aperture Foundation published New York Times Photographs in the fall of 2011, featuring one of his photos of the American Museum of Natural History's Rose Center For Earth and Space. In the Dec 11, 2011 issue of New York Magazine, Pillsbury's works were published as part of their "Reasons to Love New York 2011" feature. The photos included four shots from City Stages, which included Occupy Wall Street protesters in Zuccotti Park, as well as Jing Fong dim sum, Fausto in Washington Square Park and High Line. His series, City Stages initially ran from February 23, 2012 to April 28, 2012 at the Bonni Bunrubi Gallery in New York City. The exhibition opened in Atlanta, GA on September 13, 2012 and ran until November 17, 2012 at The Jackson Fine Art gallery. In September 2013, the Aperture Foundation published a monograph that includes a retrospective of his works, titled, City Stages. The New York Times Magazine published one of Pillsbury's City Stages photos as part of their Manhattanhenge feature in July 2013. Art Relish conducted an interview in October 2012 with him discussing his City Stages works. In the Oct 1, 2012 edition of Time Magazine, High Line photo, featuring a park in Manhattan constructed of abandoned train tracks, was highlighted as part of his exhibit at the Jackson Fine Art gallery. The Screen Lives series, inspired by Sugimoto's movie theater photos, features black and white, long-exposure photographs of family and friends sitting in their apartments interacting with their computer and television screens. On the CNN Photos Blog, Pillsbury's Screen Lives series was featured in a post about the School of Visual Arts "Myths & Realities" show, which took at the Visual Arts Gallery in New York, Aug 29-Sept 29, 2012. On November 27, 2011, New York Times Magazine featured two of Pillsbury's photos of Jane's Carousel from "City Stages." In April 2014, Pillsbury was one of 11 photographers awarded with the John Simon Guggenheim Memorial Foundation Fellowship. Approximately 200 Fellowships are awarded each year through two annual competitions that receive between 3,500 and 4,000 applications. Guggenheim Fellowships are grants awarded to "advanced professionals in mid-career" who have demonstrated exceptional ability by publishing a significant body of work within the fields of natural sciences, social sciences, humanities and the creative arts, excluding the performing arts. In 2014, Pillsbury photographed various cities in Japan, with the focus being in and around Tokyo. Recent photographs from his work in Tokyo were revealed in a photo essay published on July 18, 2014 in The New York Times Magazine and include images from Tokyo Disneyland, Robot Restaurant and the CupNoodles Museum in Yokohama. In April 2014, The New York Times Magazine first ran a photo essay of Pillsbury's work that centered around the hanami parties that occur during the week when the cherry blossoms are at peak bloom. An exhibition of His new Tokyo work opened Sept 10, 2014 and closed November 15, 2014 in New York City at Benrubi Gallery. A portfolio of Pillsbury's new images was featured in The New Yorker in September 2015, and showcased locations that include the High Line, the American Museum of Natural History, Astoria Park Pool and the Coney Island Boardwalk. He has also widened the project's focus to include locations outside of Manhattan, after a move to Brooklyn in January 2015 that inspired him to shoot urban life in the outer boroughs. In a redesign and relaunch in the February 22, 2015 issue, The New York Times Magazine published a photograph Of his on its cover. The long exposure image featured an illuminated spinning globe, which he took in his basement. He is represented exclusively by Edwynn Houk Gallery in New York.Source: Wikipedia
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