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Roberta Vagliani
Roberta Vagliani
Roberta Vagliani

Roberta Vagliani

Country: Italy
Birth: 1987

Roberta Vagliani (born 1987) is a photographer residing in a small town in the province of Mantua, Canneto s/O. The leitmotif of her shots revolves around three fundamental aspects: Emotion, Love, and Simplicity.

She embarked on her photographic journey at the age of 17, delving into the realms of reportage and visual communication. For her, traveling signifies discovery and the longing to capture the emotions she experiences, aiming to evoke them in those who view her work. Photography serves as the medium through which she narrates, wordlessly, the scenes her eyes behold.
 

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More Great Photographers To Discover

Cig Harvey
United Kingdom
1973
The photographs and artist books of Cig Harvey have been widely exhibited and remain in the permanent collections of major museums and collections, including the Museum of Fine Arts, Houston, Texas; the Farnsworth Art Museum, Rockland, Maine; and the International Museum of Photography and Film at the George Eastman House, Rochester, New York. Cig began working in a darkroom at thirteen and has been dedicated to photography ever since. She grew up in the deep valleys of Devon in the UK, and came to the States for her MFA in 1999, after years spent living in Barcelona and Bermuda. Cig Harvey's first monograph, You Look At Me Like An Emergency (Schilt Publishing, 2012,) is a collection of ten years of pictures and written vignettes. It sold out in all printings and was named one of PDNʼs Best Books of the Year 2012. Cig had her first solo museum show at the Stenersen Museum in Oslo, Norway, in conjunction with the release. The book was well reviewed in a number of publications, including The Independent, Aesthetica, the Boston Globe, Blink, and PDN. Pro Photographer magazine ran an in depth feature, "Chance: Cig Harvey's deceptively simple photographs tap into the universal elements of the human experience: love, loss, longing and belonging. She's in demand for editorial and commercial work-as well as her for her fine art prints and books." Cig Harvey's second monograph, Gardening at Night (Schlit Publishing, 2015,) was published in conjunction with solo shows at Robert Mann Gallery, New York, Robert Klein Gallery, Boston and Paul Kopeiken Gallery, Los Angeles. The book received critical acclaim with features and reviews in Vogue, The Telegraph, the International Wall Street Journal, the International New York Times, and Aesthetica among others. The International Wall Street Journal said of the series, "Though the subjects and setting are familiar to us, we cannot help but feel that Cig Harvey has led us through the looking glass to a world of wonder. In the way that twilight is not quite day and not quite night, the photographs of Gardening at Night are stories not yet fully developed, while still capturing the unexpected yet oddly harmonious moments that surround us daily." Cig Harvey's work has been displayed at Paris Photo, Art Miami, and AIPAD every year since 2006. She has been a nominee for John Gutmann fellowship and the Santa Fe Prize, and a finalist for the BMW Prize at Paris Photo and for the Prix Virginia, an international photography prize for women. Cig's devotion to visual storytelling has lead to innovative international campaigns and features with New York Magazine, Harper's Bazaar Japan, Kate Spade, and Bloomingdales. Cig teaches workshops and regularly speaks on her work and processes at institutions around the world. She is known for her high energy, sense of humor and creativity. She brings a profound sense of optimism to all that she does. Cig lives in a farmhouse in the Midcoast of Maine with her husband Doug (who has the profile of an emperor on a Roman coin), their wayward daughter Scout, and Scarlet the dog (the original baby). The slow passing of time and the natural surroundings of her rural home has made her alert to the magic in the mundane. Articles Discover Cig Harvey's Interview Find out more about Cig Harvey in this article
Robert Polidori
Canada/United States
1951
Robert Polidori is a Canadian-American photographer known for his large-scale color images of architecture, urban environments, and interiors. His work has been the subject of solo exhibitions at the Metropolitan Museum of Art (New York), Musée d'art contemporain de Montréal, Martin-Gropius-Bau museum (Berlin), and Instituto Moreira Salles (São Paulo and Rio de Janeiro). His photographs are also included in the collections of the Museum of Modern Art (New York), New Orleans Museum of Art, The J. Paul Getty Museum (Los Angeles), Victoria and Albert Museum (London), Château de Versailles, Centre Pompidou (Paris), and Bibliothèque Nationale de France (Paris), as well as many private collections. Described as one of "most esteemed practitioners of large-scale photography," Polidori has photographed the restoration of the Château de Versailles since the early 1980s. He has also recorded the architecture and interiors of Havana, the inner-city habitats of Mumbai, Rio de Janeiro, and Amman, the post-Hurricane Katrina devastation of New Orleans, buildings emptied by the Chernobyl nuclear disaster, and shelled structures in Beirut. At the time of the Musée d'art contemporain de Montréal retrospective exhibition in 2009, curator Paulette Gagnon described his work as a "photographic account that invites us to share the historical moments it portrays, making them part of the collective memory." Where you point the camera is the question and the picture you get is the answer to decipher. -- Robert Polidori Robert Polidori was born in 1951 in Montreal, Quebec, Canada, to a French-Canadian mother and a Corsican father. At age 9, Polidori’s family moved to the United States where his father worked as an engineer at Air Force bases and NASA installations. He grew up in Seattle, southern California, New Orleans, and Cocoa Beach, and first attended university in Florida in 1969. During his freshman year, Polidori saw Michael Snow's film Wavelength (1967 film) and, inspired to study filmmaking, moved to New York City. The following year, he was hired by the legendary Jonas Mekas and worked as the theatre manager of the Anthology Film Archives. During this time, Polidori worked on four experimental films, exhibited in 1975 at the Whitney Museum of American Art. In 1980 he graduated with a Masters of Arts in film from State University of New York (Buffalo). Polidori became interested in still photography while editing film frame-by-frame. Inspired by Frances Yates' description in The Art of Memory of mnemonic systems requiring the memorization of empty rooms, he purchased a large-format camera in 1982 and photographed abandoned and apartments on New York's Lower East Side. In 1983 he moved to Paris and, interested in how empty spaces revealed history, began to document the restoration of Château de Versailles as a symbol of "society’s superego". In the late 1990s, Polidori was engaged by The New Yorker to photograph Havana’s decaying architectural heritage and joined the magazine as a staff photographer in 1998. Images from his Cuban series were later published in Havana (2001) by Steidl Verlag. Also interested in inner-city habitats or "auto-constructed" growth, Polidori recorded the favelas of Rio de Janeiro, the urban sprawl of Brasilia, the construction boom in Dubai, and the slums of Mumbai. In May 2001, he photographed the closed Chernobyl nuclear power plant and nearby ghost town of Pripyat, Ukraine, and these images were later published as Zones of Exclusion – Pripyat and Chernobyl (2003). In 2002 Polidori was commissioned to photograph Detroit's Michigan Central Station for Metropolis (architecture magazine). Described by editor Martin C. Pedersen as "a keen observer of the built world", the magazine later published his urban images as Robert Polidori's Metropolis (2005). In the wake of Hurricane Katrina in 2005, Polidori photographed the damaged homes and buildings of New Orleans, and documented the city's early restoration in 2006. Published as After the Flood (2006) by Steidl Verlag, many of these images were also exhibited at New York's Metropolitan Museum of Art as New Orleans after the Flood, a popular and well-attended exhibition. Exhibitions of After the Flood were also mounted in London, Venice, and Toronto, as well as in New Orleans. During this time, Polidori continued to document the restoration of Château de Versailles and these photographs, published in the three-volume Parcours Muséologique Revisité (2009), were included in his retrospective exhibition at the Musée d'art contemporain de Montréal. Polidori returned to Beirut in 2010 where he photographed the damaged rooms of the famous Hotel Petra, abandoned during Lebanon’s civil war. The following year, he traveled to Paris to photograph the stored art collection of Yves Saint Laurent (designer), and to Venice to photograph the fashion label Bottega Veneta's fall 2011 campaign at the Palazzo Papadopoli. From 2011 to 2015 Polidori also revisited and rephotographed Rio as well as Mumbai, including Dharavi's industrial street facade in a series of tracking shots. Exhibited as composite panoramic murals at Paul Kasmin Gallery (New York) in September 2016, these images were also published in the accompanying volume 60 Feet Road by Steidl Verlag. Since 2015, Polidori and his family live in Ojai, California.Source: Wikipedia My photos are physical graphic records. A lot of the places I’ve photographed simply won’t exist – many have already ceased to exist in the state that they were photographed in. They’ve been bulldozed over. Photography is collective memory – that’s its nature... -- Robert Polidori
Laurie Freitag
United States
1956
Taisuke Sato
Japan
1969
Taisuke was born in Nagoya, Japan in 1969. After graduating from the Department of Sociology at Ritsumeikan University, Kyoto, Japan, he worked in housing sales and management for a major Japanese housing company. When he turned 50, he chose to spend his life exploring arts, photography and its philosophy, then turned to be a photographer. He takes pictures in the style of street photography. They have some feelings, lonely, surreal, and humorous. He also has a unique sensitivity to the distance between society and people, and the perspective from which he views them. This is because when he was a boy, he moved every three years due to his father's job transfer. As a result, he learned how to blend in quickly and get along with the existing community by observing closely and understanding the distance and atmosphere between people. This is because in Japan's collectivist and relationship-oriented society, it is difficult to join an existing group. In addition, the fact that he himself is an existence that "Appears one day and disappears the next" has given him a subjective and objective perspective and thinking, but even so, in Japanese society dominated by the exclusivity of the community and "the Atmosphere of the place", his identity without a hometown or geographical ties is very uncertain and unstable. For this reason, his works are photographed with a unique sensibility, and their atmosphere reflects his worldview. His main theme is the relationship between himself, people, and society. In his work, he presents a methodology that takes a multifaceted view of human life and society and transforms it into a "Acceptance of impermanence". And more, he has deep insights into social behavioral psychology, social science, mental health, social class, Japanese organizational philosophies, housing and family, which are largely reflected in his work.
Sem Langendijk
The Netherlands
1990
Sem Langendijk is a documentary photographer with an interest in communities and their habitat, the urban environment and spatial arrangements. He observes the identity of a place, the impact communities have on their environments, and how space functions within the structures of a city. Langendijk shoots on large and medium format cameras, and aims to imbue his subjects with a certain tranquility. He continues to balance his work on the very narrow edge between visual storytelling and poetic personal documentation. Langendijk studied documentary photography at the Royal Academy of Arts, The Hague. In 2018, he was a recipient of the Mondrian Fund Stipendium for Emerging Artists and his work is exhibited at multiple art fairs and festivals, most recently 'The American Landscape', a group show travelling the US with The Gallery Club. He is currently working in Amsterdam, Londen and New York, on a personal body of work, continuing his research about the former Docklands. As an artist I intend to raise questions about the concept of 'the city' in our time. What role does history play in the identity of place, and feeling of belonging? How does ownership of (private) property relate to the right of the city? Through working with communities and researching their habitats I try to reveal (economical and political) systems that influence today's city life. My visual work is loosely related to social geography and anthropology, as I do field research and create visual notes. I combine this with more structured and methodological work, such as typologies. With these approaches I mean to reflect upon, as well as creating a more personal excerpt of, reality.
William Gottlieb
United States
1917 | † 2006
William Paul Gottlieb was an American photographer and newspaper columnist who is best known for his classic photographs of the leading performers of the Golden Age of American jazz in the 1930s and 1940s. Gottlieb's photographs are among the best-known and widely reproduced images of this era of jazz. Gottlieb made portraits of hundreds of prominent jazz musicians and personalities, typically while they were playing or singing at well-known New York City jazz clubs. William Gottlieb's subjects included Louis Armstrong, Duke Ellington, Charlie Parker, Billie Holiday, Dizzy Gillespie, Earl Hines, Jo Stafford, Thelonious Monk, Stan Kenton, Ray McKinley, Benny Goodman, Coleman Hawkins, Louis Jordan, Ella Fitzgerald, Toots Thielemans, and Benny Carter. Gottlieb was born on January 28, 1917, in the Canarsie neighborhood of Brooklyn, and grew up in Bound Brook, New Jersey, where his father was in the building and lumber business. He graduated from Lehigh University in 1938 with a degree in economics. While at Lehigh, Gottlieb wrote for the weekly campus newspaper and became editor-in-chief of The Lehigh Review. In his last year of college, he began writing a weekly jazz column for the Washington Post. While writing for the Post, Gottlieb taught economics at the University of Maryland. After the Post determined that it would not pay a photographer to accompany Gottlieb's visits to jazz clubs, Gottlieb borrowed a press camera and began taking pictures for his column. William P. Gottlieb was drafted into the Army Air Corps in 1943 and served as a photography and classifications officer. After World War II, Gottlieb moved to New York City to pursue a career in journalism. He worked as a writer-photographer for Down Beat magazine, and his work also appeared frequently in Record Changer, the Saturday Review, and Collier's. In 1948, Gottlieb retired from jazz journalism in order to spend more time with his wife, Delia, and children. After Gottlieb left Down Beat, he began working at Curriculum Films, an educational filmstrip company. He founded his own filmstrip company, which was later bought by McGraw Hill. Many of his filmstrips won awards from the Canadian Film Board and the Educational Film Librarians Association. Gottlieb also wrote and illustrated children's books, including several Golden Books such as The Four Seasons, Tigers Adventure, and Laddie the Superdog. He also wrote educational books such as Science Facts You Won't Believe and Space Flight. Apart from his photography career, William Gottlieb also played amateur tennis. Gottlieb and his son Steven were often ranked the number one father-and-son ream on the East Coast and were twice ranked among the top ten teams in the US. Gottlieb married the former Delia Potofsky, daughter of Jacob Potofsky. They had four children, Barbara, Steven, Richard, and Edward. Gottlieb died of complications of a stroke on April 23, 2006, in Great Neck, New York. In accord with Gottlieb's wishes, his photographs were placed in the public domain. Many of his pictures are used in Wikipedia and other public domain or freely licensed venues.Source: Wikipedia It was the love of music that brought the superlative photography of William P. Gottlieb to the world’s attention. Originally a writer and jazz columnist, William figured that columns accompanied with photographs might give him a better chance to be published. During the late 30’s he began photographing jazz musicians to illustrate articles he wrote for the Washington Post. His weekly feature “Swing Sessions” was probably the first jazz column in a major newspaper. He simultaneously had radio programs on WRC/NBC and on a local station WINX. At the age of 22 he was Washington’s “Mr.Jazz”. After WWII, he became the assistant editor of “Downbeat” where, again, he took photos to augment his writing. At both The Post and Downbeat he was only paid just for writing, not for pictures. In 1948, he left the jazz field for a career in publishing with Britannica and McGraw Hill and it wasn’t until his retirement that he resurrected his old jazz photos and in 1979, published The Golden Age of Jazz, now in its 12th edition of printing. In a review of the book, The New Yorker wrote, “Gottlieb stopped photographing jazz musicians in 1948… No one has surpassed him yet.” Today he is still regarded as one of the top jazz photographers of all time. Although he never resumed taking jazz photos, his photographs have become our most widely reproduced jazz illustrations, having four US postage stamps, 250 record album covers, and having appeared in over 160 exhibitions around the world. He is represented in the National Portrait Gallery, and his photos were an essential part of the PBS Jazz series by Ken Burns. In 1995, The Library of Congress purchased 1,600 of his jazz photos “for posterity” and in 1997 he became the first and only photographer to receive the Downbeat Lifetime Achievement award.Source: Gallery 270
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