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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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Amadeusz Swierk
Poland
1995
Amadeusz Świerk (born in 1995) is a documentary photographer based in Wrocław, Poland. Amadeusz strives to be an honest witness of the world. His work is often oriented on minorities – social, ethnic, religious and based on genuine experience of other human and his culture. Interested in ethnicity and natural way of living, he has done projects about Iranian nomads and informal subculture of people escaping society grown around wooden hut located in Polish mountains. Currently he is working on projects about a (in)famous district in the small town of Legnica, opioid addicts and personal, about his family. The Miracle District The story starts in a middle-sized town of Legnica, located in the southwest of Poland. It should have been unremarkable, but after World War II it had the dubious pleasure of stationing some 60,000 Soviet soldiers, who more or less dictated the town's life. During these difficult times, which ended very late in 1993, a small district called Zakaczawie (named from the local river) incidentally became a refuge for Poles' native life. Among the families of Polish railwaymen and strong Romani community relocated into the district by Communists, small businesses, cafes, pubs and cultural venues thrived, despite the dark shadow of the Soviet garrison. When the Curtain fell and the Soviets finally went away, the town of Legnica finally breathed a sigh of relief. Zakaczawie district wasn't especially lucky though. It's being left out by dynamics of Polish capitalism, omitted by investments and falling into disrepair. The ''Miracle District'' nickname of Zakaczawie gained a bitter and ironic edge, but generations of its citizens still retain a strong sense of community. There's crime, poverty and turbulent biographies being written by commercial exclusion, but many people actively decide to stay there despite the challenges. Contemporary Zakaczawie is a living witness of the winds of change, the whims of history putting the social microcosm of its citizens to new tests. It's not easy for them, but they have to live with it, and they do, mostly by simply staying together. This project aims to show that among the very visual poverty and dilapidation of the Miracle District, there are humans - families, friends, neighbors - trying to live their best. The author spent two years between them to go deep beyond the grim appearances, to understand these people as fully as possible, to become a witness - and to show to the world - their everyday, colorful lives, giving them an outward voice. The Miracle District The Shack Hidden among the scenic Karkonosze mountains in southwestern Poland, deep in the woods and well away from the popular tourist trails, The Shack – as its dwellers tend to call it – is a secret meeting place for a special bunch of people. Despite the lack of electricity and internet, every weekend, regardless of the season, The Shack is brimming with trekkers from various walks of life, who typically don’t have the opportunity to meet or interact. They seek shelter from social conventions and develop their own, unique and intimate, small-scale society and culture. The Shack is a place with rich traditions. Located off the beaten Karkonosze tourist trails, since the 1970s it has been popular with various groups of non-conformists. Hippies flocked there to escape the oppression of the Communist authorities. During the political transformations of the 80s, some of them joined Fighting Solidarity (Polish anti-Soviet and anti-communist underground organization), and The Shack became a print-and-distribution center of subversive leaflets. Throughout the years, both political and non-political visitors created a rich set of rules, The Shack’s unwritten code that acts as a tool for introducing newcomers and keeping a low profile. Breaking the code is punished by a system of humorous tasks. Over time, regulars started families and made professional careers, but they handed over The Shack’s traditions to the younger generation of visitors. There is a position of Shack Keeper, who stays there permanently. He lives alone in the wild, taking care of the building and getting along with its guests. He’s the unofficial leader within The Shack. The Keeper usually changes every few years. The Shack somewhat changes too, as Keeper’s personality influences the atmosphere.Today most Shack visitors come on weekends to escape civilization and relax for a bit. The flock of guests increased significantly during the pandemic; people tried to compensate for the scarcity of face-to-face contacts. The sense of belonging is built by working and eating together, among strangers. Guests forage wood from the forest and chop it, prepare meals on the wood-fired stove, share them with others by candlelight, play guitar, sing and dance – all without modern disturbances of internet and smartphones. The Shack dwellers want to experience the traditional way of life and stay among nature. Most appear occasionally, but there are always some who visit it regularly and enjoy it together.
Giandomenico Veneziani
My name is Giandomenico Veneziani. I am an Italian photographer. I approached photography from a young age. I have learned over time the techniques and the infinite possibilities of artistic creation. Photographic experimentation finds ample expression during my travels. I was inspired by people, their stories, faces, emotions. Photography for me is an important means of sharing feelings and stories of the people I photograph. I take inspiration mainly from painting, books and films. I also studied the most important photographers who made the history of photography. I really like portraits and fashion photography. I try to make unique and unconventional shots giving my portraits a cinematic vision. Bringing my point of view to the public eye is my main goal. Getting someone into my inner world is something extraordinary just as photography is extraordinary. In every shot there is my person, my fragility, my emotions. I love photographing people and interacting with them drawing their essence through the photographic medium. My greatest gratification is being told "I feel beautiful because I am just like that". These shots represent me and also the photographed subject. Portrait photography is the testimony of an encounter, in fact the photographer's task is to guide the person so that she is able to bring out herself. Establishing a relationship of trust between the artist and the photographed subject leads to the creation of a connection that enriches both, since in the realization of a photographic project the fundamental element is to create a path whose journey is carried out side by side between photographer and model. I really like using artificial lights to create the right atmosphere. I take great pleasure in presenting my projects that deviate from a usual reality, which everyone sees. Sometimes it is very distorted, I represent parallel and imaginary visions and worlds belonging to a dystopian future. I like it for this because it is different and the different is beautiful because it is unique.
William Gedney
United States
1932 | † 1989
William Gale Gedney (October 29, 1932 – June 23, 1989) was an American documentary and street photographer. It wasn't until after his death that his work gained momentum and is now widely recognized. He is best known for his series on rural Kentucky, and series on India, San Francisco, and New York shot in the 1960s and 1970s. William Gedney was born in Greenville, New York. He studied at Pratt Institute in Brooklyn, New York. In 1955 he graduated with a BFA in Graphic Design and began work with Condé Nast. During his lifetime, Gedney received several fellowships and grants, including a John Simon Guggenheim Memorial Foundation fellowship from 1966 to 1967, a Fulbright Fellowship for photography in India from 1969 to 1971, a New York State Creative Artists Public Service Program (C.A.P.S.) grant from 1972 to 1973; and a National Endowment for the Arts grant from 1975 to 1976. In a career spanning the late 1950s to the mid-1980s, he created a large body of work, including a series documenting local communities during his travels to India, San Francisco, Brooklyn, and New York shot in the 1960s and 1970s. He is also noted for night photography, principally of large structures, like the Brooklyn bridge and architecture, and architectural studies of neighborhoods quiet and empty, at the night. In 1969, he started teaching at Pratt Institute, though later in 1987, two years before his death, he was denied tenure. Gedney's work has been exhibited in numerous group shows, including Museum of Modern Art shows, Photography Current Report in 1968, Ben Schultz Memorial Collection in 1969, and Recent Acquisitions in 1971; as well as Vision and Expression,George Eastman House, and Rochester Institute of Technology, in 1972. However, he remained a recluse, had only one solo exhibition during his lifetime. Despite receiving appreciation from noted photographers of the time, Walker Evans, Diane Arbus, Lee Friedlander, and John Szarkowski, he remained an under-appreciated artist of the generation. He didn't manage to get any of his eight-book projects published. William Gedney died of complications from AIDS in 1989, aged 56, in New York City and is buried in Greenville, New York, a few short miles from his childhood home. He left his photographs and writings to his lifelong friend Lee Friedlander. In time, Friedlander's efforts, which had earlier led to the revival of E. J. Bellocq's works, chartered posthumous revival of Gedney's work. An extensive collection of his work, including large photographic prints, work prints, contact sheets, negatives, sketchbooks, notebooks and diaries, correspondence, and other files are housed at the Rubenstein Library, Duke University, Durham, North Carolina.Source: Wikipedia
Jeff Brouws
United States
1955
Jeff Brouws, born in San Francisco in 1955, is a self-taught artist. Pursuing photography since age 13, where he roamed the railroad and industrial corridors of the South Bay Peninsula, Brouws has compiled a visual survey of America's evolving rural, urban and suburban cultural landscapes. Using single photographs as subtle narratives and compiling typologies to index the nation's character, he revels in the "readymades" found in many of these environments. Influenced by the New Topographic Movement, the artist books of Ed Ruscha (to whom Brouws paid homage with his Twentysix Abandoned Gasoline Stations project in 1992) as well as the writings of cultural geographers like J.B. Jackson, Dolores Hayden, John Stilgoe, Mike Davis and Leo Marx, Brouws has combined anthropological inquiry with a somber aesthetic vision mining the overlooked, the obsolete, and the mundane. Initially engaged with what Walker Evans termed the "historical contemporary" along America's secondary highways beginning in the late 1980s, over the following twenty years Brouws has extended this inquiry into the everyday places occupied by most Americans – the franchised landscapes of strip malls, homogenized housing tracts and fast food chains. Since moving to the Northeast in the late 1990s, Brouws has also investigated inner city areas, abandoned manufacturing sites, and other commercial ruins found in Buffalo, Detroit, Cleveland and Youngstown. His photographs of these discarded spaces—the byproducts of de-industrialization, white flight, disinvestment, and failed urban policy—suggest an underlying disparity throughout a country that purports economic equality and social justice for all. Alongside his photographic practice, for the past thirty years Brouws has researched and written about the historic and aesthetic development of railroad photography in America, authoring and editing numerous books on the subject including The Call of Trains: Railroad Photographs by Jim Shaughnessy, A Passion for Trains: The Railroad Photography of Richard Steinheimer, and his most recent publication (edited with Wendy Burton) Some Vernacular Railroad Photographs. In 2013 Brouws (along with co-editors Wendy Burton and Hermann Zschiegner and authors Phil Taylor and Mark Rawlinson) published Various Small Books: Referencing the Various Small Books by Ed Ruscha (MIT Press). This was a multi-year, collaborative project involving ninety artists from around the world. Honoring Ruscha’s seminal books from the 1960s and 70s like Twentysix Gasoline Stations, VSB went on to become the defacto catalog for the Ed Ruscha: Books & Co exhibition staged at the Gagosian Gallery, New York and the Museum Brandhorst in Munich. Brouws’s photography is represented by The Robert Mann Gallery, The Robert Koch Gallery, The Robert Klein Gallery, and The Craig Krull Gallery. His work is in numerous private and public collections including the Whitney Museum of American Art, Princeton University Art Museum and San Francisco Museum of Modern Art.
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