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Galuh Tunggadewi Sahid
Galuh Tunggadewi Sahid
Galuh Tunggadewi Sahid
Galuh Tunggadewi Sahid

Galuh Tunggadewi Sahid

Country: Indonesia
Birth: 1996

Galuh Tunggadewi is an Indonesian photographer whose work explores the small dramas and subtle patterns of urban life. Through her lens, everyday city scenes - from rain-soaked streets to abandoned objects on sidewalks - become stories about how we inhabit shared spaces. Based in Berlin, finds stories in places most people walk past without a second glance.

Statement
Cities are weird, beautiful things. Every street corner holds a story - in the half-drunk coffee cup someone left behind, in the way strangers dance around each other at train stations, in the beat-up couch with a "zu verschenken" (to give away) sign that might be trash or treasure. These are the moments I chase with my camera.

I'm drawn to how cities change people, and how people change their cities right back. Sometimes it's in big ways, but mostly it's in the little things - the umbrella dance everyone does when it rains, the way commuters create accidental patterns in morning light, the silent conversation between someone leaving something on the street and someone else deciding to take it home.

My photographs are about finding those in-between moments when the city drops its mask and shows its real face. It's in these quiet seconds - between the digital and physical, between the rush hours, between the planned and unplanned - that you can see how we all write our own little chapters in the city's endless story.

Awarded Photographer of the Week - Week 47
 

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More Great Photographers To Discover

David Plowden
United States
1932
David Plowden was a renowned American photographer known for his evocative and poignant images of America's vanishing landscapes. Plowden's work documented the changing face of the American landscape, particularly the decline of small towns, historic structures, and industrial sites, with a deep sense of reverence for the past. Plowden's interest in photography began at a young age, and he honed his skills while studying at the Institute of Design at the Illinois Institute of Technology, where he was mentored by renowned photographer Harry Callahan. Plowden's work was influenced by the work of Edward Steichen and Walker Evans, and he developed a distinct style that combined technical precision with emotional depth that resonated with viewers. Plowden's photography focused on capturing the essence and character of a rapidly disappearing America throughout his career. His black-and-white photographs were hauntingly beautiful, providing a glimpse into the past while raising questions about progress and preservation. Plowden's documentation of small towns and rural landscapes is one of his most notable bodies of work. He sought out areas untouched by modern development, photographing the fading facades of main streets, weathered barns, and decaying structures. He revealed the stories etched into the architectural details through his lens, conveying a sense of nostalgia and longing for a simpler time. David Plowden’s work is sometimes compared to that of the great WPA photographers—Walker Evans, Bernice Abbot, Russell Lee, Dorothea Lange—but he’s been in the field decades longer than any of them were. What he has done is nothing less than capture a whole nation passing through fifty years of changes as momentous as those unleashed by the Industrial Revolution. -- Richard Snow (from the forward of Vanishing Point) Plowden also focused on America's disappearing industrial landscape. He chronicled the decline of once-thriving industries like steel mills, factories, and coal mines. His photographs captured the stark beauty and melancholy atmosphere of these abandoned spaces, conveying the human impact of industrial decline and its toll on communities. Plowden's work was not limited to photography. He was a successful author, having written a number of books that combined his stunning images with thoughtful narratives. His books, such as "Vanishing Point: Fifty Years of Photography," provided an extensive visual record of his lifelong investigation of disappearing landscapes. Plowden's work received critical acclaim and was shown in prestigious galleries and museums around the world throughout his career. He received numerous honors for his contributions to photography, including a Guggenheim Fellowship. David Plowden's photographs are a visual testament to the importance of preserving our common history and America's vanishing landscapes. His photographs convey a sense of loss, prompting viewers to consider the impact of progress and the fragility of our built environment. The legacy of Plowden as a master photographer lives on, inspiring future generations to document and appreciate the landscapes and structures that define our collective memory.
Ernst Haas
Austria/United States
1921 | † 1986
Ernst Haas was born in Vienna and began studying photography at the Graphische Lehr und Versuchsanstalt in Vienna six years before acquiring his first camera in 1946. After several photography-related jobs, he was offered a position at Life, and his first feature article, "Returning Prisoners of War," was published in both Heute and Life in 1949. This prompted Robert Capa to invite Haas to join the Magnum agency, the international cooperative founded by Capa, Henri Cartier-Bresson, George Rodger and Chim (David Seymour). Also in 1949, Haas purchased a Leica and began experimenting with color photography, the medium in which his work is best known. His "Magic Images of New York," a twenty-four-page color photo essay, which appeared in LIFE in 1951 was both his and LIFE's first long color feature in print. Throughout the 1950s and 1960s, Haas worked in both black-and-white and color, contributing to LIFE, Look, Vogue, and Holiday. He also worked as a still photographer for films, among them The Pharaohs, The Misfits, and Little Big Man. Haas served as president of Magnum in 1959-60, and as second director for The Bible (John Huston was first director) in 1966. The Creation (1971), a book of his photographs, eventually sold more than 300,000 copies. Ernst Haas pioneered the use of color photography at a time when it was considered inferior to black-and-white as a medium for serious creative photographers. His innovative use of the slow shutter speed, which gave many of his pictures the illusion of movement, and his emphasis on audiovisual presentations (works involving sound, poetry, and pictures) opened many possibilities in color photography and in multimedia art. Although he is famous for his color photography, Haas's black-and-white images are among the most incisive, evocative, and beautiful images of postwar Europe and America, as was demonstrated in ICP's exhibition of his work in 1993. Source: ICP
Torrance York
United States
1966
This Fall Torrance York published her monograph, Semaphore, with Kehrer Verlag and exhibited her Semaphore project in a solo show at Rick Wester Fine Art, NYC. She earned a BA from Yale and an MFA in photography from RISD. York's recent awards include: selection for Atlanta Photography Group's Portfolio 2022 exhibit; Lenscratch 2021 Art & Science Awards, Honorable Mention; Critical Mass 2021 finalist; and semifinalist and Olcott award winner from The Print Center 95th ANNUAL International competition (2020). The monograph was recently awarded 1st place/book/monograph by the Lucie Foundation's International Photography Awards. Her work is in private and public collections, including AllianceBernstein, New York, NY; John & Sue Wieland Collection at the Warehouse, Atlanta, GA; and RISD, Providence, RI. York has had solo shows at Silvermine Galleries, New Canaan, CT; New Canaan Museum & Historical Society; and Southport Gallery, Southport, CT, among others. Her work has been exhibited at Littlejohn Contemporary, New York, NY; Griffin Museum of Photography, Winchester, MA; TILT, Philadelphia, PA; Schelfhaudt Gallery, University of Bridgeport, CT; Aldrich Contemporary Art Museum, Ridgefield, CT; and Center for Photography at Woodstock, NY. She was a resident artist at Anderson Ranch Arts Center in Snowmass Village, CO, and received a Connecticut Artist Fellowship grant in 2010. Semaphore Semaphore examines the shift in my perspective after having been diagnosed seven years ago with Parkinson's disease. Through images, I consider what it means to integrate this life-altering information into my sense of self. What does acceptance look like? Post diagnosis, everyday items and experiences take on new meaning. As I look around me, the branches of trees become networks of neurons or resemble tendons in my wrist imaged by an MRI. Simple tools now present a challenge. Acknowledging these signals facilitates the process of adaptation. Optimism holds the key for me right now. Connection inspires. Light, always an inspiration, illuminates a path for me to follow. And I go. Parkinson's disease is the world's fastest growing brain disorder. Currently, over ten million people live with Parkinson's worldwide. While this project is relevant to the Parkinson's community, it also connects with others whose journeys require growth, patience, and perseverance to move forward. Published by Kehrer Verlag, Semaphore has 96 pages, includes 67 images, and an essay by Rebecca Senf, PhD, Chief Curat
Lois Bielefeld
United States
1978
Lois Bielefeld's trajectory starts in Milwaukee, WI. She received her BFA in photography from Rochester Institute of Technology afterwards relocating to New York City until 2010. Most recently her and her wife relocated to the San Francisco Bay area. Besides photography, she feels passionate about traveling, hiking, swimming, urban gardening and bicycling adventures. Her work is in the permanent collections of the Leslie-Lohman Museum of Gay and Lesbian Art in New York City, the Museum of Wisconsin Art, and The Racine Art Museum in Wisconsin. Bielefeld has shown at The International Center of Photography in New York City, The Museum of Contemporary Photography in Chicago, the Museum of Wisconsin Art, The Charles Allis Art Museum, ArtStart, Portrait Society Gallery, UW-Milwaukee, UW-Parkside, UW-La Crosse, and Walker's Point Center. In 2015 Lois had a ten-week artist residency in Bourglinster, Luxembourg through the Museum of Wisconsin Art and the Luxembourg Ministry of Culture. Bielefeld is represented by Portrait Society Gallery in Milwaukee. Statement: Lois Bielefeld is a series based artist working in photography, audio, video, and installation. Her work continually asks the question of what links routine and ritual to the formation of identity and personhood. Weeknight Dinners, New Domesticity, and Celebration examine the connective ties people share within our private and public spaces with food, perceptions of home, and community. Reaching through 5 1/2 yards, Reaching Across 8497 miles is a collaboration with interdisciplinary artist Nirmal Raja exploring identity and belonging within Milwaukee, WI.
Frederick Sommer
United States
1905 | † 1999
Frederick Sommer (September 7, 1905 – January 23, 1999), was an artist born in Angri, Italy and raised in Brazil. He earned a M.A. degree in Landscape Architecture (1927) from Cornell University where he met Frances Elizabeth Watson (September 20, 1904 – April 10, 1999) whom he married in 1928; they had no children. The Sommers moved to Tucson, Arizona in 1931 and then Prescott, Arizona in 1935. Sommer became a naturalized citizen of the United States on November 18, 1939. Considered a master photographer, Sommer first experimented with photography in 1931 after being diagnosed with tuberculosis the year prior. Early works on paper (starting in 1931) include watercolors, and evolve to pen-and-ink or brush plus drawings of visually composed musical score. Concurrent to the works on paper, Sommer started to seriously explore the artistic possibilities of photography in 1938 when he acquired an 8×10 Century Universal Camera, eventually encompassing the genres of still life (chicken parts and assemblage), horizonless landscapes, jarred subjects, cut-paper, cliché-verre negatives and nudes. According to art critic Robert C. Morgan, Sommer's "most extravagant, subtle, majestic, and impressive photographs—comparable in many ways to the views of Yosemite Valley’s El Capitan and Half Dome by Ansel Adams—were Sommer’s seemingly infinite desert landscapes, some of which he referred to as 'constellations.'" The last artistic body of work Sommer produced (1989–1999) was collage-based largely on anatomical illustrations. Frederick Sommer had significant artistic relationships with Edward Weston, Max Ernst, Aaron Siskind, Richard Nickel, Minor White, and others. His archive (of negatives and correspondence) was part of founding the Center for Creative Photography in 1975 along with Ansel Adams, Harry Callahan, Wynn Bullock, and Aaron Siskind. He taught briefly at Prescott College during the late 60s and substituted for Harry Callahan at IIT Institute of Design in 1957–1958 and later at the Rhode Island School of Design. In 1934, Frederick Sommer visited Los Angeles. Walking through the art museum one day, he noticed a display of musical scores. He saw them not as music, but as graphics, and found in them an elegance and grace that led him to a careful study of scores and notation. He found that the best music was visually more effective and attractive. He assumed that there was a correlation between music as we hear it and its notation; and he wondered if drawings that used notational motifs and elements could be played. He made his first “drawings in the manner of musical scores” that year. (After reviewing this text, Fred asked that the author refer to his scores “only” in this way. When the author suggested that it was perhaps too long to be repeated throughout the text, he laughed and said, “Well, use it at least once.”) Although people knew of his scores, and occasionally brought musicians to his house to play them, no one ever stayed with it for long. In 1967, both Walton Mendelson and Stephen Aldrich attended Prescott College, Prescott, Arizona, where Sommer was on the faculty. They barely knew of his reputation as a photographer, and nothing of the scores. Towards the end of September he invited them to his house for dinner, but they were to come early, and Mendelson was to bring my flute. “Can you play that?” he asked, as they looked at one of the scores, framed, and sitting atop his piano. With no guidance from him, they tried. Nervous and unsure of what they were getting into, they stopped midway through. Mendelson asked Aldrich where he was in the score: he pointed to where Mendelson had stopped. They knew then, mysterious though the scores were, they could be played. On May 9, 1968, the first public performance of the music of Frederick Sommer was given at Prescott College. Sommer had no musical training. He didn't know one note from another on his piano, nor could he read music. His record collection was surprisingly broad for that time, and his familiarity with it was thorough. What surprised Mendelson and Aldrich when they first met him were his visual skills: he could identify many specific pieces and almost any major composer by looking at the shapes of the notation on a page of printed music. Of Sommer's known works, his drawings, glue-color on paper, photographs, and writings, it is only these scores that have been a part of his creative life throughout the entirety of his artistic career. He was still drawing elegant scores in 1997. And like his skip reading, they are the closest insight to his creative process, thinking and aesthetic. Bruce Silverstein Gallery is the New York representative of the Frederick & Frances Sommer Foundation.Source: Wikipedia Frederick Sommer was an artistic polymath, with deep interests in painting, drawing, photography, sculpture and collage. With his work he intended to engage the world formally, to harvest its chance gifts, decontextualizing and rearranging found images and objects according to often shocking visual affinities. The artist played with a wide variety of forms, textures and scale to create startling compositions amid objects and sites others found too insignificant to notice. Sommer was intent on expanding the limits of where beauty could be found, and after viewing a display of original musical scores, he began to formulate his own theories correlating the graphic design to the sound of musical scores. Alongside many great artists of the period including Edward Weston, Max Ernst, Man Ray and Aaron Siskind, Sommer created a unique and avant-garde body of work formulated from his interest in Surrealism. His works have been exhibited by the world’s most important institutions, including the George Eastman House, Rochester; The J. Paul Getty Museum, Los Angeles; Delaware Art Museum; Serpentine Gallery, London; Charles Egan Gallery, New York; Philadelphia College of Art; Washington Gallery of Modern Art, Washington D.C.; Pasadena Art Museum, California; Museum of Modern Art, New York; Institute of Design, Chicago; Zimmergalerie Franck, Germany; and the Los Angeles County Museum of Art. Work by the artist is represented in major museum collections internationally such as the Metropolitan Museum of Art, New York; Smithsonian Institution, Washington D.C.; Art Institute of Chicago; Museum of Modern Art, New York; Los Angeles County Museum of Art; Museum of Fine Arts, Boston; National Gallery of Art, Washington D.C.; Maison Européenne de la Photographie; George Eastman House, Rochester; and the Victoria and Albert Museum, London. Sommer’s work has been published widely. Noteworthy publications include Frederick Sommer: Photography, Drawing, Collage (2005), The Mistress of the World Has No Name: Where Images Come From (1987), Frederick Sommer at Seventy Five, a Retrospective (1980), and Venus, Jupiter and Mars: The Photographs of Frederick Sommer (1980).Source: Bruce Silverstein Gallery
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