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Klavdij Sluban
© U. Abram
Klavdij Sluban
Klavdij Sluban

Klavdij Sluban

Country: France
Birth: 1963

Klavdij SLUBAN, winner of the European Publishers Award for Photography 2009, of the Leica Prize (2004) and of the Niépce Prize (2000), main French prize in photography, Klavdij Sluban is a French photographer of Slovenian origin born in Paris in 1963.

He develops a rigorous and coherent body of work, nourished by literature, never inspired by immediate and sensational current affairs, making him one of the most interesting photographers of his generation. The Balkans, the Black Sea, the Baltic Sea, the Caribbean, Central America, Russia, China and the Antarctic (first artistic mission in the Kerguelen islands) can be read as many successive steps of an in-depth study of a patient proximity to the encountered real. His images have been shown in such leading institutions as the Metropolitan Museum of Photography of Tokyo, the Maison Européenne de la Photographie in Paris, the Rencontres d’Arles, the Museum of Photography in Helsinki, the Fine Arts Museum in Canton, the Musée Beaubourg, the Museum of Texas Tech University…

His many books include East to East (published simultaneously by Actes Sud, Dewi Lewis, Petliti, Braus, Apeiron & Lunwerg with a text by Erri de Luca), Entre Parenthèses, (Photo Poche, Actes Sud), Transverses, (Maison Européenne de la Photographie) and Balkans -Transit, with a text by François Maspero (Seuil).

Since 1995, Sluban has been photographing teenagers in jails. In each prison he organizes workshops with the young offenders to share his passion.

First originated in France, in the prison of Fleury-Mérogis with support of Henri Cartier-Bresson during 7 years, as well as Marc Riboud and William Klein punctually. This commitment was pursued in the disciplinary camps of Eastern Europe –Serbia, Slovenia, Ukraine, Georgia, Moldavia, Latvia – and in the disciplinary centres of Moscow and St Petersburg as well as in Ireland. From 2007 to 2012, Sluban has been working in Central America with imprisoned youngsters belonging to maras (gangs) in Guatemala and Salvador. In 2015, he started photogrphing imprisoned teeangers in Brazil.

In 2013, the musée Niépce showed a retrospective of K.Sluban’s work, After Darkness, 1995-2012.

In 2015/16, he was awarded the Villa Kujoyama Residence in Kyoto, Japan. K.Sluban is member of national and international jurys, such as prix Niépce, prix de la Jeune Photographie de Niort, prix Leica, All About Photo…
Selected Books on Available on Amazon
Klavdij Sluban: East to East
Klavdij Sluban: East to East
Klavdij Sluban, Erri De Luca

Websites

@klavdijsluban

Le Masterclass

 

Klavdij Sluban's Video

Selected Books

Klavdij Sluban: East to East
Klavdij Sluban: East to East
Klavdij Sluban, Erri De Luca

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More Great Photographers To Discover

Kyle Everett Smith
Kyle Everett Smith
United States
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Kyle Everett Smith is a photographer from Leucadia, California. He is currently studying at Glendale Community College working towards a B.A. in Photography. Smith's work focuses on mundane landscapes of modern environments. He is an avid skateboarder and outdoors enthusiast currently residing in Los Angeles, California.
Jan Saudek
Jan Saudek
Czech Republic
1935
Jan Saudek is an art photographer and painter. He and his twin brother Kaja Saudek are holocaust survivors. Jan Saudek's art work represents a unique technique combining photography and painting. In his country of origin, Czechoslovakia, Jan was considered a disturbed artist and oppressed by authorities. His art gained more prominence during the 1990s, thanks to his collaboration with the publisher Taschen. During the 2000s, Saudek lost all his photo negatives in a matrimonial dispute and his pictures are now displayed on the internet for free. Jan claims they were stolen from him. Jan is the author of many “mise en scene” that were re-taken and copied by other artists. The cliché of a naked man holding a naked newborn baby with tenderness became a picture that was reproduced so many times that the composition became as commonplace as posing for a graduation picture. I still dream of the day when I will take a photograph so beautiful that it can be called love. -- Jan Saudek During his life in communist Czechoslovakia, Jan was labeled by the totalitarian regime as a pornographer. He lived in poverty using the only room in his basement as his studio. A disintegrating wall and a window giving a glimpse into the backyard became the witnesses of his fantasies and collaborations with models of all different sizes and origins. Jan Saudek and his twin brother Karel (also known as Kája) were born to a Slavic (Czech) mother and Jewish father in Prague in 1935. Their mother's family came to Prague from Bohemia, and their father from the city of Děčín in the northwest part of that area. During World War II and after the invasion of the German Nazis, both sides of his family were racially persecuted by the invaders. Many of his Jewish relatives died in the Theresienstadt concentration camp during the war. Jan and his brother Karel were sent to a children's concentration camp for Mischlinge (mixed-blood in German, as Nazis classified Jews as a race distinct from "Aryans"), located in Silesia near the present Polish-Czech border. Their father Gustav was deported to Theresienstadt concentration camp in February 1945. Although their mother and many other relatives died, both sons and father survived the war. A Communist-dominated government gained power after the war to rule the country, enforced by the Soviet Union and considered to be behind the Iron Curtain. According to Saudek's biography, he acquired his first camera, a Kodak Baby Brownie, in 1950. He apprenticed to a photographer, and in 1952 started working in a print shop; he was restricted to this work by the Communist government until 1983. In 1959, he started using the more advanced Flexaret 6x6 camera, and also engaged in painting and drawing. After completing his military service, he was inspired in 1963 by the catalogue for American photographer Edward Steichen's The Family of Man exhibition, and began to work to become a serious art photographer. In 1969, Saudek traveled to the United States, where he was encouraged in his work by curator Hugh Edwards of the Art Institute of Chicago. I have no way of portraying the lives of others. I portray my own. -- Jan Saudek Returning to Prague, Saudek had to work on his photography clandestinely in a cellar, to avoid the attention of the secret police. With his work turning to themes of personal erotic freedom, he used implicitly political symbols of corruption and innocence. In the late 1970s, he became recognized in the West as the leading Czech photographer, and also developed a following among photographers in his own country. In 1983, the first book of Saudek's work was published in the English-speaking world. The same year, he became a freelance photographer; the Czech Communist authorities allowed him to stop working in the print shop, and gave him permission to apply for a permit to work as an artist. In 1987, the archives of his negatives were seized by the police, but later returned. His best-known work is notable for its hand-tinted portrayal of painterly dream worlds, often inhabited by nude or semi-nude figures surrounded by bare plaster walls or painted backdrops. He frequently re-uses elements (for instance, a clouded sky or a view of Prague's Charles Bridge). In this his photographs suggest the studio and tableaux works of mid-19th century erotic photographers, as well as the works of the 20th-century painter Balthus, and of Bernard Faucon. Saudek's early art photography is noted for its evocation of childhood. His later works often portrayed the evolution from child to adult (re-photographing the same composition/pose, and with the same subjects, over many years). Religious motifs and the ambiguity between man and woman have also been some of Saudek's recurring themes. During the 1990s, his work at times generated censorship attempts in the West because of its provocative sexual content. Saudek's imagery has sometimes had a mixed reception internationally. He gained early shows in 1969 and 1970 in the United States and in Australia. In 1970 his work was shown at the Australian Centre for Photography and was welcomed by curator Jennie Boddington at the National Gallery of Victoria. Decades later, by contrast, his photograph Black Sheep & White Crow, which features a semi-naked pre-pubescent girl, was removed from the Ballarat International Foto Biennale in Victoria, Australia just before the opening on 21 August 2011; objections had been made related to allegations of child prostitution for his subject. Saudek's photographs have been featured as covers for the albums of Anorexia Nervosa (New Obscurantis Order), Soul Asylum (Grave Dancers Union), Daniel Lanois (For the Beauty of Wynona), Rorschach (Remain Sedate), and Beautiful South (Welcome to the Beautiful South). Saudek lives and works in Prague. His brother Kája Saudek was also an artist, the best-known Czech graphic novelist.Source: Wikipedia Saudek's pictures display a fondness for sequences that can be traced back to his childhood appreciation of comic books. More obviously, his work is often inspired by the nineteenth-century tradition of photographs of large women posed in lingerie reproduced as postcards (quite possibly also the source of inspiration for Saudek's collection 30 Postcards). His formal training occurred from 1950 to 1952, when Saudek attended Graphic Arts school and took a photography class. Saudek first exhibited in Prague in 1963 at the Hall of the Theatre on the Balustrade; though he continues to show work in his home country occasionally, Saudek's pictures are most widely exhibited in the United States. His work is held by such institutions as the Art Institute of Chicago; Museum of Fine Arts, Boston; The Bibliothèque nationale de France, Paris; Musée Nicephore Nièpce, Chalon-sur-Saone, France; National Gallery of Victoria, Melbourne, Australia; and Photo Art, Basel, Switzerland. Saudek continues to live and work in the Czech Republic.Source: Museum of Contemporary Photography
Joel Bernstein
Joel Bernstein
United States
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Joel Bernstein is a photographer, guitarist, and record producer based in Oakland, California. His photographs have appeared as the album covers to, among others, After the Gold Rush, 4 Way Street, Rita Coolidge, Wind on the Water, Running on Empty, CSN, Bob Dylan at Budokan, Rust Never Sleeps, Shadows and Light, and Hard Promises. His photographs have been published in Time, The New York Times, and Rolling Stone, among other publications, and there have been retrospective exhibits of his work in New York City, San Francisco, Los Angeles, and London. As a guitarist, he is most noted for support work to his friends David Crosby and Graham Nash, both individually and on their Crosby & Nash records. He has acted as co-producer and archivist with Nash for Crosby, Stills, Nash & Young, and is responsible with Nash for the compilation and production of the box sets Voyage for Crosby, Reflections for Nash, Carry On for Stephen Stills, and CSNY 1974 for the band's tour of that year.Source: Wikipedia Joel Bernstein is an acclaimed rock photos photographer whose work, spanning four decades, chronicles the inner lives and public moments of some of the most important singer-songwriters, performers and musicians of our time. They include Joni Mitchell, Neil Young, Bob Dylan, Bruce Springsteen, David Crosby, Stephen Stills, Graham Nash, Prince, Jackson Browne, Laura Nyro, Tom Petty and many others. Bernstein also became a close friend and musical collaborator with many of his other subjects, playing and singing on their albums and concert tours. But his most important work remains his up-close-and-personal photographs of these singular artists. His preferred method has been to spend as much time as possible with his subjects until the right instant–the perfect moment of intimacy–reveals itself. Bernstein’s many album covers are commonly listed among the most influential in rock's visual history. His first, at age 18, was Neil Young's After the Gold Rush, often cited in Best Album Covers Of All Time lists. His work was featured in the album cover for Joni Mitchell's Hejira, nominated for a Grammy Award for Best Album Cover. Bernstein’s work was also the inspiration for the look of Cameron Crowe's well-received rock film Almost Famous, in which many scenes were precise re-creations of Bernstein's photographs. In 2018, Bernstein received a Distinguished Lifetime Achievement Award by the International Photography Hall of Fame.Source: Morrison Hotel Gallery Bernstein's work is well known within the world of music, and is included in the permanent collection of the Rock & Roll Hall of Fame and Museum. His work was a key inspiration for the look of Cameron Crowe's well-received rock film Almost Famous, in which many scenes were precise re-creations of Bernstein's photographs. His many album covers are commonly listed among the most influential in rock's visual history. He has been published in a wide spectrum of books on music, musicians, and the music business, as well as in Time, The New York Times and Rolling Stone. He was profiled in MOJO, the esteemed British music publication, which extensively featured his photos of Neil Young. Bernstein maintains that his unique perspective on these artists is the result of spending so much time with them that he was there to observe and capture those unique “perfect moments of intimacy” when they revealed themselves, not by some preconceived set-up. He is currently based in Oakland, California.Source: San Francisco Art Exchange
Myriam Boulos
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I was born in 1992 in Lebanon, right after the end of the war, in a fragmented country that had to reinvent itself. At the age of 16 I started to get closer to Beirut and used my camera to question the city, its people, and my place among them. I graduated with a master degree in photography from the Academie Libanaise des Beaux Arts in 2015. Today I use photography to explore, defy and resist society. It is my way of constantly reinventing myself in the body and the city I live in. Statement The revolution started in Lebanon on the 17th of October 2019. Since then everything has been emotionally and physically draining and confusing but also beautiful, sad and awakening. It all feels as if we were coming out of an abusive relationship and to finally say: No, this is not normal. When the revolution started in Lebanon, it was the most natural thing for me to take my camera and go to the streets. Photography has always been my way of participating to life as it is today my way of taking part in the revolution. In the ongoing socio-political context it felt to me like there was no choice: the subject of my photography imposed itself on me. It was more a question of need and necessity than a question of desire. The slow documentary that normally constitutes my approach was ever so naturally replaced by something else something new, and within the revolution I let myself carry by the big wave coming towards me, big wave much bigger than me. My project is about documenting the different facettes of the Lebanese revolution from a local point of view. My approach is characterized by the direct flash I use in this project but also in others. This potentially comes from my need to make things real. The direct flash also helps me work on textures, bodies and skins. In the context of the revolution, the proximity between the bodies says a lot about the situation. It is the first time that we claim our public spaces, our streets, our country. It is the first time that different social classes mix together in the streets. In our streets. In parallel to the photographic documentation, I am also documenting the evolution of my emotions during the revolution. It is sort of a diary that accompanies the pictures. Example: Monday, 20 Jan Beirut, Lebanon Tonight in the teargas I took all my pictures with eyes closed. They say the moment of a picture is a black out. I wonder if I don't look at these emotions, will they disappear?
Jennifer Little
Jennifer Little
United States
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Jennifer Little (b. 1977) lives in Oakland, California. Her current photographic work focuses on social and ecological concerns and documents intersections between the natural and the man made. Jennifer received a B.F.A. in Photography from Washington University in St. Louis and an M.F.A. from the University of Texas at Austin. She is a tenured Associate Professor at University of the Pacific in Stockton, California, where she teaches courses covering Digital Photography, Video Production, Documentary Photography, the History of Photography, and Web Design. Jennifer is Chair of the Art Department at University of the Pacific. Jennifer Little's new photographic series, 100 Years of Dust: Owens Lake and the Los Angeles Aqueduct, is receiving significant recognition from galleries, publications, and curators. It just won the prestigious 2014 Critical Mass Top 50 Award from PhotoLucida. This series has also been selected for a solo exhibition at University of the Arts' Sol Mednick Gallery in Philadelphia from March 20 - April 24, 2015. Jennifer has been invited to give a presentation about Owens Lake at the Society for Photographic Education (SPE) National Conference in New Orleans, LA, from March 12-15, 2015. She also presented at the SPE West Regional Conference in Los Angeles on November 15, 2014, with Kathy Bancroft, the Tribal Historic Preservation Officer for the Lone Pine Paiute-Shoshone Reservation. Jennifer's series about Owens Lake won the 2014 "Dotphotozine Award for Excellence in Photography" and is featured in the September, 2014, issue of the magazine. This series also won first prize in an October - November, 2013, juried exhibition at Book and Job Gallery on Geary Street in San Francisco: The Human Impact: New Directions in Landscape Photography. Jennifer has exhibited her work at galleries and museums including Stanford University’s Thomas Welton Stanford Art Gallery; Tag Gallery in Bergamot Station Arts Center, Santa Monica, CA; Photo Center Northwest, Seattle, WA; Kala Art Institute in Berkeley, CA; The San Francisco Arts Commission Gallery; The LAB, San Francisco; Viewpoint Photographic Art Center in Sacramento, CA; Eisentrager-Howard Gallery at The University of Nebraska at Lincoln; The Marin Museum of Contemporary Art in Novato, CA; The Center for Fine Art Photography in Fort Collins, CO; and Jay Etkin Gallery in Memphis, TN. Jennifer’s work has been published and reviewed in Dotphotozine, View Camera Magazine, ArtAscent Magazine, Camera Arts Magazine, and The Austin Chronicle. Jennifer has presented artist talks at Stanford University, San Francisco Art Institute, the Foto 3 Conference, Kala Art Institute in Berkeley, CA, and the Dimen Cultural Eco-museum Forum on the Preservation and Development of Ancient Villages, Dimen, Guizhou, China.About Owens Lake and the Los Angeles AqueductThis project documents the Los Angeles Department of Water and Power’s (LADWP) legally mandated dust mitigation program at Owens Dry Lake in Southern California. It is the latest chapter in a century of legal battles over water rights and air quality in Owens Valley. Owens Lake lies in Southern California's eastern Sierra, about 200 miles northeast of Los Angeles. This 110-square-mile lake began to dry up in 1913 when the City of Los Angeles diverted the Owens River into the Los Angeles Aqueduct. The new water supply allowed Los Angeles to continue its rapid growth and turned the arid San Fernando Valley into an agricultural oasis, but at a tremendous environmental cost. By 1926, Owens Lake was a dry alkali flat, and its dust became the largest source of carcinogenic particulate air pollution in North America.1
Beamie Young
Beamie Young
United States
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As an artist, I have been creating photographs for the past 45 years. My evolution as an artist parallels my professional development. In the past, I had darkrooms both at home and work. Today, I use my digital camera and Adobe Photoshop. My inspiration to capture and present an image is not limited in any way to specific subjects. I am interested in the entire visual world and want to share that diverse array so that you may enjoy the excitement that I feel when I see something in an interesting light. Through the use of double exposure, compositing and photoshop I strive to create images that imply various narratives many involving time. I love the surreal look you can achieve with in camera double exposure.
Jon Kolkin
Jon Kolkin
United States
Jon Kolkin has rapidly drawn the attention of the art world due to his ability to look at his subject matter from a very fresh, original and unique vantage point. He is known for his minimalist style, stripping away all distractions and focusing on the sole of his subject matter. Each body of work typically contains numerous plots and subplots, often with a socially relevant underlying theme. Like many artists before him, Jon has had a love affair with both the arts and the sciences. He was first introduced to photography as a young boy working in his father’s darkroom. He expanded his artistic horizons, becoming a nationally recognized clarinetist who toured Europe with the National Youth Symphony. These passions, combined with his fascination with the sciences, resulted in Jon’s decision to pursue a major in chemistry at Emory University with a minor in the Arts. After college he received a degree in Medicine. However, he never abandoned his love for the arts, taking photography courses at night while simultaneously completing his residency in Orthopedics. He is the only professional photographer from the Southeastern United States to serve on the faculty of both the Santa Fe and Maine Media Workshops. Jon is also a trained health coach who is nationally recognized as a guest speaker and educator on topics related to finding wisdom and a healthy balance within our lives.
Claudia Jaguaribe
Claudia Jaguaribe
Brazil
Claudia Jaguaribe was born in Rio de Janeiro, lives and works between São Paulo and Rio de Janeiro. She holds a degree in art history, fine arts and photography from Boston University, USA. Her work is focused on the urban landscape, environmental issues , and questions directed to the representation of the real as a conceptual register. By blending reality and subjectivity, it stimulates our perception of what we are seeing by creating layers of understanding and narrative. The materiality of her works questions the very nature of photography. She expands the traditional formats of photography by creating photo sculptures besides integrating and using video and internet in her installations. Since her beginning she was linked to editorial research. Many of her series find their final expression in book format. She has 15 books published and recognized by the singularity of the photographic integration and graphic design. In 2013 she co-founded the publishing company Editora Madalena. Her works are in several museums and collections in Brazil and abroad an such as Museum of Modern Art - São Paulo, Inhotim - Institute of Contemporary Art - Brumadinho, Instituto Moreira Salles - Rio de Janeiro, Victoria and Albert Museum, Maison Européene de la Photographie - Paris, Instituto Italo Latino Americano - Rome, Hangar art center among others.
Giorgio Negro
Giorgio Negro
Italy/Switzerland
1959
Giorgio Negro is born in Turin in 1959 and spends his childhood and youth in the peaceful environment of the Italian province, in Susa. At the University he obtains a degree in Electronic Engineering but after 10 years of computer work he decides to join the International Committee of the Red Cross. He will work in many parts of the world to carry out humanitarian activities in war zones: Chechnya, Colombia, Peru, Chad, Sudan, Israel, Libya, Iraq and other countries. In 2005 he meets Ernesto Bazan and Dario De Dominicis, the Italian photographers who will make him discover the world of the black and white photography and who will become his friends and mentors. It is the beginning of a magical journey into the world of humanistic photography. In the little free time that his work allows him, Giorgio photographs in Latin America, alone or under the guidance of Bazan and De Dominicis. In 2017, he quits his humanitarian job to devote himself to the family and photography. In 2019, the personal vision project on Latin America is published as a book with the title "Pathos". It is an intimate journey, an empathic confrontation with the many contrasts of that continent, which the 59 B&W images of the book try to narrate. Giorgio is currently working on a photographic project about his homeland Switzerland, always using B&W film.
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