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FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
Ralf Peters
Ralf Peters
Ralf Peters

Ralf Peters

Country: Germany
Birth: 1960

In the series "24 Hours" Peters reflects on the moment of simultaneousness. He dissolves the visual antagonism between the moment before and afterwards in each image. The works represent the light cycle of one day, starting from the left at night, passing daylight and ends again in the darkness of the night. The time states are not superimposed one upon the other but set side by side. In an extraordinary technique Ralf Peters obtains that the transition of the different daytimes is shown as in fast motion and is continued without any cuts, but can be noticed in the brightness and the illumination of the motif. Day and night are united in one image and at the same time, appearing invisible and visible. The variety of subjects going from exotic landscapes to cool architecture allows a reflection about our own world and foreign surroundings referring to a superior relationship of time and space.

(Source: Diana Lowenstein Gallery)

Ralf Peters is a conceptual photographer who creates visual studies of places and objects, often in thematic series. Playfully navigating between fantasy and reality, Peters manipulates digital images to challenge the viewer’s conception of traditional photography, raising the question as to whether something is a realistic rendering or a skillfully manipulated vision. Through the creation of portraits of everyday locations like supermarkets, gas stations, and swimming pools, Peters explores the possibilities for the photographic medium. Manipulating the focus, lighting, and composition of his images, Peters creates photographs that obscure the traditional notion of capturing an individual’s perspective on reality, favoring, instead, constructed works that comment on the aesthetic relationship we have to our surrounding environment. Peters’s works have been shown at notable institutions including the Hamburg Kunsthalle and Museu de Arte Moderna de São Paulo.

(Source: Art Space)

Represented by:
Diana Lowenstein Gallery
Galerie Kornfeld
Galerie Bernhard Knaus Fine Art
Galerie Martin Mertens
Galerie Andres Thalmann

 

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More Great Photographers To Discover

Joel-Peter Witkin
United States
1939
Joel-Peter Witkin (born September 13, 1939, in Brooklyn, New York City) is an American photographer who lives in Albuquerque, New Mexico. His work often deals with such themes as death, corpses (and sometimes dismembered portions thereof), and various outsiders such as dwarves, transsexuals, hermaphrodites, and physically deformed people. Witkin's complex tableaux often recall religious episodes or classical paintings. Witkin was born to a Jewish father and Roman Catholic mother. His twin brother, Jerome Witkin, and son Kersen Witkin, are also painters. Witkin's parents divorced when he was young because they were unable to overcome their religious differences. He attended grammar school at Saint Cecelia's in Brooklyn and went on to Grover Cleveland High School. Between 1961 and 1964 he was a war photographer documenting the Vietnam war. Going freelance in 1967, he became the official photographer for City Walls Inc. He attended Cooper Union in New York where he studied sculpture, attaining a Bachelor of Arts degree in 1974. After Columbia University granted him a scholarship, he ended his studies at the University of New Mexico in Albuquerque, where he became Master of Fine Arts.Source: Wikipedia Finding beauty within the grotesque, Witkin’s work extends beyond post-mortem photography with his staged set-ups of corpses and dismembered parts. Witkin’s fascination with death was triggered by a life-altering episode at a very early age; he witnessed an automobile accident in front of his house in which a young girl was decapitated. Witkin has also pursued his interest in the human condition, drawing attention to “the other,” photographing marginalized groups of people. Those often cast aside by society—hermaphrodites, dwarfs, amputees, androgynes— inspire his work as he confronts the viewers’ sense of normalcy. His interest in spirituality, in particular the teachings of Christianity, has played into his work, as do frequent references to classical paintings. Works by Picasso, Balthus, Goya, Velásquez, and Miro reappear in his dramatic, staged scenes, as well as the work of E.J. Bellocq, who photographed a series on prostitutes of the red light district in New Orleans in the early twentieth century. Witkin’s work has been exhibited internationally at the Museum of Modern Art in New York, the Fraenkel Gallery in San Francisco, Galerie Baudoin Lebon in Paris, and the Bibliothèque Nationale de France in Paris, among many others. Witkin is represented by Catherine Edelman Gallery and currently resides in Albuquerque, New Mexico.Source: International Center of Photography
Rohina Hoffman
United States
1968
Rohina is a fine art photographer whose practice uses portraiture and the natural world to investigate themes of identity, home, adolescence and the female experience. Born in India and raised in New Jersey, Rohina grew up in a family of doctors spanning three generations. While an undergraduate at Brown University, Rohina also studied photography at the Rhode Island School of Design and she was a staff photographer for the Brown Daily Herald. A graduate of Brown University Medical School and resident at UCLA Medical Center, her training led to a career as a neurologist. A skilled observer of her patients, Rohina was instilled with a deep and unique appreciation of the human experience. Her ability to forge the sacred trust between doctor and patient has been instrumental in fostering a parallel connection between photographer and subject. Rohina published her first monograph Hair Stories with Damiani Editore (February 2019) accompanied by a solo exhibition at Brown University’s Alpert Medical School. Hair Stories is held in many notable public collections including the Metropolitan Museum of Art, Getty Research Institute, Cleveland Institute of Art, and over 25 university libraries. Her second monograph, Embrace, with Schilt Publishing was released October 2022 (Europe) and January 2023 (U.S.) with a solo show of this work at the Griffin Museum of Photography (April 2023). In 2021, she was the winner of the Purchase Award with Atlanta Photography Group and several of her prints from her Generation 1.75 project were acquired by the High Museum of Art in Atlanta, Georgia. Her photographs have been exhibited in juried group shows both nationally and internationally in venues such as The Center for Fine Art Photography, Griffin Museum, Atlanta Photography Group, Colorado Photographic Arts Center, Los Angeles Center for Photography, Photo LA, and A. Smith Gallery. She has received numerous awards and has been published in Marie Claire Italia, F-Stop Magazine, Lenscratch, Shots Magazine, Dodho Magazine and Aesthetica Magazine among others.
Beth Moon
United States
1956
San Francisco Bay Area artist, Beth Moon, has gained international recognition for her large-scale, richly toned platinum prints. Since 1999, Moon’s work has appeared in more than sixty solo and group exhibitions in the United States, Italy, England, France, Israel, Brazil, Dubai, Singapore, and Canada. Her work is held in numerous public and private collections, including the Museum of Fine Arts, Houston, the Museum of Photographic Arts in San Diego, and the Fox Talbot Museum in Wiltshire, England. In 2013, Between Earth and Sky, the first monograph of her work, was published by Charta Art Books of Milan. In 2014, Abbeville Press published, Ancient Trees: Portraits of Time, with a third book to follow that same year from Galerie Vevais, La Lange Verte. Moon studied fine art at the University of Wisconsin before moving to England where she experimented with alternative photographic processes and learned to make platinum prints. Source: www.vervegallery.com Beth Moon was born in Neenah, Wisconsin and studied fine art at the University of Wisconsin. Classes in painting, life drawing, sculpture, and design would set the groundwork for her work in photography, which was to come years later. Moving to England, a country with a love for all things arboreal, gave her a fresh look at a land that boasts the largest concentration of ancient trees. Inspired by these trees she decided to make a series of their portraits. Unhappy with the photographic tonality and stability of ink-jet printing, she started to experiment with alternative printing processes, learning platinum/palladium printing, an ideal process for her vision. She concentrated on mastering this printing technique, doing all of her own printing. “By using the longest lasting photographic process, I hope to speak about survival, not only of man and nature’s but to photography’s survival as well. For each print I mix ground platinum and palladium metals, making a tincture that is hand-coated onto heavy watercolor paper and exposed to light. There are many steps involved in creating the final print and these are as important to me as the capturing of the image," said Moon. A platinum print can last for centuries, drawing on the common theme of time and survival, pairing photographic subject and process. Source: www.josephsaxton.com
Philippe Fatin
France
1962
Philippe Fatin is a photographer and a great traveller: after first stays in Mexico and South America, he discovered Asia (Nepal, India, Sri Lanka, Thailand, Japan, Burma, Cambodia, Laos, Vietnam, Korea) and fell in love with China and more particularly with the region of Guizhou. After an interlude with the Wayanas Indians in French Guyana and the publication of his first book Guyane terre d'espace, he multiplies his travels to the Miao people of Guizhou and ends up residing there for more than twenty years. He published a book Randonnée d'un photographe voyageur in China and exhibits at the Guiyang museum, he also publishes in the national and international press. He is also a collector, organized various exhibitions of his personal collections in French museums: Gold and lacquers from Burma, tribal textiles from southwest China, Nuo masks from the exorcism theatre of China accompanied by publications. In The Mounts of the Moon When I got off the Trans-Siberian Railway in 1985, I knew nothing about China. The blue of the heater set the tone on a red background. I spent the first two years getting to know this culture, before discovering a province in the southwest that was still untouched by any contact with the outside world. The last Westerners present in the region were missionaries, who were driven out of it in 1949 by the communists. The province of Guizhou is one of the poorest, along with that of Gansu. "There are never three days of good weather in a row, the inhabitant does not have three sapeques in his pocket, and there are not three lilies of the flat country." That sets the tone. This province is rich in the diversity of its ethnic minorities, who had managed to maintain an authentic way of life. The villages still lived in autarky, protected by the mountain rampart. Ninety percent of the territory is karst peaks. My camera equipment consists of two Leica M6 cameras and four lenses: 28, 35, 50, and 90mm. With 270 days of rain per year and a constant fog, I use 400 ASA B/W silver film. The access of this province being forbidden to tourism, the task was not easy. The game of cat and mouse with the local authorities was not a perennial solution to penetrate these misty mountains concealing so many secrets. My approach was to establish a base in the provincial capital. I made "Guangxi" connections, and gained the trust of the people and the local authorities. I worked hard to make them understand my work of investigating ethnic groups, especially the Miaos. I obtained special permits to stay in various valleys and villages. After years, I was able to set up different bases in villages that were completely self-sufficient. Sharing the intimacy of the people and building trust, I was able to open the doors to them. My curiosity allowed the rest It would absorb twenty years of my life, during which I photographed a way of life that surged from festivals governed by the gods and the seasons. The evolution of the country a galloping modernization was going to change the situation. Obeying the three priorities of the government: water, electricity and roads, the opening up of the province would radically shape a new face of the population and its environment. In fifteen intervals, my photographic work has thus taken on a patrimonial status. A massive folklorization of ethnic groups (amusement park, pilot village,) their acculturation by the Han mass, the race for enrichment, have contributed to a new mode of integration of these ethnic minorities. This modernization of China and its brutal change of vision of society, over a short period of time, swept away ancestral cultures. Few Westerners have lived in this province, which is now crossed by highways connecting Shanghai, or Guangzhou. My photos are a testimony acquired over the long term, on a way of life that is disappearing in favour of a strong nationalism. It seems to me essential to show the cultural richness of this people, (Nine million people). The province of Guizhou is the home of the Miao diaspora (more than three hundred clans), a threatened melting pot of traditions and rituals mostly ignored by the Han. Indeed, in this rapidly changing society, the peasant populations, known as "floating", have been the cheap labour of China's economic departure.
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AAP Magazine #57 Portrait
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