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Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Jim Dow
Jim Dow

Jim Dow

Country: United States
Birth: 1942

Jim Dow (b. 1942, Boston, Massachusetts) is an American photographer who specializes in photographing places, not people. In the tradition of Walker Evans, Dow examines both high and low - baseball stadiums, universities, court houses, Americana, private clubs in New York. His exquisitely detailed work is printed from 8x10" negatives and brings the richness of texture and light to the forefront. Dow photographs urban and rural architectural sites--from drive-in fruit stands to Gothic cathedrals. 8x10" negatives provide extraordinary clarity and precision in his prints, either contact prints or 20x24." His newest series is called "American Studies."

Source: Wikipedia

 

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Hendrik Kerstens
Netherlands
1956
Since 1995, Dutch photographer Hendrik Kerstens has been photographing his daughter, Paula. His photographs have been collected by museums around the world and have inspired taste-makers as diverse as Elton John and Alexander McQueen. (McQueen, in fact based his Fall 2009 collection on Kerstens' image of Paula with a plastic bag as a head-dress, using the image as his invitation for the show.) Initially Kerstens' photographs were created out of the artist's desire to capture something of the fleeting moments that fade of childhood. The pictures recorded everyday events – his daughter's sunburn, the child's bath. However, one day there was a moment of revelation when Kerstens not only saw her in relation to the events of her own life, but also projected on her his interest in the Dutch painters of the seventeenth century.
 As Kerstens recalls, "One day Paula came back from horseback riding. She took off her cap and I was struck by the image of her hair held together by a hair-net. It reminded me of the portraits by the Dutch masters and I portrayed her in that fashion. After that I started to do more portraits in which I refer to the paintings of that era. The thing that fascinates me in particular is the way a seventeenth-century painting is seen as a surface which can be read as a description of everyday life as opposed to the paintings of the Italian renaissance, which usually tell a story. Northern European painting relies much more on craftsmanship and the perfect rendition of the subject. The use of light is instrumental in this." A number of the portraits of Paula are clearly reminiscent of Johannes Vermeer. The austerity of the photograph, its clarity, the serene expression on the young girl's face, and not least, the characteristic "Dutch" light, all combine to create this impression.
 However, Kerstens was not just imitating painting. As the series progressed, he became increasingly interested in the game of creating a conceptual and humorous dialog between past and present. The titles give the game away. "Napkin" looks like a maid's bonnet. In "Bag", a plastic grocery bag is shaped to look like a lace hood. In other pictures no pretense is made to imitate 17th century clothing but Paula's face and Kerstens' light turn a thoroughly modern hoodie into a classic and timeless garment. Conceptually, Kerstens' photographs play with the dialog between the mediums of painting and photography, with seriality, and time. On a more emotional level, they address everyday reality while expressing his love for his child, and the knowledge and development of his craft.Source: Danziger Gallery Hendrik Kerstens' (1956) oeuvre consists of a consequent sequence of portraits from his muse, his daughter, each time with a different angle, meaning or purpose. In the hemisphere of the radically realist paintings of the Dutch Golden Age, Kerstens explores the photograph as a surface, a platform to study contemporary ordinary objects and its meaning in historical tradition. With his typical selection for down-to-earth forms of headwear, from a napkin, a wet towel, spheres of lace to folded aluminium foil, he recalls how daily life has always been an integral subject of art, whether in the 17th or in 21st century. With his clear ambition to illustrate the dialogue between history and contemporary life, rich and sober, functional and valuable, Kerstens also accomplishes to renew and contemporize history while boosting the position and function of day-to-day objects. In connecting todays photography techniques with the camera obscura techniques in earlier times, Kerstens raises awareness for the use and development of the photographic process. It is not accidental that he is a state-of-the-art perfectionist, taking nothing for granted and giving a lot of attention to the work process. The printing proces itself, the hardly visible transition of the many dark tones, the interplay of light and shadow, Kerstens dedicates himself completely in refining the image, where details and the way of looking play a key role. Kerstens, who worked many times with Kathy Ryan from The New York Times Magazine, was awarded the PANL award (2001) in the Netherlands; the Taylor Wesing Photographic Portrait Prize (2008) at the National Portrait Gallery in London, the silver LeadAward Medaillon, Porträtfotografie des Jahres (2010) in Germany and the 11th Lucie Award (2013). Kerstens work and ideas were included in Alexander McQueen's spectacular show The Horn of Plenty: Everyting but the Kitchen Sink, a retrospective on 15 shocking years in fashion.Source: Flatland Gallery Galleries:   Danziger Gallery   Jenkins Johnson Gallery   Dean Project   Flatland Gallery
Thomas Struth
Germany
1954
Thomas Struth was born 1954 in Geldern, Germany and currently lives and works in Berlin. He is best known for his genre-defying photographs, though he began originally with painting before he enrolled at the Kunstakademie, Düsseldorf in 1973. Struth has developed his individual photographic practice, often penetrating places of the human imagination in order to scrutinize the landscape of invention, technology, and beyond (as in his recent CERN and Animal images). Celebrated for his diverse body of work-Unconscious Places, Familienleben (Family Life), Museum Photographs, New Pictures from Paradise and Nature & Politics-Struth continues to advance his vocabulary with each new series, while maintaining the same principles core to his practice. Recent comprehensive exhibitions of Struth's work include the major touring exhibition Thomas Struth: Nature & Politics exhibited at the Museum Folkwang, Essen, Germany; the Martin-Gropius-Bau, Berlin, Germany, the High Museum, Atlanta, Georgia; the Moody Center for the Arts, Houston, Texas; the St. Louis Museum of Art, Missouri and the MAST Foundation Bolgna, Italy (2016-2019) as well as Figure Ground which opened at the Haus der Kunst, Munich, Germany and traveled to the Guggenheim Museum, Bilbao, Spain (2017-2019). Other recent exhibitions have been shown at: Hilti Art Foundation, Vaduz, Lichtenstein (2019); Aspen Museum of Art, Colorado (2018); the Metropolitan Museum of Art, New York (2014); and a major traveling retrospective which traveled from the Museu Serralves, Portugal to the K20 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, the Whitechapel Gallery, London, and the Kunsthaus Zurich, Switzerland (2010-2012). In 2018 Struth received the Honorary Magister Artium Gandensis from the Royal Academy of Fine Arts (KASK), Ghent, Belgium. In 2016 he was elected Foreign Honorary Member of the American Academy of Arts and Letters and received the Centenary Medal and Honorary Membership from The Royal Photographic Society, London. In 2014 he was awarded an Honorary Fellowship by the Royal Institute of British Architects. He is the winner of the Spectrum-International Prize for Photography of the Foundation of Lower Saxony (1997) and the Werner Mantz Prize for Photography, The Netherlands (1992). He has participated in numerous international group exhibitions including Common Ground, Venice Architecture Biennale (2012), Future Dimension, the Venice Biennial (1990) and Documenta IX (1992). Source: Marian Goodman Gallery
Thomas Wrede
Germany
1963
Thomas Wrede was born in 1963 in Iserlohn (Germany). He studied Fine Art in Muenster and Berlin. From 1998 until 2005 he taught photography at the Kunstakademie Muenster. During the last few years numerous exhibitions presented his works in- and outside of Germany. Particularly, the solo exhibitions at the Museum Kunst der Westkueste, Alkersum (2010), the Kunsthalle Bielefeld (2010) and at the Wallraf-Richartz-Museum, Koeln (2007) and the following group exhibitions should be mentioned: at the National Museum for History and Art, Luxembourg (2013), the Seoul Museum of Art, South Korea (2011) and the Art Museum, Wuhan, China (2009). Since 1998 Wrede has shown his works in several galeries of the United States (New York, San Francisco and Los Angeles). Wrede's photographs have also been placed in these major art collections: Staatsgalerie Stuttgart, Landesmuseum Muenster, The West Collection Philadelphia, Kunst-am-Bau-projects in Berlin for the German State, UBS Zuerich & Lucerne, DZ-Bank Frankfurt. The artist won some important awards, among others the Karl-Hofer-Preis of the Hochschule der Kuenste Berlin. Thomas Wrede published all photographic series in several nice books. About Real Landscape Thomas Wrede already counts as an established position to the Duesseldorf photography scene. His large-format, quiet, but also dramatic landscape photographs fascinate in a particular way, as the observer immediately feels himself confronted with all the facets of human existence. Idyll and catastrophe, longing and debacle form the fine line of atmospheres which through Wrede's complex direction have a thought-provoking effect. Scenic cloud formations or glistening sunsets at the horizon blur the boundaries further. The point of origin of his photographic works is time and again the longing for nature. Wrede thereby utilizes in his 'Real Landscapes'-series requisites from model railways, placing miniature houses and trees into real nature – at the beach, into the snow or in a nearby puddle. Yet, only a small excerpt of nature measuring at most a few steps in circumference is of concern. The observer's perception is thus set on the wrong track because in the photograph the whole setting is perceived in line with the size of the trees and houses. The illusion, generated through the inconsistencies and discrepancies of the proportions, is the result of Wrede's skilful use of his analogue plate camera with wide angle – he interferes with scales and reduces distances. A puddle thereby becomes a lake, a pile of snow turns into snowcapped mountain ranges and a few centimetres of even sand become a milelong beach. (from the Press Release by Beck & Eggeling)
Don Hong-Oai
China
1929 | † 2004
Don Hong-Oai was born in Canton, China in 1929 as the youngest son to a business family, and was raised and educated in Saigon, Vietnam. At age thirteen, he began an apprenticeship at a Chinese photo and portrait shop. In 1979, he immigrated to the United States and settled in San Francisco's Chinatown. Don began making a living by selling his landscape photographs in front of Macy’s and began to receive recognition for his craftsmanship. His style was heavily influenced by the legendary photographer Long Chin-San’s technique of layering negatives. By taking three negatives, foreground, middle ground, and background, and selecting a subject from each negative, thus forming one composite image of a serene landscape. All the various scenes in an image existed in reality, but each uniquely handcrafted photograph is a concoction of the artist's imagination. Each photograph was assembled only by the artist himself, never having an assistant or master printer aid him. His work has won scores of international awards and has been collected worldwide. Source: www.peterfetterman.com Don Hong-Oai (1929-2004) was born in Canton, China, and spent most of his life in Vietnam. At the age of 13, he began an apprenticeship at a photo and portrait shop. When he was not at the studio, he traveled and took photographs of the landscape. He stayed in Vietnam through the war, but fled by boat to California in 1979. He lived in San Francisco’s Chinatown where he had a small darkroom to create his photographs. While living in the US, he returned to China every few years to make new negatives. Hong-Oai’s style was heavily influenced by the legendary photographer Long Chin-San’s technique of layering negatives. By taking three negatives, foreground, middle ground, and far ground, and selecting a subject from each negative, Don would construct a serene landscape. Each of his uniquely handcrafted photographs in its entirety is a concoction of the artist's imagination. He assembled and printed the photographs by himself, never having an assistant or master printer aid him. Don’s work has won scores of international awards and has been collected worldwide. Source: www.gallery71.com
William Castellana
United States
1968
William Castellana is an award-winning photographer whose images have been published internationally in periodicals such as Silvershotz (The International Journal of Contemporary Photography), Rangefinder, Creative Quarterly (The Journal of Art & Design), Newsweek, Time, New York, and others. His photographs reside in the permanent collections of over 40 museums in the US including the Hood Museum of Art, Museum of the City of New York, Museum of Modern Art Library, Yale University Library, New Britain Museum of American Art, Southeast Museum of Photography, and the Hunter Museum of American Art. About the Series Street photography, in terms of the "unposed," is a practice that serves the compelling need to distill the ebb and flow of visually complex interactions into static form - forever fixed and with meaning. It is this desire to understand more deeply the rhythms of humanity that takes me to the streets in search of clarity. In their simplest sense, the images in this series form a social document of a people and a place; namely, a sect of Hasidic Jews known as the Satmars. This sect of Hasidic Jews was founded in Satu Mare, Romania by Rabbi Joel Teitelbaum in the early 20th century. After WWII, Teitelbaum settled in Williamsburg, Brooklyn to lay the groundwork for a religious ideology that would launch one of the largest Hasidic movements in the world. Since Teitelbaum's death, the Satmar community has grown exponentially and continues to thrive economically and spiritually through closely observed traditions and social mechanisms. Between the fall of 2013 and 2014, I set out to photograph my neighbors in the one-half square mile area below Division Avenue, which demarcates the religious from the secular communities of Williamsburg, Brooklyn. The photographs in this book are constrained to the "neighborhood view," since my outsider status made access to a more privileged look impossible. As an outsider, what I witnessed through my camera during that period was forever new and unique compared to my everyday routine and what the rest of the city's inhabitants were pulsing to. For me, street photography is about the preservation of time and place - a kind of poetry that distills both in equal measure.
Valerio Nicolosi
Valerio Nicolosi, filmmaker and photojournalist based and born in Rome in 1984, has always had a passion for photography and video. In 2008 he graduated with highest honours from the 'Experimental Television Center' in Rome. He is always looking for the "human factor" on his photos. He made few reportages from the Syrian-Lebanon border about the crises of refugees and the humanitarian corridors. He made Italian and european network and investigative journalism programs for which he has made many reportages on the issue of immigrants and in particular in the "Jungle of Calais". He also covered the terrorist attacks both in Paris and Brussels. During the months of October and November 2016 he followed the US elections making a series of reportages together with the journalist Giovanna Pancheri, broadcast by SkyTg24. Most of the reportages were about human condition on suburbs of America. Making the documentary "Death Before Lampedusa" for the German national TV, ARD, he followed the operation "Mare Nostrum" on board the Italian military vessels deployed in the recovery of boats coming from Africa. He has made numerous music videos with Italian and Palestinian singer/songwriters and has published three books of short stories and photography, "Bar(n)Out", "Be Filmmaker in Gaza" "(R)Esistenze". He spent more than 20 days on board the "Proactiva Open Arms" boat, a Spanish NGO whose main mission is to rescue refugees from the sea that arrive in Europe fleeing wars, persecution or poverty. On that 3 weeks they rescued 86 refugees. He is just come back from the Gaza Strip where he taught filmmaking and did some reportages about fishermen and daily life. He also works as an occasional lecturer with the 'Audio-visual Journalism Tribune' at La Sapienza University and the Palestinian Al-Aqsa and Deir El-Balah, both located in the Gaza Strip. He collaboreted with the international press agency Reuters and currently he collaborates with Associated Press. Discover Valerio Nicolosi's Interview
Bernard Plossu
France
1945
Bernard Plossu, born in Vietnam to a French family, is a renowned French photographer known for his evocative and poetic images that capture the essence of time and place. His work spans several decades and covers a wide range of subjects, from landscapes and travel photography to street scenes and intimate portraits. Plossu's interest in photography began in his youth, and he developed a deep passion for the medium while studying art history in Paris. Plossu was inspired by American photographers such as Robert Frank and Walker Evans to embark on a lifelong journey to document the world through his unique lens. Plossu, best known for his black-and-white photographs, has an eye for composition and the ability to capture the essence of a moment in a single frame. His photographs frequently have a dreamlike quality to them, capturing the fleeting beauty and emotions that lie beneath the surface of everyday life. Throughout his career, Plossu has traveled extensively, capturing landscapes and cultures from Mexico to India, the United States to the Mediterranean. His photographs convey a sense of wanderlust and a fascination with the world, inviting viewers to join him on his visual journeys. Plossu has made significant contributions to the documentation of the French cultural and artistic scene, in addition to his travel photography. He has photographed iconic figures such as Serge Gainsbourg and Jean-Luc Godard, providing intimate portraits of their lives. Plossu's work has been shown in prestigious galleries and museums all over the world, earning him international recognition. His photographs have appeared in numerous books and magazines, cementing his reputation as one of France's most influential photographers of his generation.
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