Martin Schoeller

Martin Schoeller is one of the world's preeminent contemporary portrait photographers. He is most known for his extreme-close up portraits, a series in which familiar faces are treated with the same scrutiny as the unfamous. The stylistic consistency of this work creates a democratic platform for comparison between his subjects, challenging a viewer's existing notions of celebrity, value and honesty.

Growing up in Germany, Schoeller was deeply influenced by August Sander's countless portraits of the poor, the working class and the bourgeoisie, as well as Bernd and Hilla Becher, who spawned a school of photographic typology known as the Becher-Schüler. Schoeller's close-up portraits emphasize, in equal measure, facial features, of his subjects - world leaders and indigenous groups, movie stars and the homeless, athletes and artists - leveling them in an inherently democratic fashion.

Schoeller studied photography at the Lette Verein and moved to New York in the mid-1990s where he began his career. Producing portraits of people he met on the street, his work soon gained recognition for its strong visual impact and since 1998 he has contributed to publications such as National Geographic, The New Yorker, Vanity Fair, TIME Magazine,The New York Times Magazine, Rolling Stone and GQ, among others.

Martin's print and motion work has appeared in many major advertising campaigns ranging from pharmaceuticals, cars and entertainment. His work has won many awards, but most recently he received praise for his Colin Kaepernick image in Nike's “Just do it” campaign which won a prestigious D&AD black pencil and the outdoor Grand Prix at Cannes. Some other advertising clients include: KIA, Chevron, Allstate, HBO, Coca-Cola, AT&T, Mercedes, DreamWorks, Southwest Airlines, GE and Johnnie Walker.

Schoeller's portraits are exhibited and collected internationally, appearing in solo exhibitions in Europe and the United States, as well as part of the permanent collection of the National Portrait Gallery, Smithsonian Institution, Washington, DC. Martin lives and works in New York City

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75 Portraits of Holocaust Survivors Photographed by Martin Schoeller
Martin Schoeller exhibits with 'Holocaust Survivors' in Maastricht

A native of Germany, Schoeller, who now lives and works in New York, honed his skills by working with Annie Leibovitz. “Watching her deal with all of the elements that have to come together—subjects, lighting, production, weather, styling, location—gave me an insight into what it takes to be a portrait photographer,” he explains.

Equally important for Schoeller was the photography of German minimalists Bernd and Hilla Becher, who “inspired me to take a series of pictures, to build a platform that allows you to compare.” Schoeller’s portraiture brings viewers eye-to-eye with the well-known and the anonymous. His close-up style emphasizes, in equal measure, the facial features, both studied and unstudied, of his subjects—presidential candidates and Pirahã tribespeople, movie stars and artists—leveling them in an inherently democratic fashion. Schoeller’s photographs challenge us to identify the qualities that may, under varying circumstances, either distinguish individuals or link them together, raising a critical question: "What is the very nature of the categories we use to compare and contrast."

Source: National Portrait Gallery

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The area is one of the most sparsely populated regions in the country, “where the daily reality is often defined by drought and hardship.” To make many of the photographs, Moore collaborated with Doug Dean, the pilot of a single-engine aircraft, to create bird’s-eye perspectives revealing the vastness of the land. Rather than flying high above the plains, Moore chose perspectives that have “the sense of being within the landscape rather than above it.” For an essay accompanying Moore’s photographs in The New York Times Magazine, Inara Verzemnieks wrote, “From above, the land is like one endless, unpunctuated idea - sand, tumbleweed, turkey, bunch stem, buffalo, meadow, cow, rick of hay, creek, sunflower, sand — and only rarely did a house or a windmill or a barn suddenly appear to suspend the sense of limitlessness.” On the ground, Moore photographed the people who inhabit this unforgiving landscape and the evidence of their efforts, from active homesteads to abandoned schoolhouses. These photographs are published in Moore’s newest monograph: Dirt Meridian (Damiani, 2015).

Matt Wilson

United Kingdom
1969

Matt Wilson’s current body of work is part of an ongoing project, based upon a collection of transient observations, the landscapes of every day life and the people that call those landscapes home. It delves into the artist’s own history, his formative and current years within his home landscape and in the city he now resides and also, those of distant landscapes both literally and metaphorically he has traveled. A subtle, visually rich character study of what makes us who we are and the places we all inhabit and journey to, a chance to observe those looking outward whilst reflectively an opportunity to gaze inward.Source: Susan Inglett Gallery Matt Wilson photographed everywhere in Europe, starting with his native England, but also in France, with which it has its affinities, without omitting the Eastern countries where he still returns frequently between two stays Cuba. More recently, he ended his desire browse new territory: the United States where he lived for ten years. He could be afraid to touch this history, both American photographers are already loaded beautifully. But again, it gives us an amazing vision that reveals by snapshots of landscapes and men burnt by the sun that eventually, anyway, by lying down on this vast landscape to create ineffable moments that we may be fooling yourself and see it in watercolor. Then we could call this work “pictorial metaphor” even if the drift purely pictorial characters Matt Wilson were not so rooted in their time and in their daily lives, although sometimes needy. Because somewhere, if Matt Wilson gives us what he sees through a poetic prism, it is also a reporter and reflects our contemporary society by its subjects but often raw deals at tragic nor misery. His watchful eye is rather benevolent view borrowing a tragicomic light behind the full extent of a deeply humanistic thought.Source: mattwilsonphotography.com

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