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FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
Samantha VanDeman
Samantha VanDeman
Samantha VanDeman

Samantha VanDeman

Country: United States
Birth: 1982

Samantha was born in Chicago, IL. She received a BFA in Fine Art from Columbia College Chicago and an MFA in Visual Arts from The Art Institute of Boston at Lesley University. During the summer of 2003, Samantha studied drawing at Santa Repararta International School of Art in Florence, Italy. Her work has been published and exhibited in the United States and abroad. Samantha lives and works in Chicago, IL.

Born in 1982, Samantha VanDeman grew up in the suburbs of Chicago. She studied fine arts at Columbia College Chicago, receiving a BFA in 2005. During her last year in college, she took a B+W photography class and found her passion. From that point on, she started to actively documenting everything around her. In 2007, she returned to college, this time to earn a MFA in photography from the Art Institute of Boston at Lesley University in 2009. It was during her time at the low residency program at AIB, that she was able to have independent studies with artists such as Anne Wilson, Mayumi Lake, Jeanne Dunning, and Laura Letinsky. Samantha has exhibited her work nationally. Her work has been exhibited at Emory Visual Arts Gallery, Atlanta, GA; Finch and Ada, NY; New Orleans Photo Alliance Gallery, New Orleans, LA; Las Manos Gallery, Chicago, IL; Gallery 263, Cambridge, MA; Midwest center for Photography, Wichita, KS; Gallery 808, Boston, MA; Change Artist Space, San Francisco, CA; Perspective Gallery, Evanston, IL; Barrett Art Center Galleries, Poughkeepsie, NY; Fourth Wall Projects in Boston, MA; The Center for Fine Art Photography in Fort Collins, CO; Newspace Center for Photography in Portland, OR; Black Box Gallery, Portland, OR; Texas Photographic Society, San Antonio, TX ; Wright Museum of Art in Beloit, WI and Review Santa Fe 100. Samantha VanDeman is adjunct faculty at The Art Institute of Illinois in Tinley Park, IL.


All about Samantha VanDeman:

AAP: When did you realize you wanted to be a photographer?
My last year as an undergraduate at Columbia College Chicago, I took a Black and white photography class. It was then I knew I wanted to be a photographer. Up until that point, I wanted to be a painter.

AAP: Where did you study photography?
I studied photography at The Art Institute of Boston at Lesley University. During my time at The Art Institute of Boston, I had independent studies with Laura Letinsky, Jeanne Dunning, Anne Wilson and Mayumi Lake.

AAP:Do you have a mentor?
Laura Letinksy has been a friend/mentor since 2008

AAP: How long have you been a photographer?
10 years

AAP: Do you remember your first shot? What was it?
My first shot was of rotten fruit.

AAP: What or who inspires you?
I’m inspired by silence, decay, kindness and long road trips. Artists who inspire me are Jenny Saville, Edward Hopper, Sally Mann and Fiona Apple.

AAP: What kind of gear do you use? Camera, lens, digital, film?
Canon 5D

AAP: Do you spend a lot of time editing your images?
I do minimal editing.

AAP: Favorite(s) photographer(s)?
Sally Mann, Angela Strassheim, Nan Goldin and Corrine Day

AAP: What advice would you give a young photographer?
Find your own voice and follow your gut. Your best work will come from the projects you are most passionate about.

AAP: What mistake should a young photographer avoid?
Trying too hard to be different or copying another photographer’s style

AAP: An idea, a sentence, a project you would like to share?
I’m currently working on a project called “Died Alone”. This project explores abandoned living spaces of people that died alone in their home.

AAP: Your best memory has a photographer?
My fondest memory: The first time I explored the abandoned – now demolished Michael Reese Hospital in Chicago. I had never explored an abandoned place before Michael Reese Hospital, so it opened up a whole new world for me.

AAP: If you could have taken the photographs of someone else who would it be?
Weegee or Walker Evans
 

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Lisa Thomas
United States
1974
Lisa Thomas is a self-taught Atlanta-based photographer with a passion for creating unique, abstract images. Born in Virginia in 1974, she holds a degree in physical therapy from the University of Oklahoma and has spent over 20 years in the healthcare industry. She began studying photography in 2020 as a creative outlet to cope with stress and to connect with others during a time of social isolation. Initially drawn to representational imagery, her journey as an artist has been an evolution, leading her to embrace the enchanting realm of abstract photography. Thomas’s current work, Studies in Oil and Water, is a macro view of the interplay between oil and water set against a variety of backdrops. Thomas’s distinctive style combines vibrant colors, playful compositions, and the use of light to create images that are emotionally uplifting and encourage viewers to embark on a visual journey. Studies in Oil and Water My photographic work is an exploration of two seemingly incompatible elements, oil and water. Through my lens, I capture their intricate interactions giving rise to mesmerizing abstract compositions allowing viewers to immerse themselves in a realm of color and fluidity. In this chaos, I find harmony in the hues and patterns that emerge and an appreciation for the beauty in the everyday. From bold and intense to tranquil and serene, my photographs mirror the kaleidoscope of emotions that define our lives. My aim is not only to captivate the eye but also to inspire curiosity and contemplation in the viewer.
Claudia Tombini
Born in Rome in 1968, after an initial artistic training, Claudia Tombini studied Architecture at La Sapienza University. After graduating, she followed a PhD in Architecture - Theories and Design at the DIAR department of the same University. Professionally active in her hometown since 2006, she carries out her work independently after a three-year collective experience with studio A4, winner of several mentions and awards. Specialized in architectural design, she has always combined research and design. Her latest work is the restoration of the Troisi Cinema in Trastevere. In 2016 she began her own photographic research, collaborating in some of Officine Fotografiche's activities. In 2019/20 she participates in "Human" curatorial workshop with Luigi Cecconi and Francesco Rombaldi, from Yogurt Magazine, during which she elaborates her own project MoveTo LineTo. Moveto Lineto "'Living is an art of spacing,' as Jean-Marc Besse teaches us, and living is mainly a question of geography. After a lifelong dedication to architecture I now discover, thanks to these words, that living is not about architecture or city planning, nor, more generally, about construction: living is geography. There is a human sense to architecture, which even preexists architecture, as we actually live our lives outside of it, in an unbroken series of passages, intersections, and places which all leave their own special resonance and memory inside us. As I move through these, without ever pausing in the gaps — sometimes more, sometimes less consciously — I find myself measuring out the distances I have covered. Not in terms of space, though, as when it comes to landscapes distance is actually temporal, and measuring it out in its complexity is no easy task. As Matteo Meschiari has said, what I am after is “an altered state of conscience in which the landscape is simultaneously medium and recipient, cause and effect, reactor and reaction”: it is a matter of sensorial dilation. I gaze back on these landscapes, “before” and “after”, I scrutinize them to reproduce them virtually, searching for the same old viewpoints, as if they were light years away. This is the effect any catastrophic event will have on us, namely making us believe that all linearity is forever lost, as if time actually flowed in a linear way. Knowledge will not do, knowing that history is all but linear is not enough: we won’t give up our linear idea of it, and we will feel lost when confronted with any interruption of it, with any interval, any blank gap, no matter how temporary. I have been ceaselessly trying to heal the wounds that the surface of things displays, because it is on the surface that we move, it is the surface we perceive, with its naked spaces, where only the absence or the lost track of what has happened is visible. Indeed, any figuration registers an appearance that is destined to vanish, and it is through imagination that we manage to value what is actually not there. It is through the abstraction of a virtual image, an image never completely resolved in its structure and its appearance, that I have been trying to turn the image itself into matter, and thereby restore to it a potential wholeness that I feel is unattainable to me today. This new matter will do, for the time being, to represent the times and places of our passages, and the gaps in between. Like a postscript file, it will be readable in its own right, by its own definition. " -- Claudia Tombini
Marijn Fidder
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Margaret Watkins
Canada
1884 | † 1969
Margaret Watkins (1884-1969) was born in Canada. Best known for art and advertising photography executed in New York in the 1920s, Watkins was active in the Clarence White school of photography and a participant in the shift from pictorialism to modernism. Her working life spanned a Victorian upbringing in Hamilton, Ontario, and the witnessing of the first Soviet Five-Year Plan. Watkins' modernism, which involved experimentation and a radical focus on form, transgressed boundaries of conventional, high-art subject matter. Her focus was daily life and her photographs, whether an exploration of the objects in her New York kitchen or the public and industrial spaces of Glasgow, Paris, Cologne, Moscow, and Leningrad in the 1930s, strike a balance between abstraction and an evocation of the everyday, offering a unique gendered perspective on modernism and modernity. Watkins established a studio in Greenwich Village and in 1920 she accepted the position of editor of the annual publication Pictorial Photography in America. Clarence White asked Watkins to join the faculty of his school, where Watkins met other notable photographers, including Alfred Stieglitz and Paul Strand. She worked for Macy's department stores and for the J. Walter Thompson advertising agency, capturing simple domestic objects with a clarity of modernist vision rare in commercial photography at the time. Her landscapes, portraits, nudes, still lifes, and abstractions received praise and attracted controversy. Exhibitions were held in the United States and in Europe. In 1928, Watkins decided to visit her four elderly aunts in Glasgow, Scotland. She traveled throughout Europe, photographing extensively and producing a body of work documenting post-revolution Russia. Her aunts began to take ill, and Watkins remained in Glasgow to help care for them. She drifted from the spotlight of public recognition, and few photographs or negatives exist from this time. Watkins lived in Scotland in seclusion until her death in 1969.
Attar Abbas
Iran/France
1944 | † 2018
Attar Abbas, better known as Abbas, was an Iranian photographer known for his photojournalism in Biafra, Vietnam and South Africa in the 1970s, and for his extensive essays on religions in later years. He was a member of Sipa Press from 1971 to 1973, a member of Gamma from 1974 to 1980, and joined Magnum Photos in 1981. Attar, an Iranian transplanted to Paris, dedicated his photographic work to the political and social coverage of the developing southern nations. Since 1970, his major works have been published in world magazines and include wars and revolutions in Biafra, Bangladesh, Ulster, Vietnam, the Middle East, Chile, Cuba, and South Africa with an essay on apartheid. From 1978 to 1980, he photographed the revolution in Iran, and returned in 1997 after a 17-year voluntary exile. His book Iran Diary: 1971– 2002 (2002) is a critical interpretation of its history, photographed and written as a personal diary. From 1983 to 1986, he travelled throughout Mexico, photographing the country as if he were writing a novel. An exhibition and a book, Return to Mexico: Journeys Beyond the Mask (1992), which includes his travel diaries, helped him define his aesthetics in photography. From 1987 to 1994, he photographed the resurgence of Islam from the Xinjiang to Morocco. His book and exhibition Allah O Akbar, a journey through militant Islam (1994) exposes the internal tensions within Muslim societies, torn between a mythical past and a desire for modernization and democracy. The book drew additional attention after the September 11 attacks in 2001. The choice was to think of oneself either as a photojournalist or an artist. It wasn’t out of humility that I called myself a photojournalist, but arrogance. I thought photojournalism was superior. -- Attar Abbas When the year 2000 became a landmark in the universal calendar, Christianity was the symbol of the strength of Western civilization. Faces of Christianity: A Photographic Journey (2000) and a touring exhibit, explored this religion as a political, a ritual and a spiritual phenomenon. From 2000 to 2002 he worked on Animism. In our world defined by science and technology, the work looked at why irrational rituals make a strong come-back. He abandoned this project on the first anniversary of the September 11 attacks. His book, In Whose Name? The Islamic World after 9/11 (2009), is a seven-year quest within 16 countries : opposed by governments who hunt them mercilessly, the jihadists lose many battles, but are they not winning the war to control the mind of the people, with the "creeping islamisation of all Muslim societies?" From 2008 to 2010 Abbas travelled the world of Buddhism, photographing with the same skeptical eye for his book Les Enfants du lotus, voyage chez les bouddhistes (2011). In 2013, he concluded a similar long-term project on Hinduism with the publication of Gods I've Seen: Travels Among Hindus (2016). Most recently, before his death, Abbas was working on documenting Judaism around the world. Before his death, Abbas was working on documenting Judaism around the world. He died in Paris on 25 April 2018, aged 74. About his photography Abbas wrote: "My photography is a reflection, which comes to life in action and leads to meditation. Spontaneity – the suspended moment – intervenes during action, in the viewfinder. A reflection on the subject precedes it. A meditation on finality follows it, and it is here, during this exalting and fragile moment, that the real photographic writing develops, sequencing the images. For this reason a writer's spirit is necessary to this enterprise. Isn't photography "writing with light"? But with the difference that while the writer possesses his word, the photographer is himself possessed by his photo, by the limit of the real which he must transcend so as not to become its prisoner." Source: Wikipedia Abbas, as he referred to himself professionally, was known for dramatic black-and-white photographs delivered with a point of view, especially in his book Iran Diary: 1971– 2002 (2002), a collection of images and text presented as a sort of journal. When the events that resulted in the overthrow of Shah Mohammed Reza Pahlavi in 1979 began, Abbas supported change, but he soon became disillusioned with Ayatollah Ruhollah Khomeini, who took over the government. “When the revolution started, it was democratic,” The Toronto Star quoted him as saying in 2013. “It was my country, my people and my revolution. Then, slowly, it was being hijacked.” A turning point, he said, was the execution of four generals after a secret trial. He photographed their corpses in a morgue. “Something that we learned,” he said, “is that the extremists always win. That was my main lesson from the revolution. The extremists were prepared to kill, imprison, torture — everything. So they won.” Abbas was born in 1944 in a part of Iran near the Pakistan border. When he was a boy his family relocated to Algeria; he said that growing up during that country’s war of independence sparked his interest in documenting political events. He taught himself to use a camera, and among his earliest jobs was working for the International Olympic Committee at the 1968 Summer Games in Mexico. He would return to Mexico in the mid-1980s, taking pictures throughout the country over three years and producing the 1992 book Return to Mexico: Journeys Beyond the Mask (1992). In the 1970s he worked for the French agencies Sipa and Gamma. Early in that decade he was in Africa, covering the aftermath of the Biafran war in Nigeria and other events. He then found himself back in Iran. “My family is from Iran,” he told Vice in 2015, “but it isn’t as if I felt particularly Iranian back then. But I did feel that things had to change — you can’t just have some shah making all the important decisions for an entire country.” As the situation became more unstable and it became clear to him that the revolutionaries were no better than the regime they were replacing, he faced pressures from friends. “They urged me not to show the revolution’s negative side to the world,” he said. “The violence was supposed to come from the shah, not the protesters. I told them that it was my revolution as well, but I still needed to honor my duty as a journalist — or a historian, if you will.” He left the country in 1980 and did not return for 17 years. The revolution, though, had instilled in him an interest in what people throughout the world were doing in the name of God. “It was obvious after two years that the wave of Islamism was not going to stop at the borders of Iran,” he said in a video interview with The British Journal of Photography in 2009. “It was going much beyond the borders.” There are two ways to think about photography: one is writing with light, and the other is drawing with light. -- Attar Abbas He began by examining that phenomenon, resulting in the book Allah O Akbar: A Journey Through Militant Islam (1994), which recounted his travels through 29 Islamic countries. “When you’ve started with God you might as well stay with him,” he said, explaining why he went on to look at Christianity, paganism, Buddhism and more. It was an examination not of personal faith, he said, but of how faith can be deployed and twisted in other spheres. “What I’m interested in is the political, social, economic, even psychological aspects of religion,” he said, adding, “More and more, nations are defining their identities referring to religion.” If his work often put him in the middle of trouble spots, Abbas was not necessarily interested in images of blood and weaponry. “Most photographers, when they say they’re war photographers, they’re not really war photographers; they’re battle photographers,” he said in the video interview. “War does not limit itself to boom-boom, to the battle itself. Wars are very, very complex phenomenons, because they have a source, and it takes a while to come up, then it happens, and there are consequences. I’m more interested in the why and the afterwards of the wars.” He played down the part of his work that involved putting himself in harm’s way. “They say ‘courage’ — O.K., you have to be courageous,” he said. “But for me courage is a lack of imagination. You cannot imagine that it’s going to happen to you, therefore you go to the battle.”Source: New York Times
Jeff Corwin
United States
1954
Over the years, Jeff Corwin has taken photos out of a helicopter, in jungles, on oil rigs and an aircraft carrier. Assignments included portraits of famous faces, including Bill Gates and Groucho Marx and photos for well-known corporate clients like Microsoft, Apple, Rolls-Royce and Time/Life. After 40+ years as a commercial photographer, Corwin has turned his discerning eye to fine art photography, primarily landscape vistas. He carried his same vision forward, his desire and ability to see past the clutter and create photographs grounded in design. Simplicity, graphic forms, strong lines or configurations that repeat are what personally resonate - a reaction to experience, spirit and instinct. Visual triggers are stark and isolated vistas: a black asphalt road cutting for miles through harvested wheat; an empty, snowy field with a stream creating a curve to a single tree; or a small barn, the roof barely visible above a barren hillside. Trusting his vision is important to Corwin. He has always kept the same approach, the same eye, looking for and adding to the visual qualities that arrest him. This holds true even in his non-landscape work. He cites his mentor Arnold Newman and the works of Piet Mondrian and Edward Hopper as inspiration. His experience has taught him not to second guess elements like composition or content. Humble shapes, graphic lines. Eliminate clutter. Light when necessary. Repeat. His commercial work has won many prestigious awards and garnered vast international media coverage. Corwin's career shift into fine art photography is being met with the same serious attention. He is currently exhibiting in several important contemporary galleries throughout the western United States. Statement "Before I started to devote myself full time to my personal work, I spent 40 years in the world of commercial photography. The majority of my clients were ad agencies and graphic design firms. My photographic focus was on corporate offices, factories, oil refineries and aerospace companies with dark busy manufacturing facilities. I learned that my job title was not "photographer." What I really was - a problem solver. Over the first few years, I developed a style that, with the help of artificial lighting, helped me to see past the clutter and create photographs that were more design than immediately recognizable objects. I worked with whatever was there, all the mundane things that most people walk by or do not notice. I saw great imagery in graphic shapes, shapes that repeat, like patterns in ceilings from ugly fluorescent lights or rows of desks or chairs. It was a created opportunity instead of found. I became known as the photographer to send into hell-holes to bring back the goods (a blessing and a curse). Graphis Magazine once used a quote of mine: "It's amazing how much time I spend lighting, just to get things dark enough." Absolutely true! Once I got past that particular hurdle, I was able to move on to subjects that had real possibilities and make them look even better. But I kept the same thought process, the same eye, looking for and adding to the graphic qualities. (A special shout out to mentor Arnold Newman and the works of Piet Mondrian and Edward Hopper.) On to my current images - landscapes. While certainly not working with the same control I had in the advertising world, it provides, in some ways, more. Or perhaps I should simply different. What I have found is that I could bring the same vision I used for my commercial work into my landscape work. In fact, I do not think I really had a choice. The work I do now is 100% informed by my experience shooting for clients. I see how I see and, after 40+ years of making photographs, it seems foolish to try and change now. I trust that what I have learned works. I have even brought artificial light into the landscapes! Simple shapes, graphic lines, eliminate clutter. Light when necessary. Repeat." Galleries Courtney Collins Fine Art Stapleton Gallery Echo Arts Westward Gallery
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