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Win a Solo Exhibition in June 2026 + An Exclusive Interview!
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Wenxin Zhang
Wenxin Zhang
Wenxin Zhang

Wenxin Zhang

Country: China
Birth: 1989

Wenxin Zhang lives and works in San Francisco. She received her MFA at California College of the Arts.

Zhang creates non-linear photographic novels. In her writings and photography, she describes her experiences of growing up in China, her current life in San Francisco, and her personal relationships.

Zhang's work has exhibited widely in United States and China. Zhang was selected as a finalist in 2014 Three Shadows Photography Award, Leica Oskar Barnack Newcomer Award, and Photographic Museum of Humanity New Generation Award. Also, Zhang was selected as an artist in residence by Rayko Photo Center and The Center for Photography at Woodstock. Zhang's first monograph will be published in early 2015 by Jiazazhi Press.

Statement:
"Five Nights, Aquarium is a non-linear narration weaved by photographs and five short written works.

I try to reconstruct my inner journey from trips I’ve made between my home country China and San Francisco during these two years in a truthful way, but the overloaded feelings of estrangement and desolation created by the journey have transformed my memories into illusions of confinement. Due to this confinement, my journey story became a space-time, which resembles an aquarium. In this aquarium, cityscapes are fish tank decorations, people are fish, and writings are tank labels.

I chose five nights in the whole reconstructed journey story, using five semi-fictional short stories as clue, to portray the imaginary aquarium. The stories are cold yet intimate, sensual yet intangible. The narration of journey moves from real to imagined spaces, exploring the boundaries between autobiography and fiction."

Websites

www.zhangwenxin.com

@wenxinzhang

 

Inspiring Portfolios

Marjolein Martinot
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Jackson Patterson
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More Great Photographers To Discover

Chuck Close
Chuck Close
United States
1940 | † 2021
Chuck Close is an American artist known for his monumental photorealist portraits. Close received his B.A. from the University of Washington in 1962 and his M.F.A from Yale University in 1964. Upon graduation, he was chosen for the Fulbright Program grant, which he used to study at the Academy of Fine Arts in Vienna. Upon his return to the U.S., Close worked as an art teacher at the University of Massachusetts. In 1967, he moved to New York and began his work in SoHo. He was given his first solo exhibition in New York later that same year, followed by an exhibition at the Walker Art Center in Minneapolis. In kindergarten, Close learned that he suffered from prosopagnosia, commonly known as face blindness. He chose portraiture as a way to remember the significant people in his life. With his inability to recognize faces, Close uses a grid system to piece together his portraits. He said, “If you impose a limit to not do something you've done before, it will push you to where you've never gone before." Close suffered from a spinal artery collapse in 1988 that left half of his body paralyzed. Though many thought his artistic career was over, he re-taught himself to paint using a splint. He methodically paints in color or grey scale in low-resolution grid squares across the canvas. Close up his work looks like no more than blocks of color, but the colors combine to create a photorealistic image as you back away. Close is not only influential in the art world, but his early airbrush techniques also inspired the development of the ink jet printer. His portraits of famous artists are his most sought after works, and his work John (1971-1972) sold with Sotheby's for $4.8 million in 2005. Chuck Close has work featured in the permanent collections at the Albright-Knox Gallery in New York, the High Museum of Art in Atlanta, the Museum of Contemporary Art in Georgia, the Whitney Museum of American Art, the Art Institute of Chicago, the MCA Chicago, the LACMA, the MFA Houston, the MFA Boston and the Guggenheim Museum in New York. Related Categories: Close-Up, Photorealistic, Hyperrealism, Photographic Source, Post-War American Art, Pixelated, Visual Perception, Drawing, Black-and-white Photography, Work on Paper Source: www.casterlinegoodman.com
Roy Stryker
Roy Stryker
United Kingdom
1893 | † 1975
Roy Emerson Stryker was an American economist, government official, and photographer. He headed the Information Division of the Farm Security Administration (FSA) during the Great Depression, and launched the documentary photography program of the FSA. It hired photographers to travel across the United States and document people in different areas and settings as part of showing the state of people in rural areas in those years. Specific projects were conceived to help assess effects of government programs. He later worked several years on a documentary project for Standard Oil, established the Pittsburgh Photographic Library (PPL), consulted with other companies, and taught photo-journalism at University of Missouri. In his later years he returned to the West, living at last in Colorado. After serving in the infantry in World War I, Stryker went to Columbia University, where he studied economics. He used photography to illustrate his economics texts and lectures. At Columbia, he worked with Rexford Tugwell. When Tugwell became part of Franklin D. Roosevelt's Resettlement Administration, Stryker followed him. Tugwell and Stryker refocused the attention of the Resettlement Administration to document the problems of the heartland, and in 1935 Stryker became the head of the Historical Section (Information Division) of the RA. The RA was renamed as the Farm Security Administration, and Stryker set up the photo-documentary project. Stryker was a manager of the FSA's photographic project. The photographers involved attested to his skill in getting good work from them. He ensure that the photographers were well briefed on their assigned areas before being sent out, and that they were properly funded. However, Stryker has been criticized for his destructive editing, as he would sometimes physically deface negatives by punching holes in them. Stryker also made sure that mainstream publications had access to FSA photographs. This both helped focus public attention on the plight of the rural poor and set up the commercial careers of his photographers. Overall, from 164,000 developed negatives, some 77,000 different finished photographic prints were made for the press, plus 644 color images. Photographers hired by Stryker for the FSA included Dorothea Lange, Arthur Rothstein, Walker Evans, Ben Shahn, John Vachon, Marion Post Wolcott, Russell Lee, Jack Delano, Gordon Parks, John Collier, Carl Mydans, and Edwin and Louise Rosskam. During World War II, the photographic unit of the FSA was reassigned to the Office of War Information. It was used to produce what was essentially propaganda and disbanded after a year. At the same time, the US Congress disbanded the FSA. The holdings of the FSA's photographic unit were transferred to the Library of Congress. Stryker resigned from the government. He worked for Standard Oil in its public relations documentary project from 1943 to 1950, hiring some of the photographers he had worked with at FSA. In selecting photographers for projects at Standard Oil (SO), Stryker sought those who possessed what he described as an "insatiable curiosity, the kind that can get to the core of an assignment, the kind that can comprehend what a truck driver, or a farmer, or a driller or a housewife thinks and feels and translate those thoughts and feelings into pictures that can be similarly comprehended by anyone." Photographers on the SO project included, among others: Berenice Abbott, Gordon Parks and Todd Webb; as well as Esther Bubley, Harold Corsini, Russell Lee, Arnold S. Eagle, Elliott Erwitt and Sol Libsohn, who would later follow Stryker to his next project in Pittsburgh, Pennsylvania. After suggesting topics he wanted to be documented, Stryker gave his photographers the freedom to pursue their individual approaches to their subjects. As with all his projects, Stryker was adamant that his staff understand their subjects and their context before going out on an assignment. From 1950 to 1952, Stryker worked to establish the Pittsburgh Photographic Library (PPL). In 1960, the collection was transferred to the Carnegie Library of Pittsburgh. After leaving the PPL, Stryker directed a documentation project at Jones & Laughlin Steel Corporation. Thereafter, he accepted consulting jobs on occasion and conducted seminars on photo-journalism at the Journalism School of University of Missouri. Stryker eventually returned to the West in the 1960s. He died in Grand Junction, Colorado. The Roy Stryker Papers, including manuscripts, correspondence, and vintage prints from the Stryker-directed projects: Farm Security Administration (FSA), the Standard Oil (New Jersey) Co. and Jones & Laughlin Steel, are held in Photographic Archives, Archives and Special Collections, University of Louisville.Source: Wikipedia
Mariska Karto
Mariska Karto
Netherlands
Mariska Karto is an artist/ fine art-photographer born in Suriname (South-America) and raised in the Netherlands. In this age of rapidity and technical development, in which human is exposed to impersonal detachment of current technical era, Mariska Karto creates the vulnerable and intensive dimensions of human feelings and emotions. This all happens in the dreamworld she has created with her technique in which past and present have found their way to each other, in this era of transformation.She talks to you in a language without words using symbolism in a dreamworld of historic paintings atmosphere.Mystique, tragic and erotic are the keywords for her work. Her work are like old stories escaped from an old world of eternal dreams, eternal emotions and eternal feelings that existed for hundred of years but still repeats themselves as in a pattern of an earthy rite, in this new modern contemporary era.Her works are like poems and thoughts, restless ones but are also like whispers of thoughtless experiences, floating in a centuries long movement in time.Artist Statement"My work is based on a period in which photography did not exist, It was not until the end of the 18th century that it was invented. As a result of this, people thought that photography would make the art of painting disappear, especially in the post modern era, the traditional art had to make way for new technical developments. In my work I seek and found a respectful connection of technique and traditional craft through a striking contradiction. Painters in the Baroque/renaissance time were trying to paint as true-to-life with painting-techniques and color applications. What a camera does is portray the world in its realistic colors. That’s the contradiction in my work, it’s the other way around. I shoot realistic images and through an intensive transformation process, the work is changed, true-to-life in the characteristic Baroque colors and style of that time. Eventually, this says nothing about photography and technique, but more about the great masters of that gone era, they were able to be as realistic and accurate as possible with brush and paint the world in all its reality… That’s the great contradiction in my work, I’m leaving the visible reality of our current time, and bring the invisible realism of the past forward in my work. As a result of this, I pull away present time from its structure and then time appears to be just a definition, which slowly fades away, when current and past becomes interwoven with each other.” More background info: "I mix skills from different worlds together. It is a blend of skills of my (I'm originally a painter and sketcher, textiles - I was a textile artist some years ago, photography and image processing) that ultimately meets each other in this form of art. A main factor are also social emotional influences in my life which developed how I see, learn and finally understand things in an essential (psychological) way. All these (artistic) elements from different areas and personal influences come together in a work of mine."
Camilla Gorini
Camilla Gorini
Italy
1995
Camilla Gorini is an italian photographer born in 1995 and based in Milan. Her photographic research documents and conceptualizes fragility as an expression of the human condition, with a unique approach to portraying common objects. Her work embraces the medium and large format and maintains a minimal and monochromatic rigor. In 2021 she participated at the London Art Biennale, winning the photography/video award with the project 'A Study of Fragility'.
Stephan Vanfleteren
Stephan Vanfleteren
Belgium
1969
Stephan Vanfleteren studied photography at Lucas Institute in Brussels (1988-1992). From 1993 to 2009, he worked as a free-lance photographer for the Belgian Journal De Morgen and always worked and invested in his own personal projects. Actually, Stephan works for museums, he's publishing his portraits in foreign journals and several foreign magazines. He's cofounder of Hannibal Publishing and Cannibal Publishing. Stephan Vanfleteren is art-director for the two publishing houses. PRICES 1996 - World Press Photo Award - Sports, third prize stories - Boxing in Cuba 1997 - World Press Photo Award - Daily Life, first prize stories - Aids, Kenia 1998 - European Fuji Awards 2000 - World Press Photo Award - Arts and Entertainment, third prize stories, Elvis & Presley 2001 - World Press Photo Award - Children's Award, prize singles - Afghanistan 2001 - European Fuji Award 2007 - Nikon Press Photo Award 2009 - Louis Paul Boon award - Belgium 2010 - Lead Awards: 'Portätfotografie des Jahres', Germany 2011 - Henri Nannen Price, Germany - Tomi Ungerer 2012 - Vijfjaarlijkse Cultuurprijs voor de Provincie West-Vlaanderen 2012 - National Portrait price of the Netherlands - Rem Koolhaas, Dutch architect 2013 - World Press Photo Award - Staged Portraits, first prize stories, People of Mercy 2019 - Henri Nannen Price, Germany - Angels of the Sea - Mare Publication. BOOKS 1999 - Elvis&Presley, with photographer Robert Huber (Switserland) 2000 - Buren, with Mark Power & Eva Leitolf 2003 - Tales from a Globalizing World 2005 - Flandrien - Cannibal Publishing 2007 - Belgicum - Hannibal Publishing 2009 - Portret 1989-2009 - Lannoo 2012 - En avant, marche! - Hannibal Publishing 2013 - Façades & Vitrines (Limited edition 666 exp) - Hannibal Publishing 2014 - MMXIV - De Red Devils - Cannibal Publishing 2014 - Atlantic Wall - Hannibal Publishing 2015 - Charleroi, il est clair que le gris est noir - Hannibal Publishing 2018 - SURF TRIBE - Hannibal Publishing 2019 - PRESENT - Hannibal Publishing 2019 - ONUITGESPROKEN - Hannibal Publishing About PRESENT Stephan Vanfleteren is mainly known to the general public for his penetrating black & white portrait photography, but over the past decades his work has ranged to documentary, artistic and personal pictures. From street photography in world cities like New York to the genocide of Ruanda, from storefront façades to the mystical landscapes of the Atlantic wall, from still lifes to intense portraits. The iconic images sit side by side with unknown treasures in this heavy tome containing no less than 505 photographs. In the very personal accompanying text, Vanfleteren reflects on how his own work and the photography genre as a whole have evolved in recent decades. You get a close-up look at his intriguing career from the very beginning, when he travelled the world with an appetite for action. He also photographed his home country: all of the headline news stories of the 1990s appeared before his lens. Around the Millennium, Vanfleteren started to focus on that which is disappearing. With painstaking attention to nuance he created a visual archive of his homeland and of his fellow Belgians, in his own inimitable style. In the last few years Vanfleteren has brought the world inside, to his daylight studio, resulting in many encounters and portraits. This book includes two new series – not previously published – which were born in the intimacy of his studio: an exploration of the still life and a study of nude photography, both in colour. Present is an impressive overview of Vanfleteren's oeuvre that provides a complete picture of him as a photographer, an artist, and above all a human being who faces life with empathy, wonder, and curiosity. More about PRESENT
Mahendra Bakle
Mahendra Bakle
India
1975
Travel photographer & Graphic Designer Mahendra has always been interested in photography, growing up reading different photography magazines and taking pictures of sunsets and sunrises as a child. However, it wasn't until 2001, after he had established a solid foundation with his business in Solapur, that he got into travel photography, drawing inspiration from the places he travelled to for business. Mahendra's work uses all kind of elements to tell their story, from pattern to repetition to contrast, but the most striking is his use of light. Dynamic natural lighting is a huge part of his works, which creates images that are somehow very rooted in the space they come from. He's covered many countries, especially in Southeast Asia, but his favorite of these is Myanmar, the photos of which particularly encapsulate his whole approach to photography, which is to capture the culture and personality of a space. He wants to explore the entirety of India first though, before properly shifting his view abroad, especially the stories and cultures of native Indian tribes, and this emphasis on the 'human' element of these places is a central theme that comes through in a lot of his photographs. AAP Magazine Winner AAP Magazine 37 Travels
George Zimbel
George Zimbel
United States / Canada
1929
George S. Zimbel (born July 15, 1929) is an American-Canadian documentary photographer. He has worked professionally since the late 1940s, mainly as a freelancer. He was part of the Photo League and is one of its last surviving members. Born in Massachusetts, he settled in Canada about 1971. His works have been shown with increasing frequency since 2000, and examples of his work are part of several permanent collections including the Museum of Modern Art and the Montreal Museum of Fine Arts. George Zimbel has been described as a humanist. He has published several books of his photographs and in 2016 was the subject of a documentary retrospective film co-directed by his son Matt Zimbel and distributed by the National Film Board of Canada. Born George Sydney Zimbel in Woburn, Massachusetts, son of a dry goods store owner, he attended Woburn High School and was the school's yearbook photographer. He later studied at the Photo League under John Ebstel. George Zimbel then enrolled in Columbia University in New York where he became the school's news photographer. There he met art student Garry Winogrand and introduced Winogrand to photography. They used the school's darkroom late at night to avoid crowding at other times of the day, and they called themselves the "Midnight to Dawn Club". Both Zimbel and Winogrand later both studied under Alexey Brodovitch at the New School for Social Research on scholarships in 1951. He next met Edward Steichen, the then curator of the Museum of Modern Art who showed Zimbel original prints by early masters of photography, and this sealed his decision to take up photography as a career. On Steichen's advice, he had a stint as a photographer with the US Army and spent 2 years in Europe during the restoration period following World War II. On his return to America, he became a freelance photographer. One of his early opportunities was the famous Marilyn Monroe shoot on Lexington Avenue in 1954 to promote her film The Seven Year Itch, at which Monroe wore her famous white dress. Zimbel never sold any of these images and packed them away until 1976, whereupon he printed them and began to show them in solo exhibitions. He was married to Elaine Sernovitz in 1955. A professional writer, she has collaborated with George Zimbel on travelogues and other works. George and Elaine Zimbel had four children including jazz musician Matt Zimbel, founder of Manteca. Matt Zimbel co-produced and co-directed (with Jean-Francois Gratton) a documentary film about his father called Zimbelism, released in 2016. In 1971, Zimbel and his family moved to the small community of Argyle Shore, Queens County, Prince Edward Island where they raised animals for the next 10 years at a farm they called "Bona Fide Farm". After their children moved away, he and his wife relocated to Montreal, where they still reside. Though he was widely published in publications such as the New York Times, Look, Redbook and Architectural Digest in the 1950s and 60s, he did not become widely recognized until a retrospective exhibition of his work was mounted at the Institut Valencià d'Art Modern in Spain in 2000. Since then he has had several major shows around the world.Source: Wikipedia The American-Canadian humanist photographer George S. Zimbel is one of the last elders of photography faithful to the legacy of the Photo League, who in the fifties imbued their pictures with a personal commitment towards the people and the social landscapes they documented. Zimbel’s work is collected by major museums internationally, he has published numerous books and in 2016 he was the subject of an award winning feature documentary on his work called Zimbelism. George’s collection is now managed by his children. The collection consisting of prints printed by George, negatives and colour slides is in the process of being cataloged. Cataloging of the prints has been completed. The thousands of colour slides, and hundred of thousand negatives will be an on going project. In an era of increased manipulation of the photographic image by computer technology, Zimbel’s commitment to the “straight” photograph has become stronger. He sees the early 21st century as a period in which classic photography will have it’s last flowering. "My work begins with recording an image, but it is not finished until I have made a fine print. That is my photograph. A lot goes into a finished documentary photograph: a very personal view of life, a knowledge of technique, and of course, information. It is the information that grabs the viewer, but it is the photographer’s art that holds them." – George S. ZimbelSource: georgezimbel.com
Emily M Watson
Emily M Watson
United States
1951
''Travel is like a date with my soul; it reveals my inner self, as I absorb the outer world'' Emily M. Wilson Emily Marie Wilson is a Pacific Northwest native, living in Seattle, WA USA and an experienced world traveller with a special love of things culturally interesting to photograph. She absorbs and reflects on the places she visits, turning her camera to capture both people and details which are of unique cultural and ethnic importance. Emily has expanded her passion for both photography and travel over the years by leading small group cultural and photographic journeys to remarkable and edgy locations in the world. Emily, additionally, is an award-winning photographer with local, regional, national and international recognition. Emily Marie Wilson is further, greatly diversified in her own background experiences. She additionally has earned several university degrees in Political Science, Middle East Languages & Culture and Comparative Religions of the World. In 2007, Emily authored: From Boats to Boards Feet: The Wilson Family of the Pacific Coast, a comprehensive, handsomely illustrated 464-page book detailing the Wilson family (Swedish immigrants from Bohuslan who settled in Rainier Oregon, building a highly successful saw-mill business) and its worldwide business enterprises centered along the American Pacific Coast in the 1800s. Owning her own business, Traveller Worldwide Explorations, LTD, for over 30 years, she has a diverse range of experience working with world-wide travel operators. Statement Emily M. Wilson is a Seattle native, an award-winning photographer, and world traveler. She absorbs and reflects the places she visits, turning her camera to people and details unique to each culture. Emily is greatly diversified in her own travel expertise. Owning her own business, Traveller Worldwide Explorations, LTD, for over 30 years. She combines her passion for both photography and travel by leading small group cultural journeys to all parts of the world.
Alicia Moneva
Alicia Moneva
Spain
"The common thread in all my work is the footprint of the human, with humanized objects and spaces made by man, architectural painting and photography, trying to explain social and psychological concepts through the figure. Coming from the world of painting my type of photography is built. Based on a generic idea, will be taking individual photos that will form part of the final work. Each shot in digital format, will later join with the help of photoshop. This tool is almost exclusively used for the matrix composition. All these pictures are real, the waters of colors are stained for each session, lights, ropes, etc. are used maybe that way I put me more in the concept that I want to express. My work models are people I know, in my environment, there is a complicity and prior understanding, they bring to the session his way of expressing the idea, much enriched the work. Also, say the interest that raised me shadows, which is evidenced in my way of photographing. Penumbra, in my opinion, they dimension the vacuum of space, they materialize it, make it real. My work is the antithesis of the photography, which I would call operating room, without just shadows. Overhead view of my work, is strongly influenced by the years that I was in contact with the architects. At the end of my studies of biological sciences I worked continuously with them. My task there was the explanation of the urban projects through roof planes. With a pictorial abstraction were given a human scale. I was very lucky, I found interesting people that opened a world of possibilities, which taught me to see after looking at. At the same time, painting was transformed into something serious in my life, I started to exhibit and to devote myself more professionally to art. Photography was in principle a work tool, a tool more for my collection of data, it helped me to paint everything you had no way of doing so natural. Little by little I found comfortable with the photographic image and the human figure to express the ideas that were emerging. I went through a very unproductive at work time, since I opposed the painting to photography, when they were actually for me very complementary. At this time that seemed to lost went back to College, first studying psychology and later philosophy. None of the two races ended them, as it was not so important to have an academic degree, but if you continue learning, similar of being alive. My exhibitions were photography, although in principle and respect for the world of photography, I thought that I was an intruder, had the desire and the security to do so, also the need. Self-portrait I submit for publication to reflect a state of confusion we all, from time to time we have suffered, when a mesh does not let you see clearly the reality. As if it were a necessary self-deception on occasions." -- Alicia Moneva - Madrid, October 2013 Interview with Alicia Moneva AAP: When did you realize you wanted to be a photographer?It was progressive. I needed to work with the human figure and I felt more comfortable with photography. AAP: Where did you study photography?I didn't study painting or photography. My teachers were architects who knew the method and had perception. AAP: How long have you been a photographer?I have been taking photographs for 20 years but, professionally, just 10. AAP: Do you remember your first shot? What was it?They were objects that I wanted to paint in my Studio and I couldn't move them from the place they were. And also black and white portraits, many portraits. AAP: What or who inspires you?I am inspired by philosophy, anthropology, biology... and now also particle physics. Science and arts basically. AAP: Do you have a favorite photograph or series?My favorite series are the last I have been working on: The disease in our culture, which is about chronically ill people, the unknown heroes of our time. It is a tribute to them, their carers and families. AAP: What kind of gear do you use? Camera, lens, digital, film?When I started I used an old Pentax, with black and white rolls for portraits and color rolls for objects I painted later. Now I work with a Canon 5D Mark II and a Canon 7D. The lenses are also Canon. AAP: Do you spend a lot of time editing your images? For what purpose?My pictures are made of many individual photographs. I use photo editing programs to assemble and compose the final image. For me it is important to convey the idea I have in mind and I edit the photos until I think the concept is understood. AAP: Favorite(s) photographer(s)?I really like Spanish creativity. My favorite are perhaps Chema Madoz for his pulchritudinous images which I would summarize in "less is more". And Cristina García Rodero because she transmits me all the strength of human feelings. AAP: What advice would you give a young photographer?To be passionate about what he is doing, to follow his instincts. And, especially, to be honest with what he thinks, beacuse that will be his way of looking at what the others see. AAP: What mistake should a young photographer avoid?Wanting to be very original? Or thinking you already know everything? AAP: An idea, a sentence, a project you would like to share?I would mention a fragment of one of José Hierro's poems that summarizes well how sometimes a moment can be turned into something timeless. "...But there are things that do not die and others who never lived. And there are some that fill the universe, And it is not possible to get rid of its memory." (José Hierro / "Alegría" 1947). AAP: What are your projects?I have been working lately on a new project with another Spanish photographer, Judith Sansó. It is shared project with a performance which combines photography and video art. The first of these series is called "the distance between her and yesterday is a photo" and talks about memories and how they shape our personality. These are some of the links to the performance and the making of the video work: YouTube video (In Spanish) YouTube video YouTube video AAP: Your best memory as a photographer?None in particular. I like when I start a new project. AAP: Your worst souvenir as a photographer?I can't remember. A well-known neurologist (Á. Pascual Leone) once said that it's more important to forget than to remember, especially bad memories AAP:If you were someone else who would it be?I would have liked to be a good silent film director like Fritz Lang, Renoir or Murnau.
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Interview
Exclusive Interview with Josh S. Rose
Josh S. Rose is a multidisciplinary artist working across photography, film, and writing. His practice bridges visual and performing arts, with a strong focus on movement, emotion, and the expressive potential of the image. Known for his long-standing collaborations with leading dance companies and performers, Rose brings together authenticity and precise composition—a balance he describes as “technical romanticism.” His work has been commissioned and exhibited internationally, appearing in outlets such as Vogue, at the Super Bowl, in film festivals, and most recently as a large-scale installation for Lincoln Center for the Performing Arts. A sought-after collaborator, he has worked with major artists, cultural institutions, and brands, following a previous career as Chief Creative Officer at Interpublic Group and the founder of Humans Are Social. We asked him a few questions about his life and work.
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Interview with Maureen Ruddy Burkhart
Interview
Interview with Maureen Ruddy Burkhart
Photographer Maureen Ruddy Burkhart brings a quietly attentive and deeply human sensibility to her exploration of the world through images. Shaped by a life immersed in photography, film, and visual storytelling, her work is guided by intuition, observation, and an enduring interest in the emotional undercurrents of everyday life. With a practice rooted in both fine art traditions and documentary awareness, she approaches her subjects with sensitivity, allowing subtle moments to emerge naturally rather than be imposed. Her series Til Death, selected as the Solo Exhibition for February 2025, reflects this long-standing commitment to photography as a space for reflection rather than spectacle. Drawn to moments that exist just outside the expected frame, Burkhart’s images suggest narratives without resolving them, leaving room for ambiguity, humor, and quiet connection. We asked her a few questions about her life and work.
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