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Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Katharine Cooper
2014 © Gabrielle Menezes
Katharine Cooper
Katharine Cooper

Katharine Cooper

Country: South Africa
Birth: 1978

Katharine Cooper, born 1978 in Grahamstown, in South Africa's Eastern Cape, moved at a young age to Zimbabwe, where she completed her schooling. In 1998, she moved to the United Kingdom to pursue her studies in photography, before finally landing at the Arles national school of photography, from which she graduated with honours in 2004, notably for her film "Family Archive". Katharine worked as in-house printer to photographer Lucien Clergue, in his Arles-based atelier, from 2004 up until his death in 2014. Her work has been exhibited in various collective shows, and bought by art-collectors from around the world. Katharine Cooper regularly teaches workshops in the Arles region, whose Camargue landscapes and strong winds remind her of her homeland. In 2012 Katharine Cooper received the Academy of the Arts' Photography Prize for her series "White Africans", which showed in Paris October/November 2013.
 

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Arthur Tress
United States
1940
Arthur Tress (born November 24, 1940) is an American photographer. He is known for his staged surrealism and exposition of the human body. Tress was born in Brooklyn, New York. The youngest of four children in a divorced family, Tress spent time in his early life with both his father, who remarried and lived in an upper-class neighborhood, and his mother, who remained single after the divorce and whose life was not nearly so luxurious. At age 12 he began to photograph circus freaks and dilapidated buildings around Coney Island in New York City, where he grew up. Tress studied at Abraham Lincoln High School in Coney Island, and gained a Bachelor of Fine Arts at Bard College in Annandale-on-Hudson, New York. After graduating from Bard College in 1962, Tress moved to Paris, France to attend film school. While living in France, he traveled to Japan, Africa, Mexico, and throughout Europe. He observed many secluded tribes and cultures and was fascinated by the roles played by the shaman of the different groups of people. The cultures to which he was introduced would play a role in his later work. Tress spent the spring and summer of 1964 in San Francisco, documenting the Republican Convention that nominated Barry Goldwater, civil rights demonstrations at segregated car dealerships on Van Ness Avenue, and the Beatles launching their 1964 tour. Tress took over 900 photographs that were put away and re-discovered in 2009, and featured in a show at San Francisco's deYoung Museum. He currently resides in San Francisco, California. Source: Wikipedia Arthur Tress began his first camera work as a teenager in the surreal neighborhood of Coney Island where he spent hours exploring the decaying amusement parks. Later, during five years of world travel, mostly in Asia and Africa, he developed an interest in ethnographical photography that eventually led him to his first professional assignment as a U.S. government photographer recording the endangered folk cultures of Appalachia. Seeing the destructive results of corporate resource extraction, Tress began to use his camera to raise environmental awareness about the economic and human costs of pollution. Focusing on New York City, he began to photograph the neglected fringes of the urban waterfront with a straight documentary approach. This gradually evolved into a more personal mode of “magic realism” combining improvised elements of actual life with stage fantasy that became his hallmark style of directorial fabrication. In the late 1960s Tress was inspired to do a series based upon children's dreams that combined his interests in ritual ceremony, Jungian archetypes, and social allegory. Later bodies of work dealing with the hidden dramas of adult relationships and the reenactments of male homosexual desire evolved from this primarily theatrical approach. Beginning in the early 1980s, Tress began shooting in color, creating room-sized painted sculptural installations out of found medical equipment in an abandoned hospital on New York's Welfare Island. This led to a smaller scale exploration of narrative still life within a children's toy theater and a portable nineteenth-century aquarium. Around 2002, Tress returned to gelatin silver, exploring more formalist themes in the style of mid- century modernism, often combining a spontaneous shooting style with a constructivist's sense of architectural composition and abstract shape. In addition to images of California skateboard parks, his recent work includes the round images of the series Planets and the diamond-shaped images of Pointers. Source: www.arthurtress.com
Benjamin Dimmitt
United States
Benjamin Dimmitt photographs wetlands and forests using film and a medium format camera. He uses his camera to investigate interdependence, competition, survival and mortality in the natural world. Benjamin was born and raised on the Gulf Coast of Florida. He graduated from Eckerd College in St. Petersburg, FL and also studied at the International Center of Photography in NYC, NY, Santa Fe Photographic Workshop in Santa Fe, NM, Santa Reparata Graphic Arts Centre in Florence, Italy and City and Guild Arts School in London, England. He moved to New York City after college and held an adjunct professor position at the International Center of Photography from 2001-2013. He now lives and works in Asheville, NC and teaches workshops throughout the Southeast. Benjamin's photographs have been exhibited at Museum of Fine Arts, Houston, TX, School of International Center of Photography, NYC, NY, American Academy of Arts & Letters, NYC, NY, Ogden Museum of Southern Art, New Orleans, LA, Griffin Museum, Boston, MA, Florida Museum of Photographic Arts, Tampa, FL, Center for Fine Art Photography, Ft. Collins, CO and Midtown Y Photography Gallery, NYC, NY. In November, 2019, his work will be included in a three person climate change exhibit at Southeast Museum of Photography in Daytona Beach, FL. His work is represented by Clayton Galleries in Tampa, FL and is in the collection of the Museum of Fine Arts, Houston, the American Academy of Arts and Letters, the Florida Museum of Photographic Arts and Eckerd College among many others. Ain't Bad, Architectural Digest, Black & White, Don't Take Pictures, Lenscratch, Oxford American, Orion, Photo District News, The New Yorker Photo Booth and others have featured Benjamin's photographs. He was a finalist in Photolucida's Critical Mass Award in 2014, 2017 and 2018 and in New Orleans Photo Alliance's Clarence John Laughlin Award in 2014 and 2015. An Unflinching Look The Chassahowitzka National Wildlife Refuge is a very fragile, spring-fed estuary on Florida's Gulf Coast, north of Tampa. I was overwhelmed by its lush, primeval beauty on my first visit over 30 years ago and have photographed there extensively since 2004. The dense palm hammocks and hardwood forests were festooned with ferns and orchids and the fresh water creeks were a clear azure. There are other similar estuaries nearby but the Chassahowitzka River and the surrounding wetlands are protected as part of the federal National Wildlife Refuge system and the river itself is designated as an Outstanding Florida Water. Unfortunately, saltwater began creeping up into the spring creeks around 2011. Rising sea levels due to climate change are the primary cause. However, the saltwater intrusion was accelerated when the state water commissioners, appointed by climate change denier and former governor Rick Scott, determined that the wetlands could survive with less fresh water. This new minimum flow policy would allow the state to increase the pumping of fresh water for large-scale inland developments and agricultural interests. The drawdown of fresh water for these lobbyists has taken fresh water away from the aquifer that feeds Chassahowitzka's springs and many others nearby. As the fresh water flow in the estuaries decreased, saltwater advanced upstream and took its place. What had been verdant, semi-tropical forest is now mostly an open plain of grasses relieved by palms and dying hardwood trees. Sabal palms are the most salt tolerant trees in this ecosystem and are the last to expire. This is a widespread phenomenon, occurring all along the Big Bend section of the Gulf coast of Florida. In 2014, I began to photograph in the salt-damaged sawgrass savannas and spring creeks there as a way of reckoning with the ecosystem loss and of understanding what has become of my native Florida. I have narrowed my focus to a small, remote area that I know and love. My intention in bearing witness to this loss has been to portray the ruined landscape with respect, nuance and beauty. To document the progress of the saltwater intrusion, I have re-photographed landscapes that I first photographed as much as 30 years ago. This ruin is the fate of estuaries around the world as sea levels rise. With increasingly fierce storms and extensive flooding along coastal areas, we are reminded that climate change is a certainty and a priority.
Manuel Armenis
Germany
1971
Manuel Armenis is an award winning independent street and fine-art photographer based in Hamburg, Germany, dedicated to documenting daily life. He was born in Mannheim (Germany). He studied at Icart, École de Photographie in Paris (France), and at the University of the Arts in London (England). Since graduating he has been working as an independent filmmaker and photographer. The emphasis of his practice is the realization of long-term projects with a focus on exploring the human condition within everyday and commonplace urban environments. Manuel´s work has been exhibited internationally in galleries in both solo and group shows. His photographs were published in leading contemporary photography magazines and online. He has received numerous awards, including 1. prize winner at the Sony World Photography Awards in 2018, and has been a finalist at the LensCulture Street Photography Awards in 2017 and at the Meitar Award for Excellence in Photography in 2019, among others. Manuel currently lives and works as a freelance photographer in Hamburg, Germany. About Diamond Days The quintessential trait of the mundane is, of course, its lack of spectacle. It is recognizable to us, familiar, in its plainness and with its non-event-character. Due to those alleged properties it is a world that gets all too willingly labeled boring and banal. At times we might even feel offended by its lack of sophistication. We believe to know the mundane well, but, unimpressed by its unremarkable nature, we usually choose to look elsewhere. And yet, as much as we try to ignore it, there remains this suspicion that we might not be able to evade it. An inkling that it might contain something that keeps us connected. The series Diamond Days is an exploration of the commonplace. We are shown snippets of the everyday, fragments of moments, ordinary situations. There is a playful touch to this world, a colorful lightness and warmth, a sense of joy; and yet, these unassuming landscapes seem to contain something else. Elusive. Layered. Ambiguous. A somewhat bleaker undercurrent which might pick up on the sensation of slight unease that we often associate with the ordinary. By carrying signs of human behavior and a way of living, the ordinary provides us with a rendering of the now. But it also contains references to a time gone by and challenges us to look back. It exposes our need to make sense of our lives and raises the tricky question of what could have been. It confronts us with the notion of missed opportunities and unfulfilled dreams. And it reveals our disposition to fill any void with nostalgia.
Diane Fenster
United States
1948
I view myself as an alchemist, using alternative process, toy camera and digital tools to delve into fundamental human conditions and issues. My work is literary and emotional, full of symbolism and multiple layers of meaning with a style that marries photography with evocative and fragmented imagery. I am currently exploring several antiquarian processes including lumen printing and photo-encaustic. My work (exhibited since 1990) first received notice during the era of early experimentations with digital imaging and has appeared in numerous publications. I have been a guest lecturer at many and various seminars and conferences. My work has been internationally exhibited and is part of museum, corporate and private collections. A Long History Of Dark Sleep: Anxiety and insomnia self-portraits during the pandemic of COVID-19 In this time of Covid-19, I sleep alone but fear is my lover. We embrace fretfully and stare at the ceiling. At this late hour, there is no one to call, all the lines are dead and the buses have stopped running. This is my chance to record anxiety, to photograph the noir that surrounds me and find some truth and perhaps beauty in the dead of night. The camera comes to bed with me and a flashlight is my light-source. I have never liked being photographed. A series based on self-portraits could not have happened until this moment in time. Coming face to face with potential death carried on the breeze by an invisible agent has the power to propel me to self-examination in spite of distress. My aim is fretful, the focus unsteady. It's all about chance, isn't it, what the lens captures, who gets the virus.
Elisabeth Sunday
United States
Elisabeth Sunday has been photographing indigenous people across the African continent for the last 26 years. Using a flexible mirror she created for the purpose (and hand carries unaccompanied to some of the most remote and dangerous spots on earth), Sunday has created her own analog process that prefigured Photoshop that she calls "Mirror Photography". Her method of photographing her subjects emphasizes and enhances their grace, elongating the body and the folds of their garments, creating an impressionistic effect one might be used to seeing in painting but which is unexpected in a medium from which we often expect a more literal representation. The effect is closer to that of dance, in which the body has reshaped itself and learned to move in a way that proclaims and exaggerates all its best qualities, while momentarily silencing its flaws, and in which movement itself has an aesthetic, rather than merely practical, purpose. Typically Sunday captures an elongated vertical reflection, rushing and bleeding like a single expressive brush stroke. Although Sunday herself is never visible in the frame, she is as much actor as she is director within the drama of these photographs, as she strives to represent not so much the personal characteristics of her subjects, but an essential gesture that connects a given incarnation with the long history of the soul. In her Anima and Animus series, Sunday mediates on eternal masculine and feminine energies, using warlike Koro men and nomadic Tuareg women as subjects. The Anima women are hidden under flowing garments, slanting to left or right or reaching upward like dark flames against the steady white curve of a dune. The Animus figures rise like tough young trees or spears, rooted somewhere beneath the picture plane. Grace and violence here seem cast together in a solid block, As with so many of Elisabeth Sunday's figures, these seem composed of stone or bone more than living flesh. Elisabeth Sunday has shown in galleries and Museums the world over including the Cleveland Museum of Art, Centre cultural Calouste Gulbenkian, Paris, France, the African American Museum, Los Angeles; International Photography Biennial, Brecsia, Italy, UC Berkeley Art Museum; Salle d' Exposition, Arles, France, Le Maison de la Photographie, Aosta, Italy, Exploratorium Museum, San Francisco, CA Smithsonian Anakostia Museum, Center for African American History and Culture, Washington D.C. The Museum of Fine Arts, Houston, and The Los Angeles County Museum of Art. Her work is included in major collections: The Corcoran Art Gallery, The University Art Museum at Berkeley, The Cantor Art Center at Stanford University, The Los Angeles Museum of Art, The Museum of Fine Art-Houston, Le Bibliothèque Nationale de Paris, France, The San Francisco Museum of Art, and The Eastman Kodak Collection. Her private collectors include Graham Nash, Quincy Jones, Gloria Steinem, Linda Grey, Bill Cosby, Bonnie Raitt and Alice Walker.Source Frank Pictures Gallery
Kathryn Oliver
United States
Kathryn discovered a love for making pictures as a small child and developed a rich inner life of impressions. As she grew, creative aspirations led her to bring this inner world forward through art. Self taught, her creative journey has repeatedly taken her into the field of metaphor and myth as a way to express something eternal within herself. Her professional arts background of painting, theater and dance feeds the photography she does now as she blends hints of all these elements into her images. She currently creates and exhibits black and white fine art photography and photo encaustics, teaching workshops on the midcoast of Maine throughout the year. Drawn to the symbolic language of myth and archetypes, I am forever on a quest, seeking a visual narrative that evokes an internal recognition of nature — something in exile, lost, or hidden — yet leaves an impression inwardly known.About the series The Wild Garden Of Childhood: When I was a child the best part of me was wild. The Wild Garden Of Childhood is an exploration into the untamed vitality and sacred beauty of being young. That universality of raw spirit, where emotional authenticity reigns naturally and fiercely -- dancing on the edge of innocence. Arising from my own fragmented memories, inspired by the open innocence and un-self conscious freedom of my subjects, a world is conjured, somewhere between the real and imagined - where the fertile ground of being is at play. The most precious of stories are stored away for safe keeping, Somewhere In the wild garden of childhood awaiting becomingness
Javier Arcenillas
Javier Arcenillas is a Spanish freelance photographer, with a degree in Evolutionary Psychology from the Complutense University of Madrid. He is Professor of documentary photography at the PICA School of PHE and editor of photographic projects. Arcenillas develops humanitarian essays where the protagonists are integrated in societies that limit and aggregate all reason and right. He has won several international prizes, including The Arts Press Award, Kodak Young Photographer, European Social Fund Grant, Euro Press of Fujifilm, FotoPress, UNICEF, Sony World Photography of the Year, POYI, POYILatam, Fotoevidence, Gomma Grant, W. Eugene Smith Grant 2013, Getty Images Grant, PDN 2018, World Press Photo 2018, Lucas Dolega 2019. In 2013, Javier Arcenillas entered the dictionary of Spanish photographers. It has 4 books published, City Hope on the satellite cities that populate the landfills of Latin America, Welcome that tells the story of the Rohingya refugees of Myanmar in the Kutupalong camp, Sicarios on the hitmen in Central America and UFO Presences in 2018, the fun project about the spaces of UFO sightings and the way of transformation that localities, roads and cities turned into a legend. Aliens, Area 51, Death Valley or Roswell. The project that conceptualizes in images, maps and graphics the UFO phenomenon offers us places where these strange appearances have entered a unique subculture in the environment, endowing it with a singular energy. In the year 2016 La Fabrica publishes a Photobolsillo within the Photographers Spanish collection. His most complete news articles outside Spain can be read in Time, CNN, IL Magazine, Leica Magazine, Der Spiegel, Stern, Esquire, GEO, El Mundo, PAPEL, VICE News, TRIP, Matador, Man on the Moon, L´Expresso, Zazpika, Primera Linea, El País Semanal, Planeta Futuro, Libero, Gatopardo, El Confidencial, El periódico de Guatemala, Sputnik News as most important magazines. His work is distributed by the Agency LUZ. CITY HOPE Since the mid-nineties settlements bordering on rubbish dumps in the major capitals of Central America and Caribean have experienced a radical transformation. Now a days there are numerous families living in the recycling of waste in these macrociudades of disposable plastic or glass, their economic survival depends on it. Neighborhoods such as La Esperanza in Guatemala, La Duquesa on the Dominican Republic or in Managua Acahualinca fairly communities adapted to the collection of waste in landfills. This essay shows how and where they live hundreds of people in Latin America whose work is not the collection of organic waste. LATIDOAMERICA Latidoamerica is a Photojournalistic Research project that describes and analyzes violence in Central America, one of the most dangerous places in the world documenting the direct consequences of violence Sumida in revolutions, dictatorships, genocides, wars or political lack of control inheriting in each country, these Societies use the fear learned in their worst years to coexist daily with death and criminality in each city. This inheritance that left so much death has transformed the way of thinking and acting in the area. Today, a large part of its citizens live in fear and insecurity of certain death by firearm, rape, aggression, extortion, kidnapping and murder. Since the end of hostilities in countries like El Salvador, the young people who emigrated due to the war in the United States returned as street soldiers with new laws and regulations. The gangs known as "Maras" are responsible for that fear in which they live because they have bloodied any attempt at peaceful democratic socialization and have led the country to a new undeclared war in which Salvadorans are the victims. Similar circumstances in Guatemala where after years of dictatorship, genocide and death professions like that of Sicario end up seducing the poorest young people for the fear and respect they instill. The hired killer recruits teenagers attracted to fast money. Her main game is fear and her job is intimidation and death. In order to ‘graduate' these assassins murder a person on the condition that the situation involves risk. But it is not the only problem, in these countries without war where deaths from violence occur every hour, their social portrait is considered the most terrifying place in the world according to the United Nations. In Honduras, its geographical value is a place of transit for drug trafficking, a constant fight by drug cartels, a country that does not generate social policies. It is the heartbeat of America. CITIZENS OF DESPAIR More than years after his expulsion from Myanmar, thousands of unregistered Rohingya refugees living in makeshift camp Kutupalong, Bangladesh, have been forcibly displaced from their homes, in an act of intimidation and abuse of local authorities. Some international organizations have been treating many people for injuries where the majority were women and children victims of rejection and the disdain and the situation seems to be moving to nowhere. The Rohingya are a small Muslim ethnic group have for years been fleeing the northern Rakhine state of Myanmar which were subject to cruel of Abandonment, violence and exploitation. AmA The story begins like this... "In Genesis there was only the sea. Everything was dark, neither sun nor moon, the water was the mother and her cloak covered everything." For indigenous people there is no difference between dream or reality, day and night, visible or invisible.... Everything is equally real with the eyes open or with them closed. The native, like Alicia, pierces the mirror of appearances naturally but not always with tranquility because if the imaginary is sobering it also has its black and white. EdeN is a story, an illusion that we build in its most spiritual and dreamy emotional state. For generations, indigenous people have explored light and the subconscious on trips beyond reason about a latent unreality of space / time, that origin is found in the need for mastery of the cosmos. They are dreams materialized in a hidden place of the mind. In a meeting of two worlds their universes divide or intertwine over water or earth, the ground and the stars, consciousness and matter. The project embraces an imaginative and unreal photography that plays with illusion and fable as a different form of viewing. That exploration that directs us to delve into the narrative forms of visual expression.
Klavdij Sluban
France
1963
Klavdij SLUBAN, winner of the European Publishers Award for Photography 2009, of the Leica Prize (2004) and of the Niépce Prize (2000), main French prize in photography, Klavdij Sluban is a French photographer of Slovenian origin born in Paris in 1963. He develops a rigorous and coherent body of work, nourished by literature, never inspired by immediate and sensational current affairs, making him one of the most interesting photographers of his generation. The Balkans, the Black Sea, the Baltic Sea, the Caribbean, Central America, Russia, China and the Antarctic (first artistic mission in the Kerguelen islands) can be read as many successive steps of an in-depth study of a patient proximity to the encountered real. His images have been shown in such leading institutions as the Metropolitan Museum of Photography of Tokyo, the Maison Européenne de la Photographie in Paris, the Rencontres d’Arles, the Museum of Photography in Helsinki, the Fine Arts Museum in Canton, the Musée Beaubourg, the Museum of Texas Tech University… His many books include East to East (published simultaneously by Actes Sud, Dewi Lewis, Petliti, Braus, Apeiron & Lunwerg with a text by Erri de Luca), Entre Parenthèses, (Photo Poche, Actes Sud), Transverses, (Maison Européenne de la Photographie) and Balkans -Transit, with a text by François Maspero (Seuil). Since 1995, Sluban has been photographing teenagers in jails. In each prison he organizes workshops with the young offenders to share his passion. First originated in France, in the prison of Fleury-Mérogis with support of Henri Cartier-Bresson during 7 years, as well as Marc Riboud and William Klein punctually. This commitment was pursued in the disciplinary camps of Eastern Europe –Serbia, Slovenia, Ukraine, Georgia, Moldavia, Latvia – and in the disciplinary centres of Moscow and St Petersburg as well as in Ireland. From 2007 to 2012, Sluban has been working in Central America with imprisoned youngsters belonging to maras (gangs) in Guatemala and Salvador. In 2015, he started photogrphing imprisoned teeangers in Brazil. In 2013, the musée Niépce showed a retrospective of K.Sluban’s work, After Darkness, 1995-2012. In 2015/16, he was awarded the Villa Kujoyama Residence in Kyoto, Japan. K.Sluban is member of national and international jurys, such as prix Niépce, prix de la Jeune Photographie de Niort, prix Leica, All About Photo…
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AAP Magazine #54 Nature
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