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Win a Solo Exhibition this October, Open Theme. Juror Aline Smithson.
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Aaron Siskind
© Jonathan Williams · Portrait of Aaron Siskind
Aaron Siskind
Aaron Siskind

Aaron Siskind

Country: United States
Birth: 1903 | Death: † 1991

Aaron Siskind was born on December 4, 1903 in New York. He was the son of Russian Jewish immigrants and the fifth of six children. After receiving his Bachelor of Social Science degree from the College of the City of New York in 1926, he went on to teach high school English in the New York public school system for 21 years. His first loves were music and poetry, but he took an interest in photography after his 1929 wedding, when he received his first camera as a honeymoon present. He began his career in photography as a documentarian in the New York Photo League in 1932. From 1936 to 1940, he oversaw the League’s Feature Group as they created documentary photo essays of political importance, fueled by a desire for social change.

On the invitation of Harry Callahan, Siskind joined the faculty of the Institute of Design in Chicago in 1951, taking over as head of the photography program in 1961, when Callahan left. Siskind and Callahan, famous for their synergy as teachers and photographers, reunited in 1971 when SIskind left the Institute of Design for the Rhode Island School of Design where Callahan then taught. Siskind continued to teach at RISD until his retirement in 1976. He traveled broadly, making multiple trips to Mexico and Italy, including a stint in Rome, funded by his 1966 John Simon Guggenheim Memorial Fellowship.

Siskind died at age 87 in Providence, Rhode Island. The Aaron Siskind Centennial Celebration took place in 2003 and 2004, with exhibitions at more than a dozen institutions across the country, each devoted to a different period or theme of his life and work.
Selected Books on Available on Amazon
Aaron Siskind: Another Photographic Reality
Aaron Siskind: Another Photographic Reality
Aaron Siskind, Charles Traub, Gilles Mora
Aaron Siskind 100
Aaron Siskind 100
Aaron Siskind
Harlem Photographs 1932-1940
Harlem Photographs 1932-1940
Aaron Siskind, Maricia Battle, Gordon Parks
Road Trip: Photographs 1980-1988
Road Trip: Photographs 1980-1988
Aaron Siskind, David Featherstone, Charles Traub
Aaron Siskind: Photographs, 1932-1978
Aaron Siskind: Photographs, 1932-1978
Aaron Siskind, Peter Turner

Galleries

Bruce Silverstein Gallery

Etherton Gallery

Website

Aaron Siskind Foundation

 

Selected Books

Aaron Siskind: Another Photographic Reality
Aaron Siskind: Another Photographic Reality
Aaron Siskind, Charles Traub, Gilles Mora
Aaron Siskind 100
Aaron Siskind 100
Aaron Siskind
Road Trip: Photographs 1980-1988
Road Trip: Photographs 1980-1988
Aaron Siskind, David Featherstone, Charles Traub
Aaron Siskind: Photographs, 1932-1978
Aaron Siskind: Photographs, 1932-1978
Aaron Siskind, Peter Turner

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More Great Photographers To Discover

Michel Kameni
Michel Kameni
Cameroon
1935 | † 2020
The work of Michel Papami Kameni tells a unique story of post colonial Cameroon, a period of transition in the wake of a new found independence like in so many other African countries. In his studio in the Briqueterie district of Yaounde, it was the whole of Cameroonian society that passed before his lens. A mix of stunning portraits and subjects from all social circles and different cultural backgrounds, Christians and Muslims, urban socialites to provincial farmers all travelling through this great city. We see in his images the dreams and aspirations of a nation in transition, new musical influences and western fashions, a natural fusion between the tradition and the modern. The work of Michel Kameni explores the rapid evolution of a postcolonial Yaounde (from 1963) by portraying its inhabitants with an incredible kindness and passion, these images are more than just a document, they are an intimate study of the relationship between the photographer and his subject. Studio Kameni is a project that aims to explore, discover and give new life to the photographic archives of this unique body of work brought into public view for the very first time.
Iwao Yamawaki
Iwao Yamawaki
Japan
1898 | † 1987
Iwao Yamawaki, born Iwao Fujita, was a Japanese photographer and architect who trained at the Bauhaus. Born in Nagasaki, Yamawaki studied architecture at the Tokyo School of Fine Arts (now the Tokyo University of the Arts) from 1921 to 1926. After his graduation, he worked as an architect for the Yokogawa Construction Company and began to take photographs, which he submitted to the publications and competitions of Kenchiku Gakkai (the Society for Architectural Research). He was active in theatre circles as a costume and set designer and in 1926 he founded the Ningyō-za theatre in Tokyo with Koreya Senda (1904–1994) and others, and became involved with Tan'i Sanka, an avant-garde artists' group, where he met the Bauhaus student Sadanosuke Nakada (1888–1970), and where he later became friends with Takehiko Mizutani (1898–1969), the first Japanese student to study at the Bauhaus. He was formally introduced to Michiko Yamawaki (1910–2000), an heiress and the eldest daughter of a wealthy businessman, whom he married in 1928. He was asked by her father to adopt her family name, which he did in return for is new family-in-law financing the opportunity for both of them to study at the Bauhaus. In May 1930 Iwao and Michiko left Japan for New York, where they spent two months, before traveling to Berlin, where they were reunited with Koreya Senda, who had already been living in Berlin for about two years. Senda, a politically active socialist, was involved with underground theatre in Berlin, and with the Japanese artistic community in the city, to which he introduced the Yamawaki to. They often gathered in decadent bars, such as the El Dorado, a famous gay, lesbian and trans venue. In 1930 Yamawakis, together with Senda, the painter Osuke Shimazaki, lacquer artist Kotaro Fukuoka and photographer Hiroshi Yoshizawa, founded the design studio Tomoe in Berlin. The studio produced posters, gift-wrap paper, and leaflets, and undertook window dressing and interior design for Japanese restaurants. In October 1930 the couple began Josef Albers' first semester preliminary course at the Bauhaus in Dessau. In April 1931 Michiko went on to study in the weaving workshop and Iwao initially studied architecture, but a few months later he changed to the photography course taught by Walter Peterhans. Iwao developed a close friendship with fellow student and later Bauhaus teacher Kurt Kranz. Kranz was interested in photomontage and introduced Yamawaki to it. Iwao Yamawaki had a strong interest in architectural photography and took many photographs of the exterior and interior of the famous Bauhaus Dessau building complex, as well as of buildings in Berlin, Amsterdam and Moscow. His photographs are strongly influenced by the Neues Sehen (New Vision), an avant-garde movement of the 1920s and 1930s espoused by Bauhaus teacher László Moholy-Nagy, which encouraged photography of ordinary scenes using unfamiliar perspectives and angles, close-up details, use of light and shadow, and experimentation with multiple exposure. Senda and his wife, Irma, returned to Japan in January 1931 on the Trans-Siberian Railway. They stayed for a time in Moscow on their way back, and Yamawakis and several others in the Berlin Japanese artistic community joined them for a week, visiting the theatre and seeing the sights. The couple remained in Germany until the Bauhaus Dessau closed at the end of August 1932, when they returned to Japan. On his return to Tokyo, Yamawaki taught photography for 6 months at the Shinkenchiku kōgei (New Architecture and Design College), which was known as the 'Japanese Bauhaus'. He exhibited some of his work, but was dissatisfied with the Japanese photographic scene and gave up photography altogether. He became a successful architect and designed houses for the wealthy, developing a hybrid Japanese and Western design style, with architects such as Mies van der Rohe and Le Corbusier as his influences. Yamawaki also worked as an architectural journalist and was widely published. He designed a modernist villa for himself and his wife in 1934 and they furnished it with pieces that they imported from Germany, such as the Wassily Chair. He established his own architectural office in 1939 and designed the interiors of the Japanese pavilion in the Government Zone at the 1939–1940 New York World's Fair. The Yamawakis had two children in the late 1930s – early 1940s. Although they had mixed in a socialist milieu in Germany, during World War II they collaborated with the ruling Japanese fascist regime. In 1953 Yamawaki designed the Haiyūza theatre for his old friend Koreya Senda, and in 1954 and 1971 Iwao and Michiko Yamawaki brought Bauhaus exhibitions to Japan. However, in the post-war years, they both largely fell into obscurity.Source: Wikipedia
Vivian Wan
Vivian Wan
United States
1998
Vivian Wan is a photographer whose work bridges conceptual, fine art portraiture, and narrative photography. She delves into storytelling and environmental portraiture, using both realistic and fictional perspectives, and frequently incorporates everyday scenes that evoke an uncanny atmosphere. Her work examines the complex interplay between fantasy, narrative, and photography, focusing on the evolution of staged imagery. Inspired by Victorian tableaux vivants—elaborate, posed scenes crafted to resemble paintings—Wan revitalizes this historic style, presenting it through a modern lens. Her photographs go beyond straightforward documentation, merging elements of the real and the surreal to create an engaging narrative space where imagination and lived experience intersect.
Ricardo Reis
Ricardo Reis
Portugal
1981
Why I Photograph As a young person, I needed and had to put out there so many things that were stuck inside me, and very quickly, I realized that I had a different way of seeing the world. I started noticing that even if there were many people looking at the same thing as me, they weren't seeing what I was seeing. Photography became the most realistic representation of my perspective. Photography blends all the art mediums and I am inspired to create amalgamations of the dream world with the real. I love the challenge of being able to put onto paper the ideas and surreal world of my own creation. My Purpose When I create a photograph image, I want to engage in a dialogue-to make the viewer feel something, even if it's a negative reaction. I appreciate the negative reaction, because I understand I've drawn something out in the viewer: an honest reaction is more potent than an indifferent one. I want to be able to convey an inner conversation-an ambience, a vibe- to create curiosity in the viewer for the lives and moments depicted in my images. My Method I prefer to shoot with black and white 35mm film, because I find it's more honest and direct, at least for me. I like the mental exercise of having to prepare the picture in your mind first and do the chain of thoughts necessary to translate the idea into the final work. Color can be distracting and disruptive of the real intent and emotion I am trying to achieve. My favorite camera is the Canon EOS 1 RS film camera; it has plenty of functions which allow me to have more control over the final product. I love to prepare a playlist and just go and take a walk with my camera and put myself in the mood: a limbo between voyeurism and participant. My Path When I started I wanted to be a war photographer, but in my home country of Portugal, it's very difficult to get the connections necessary to achieve that. I was fortunate to get an internship at a daily newspaper in Portugal which led to my work being published in several major newspapers and magazines. I began to work more in fashion photography and was assigned to the fashion weeks that took place in Europe. During the shows, I found that I always preferred the backstage where I had more freedom to do different things, take more risks. Photography has been the driving force through all my creative pursuits. My love of music, music photography and music videos comprise a large part of my work. As a cinematographer/director for album and DVD covers, I work in collaboration with several European photography agencies in Portugal and in the UK. The more artistic side of my work is represented in several countries and in private collections, from Canada, the UK, France, Netherlands, Australia, China, Portugal, and the United States. Currently I am living in Lisbon, but who knows what's next.
Souichi Furusho
Souichi Furusho
Japan
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I live in Kumamoto-Japan, and work as a graphic designer in the field of advertising media. I discovered iPhoneography on Facebook and Flickr a couple of years ago, about the same time I bought my iPhone. That was followed by a variety of delightful encounters with people online. I have since participated in exhibitions in "Spain, The Netherlands, and California" along with iPhonegraphers from various countries. Although I had no prior experience whatsoever as a photographer, I was familiar with working with photographs as part of my career in graphics. My style is what I call "freedom & simple", and I approach it from many different angles. This style is the result of pursuing my own vision, which is represented by my works. iPhoneography has provided interesting opportunities for my new form of representation. The umbrella has become a symbol essential to my work. For me, the umbrella embodies the thoughts and dreams of people. This is a series of images using the umbrella as “a vehicle which carries a dream.
Camilla Gorini
Camilla Gorini
Italy
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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'.
Deba Prasad Roy
Deba Prasad Roy
India
I was born in the year 1952 and clicked my first photograph in the year 1968 with an Agfa CLICK III camera. Then I used Agfa ISOLI 2 for some years. In 1992 I bought Pentax K 1000. & NIKON film cameras till 2008. I was a member of “Photographic Association of Bengal” since September 2003 to March 2012. I acquired a bit of proficiency in photography following the senior photographers of the club (not in age), who are entitled to write distinctions approved by The International Federation of Photographic Art (FIAP), & The Photographic Society of America (PSA). In this period I have participated hundreds of FIAP & PSA approved Salons and other photographic competitions. After my official retirement from Banking Service, I engage myself as a Freelance Documentary & Travel photographer to pass my retirement holidays and as a passionate and serious photographer ”Participated and still participating in photography competitions throughout the world and try to win prizes and recognition.. I am a professional photographer from my heart (Not as those who sell their photographs for their livelihood or those who are working as an employee in any organization.). I never sold a single photograph in my livelihood i.e. for money. So the meaning of a professional photographer is different to me. A NOBLE MISSION A NOBLE MISSION is partially a story of economic exploitation by the employers worldwide in underdeveloped and developing countries and simultaneously deliberate callousness and negligence of the Government and its agencies make this labor force vulnerable in the hands of the entrepreneurs. The other side of the story is the dedication of the two women teachers; their voluntary service to provide a minimum education to those historically illiterate students, no one in the previous generations of them including their parent got any elementary education in any school. We should also keep in mind the economic sacrifice of the teachers, in these days time is money, if they teach any other students in the society they are definitely eligible for remuneration and may get a chance to uplift their own economic status. That is the point which impressed me a lot. PLASTIC RECYCLING AND ENVIRONMENT Plastic pollution is a major global phenomenon that has crept up on us over the decades, and it really requires a global and comprehensive solution that includes systemic rethinks about usage and production. While carbon emissions and water use are pretty firmly embedded in the consciousness of most organizations, the use of plastic generally is not. But campaigners and scientists are increasingly sounding the alarm over the amount of plastic that is used wastefully (think of single-use drink bottles and packaging materials), which ends up as trash in rivers and oceans. Many say that plastic pollution has swelled into a major threat for the world’s oceans and for the global environment as a whole. Here is why: About 300 million tons of plastic is produced globally each year. Only about 10 percent of that is recycled. In other words, because plastic is inexpensive, lightweight and durable, virtually every industry — be it retailing, manufacturing or logistics — loves it. Because it is light and cheap, and because it is so durable, it does not “go away.” Plastic accumulated over half a century is now out there. That could mean reducing wasteful use; collecting, reusing or recycling plastic trash; stepping up the use of recycled plastic or of more easily biodegradable materials; and modifying product designs to minimize plastic use. There by we could leave our world as habitable for our future generations.
Pieter Hugo
Pieter Hugo
South Africa
1976
Pieter Hugo was born 1976 and grew up in Cape Town, South Africa. He is a South African photographer who primarily works in portraiture and whose work engages with both documentary and art traditions with a focus on African communities. Hugo is self-taught, having picked up a camera aged 10. He remembers the first image he printed, which was a homeless person in Johannes. After working in the film industry in Cape Town, Pieter Hugo spent a two-year Residency at Fabrica, Treviso, Italy. Hugo has called himself a political-with-a-small-p photographer... it's hard not to be as soon as you pick up a camera in South Africa'. He believes that "the power of photography is inherently voyeuristic but I want that desire to look to be confronted." He also states that he is "deeply suspicious of the power of photography." Early on in his career he noticed that, "he often found himself being critically scrutinized by the subject he was photographing. It was then that he decided to switch to a larger and more cumbersome format of photography, one that would require negotiating consent and dialogue with the person being photographed - a more sedate and contemplative approach." He is known to use a Hasselblad camera and regularly shoots in the 4x5 format. His influences range from South African photojournalist David Goldblatt to Boris Mikhailov. However, his work reacts against 'the culture of realism that defined South African photography in the struggle years.' Hugo's first major photo collection Looking Aside consisted of a collection of portraits of people "whose appearance makes us look aside", his subjects including the blind, people with albinism, the aged, his family and himself. Explaining his interest in the marginal he has said, "My homeland is Africa, but I'm white. I feel African, whatever that means, but if you ask anyone in South Africa if I'm African, they will almost certainly say no. I don't fit into the social topography of my country and that certainly fuelled why I became a photographer." This was followed by Rwanda 2004: Vestiges of a Genocide which the Rwanda Genocide Institute describes as offering "a forensic view of some of the sites of mass execution and graves that stand as lingering memorials to the many thousands of people slaughtered." His most recognized work is the series called The Hyena & Other Men and which was published as a monograph. It has received a great deal of attention. Hugo won first prize in the Portraits section of the World Press Photo 2005 for a portrait of a man with a hyena. In 2007, Hugo received the Standard Bank Young Artist Award 07. Hugo was also working on a series of photographs called Messina/Mussina that were taken in the town of Musina on the border between Zimbabwe and South Africa and which was published as a monograph. At the time Colors magazine asked Hugo to work on an AIDS story and he was fascinated by the marginal aspect of the town. This was followed by a return to Nigeria with Nollywood, which consists of pictures of the Nigerian film industry. Permanent Error followed in 2011 where Hugo photographed the people and landscape of an expansive dump of obsolete technology in Ghana. Sean O'Toole writes "if Nollywood was playfully over-the-top, a smart riposte to accusations of freakishness and racism leveled at his photography..., Permanent Error marks Hugo’s return to a less self-reflexive mode of practice." In 2011 Hugo collaborated with Michel Cleary and co-directed the video of South African producer/DJ Spoek Mathambo's cover version of Joy Division's She's Lost Control, the fourth single from his album Mshini Wam. Commissioned by Italian luxury label Bottega Veneta, Hugo photographed models Amanda Murphy and Mark Cox for the brand’s spring/summer 2014 campaign, with the images shot in a wood in New Jersey. In the Spring of 2014, Hugo was commissioned by Creative Court to go to Rwanda and capture stories of forgiveness as a part of Creative Court's project Rwanda 20 Years: Portraits of Forgiveness. The project was displayed in The Hague in the Atrium of The Hague City Hall for the 20th commemoration of the 1994 genocide in Rwanda. A selection of the photos have also been displayed in New York at the exhibition Post-Conflict which was curated by Bradley McCallum, Artist in Residence for the Coalition for the International Criminal Court. Flat Noodle Soup (2016) chronicles Hugo's lengthy engagement with the city of Beijing, exploring how concerns with expressing personal identity within societal norms and pressures are universal and transnational. La Cucaracha is a 2019 body of work made during four trips to Mexico over a two-year period. The photographic series explores Hugo's perception of the flamboyant and violent environment of Mexico with overt art historical references to the nation's visual canon of pre-colonial customs and revolutionary ideology.Source: Wikipedia Between 2006 and 2013, Pieter Hugo worked on a project that he called Kin. This deals with home, proximity, identification and a sense of belonging – something that, in South Africa, he has always experienced as being critical and riddled with conflict: How can one live in this country, which only shed its colonial heritage relatively recently, and which is plagued by racism and a growing chasm between rich and poor? Hugo shot photos at home, in townships and at historical sites, taking portraits of his pregnant wife, of domestic servants and of homeless people. The calm and clearly composed shots show beauty and ugliness, wealth and poverty, private and public, historical and topical. Without either idealising or dramatizing the subject matter, they paint a portrait of the complex society in South Africa today. This is because any notion of harmony in the “Rainbow Nation” is wishful thinking. Even twenty years after the end of apartheid, black and white South Africans are still very much divided. In the series of 94 platinum prints There Is A Place in Hell for Me and My Friends (2011-2012), Pieter Hugo explores the supposed differences between skin colours. To do so, he took portraits of himself and South African friends. The close-ups, generally in the form of frontal head and shoulder portraits, were digitally processed afterwards. The image manipulation, whereby the colour channels were translated into grey tones, emphasise the pigmentation of the skin, using UV irradiation to render visible skin damage and small blood vessels directly beneath the skin. The results are quite astounding: on these photographs, all people are coloured. There is no longer a difference between “white” and “black” skin, but rather a variety of individual shades. The portraits show the powerful presence of each individual and, at the same time, the fragility of all people and the softness and utter vulnerability of their outer shell. With his various photo series, Pieter Hugo has put together an impressive body of work in the space of just a few years. Through this intense perception of corporeality, he captures the complexity and inconsistency of society. Constants in his work include seriousness, neutrality and an underlying respect for his protagonists, whose dignity always remains intact. In this regard, his works are comparable with the monumental portrait works of August Sanders, who created a contemporary picture of the Weimar Republic with his large-scale cycle “Menschen des 20. Jahrhunderts” (People of the 20th Century).Source: Priska Pasquer
Brooke Shaden
Brooke Shaden
United States
1987
Brooke Shaden was born in March of 1987 in Lancaster, PA, USA. She grew up near the "Amish Country" until attending Temple University. Brooke was photographically born in December 2008 after graduating from Temple with bachelor degrees in film and English. She now resides in Los Angeles, CA, USA with her husband and two cats. She began creating self-portraits for ease and to have full control over the images, and has since grown into a self-portrait artist. Self portraiture for her is not autobiographical in nature. Instead, she attempts to place herself within worlds she wishes we could live in, where secrets float out in the open, where the impossible becomes possible. Brooke works to create new worlds within her photographic frame. By using painterly techniques as well as the square format, traditional photographic properties are replaced by otherworldly elements. Brooke's photography questions the definition of what it means to be alive. Discover Brooke Shaden's Interview
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