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FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
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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

Konstantinos Tsakalidis
Konstantinos Tsakalidis
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Konstantinos Tsakalidis was born in 1986 in Serres, Greece. He graduated from the Department of Informatics of Technological Educational Institute of Thessaloniki and from the Photographic Centre Stereosis. He is a freelance photojournalist based in Thessaloniki, Greece. He documented the Greek crisis related issues since 2013 as well as the 2015 Greek bailout referendum. In 2015-2016 he documented the route of thousands of refugees from the islands of the eastern Aegean Sea to central Europe through the Balkan countries, as well as their life in the improvised camp of Idomeni at the Greek - North Macedonia borders. In August 2021 assigned from Bloomberg News to cover the wildfires in Athens and Evia island. Tsakalidis currently is a co-founder member of the collective Greek photo agency SOOC Images and contributor for Bloomberg News in Northern Greece, covering social, economy and political issues with a focus on Greece, Eastern Europe and Turkey.
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Steve Dinberg
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Christian Tagliavini
Christian Tagliavini
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Christian Tagliavini was born in 1971 in Switzerland, where he currently lives and works as a fine art photographer and craftsman. His work is heavily shaped by a childhood spent in Parma, where he grew up immersed in the rich artistic culture of the Plain of the Po, Italy’s longest river. Tagliavini’s evocative images represent just the final stage in his artistic process. His photographs capture the creative vision in his mind’s eye, which he brings to life with handcrafted props, made-to-measure costumes and unconventional models. This behind-the-scenes work establishes him as an artisan- photographer. Choosing unexplored concepts as themes, Tagliavini’s work narrates open-ended stories, inviting the viewer to actively experience unique ideas, sensations and feelings, and ultimately decide the ending for themselves. A self-taught photographer, Tagliavini originally trained in architecture and worked as a graphic designer. His interest in photography was sparked in 2000, at a photographic exhibition in Milan. Fascinated by the technical aspects of photography, he tried his hand at several photographic disciplines before discovering that the mise-en-scène technique was the most effective way to capture the stories that lived in his imagination. Embracing the art of slow photography, Tagliavini’s creative approach involves meticulous planning and careful design. Each project begins with initial historical and iconographic research, feasibility assessments, sketches, storyboarding, colour experimentation, and composition before he sets about making his vision a reality. Tagliavini uses various techniques to handcraft each and every detail, including the props and backdrops. Each costume is fashioned to Christian’s detailed designs, including the fabric and colour choices, and is made-to-measure for each model. Where possible, Tagliavini prefers to work with non-professional models, drawing inspiration from their spontaneity and curiosity. A champion of unconventional beauty, he has always favoured personality over a classical aesthetic. His models represent the only detail of his work that he cannot control: their expressiveness is instinctive and they often inspire him to take his stories in completely new directions. This unscripted detail casts him in the role of observer rather than director. Christian Tagliavini won the Hasselblad Masters Fine Art Category in 2012 and the IPA Fine Art: Portrait prize in 2013. His work has been exhibited in many art galleries and museums worldwide.
Kristina Lerner
Kristina Lerner
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I was born in Koln and spent all my life so far, between Rome, Milan and Paris. Even if we are living in a time where is not really trendy, I feel myself deeply Europeen. I choose photography to became my language, because I felt it is universal, the only filter you have to use is your own mind-eyes. Below the essential of my biography I am a photographer since 1989. I attended 2 years of courses at ISF (Instituto Superiore di Fotografia) in Rome between 1987/89 and moved, for the first time, to Paris from 1989 to 1996, working, among others for the Louvre Museum. Back and forth from France to Italy In 2000 I received the Honorable Mention of Leica Oskar Barnack Award. That same year I started the project Pornoland, a photographic journey on pornographic movie sets around the world. In 2004 Pornoland became a book enclosing 16 pages of text by English writer Martin Amis. Pornoland has been published by : Thames & Hudson, Knessebeck, La Martinière and Contrasto. 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In 2006 I embarked on the project Cinema Mundi, a World Cinema exploration of the alternative cinematographic scene external to the Hollywood dream factory including China, Russia, Iran, Argentina, Nigeria, South Korea and India. Cinema Mundi has been also transformed into a 7 minutes short movie screened at Locarno International Film Festival on August 4th, 2007. I have been awarded in the World Press Photo contest four times in different categories (1998-2007-2010-2011). In 2009 the Moving Walls of Open Society Foundation exhibited my work in Washington and New York. In 2010 I was the recipient of the Days Japan International Photojournalism Award and the Getty Grant for Editorial Photography, Syngenta Prize 2015, CNC grant for the documentary"Mare Amarum" 2019, Planches Contacts grant 2021 and I was the recipient of Strategie Fotografia grant from the Italian Ministry of Culture in 2022. I published 6 books Pornoland (Contrasto 2004), Blanco, (Trolley book 2010) iDyssey, (Edition Bessard 2017) Babel with Michela Battaglia (Postcart 2018) Pornoland Redux (Self-published 2021) Il Bel Paese (L'Artiere 2023). T.I.A Africa is a continent. But Africa is also a well-defined place in my mind. Africa is unique. Every time I have had the opportunity of going there I have come face to face with incredible tragedies but also with the unwavering hope of its people. Ever since my first journey to South Africa in 1989, where I saw Walter Sisulu walk free in Soweto after years of imprisonment, I continue to be both deeply moved and deeply shocked by all the stories I have witnessed and heard. Every time I step onto African soil I know I will experience something deep, something that inevitably leads to a search for the meaning of life, something that, for me at least, surfaces from deep within when I am in Africa. The questions raised call for humbleness, since often they are without answers. We know that the truth often lies in the middle folds of things. This project aims to raise questions and provoke thoughts which could, perhaps, lead to some answers and which in turn could correspond to some truths. I have tried to conceive this project as a poem. Or perhaps it would better be described as a ballad. The ballad with verses which challenge and play with each other. In the space between two facing photographs there is a story. One of the thousand stories I witnessed in Africa, one of the thousand questions I asked myself, one of the thousand experiences I was fortunate to live. The photographs represent the two extremes of the story that links them: the beginning and the end. I couldn't find a better form of expressive language to convey how Africa is an all-encompassing experience for any human being wishing to embrace it to its full. A painful yet joyful ballad of my personal and ongoing relationship with this continent. This is why I have called it "This is Africa". I should probably have called it "This is my vision of Africa" but it didn't sound the same. By no means does this mean it is the only view of Africa. I know it may seem inadequate and subjective. But so is everything in life, I guess. So, This is Africa. Blanco How does the look of a blind person look like? Can the blind show joy, happiness, disappoint, pain, suffering, pity, regret, with the only use of their eyes? The absence of sight can mean also the absence of complicity behind the camera's lens? We always use the term blind to characterize a person, such as blond, fat, poor, rich. And maybe, in some way, it is the truth. It doesn't matter if it happens in Africa, Asia, or the old Europe. The fact is, they cannot see the light, the colors, the daily scenes, how awful or gorgeous they can be. The blind are a contrast. It is easier to ignore them, their handicap is hidden, but they do have it. It's not necessary to turn the face to something or someone else, they won't see it. They seem 'normal', but they're not. They have their own world, the same and another than ours, made of different feelings, different images, different colors. And dark.
Henri Cartier-Bresson
Henri Cartier-Bresson
France
1908 | † 2004
Born in Chanteloup, Seine-et-Marne, Henri Cartier-Bresson developed a strong fascination with painting early on, and particularly with Surrealism. In 1932, after spending a year in the Ivory Coast, he discovered the Leica - his camera of choice thereafter - and began a life-long passion for photography. In 1933 he had his first exhibition at the Julien Levy Gallery in New York. He later made films with Jean Renoir. Taken prisoner of war in 1940, he escaped on his third attempt in 1943 and subsequently joined an underground organization to assist prisoners and escapees. In 1945 he photographed the liberation of Paris with a group of professional journalists and then filmed the documentary Le Retour (The Return). In 1947, with Robert Capa, George Rodger, David 'Chim' Seymour and William Vandivert, he founded Magnum Photos. After three years spent travelling in the East, in 1952 he returned to Europe, where he published his first book, Images à la Sauvette (published in English as The Decisive Moment). He explained his approach to photography in these terms, "For me the camera is a sketch book, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously. It is by economy of means that one arrives at simplicity of expression." From 1968 he began to curtail his photographic activities, preferring to concentrate on drawing and painting. In 2003, with his wife and daughter, he created the Fondation Henri Cartier-Bresson in Paris for the preservation of his work. Cartier-Bresson received an extraordinary number of prizes, awards and honorary doctorates. He died at his home in Provence on 3 August 2004, a few weeks short of his 96th birthday.Source: Magnum Photos His technique: Henri Cartier-Bresson almost exclusively used Leica 35 mm rangefinder cameras equipped with normal 50 mm lenses or occasionally a wide-angle for landscapes. He often wrapped black tape around the camera's chrome body to make it less conspicuous. With fast black and white films and sharp lenses, he was able to photograph almost by stealth to capture the events. No longer bound by a huge 4×5 press camera or an awkward medium format twin-lens reflex camera, miniature-format cameras gave Cartier-Bresson what he called "the velvet hand [and] the hawk's eye." He never photographed with flash, a practice he saw as "Impolite...like coming to a concert with a pistol in your hand." He believed in composing his photographs in the viewfinder, not in the darkroom. He showcased this belief by having nearly all his photographs printed only at full-frame and completely free of any cropping or other darkroom manipulation. Indeed, he emphasized that his prints were not cropped by insisting they include the first millimetre or so of the unexposed clear negative around the image area resulting, after printing, in a black border around the positive image. Henri Cartier-Bresson worked exclusively in black and white, other than a few unsuccessful attempts in color. He disliked developing or making his own prints and showed a considerable lack of interest in the process of photography in general, likening photography with the small camera to an "instant drawing". Technical aspects of photography were valid for him only where they allowed him to express what he saw: "Constant new discoveries in chemistry and optics are widening considerably our field of action. It is up to us to apply them to our technique, to improve ourselves, but there is a whole group of fetishes which have developed on the subject of technique. Technique is important only insofar as you must master it in order to communicate what you see... The camera for us is a tool, not a pretty mechanical toy. In the precise functioning of the mechanical object perhaps there is an unconscious compensation for the anxieties and uncertainties of daily endeavor. In any case, people think far too much about techniques and not enough about seeing." He started a tradition of testing new camera lenses by taking photographs of ducks in urban parks. He never published the images but referred to them as "my only superstition" as he considered it a 'baptism' of the lens. Henri Cartier-Bresson is regarded as one of the art world's most unassuming personalities. He disliked publicity and exhibited a ferocious shyness since his days in hiding from the Nazis during World War II. Although he took many famous portraits, his own face was little known to the world at large (which presumably had the advantage of allowing him to work on the street in peace). He dismissed others' applications of the term "art" to his photographs, which he thought were merely his gut reactions to moments in time that he had happened upon. "In photography, the smallest thing can be a great subject. The little human detail can become a leitmotiv."Source: Wikipedia Henri Cartier-Bresson has intuitively chronicled decisive moments of human life around the world with poetic documentary style. His photographs impart spontaneous instances with meaning, mystery, and humor in terms of precise visual organization, and his work, although tremendously difficult to imitate, has influenced many other photographers. His photographs may be summed up through a phrase of his own: "the decisive moment," the magical instant when the world falls into apparent order and meaning, and may be apprehended by a gifted photographer.Source: International Center of Photography
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