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Flokje Van Lith
Flokje Van Lith
Flokje Van Lith

Flokje Van Lith

Country: Netherlands
Birth: 1969

Flokje van Lith (1969, Leiden, NL) studied photography at the Royal Academy of Arts, the Hague. Van Lith belongs to the first generation of artists to make full use of the newest Photoshop techniques. With apparent ease, she plays with the different realities that have developed independently of one another within the media of painting and photography. But appearance deceives; the making of the photograph is merely the first in a long line of decisions. The task of achieving the right result takes Van Lith weeks and sometimes months. In her work she explores childhood and its underlying traumas and issues as well as the beauty of innocence and adolescence. The final results, complex portraits of children and young adults, not only have a very aesthetic quality but also seem to tell the story of the subject.The influences of the Flemish Primitives, which can be found in the serenity of the works, but also the personal experience of the artist, resonate from the artworks.

Van Lith won several awards for her work, such as the Silver Award (International Photography Awards), Silver Award (PX3 - Prix de la Photographie) and Third Place (Kontinent Awards). In addition her works have been exhibited at photo festivals nationally and internationally, such as Photo Festival Naarden and Photoville, New York.

Awards: Kontinent Awards: Third Place, Fine-Art/ Single Image/ Professional, International Photography Awards: 8 x Honorable Mention, Fine-Art/ Portrait/ Professional, Fine Art Photo Awards: Professional Nominee, Portrait/Professional, International Color Awards 2015: Honorable Mention, Portrait/ Professional - International Photography Awards 2014: Silver Award, Fine-Art/ Professional - PX3-Prix de la Photographie, Paris, 2014: Silver Award, Fine-Art/ Professional - International Photography Award 2014: 8 x Honorable Mention, Fine-Art/ Professional - New Dutch Photography Talent 2013 - International Photography Award 2013: 4 x Honorable Mention, Fine-Art/ Professional - Photography Masters Cup 2011: 4 x Honorable Mention, Fine-Art/ Professional - International Photography Award 2011: 7 x Honorable Mention, Fine-Art/ Professional.

Exhibitions: (Selection), 2015: Aqua Art Miami (USA), Art Fair COLOGNE (Germany), PAN Amsterdam, KunstRai, Rotterdam Contemporary Art Fair, LXRY (the Netherlands), 2014: Affordable Art Fair Hamburg (Germany), PAN Amsterdam, LXRY, Affordable Art Fair, Raw Art Fair, Realisme (the Netherlands), 2013: LXRY, PAN Amsterdam, Affordable Art Fair, (the Netherlands), 2012, Art Miami Context, Photoville New York, Art Wynwood (USA), PAN Amsterdam (the Netherlands), 2011: PAN Amsterdam, Photofestival Naarden (the Netherlands).

Publications: 2015: LXRY Magazine, PF Magazine, 2014: Art Photo Feature (USA), 2013: Gooi en Eemlander (the Netherlands) 2012: Volkskrant Magazine, De Telegraaf, Haarlems Dagblad (the Netherlands)

Website

www.flokje.nl

 

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Nobuyoshi Araki
Nobuyoshi Araki
Japan
1940
Nobuyoshi Araki is a Japanese photographer and contemporary artist. He is also known by the nickname Arākī. He was born in Tokyo, studied photography during his college years and then went to work at the advertising agency Dentsu, where he met his future wife, the essayist Yōko Araki. After they were married, Araki published a book of pictures of his wife taken during their honeymoon titled Sentimental Journey. She died in 1990. Pictures taken during her last days were published in a book titled Winter Journey. Having published over 350 books by 2005, and still more every year, Araki is considered one of the most prolific artists alive or dead in Japan and around the world. Many of his photographs are erotic; some have been called pornographic. Among his photography books are Sentimental Journey (1971, but later reissued), Tokyo Lucky Hole (1985), and Shino. He also contributed photography to the Sunrise anime series Brain Powered. In 1981, Araki directed High School Girl Fake Diary a Roman Porno film for Nikkatsu studio. The film proved to be a disappointment both to Araki's fans, and to fans of the pink film genre. The Icelandic musician Björk is an admirer of Araki's work, and served as one of his models. At her request he photographed the cover and inner sleeve pages of her 1997 remix album, Telegram. More recently, he has photographed pop singer Lady Gaga. Araki's life and work were the subject of Travis Klose's 2005 documentary film Arakimentari. His works are held in numerous museum collections including the Tate and the San Francisco Museum of Modern Art.Source: Wikipedia Nobuyoshi Araki is a prolific photographer who has produced thousands of photographs over the course of his career. He became famous for Un Voyage Sentimental (1971), a series of photos depicting both banal and deeply intimate scenes of his wife during their honeymoon. A number of his works feature young women in sexualized situations: Kinbaku, a series from 1979, features 101 photographs of women in rope bondage. He typically works in black-and-white photography, and his hallmark style is deliberately casual. “Rather than shooting something that looks like a professional photograph, I want my work to feel intimate, like someone in the subject’s inner circle shot them,” he says. More recently, Araki has been working on a series titled Faces of Japan (2009-) in which the artist photographs 500 to 1,000 people in each of Japan’s prefectures.Source: Artsy Nobuyoshi Araki is a contemporary Japanese photographer known both for his prolific output and his erotic imagery. While sometimes focusing on quotidian subject matter, including flowers or street scenes, it is Araki’s sexual imagery that has elicited controversy and fascination. Similar to the work of Helmut Newton, Araki often addresses subversive themes—such as Japanese bondage kinbaku—in his provocative depictions of female nudes. “Women? Well, they are gods. They will always fascinate me. As for rope, I always have it with me. Even when I forget my film, the rope is always in my bag,” he said of his subject matter. “Since I can't tie their hearts up, I tie their bodies up instead.” Born on May 25, 1940 in Tokyo, Japan, he studied photography at Chiba University, before pursuing a career as a commercial photographer upon his graduation in 1963. In 1970, while working as a freelance photographer, he began to publish numerous photography books, including Sentimental Journey (1971), a visual narrative of the honeymoon with his wife Aoki Yoko. Araki currently resides in Tokyo, Japan, a city that has served as a constant source of inspiration throughout his career. Today, his works are held in the collections of the Institute of Design in Chicago, the Goetz Collection in Munich, and the San Francisco Museum of Modern Art, among others.Source: Artnet
Grace Weston
Grace Weston
United States
Grace Weston creates narrative photography in her studio with miniature staged vignettes that address psychological themes. Among her many honors, most recently Weston made the Top 50 in Photolucida’s Critical Mass 2023, and from that was awarded the additional prize of a solo show for 2025 at the Southeast Center for Photography. Weston was awarded both First Place Overall Portfolio category as well as Gold Winner in the Fine Art Portfolio category in the 2021 Tokyo International Foto Awards. She has earned fellowships from both the Oregon Arts Commission and Artist Trust (Washington State), nominations for Portland Art Museum’s Contemporary Northwest Art Awards (Oregon), and numerous grants during her career spanning more than 25 years. In 2012, she had her first European solo exhibition at Paci Contemporary in Brescia, Italy. An extensive exhibition of her work was shown at the Center for Photography in Yekaterinburg, Russia in 2021. She has exhibited widely in the US, as well as Europe, Scandinavia, Russia and Japan. In 2009, she was a finalist in PhotoEspana’s Descubrimientos exhibition in Madrid and named one of the “Nine to Watch” in the Whatcom Museum Photography Biennial (Washington) in 2008. Weston's work has been acquired by the Portland Art Museum (OR), the Amon Carter Museum of American Art (Fort Worth, TX), the University of the Arts (Philadelphia PA), Seattle Public Utilities Portable Artworks Collection (WA), King County Public Art Collection (WA), Photographic Center Northwest (WA), Portland Community College (OR), King County 4Culture (WA), the City of Seattle Portable Works (WA), as well as numerous private collections in the US, Europe and Japan. Weston’s signature photography has been commissioned for print magazines and book covers in the United States, Italy, Spain, China, and the Netherlands, including O, the Oprah Magazine, Discover magazine, and Geo Magazine (Italia). She is included in the book Microworlds (Laurence King Publishing, UK 2011). In 2020 Peanut Press published a monograph of her work entitled The Neighbors Will Talk, and self-published Character Studies in 2023. Statement I am an interdisciplinary artist working in the genre of staged photography, creating miniature narrative scenes with characters, props and sets that I source, alter, or fabricate from scratch, to then light and photograph. Although I never depict actual people in my photographs, the human psyche is undeniably at the center of my work. Power dynamics, gender roles, clandestineness, mythos, mystique, and feelings of isolation and alienation are explored in my work, all with a deceptively playful overlay. Reclaiming the Muse My staged miniature photography series, RECLAIMING THE MUSE, reframes historic artworks and stories in contemporary terms. In centering the women, historically cast as objects of beauty or scorn, I strive to revitalize the muse with agency, furthering the issues important to me as a contemporary female artist, flipping the patriarchal gaze on its head. The Long Night In these miniature narrative Noir scenes, lone characters appear in decidedly suburban environments: cul-de-sacs, dark and empty roads, the small-town bar, private basements and bedrooms, all offering an impression of seclusion, ripe for clandestine schemes. The scenarios take place at night, with minimal lighting, heavy with mystery and tension. We get to squirm with the sense of being voyeurs. These images are inspired not only from the television and film mysteries and spy stories of my childhood, but also from the sense of being a silent observer of the shadowy grown-up lives around me. My props and characters may come from a child’s world, but these are adult stories. Escaping Gravity: Breathing, Dying, Swimming, Flying I presented a multi-media installation at Nine Gallery in Portland, Oregon in 2018 about loss, its lifelong ripples, release, and liberation. There were two chambers in this installation, one being the Pond, the other, the Pool, symbolizing my older brother’s death by drowning when he was eight-years old, and my learning to swim very late in life.
David Zimmerman
David Zimmerman
United States
David Zimmerman is an American photographer and filmmaker living in New Mexico and India. Zimmerman was based in New York City for many years prior to shifting his work to the New Mexico high desert. Zimmerman's studio in New Mexico is entirely solar powered. He is an honors graduate of Brooks Institute (BFA, 1982). Zimmerman's work has been exhibited internationally in numerous solo and group exhibitions including, Witte de With Center for Contemporary Art, Rotterdam, Netherlands; Art on Paper, New York City; Castello di Rivoli Museum of Contemporary Art, Turin, Italy; AIPAD, New York City; Circulo de Bellas Artes, Madrid, Spain; Thessaloniki Cultural Museum, Thessaloniki, Greece; FRAC Bourgogne, Dijon, France; Annenberg Space for Photography, Los Angeles; Hearst Photography Biennial, New York City; Paris Photo LA, Los Angeles; Context Art Miami; Sous les Etoiles Gallery, New York City and A. Galerie, Paris, France, among others. Zimmerman is the recipient of numerous awards including the Sony World Photography Awards, L'Iris D'Or Prize for his Desert work. Zimmerman is co-founder of the Himalayan Art Centre - a free school dedicated to teaching visual storytelling through photography and filmmaking in remote and underserved regions of the Indian Himalayas. Zimmerman's recent monograph, One Voice; Portraits from the Tibetan Diaspora, has been published by Kehrer Verlag, Heidelberg, Germany.
Jean Gaumy
Jean Gaumy
France
1948
Jean Gaumy is a French photographer and filmmaker who has been associated with Magnum Photos since 1977. Gaumy was born in Pontaillac, Charente-Maritime, France. He attended school in Toulouse and Aurillac and went to university in Rouen. While a student in Rouen, he began working as a freelance photographer to help pay for his education. In 1973 he joined Gamma (agency). Much of his work has focused on human confinement. In 1975 he began work on two such projects in France: L'hôpital and Les Incarcérés, both of which were published as books. Les Incarcérés was an unprecedented project on French prisons—he was the first to receive permission to photograph them. In 1984 he made his first film, La Boucane. It was nominated for a César in 1986. That year he also began a series of trips aboard trawlers which led to his 2001 publication Pleine Mer. Beginning in 1987 he spent two years documenting Octeville-sur-Mer through the eyes of the so-called village idiot Jean-Jacques. Since the late 1980s he has also traveled often to Iran and has also traveled in Central America and Africa. He has made several other films. In recent years he has been documenting life on a nuclear submarine and has also worked on a series of mountain landscapes. In the early 1970s he married his wife Michelle and in 1975 their daughter Marie was born. Since 1995 he has lived in Fécamp, Haute Normandie. Source: Wikipedia
Susan Meiselas
Susan Meiselas
United States
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Susan Meiselas is a documentary photographer who lives and works in New York. She is the author of Carnival Strippers (1976), Nicaragua (1981), Kurdistan: In the Shadow of History (1997), Pandora's Box (2001), Encounters with the Dani (2003) Prince Street Girls (2016), A Room Of Their Own (2017) and Tar Beach (2020). She has co-edited two published collections: El Salvador, Work of 30 Photographers (1983) and Chile from Within (1990), rereleased as an e-book in 2013, and also co-directed two films: Living at Risk (1985) and Pictures from a Revolution (1991) with Richard P. Rogers and Alfred Guzzetti. Meiselas is well known for her documentation of human rights issues in Latin America. Her photographs are included in North American and international collections. In 1992 she was made a MacArthur Fellow, received a Guggenheim Fellowship (2015), and most recently the Deutsche Börse Photography Foundation Prize (2019) and the first Women in Motion Award from Kering and the Rencontres Internationales de la Photographie d'Arles. Mediations, a survey exhibition of her work from the 1970s to present was recently exhibited at the Fundació Antoni Tàpies, Jeu de Paume, San Francisco Museum of Modern Art and the Instituto Moreira Salles in São Paulo. She has been the President of the Magnum Foundation since 2007, which supports, trains, and mentors the next generation of in-depth documentary photographers and innovative practice. About Nicaragua Susan Meiselas became known through her photo reportages on the Nicaraguan revolution. From 1978 to 1982 she documented the uprising of the Sandinistas against the then president Anastasio Somoza Debayle. Some of her photographs, foremost among them the “Molotov Man”, became iconic media images and shaped the way the Latin American revolution was perceived in the West. About Carnival Strippers The role of women has been a focal point of Meiselas’ work ever since the 1970s. In her first major photographic essay entitled Carnival Strippers (1972-1975), she showcased the working conditions of women who earned a living working as strippers at fairs in New England. She combined her photographs with audio recordings of the women, their clients, and their managers. In this project Meiselas depicts the reality of life for these protagonists and lets them tell their own stories, thereby strengthening their feeling of self-worth and their personal identity. About Prince Street Girls For the series Prince Street Girls, she accompanied young girls in Little Italy, New York City over a period of seventeen years - from childhood to puberty and on into adulthood. The photographs illustrate the gradual changes in their lives, their bodies, and their place within society. About Archive of Abuse In her series Archive of Abuse Susan Meiselas addressed the issue of domestic abuse. In the early 1990s, the photographer was invited to support an awareness-raising campaign in San Francisco on the subject of domestic violence. Meiselas used material from police reports to focus on documenting the crimes, both visually and in text. The collages created in this way were posted in public spaces to raise people’s awareness of the many different forms of violence towards women as a structural phenomenon. About Kurdistan Meiselas’ starting point for her long-term project Kurdistan was the documentation of the genocide perpetrated against the Kurds by the Iraqi regime under Saddam Hussein in northern Iraq in 1988. She created an archive that preserves a people’s cultural memory and the chequered history of the Kurdish diaspora. The multimedia project comprises photographs, videos, documents, and oral accounts compiled by the artist over a period of more than thirty years.Source: Kunst Haus Wien
Meg McKenzie Ryan
Meg McKenzie Ryan
United States
Los Angeles resident Meg McKenzie Ryan married young, before graduating from college. Her husband's job involved flying to Hong Kong, so one day Meg surprised him by flying there. Asking friends what she should shop for there, buying a camera was the unanimous suggestion. So that's what happened. She didn't know how to use it, so she enrolled in a not-for-credit class at the University of California, Los Angeles. Jerry McMillan was her instructor there and later at California State University, Northridge where she earned her Bachelor in photography. In the early 70s, McMillan was active in the Los Angeles art scene, and he was particularly interested (it seemed) in helping photography to be recognized as an art form. Non-traditional subjects and alternative presentations were encouraged. I was game. Then, Meg remarried and moved to Burkina Faso, a country in West Africa, and then to neighboring Lome, Togo where her daughter was born. The culture there was incredibly different than her Los Angeles home. Religion, work and working conditions, poverty, homes, clothing, food, etc. were all new. It was a lot to digest, and more than she was prepared to face with her camera. Next, the young family moved to Bloomington, Indiana where Meg was able to study for a Masters degree in photography. Jeff Wolin was her primary instructor, and he was shooting an 8" x 10" field camera, so Meg decided to acquire one. Mostly she shot landscapes at the time. Wolin, on the other hand, was shooting beautiful shots of the rock quarries around Bloomington, and later did a project on Holocaust survivors and later still on homelessness. Moving again to the lower desert of California (city of El Centro), Meg landed a full-time photography job at the local daily newspaper. It was excellent experience for the young and somewhat shy photographer because she learned to shoot pictures of people. And this was the start of her project featured here, The lives of others. Her home was just ten miles north of the Mexicali, Mexico border town and capital of the state of Baja California, Mexico. It was easy (at the time) to cross the border, find the poorer neighborhoods, and ask to shoot their pictures. It's no accident that her photography became more documentary-like at its heart. The newspaper work and living in such a foreign place as West Africa pulled her in that direction. And at some point she realized that photos of people interested her the most. The work was wonderful, rewarding, and rich with experience and learning. Meg hopes you'll take time to look at the photos here.
Richard Dweck
Richard Dweck
United States
Photography has been Richard Dweck's vehicle for expressing what he sees and feels when he moves through the world. He has been through some extraordinarily difficult experiences in life but has been able to use them to see and feel the world more acutely. For him there is no greater pleasure than having someone who is looking at his photograph understand the feelings that he felt when he took that photograph. He also enjoys hearing them express very different feelings and show him things in his own photographs that he might never have seen or felt. The Old City of Jerusalem Last year, for the first time, I photographed at the Western Wall and other sites in the Old City of Jerusalem. The impetus for my travel to this area to photograph was the interplay between my Arabian and Jewish roots combined with my own deep self-reflection following a tragic family loss. When I found that so many people were dressed in black and white it only seemed natural that my photographs should be B&W as well. I shot my pictures from the same level as my subjects (or even from below when that was possible) giving me the sense that I could look into them more deeply and imagine their thoughts. The Gaze shows both the deep reflection of the elder along with the reverence of the child. The child's focus and that of my camera are on the elder. The backdrop is the historic 2000+-year old wall. My landscape and architectural photographs tend to the more abstract, while my portraits are more representational. Nonetheless, geometry and textures still play a big part in portraits. The main focus for me is the emotions that I can capture that can resonate deeply within me and very hopefully with the viewers of my work. I definitely look forward to returning for another emotional and introspective journey there one day.
Don Jacobson
Don Jacobson
United States
The world of photography and the world of the natural wonders of the Sierra Nevada opened to Don Jacobson simultaneously. The photographs he took with his little Kodak Brownie were woefully inadequate to express the grandeur of the Range of Light. Within a week of his first backpack trip into the high country, he bought his first SLR, a Pentax Spotmatic and began to take photography classes. His degree is in electrical engineering and he worked in that field for three years. Working for the defense industry became more of a contradiction with his political views initiating a search for a desperately needed a creative outlet. For the next twenty-eight years he worked as a glassblower. His work was shown in galleries across the United States, and the Corning Museum included a piece of his in their 1986 collection of 200 international glassblowers. Although glassblowing was his "day job*," he continued to practice the art of photography, studying photography with Edmund Teske at UCLA for a year. The two different mediums, are connected by light. The magic of glass is in its ability to transmit and reflect light while photography is the capturing of light. During the years he lived in the San Francisco Bay Area, 1973 through 1976, he amassed 135 images of owner decorated vehicles. He is currently a member of the Portland Photographers Forum and the Interim Group, a critique group originally formed by the influential photographer Minor White. Statement I see the world differently now. The camera, which narrows the field of vision, has actually expanded my vision. When I realized I was viewing reality as if it were a series of photographs, I initially questioned that perspective. Now, I know my perception is enhanced and enriched from my pursuit of photography. An already dynamic and interesting world has become more so. I am delighted by quality of light, vibrancy of color, unexpected and often unnoticed detail. The stunning structure of an orchid, the intricate ornamentation on an older building, or dishes stacked in a dish drainer are fascinating to me. Abstractions and patterns are richer and invite investigation. My subject matter is limitless. Anything that appeals to my eye is fair game for my camera.
John Divola
John Divola
United States
1949
John Divola is an American contemporary visual artist born in 1949 in Los Angeles, CA. He received a B.A. from California State University, Northridge in 1971 and later received an M.F.A. from the University of California, Los Angeles in 1974. He has held residencies at many institutions including the California Institute of the Arts. He has held the position of Professor in the art department at the University of California Riverside since 1988. His work has been featured in many solo exhibitions across the United States, Europe, Japan, and Australia. He participated in 1978, 1989, and 2000 Museum of Modern Art group exhibitions and in the 1981 Whitney Biennial. Divola received awards as Individual Artist Fellowship from the National Endowment for the Arts in 1973, 1976, 1979, 1990 and a Guggenheim Fellowship in 1986. He published four books: Continuity, Isolated Houses, Dogs Chasing My Car In The Desert, and Three Acts. In Zuma project, he has described being interested in the relationship between real artworks and representations of them, and the issues of the natural and the artificial. Divola said "I attempted ... to develop a practice in which there could be no distinction between the document and the original." In his series of photographs from 1977, he used deserted houses on Zuma Beach and covered their walls in graffiti. He photographed the ocean from the house's interior through windows and cracks. Divola states: "On initially arriving I would move through the house looking for areas or situations to photograph. If nothing seemed to interest me I would move things around or do some spray painting. The painting was done in much the same way that one might doodle on a piece of paper. At that point, I would return to the camera and explore whatever new potentials existed." These cyclical images skillfully juxtapose romantic skies and sunsets with a seaside structure that, frame by frame, deteriorates into ruin as it is vandalized by the artist and others who eventually set it on fire. Divola's works trace a schematic desire for escape, movement, and transcendence. "My acts, my painting, my photographing, my considering, are part of, not separate from, this process of evolution and change. These photographs are not so much about this process as they are remnants from it. My participation was not so much one of intellectual consideration as one of visceral involvement." Dogs Chasing My Car In The Desert are images of dogs in the desert captured in the midst of running wildly after the car. Emphasizing the grain of the image, these black and white photographs capture a haunting moment in which there is a duality between a sense of absence and presence. The behavior of the dogs suggests a lack of previous stimuli, and loneliness at the same time as an all-consuming reaction to the now, a presence. "It could be viewed as a visceral and kinetic dance. Here we have two vectors and velocities, that of a dog and that of a car and, seeing that a camera will never capture reality and that a dog will never catch a car, evidence of devotion to a hopeless enterprise". In the Dark Star series, dark circles have been painted on the walls of an abandoned house. Creation and destruction are held in a delicate equilibrium, the white rooms of the house, are tattered and derelict. The domestic ruins suggest social collapse, secret renditions of something darkly sinister illuminating our conflicted recent history, updating Zuma and Vandalism for our age of foreclosure. In the As Far As I Can Get project, he made photographs by pushing the self-timer button on his camera. An exposure is made in 10 seconds. John Divola currently lives and works in Riverside, CA. Divola works in photography, describing himself as exploring the landscape by looking for the edge between the abstract and the specific.Source: Wikipedia
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