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Win a Solo Exhibition in June 2026 + An Exclusive Interview!
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Andrea Abrego
Andrea Abrego
Andrea Abrego

Andrea Abrego

Country: El Salvador
Birth: 1998

I was born in El Salvador on December 10, 1998. I lived with my parents for a short amount of time, where I kept moving and changing schools every three years until I was 10. I moved in with my aunt where she kept cabinets of photos, where I used to spend a lot of hours looking at them. On those four years I lived with my aunt, I was exposed to life experiences, where the only thing I really had was what I called 'home' and a relationship with my cousins and siblings. I moved in with my mother to California, where I was exposed to a lot of diversity, different perspectives and expressions. After I went back to El Salvador for my father's funeral, I realized that whatever made you who you are and where you come from is something unforgettable. However, I still took what I thought it was right from here, one of those things was to show through photography who I am by not being obvious about it, because in my life I had to work hard to achieve what I wanted, which made it more valuable, photographs can mean more if they are really look through. I like who I am, and every single perfection and imperfection about my life. I want to keep moving, expanding my ideas and expressing them, at the end being able to find what I once called 'home'.

Andrea Abrego is the winner of the first edition of the YPA, Young Photographer Award organized by Beatrice Chassepot, Founder and Editor of be-Art magazine.
 

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Steeve Luncker
Switzerland
1969
Born in 1969 in Switzerland, Steeve Iuncker lives and works in Geneva. He studied at the Photography School in Vevey and is Agence VU' member since 2000.“Press photographer (he works part-time for a daily newspaper), Steeve Iunker tirelessly questions the role(s) of photography and of the image in the fields of information and documentary today in a radical and political way…[his work] aims to get close to the taboos relating to the body, to death and to the standard social conception of big issues that affect human thought. Either he stays with an Aids patient in the terminal phase, he represents the professional life of an old prostitute, he confronts himself with the crisis in Gaza, he stores images of celebrities adorned with diamonds at Cannes Festival, discovers the backstage area of a fashion show, follows the police while investigating on crimes, or reveals the astounding world of plastic surgery, Steeve Iunker doesn’t chase icons. He shows. In a realistic, free and salutary way. Even if it might seem provocative or shocking. He only wants us to agree to see. To be responsible and clear-sighted.”Christian Caujolle.He has recently finished the first phase of a project dealing with the subject of death. He wishes to expose to Geneva the realities that its police department, University Institute of Legal Medicine and the Murith Funeral Services must face regularly. The second ongoing phase of the project consists of photographing the places and traces behind individual deaths in order to reveal an often unknown reality that is tossed into the realm of fiction by Hollywood movies. Source: Agence VU
Gilles Nicolet
France
1960
I am a self-taught photographer who spent 35 years living and working in Africa, with long stays in Somalia, West Africa and Tanzania. I started out as an agricultural engineer but soon switched to photography in order to follow an old passion. I have since shot numerous stories for all sorts of magazines, including the Sunday Times Magazine, National Geographic Magazine, Geo, the Smithsonian and Paris-Match. I have a special interest in anthropology and ethnography, something that - I hope - has helped me capture the essence of my subjects. In the past most of my stories where about rare traditions that somehow linked man and wildlife, but Africa has changed a lot in the last few decades and unfortunately most of these traditions have now disappeared. My recent work has therefore been more personal and contemplative and less focused on narrative picture stories meant for magazines. In fact, today my interest lies in the convergence between art and documentary photography. I have also moved away from color photography and now only shoot in black and white. My work has received several major awards, including a World Press Photo Award and a Fuji Award. My latest project on the Swahili Coast also obtained the following recognitions: 2017 HIPA Hamdan International Photography Awards - 2nd Prize, Portfolio Category 2017 Elliott Erwitt Havana Fellowship - Nominee 2017 Seventh Annual Exposure Photography Awards - Winner 2017 IPA International Photography Awards - 2nd Prize, People/Culture Category 2017 Meitar Award - Nominee 2017 Monochrome Photography Awards - Photojournalism/Professional - Two Honorable Mentions 2017 Monochrome Photography Awards - People/Professional - Honorable Mention 2018 CAP Contemporary African Photography Prize - Finalist 2018 SIPA Contest - Honorable Mention 2019 SOPHOT Award - Winner This work on the Swahili Coast is featured in "Swahili", a book released by Contrejour Publishers in May 2019 (available on amazon.fr and amazon.co.uk). Six degrees south The Zanzibar archipelago, an highly evocative name even for those who are quite unable to locate it on a map, lies six degrees south of the Equator. It is also the exact geographical center of the Swahili Coast, a unique physical, historical and cultural entity running from Southern Somalia to Mozambique, which first grew in the 10th century through trade with the Arab world, India and China. Gold, coconut, ebony, mangrove wood, sisal, myrrh and the infamous slave trade helped make the wealth of this region, slowly shaping it and giving it its unique present character. For a thousand years now, wooden dhows have sailed these lonely shores, with their characteristic white cotton sails, using the monsoon winds to help traders move goods between Africa and Arabia. And for a thousand years too, fishermen have ploughed these rich seas for their bounty of fish, contributing with the traders to the emergence of rich city-ports like Stone Town or Mombasa. But all of this is changing now. A combination of overfishing by both local and foreign ships, population increase, changes in weather patterns as well as the recent discovery of huge gas fields in the region, is threatening this fragile equilibrium. The fishing communities that occupy these shores are particularly at risk, and it could be that we are now witnessing the last of fishing and sailing traditions that had remained largely unchanged since Ibn Battuta, the famous 12th Century Arab explorer, first described them in his travel memoirs. With this recent work I have tried to testify to the unique beauty and timelessness of the Swahili Coast, and to record it for generations to come. It is a personal, melancholic, sometimes dreamy vision of a place and a culture that are very dear to my heart but which, I now realise, may soon disappear.
Charles Nègre
France
1820 | † 1880
Charles Nègre (French: 9 May 1820 - 16 January 1880) was a pioneering photographer, born in Grasse, France. He studied under the painters Paul Delaroche, Ingres and Drolling before establishing his own studio at 21 Quai Bourbon on the Île Saint-Louis, Paris. Delaroche encouraged the use of photography as research for painting; Nègre started with the daguerreotype process before moving on to calotypes. His "Chimney-Sweeps Walking", an albumen print taken on the Quai Bourbon in 1851, may have been a staged study for a painting, but is nevertheless considered important to photographic history for its being an early instance of an interest in capturing movement and freezing it forever in one moment. Having been passed over for the Missions Héliographiques which commissioned many of his peers, Nègre independently embarked on his own remarkably extensive study of the Midi region. The interesting shapes in his 1852 photograph of buildings in Grasse have caused it to be seen as a precursor to art photography. In 1859, he was commissioned by Empress Eugénie to photograph the newly established Imperial Asylum in the Bois de Vincennes, a hospital for disabled workingmen. He used both albumen and salt print, and was known also as a skilled printer of photographs, using a gravure method of his own development. A plan commissioned by Napoleon III to print photographs of sculpture never came to fruition, and in 1861 Nègre retired to Nice, where he made views and portraits for holiday makers. He died in Grasse in 1880.Source: Wikipedia
Matthew Pillsbury
United States / France
1973
Matthew Pillsbury is a French-born American photographer, living in New York City. The Screen Lives series, inspired by Sugimoto's movie theater photos, features black and white, long-exposure photographs of family and friends sitting in their apartments interacting with their computer and television screens. In 2004 The New York Times Magazine commissioned him to do a portfolio of photos of New York museums after hours. One such photo was taken at the Guggenheim Museum: An installation in progress in the Ronald O. Perelman Rotunda (Oct. 1, 2004.) In addition to New York, he continued to shoot within museums in both London and Paris, including the Musée du Louvre. At the Louvre he photographed the Mona Lisa. The New York Times and the Aperture Foundation published New York Times Photographs in the fall of 2011, featuring one of his photos of the American Museum of Natural History's Rose Center For Earth and Space. In the Dec 11, 2011 issue of New York Magazine, Pillsbury's works were published as part of their "Reasons to Love New York 2011" feature. The photos included four shots from City Stages, which included Occupy Wall Street protesters in Zuccotti Park, as well as Jing Fong dim sum, Fausto in Washington Square Park and High Line. His series, City Stages initially ran from February 23, 2012 to April 28, 2012 at the Bonni Bunrubi Gallery in New York City. The exhibition opened in Atlanta, GA on September 13, 2012 and ran until November 17, 2012 at The Jackson Fine Art gallery. In September 2013, the Aperture Foundation published a monograph that includes a retrospective of his works, titled, City Stages. The New York Times Magazine published one of Pillsbury's City Stages photos as part of their Manhattanhenge feature in July 2013. Art Relish conducted an interview in October 2012 with him discussing his City Stages works. In the Oct 1, 2012 edition of Time Magazine, High Line photo, featuring a park in Manhattan constructed of abandoned train tracks, was highlighted as part of his exhibit at the Jackson Fine Art gallery. The Screen Lives series, inspired by Sugimoto's movie theater photos, features black and white, long-exposure photographs of family and friends sitting in their apartments interacting with their computer and television screens. On the CNN Photos Blog, Pillsbury's Screen Lives series was featured in a post about the School of Visual Arts "Myths & Realities" show, which took at the Visual Arts Gallery in New York, Aug 29-Sept 29, 2012. On November 27, 2011, New York Times Magazine featured two of Pillsbury's photos of Jane's Carousel from "City Stages." In April 2014, Pillsbury was one of 11 photographers awarded with the John Simon Guggenheim Memorial Foundation Fellowship. Approximately 200 Fellowships are awarded each year through two annual competitions that receive between 3,500 and 4,000 applications. Guggenheim Fellowships are grants awarded to "advanced professionals in mid-career" who have demonstrated exceptional ability by publishing a significant body of work within the fields of natural sciences, social sciences, humanities and the creative arts, excluding the performing arts. In 2014, Pillsbury photographed various cities in Japan, with the focus being in and around Tokyo. Recent photographs from his work in Tokyo were revealed in a photo essay published on July 18, 2014 in The New York Times Magazine and include images from Tokyo Disneyland, Robot Restaurant and the CupNoodles Museum in Yokohama. In April 2014, The New York Times Magazine first ran a photo essay of Pillsbury's work that centered around the hanami parties that occur during the week when the cherry blossoms are at peak bloom. An exhibition of His new Tokyo work opened Sept 10, 2014 and closed November 15, 2014 in New York City at Benrubi Gallery. A portfolio of Pillsbury's new images was featured in The New Yorker in September 2015, and showcased locations that include the High Line, the American Museum of Natural History, Astoria Park Pool and the Coney Island Boardwalk. He has also widened the project's focus to include locations outside of Manhattan, after a move to Brooklyn in January 2015 that inspired him to shoot urban life in the outer boroughs. In a redesign and relaunch in the February 22, 2015 issue, The New York Times Magazine published a photograph Of his on its cover. The long exposure image featured an illuminated spinning globe, which he took in his basement. He is represented exclusively by Edwynn Houk Gallery in New York.Source: Wikipedia
Angela Fisher
United States
Thirty years of work on the African continent have carried Carol Beckwith and Angela Fisher across 270,000 miles and through remote corners of 40 countries in exploration of more than 150 African cultures. In the process, this team of world-renowned photographers has produced fourteen widely acclaimed books and made four films about traditional Africa. They have been granted unprecedented access to African tribal rites and rituals and continue to be honored worldwide for their powerful photographs documenting the traditional ceremonies of cultures thousands of years old. As an intrepid team of explorers, they are committed to preserving sacred tribal ceremonies and African cultural traditions all too vulnerable to the trends of modernity. The Beckwith-Fisher images are the result of a long, enduring and deeply respectful relationship with African tribal peoples. This, combined with their photographic skills, creates an intimate portrayal of ceremonies long held secret that might have never been recorded. Their work preserves and presents the power, complexity and celebration found within the rituals of African tribal life. Their extraordinary photographs are recorded in fourteen best-selling books and in their films. Their new book “Painted Bodies” (2012) follows “Maasai” (1980), “Nomads of Niger” (1983), “Africa Adorned” (1984), “African Ark” (1990), “African Ceremonies” (1999), “Passages” (2000), “Faces of Africa” (2004), “Lamu: Kenya’s Enchanted Island” (2009), and “Dinka” (2010). The special limited-edition books, hand printed in Santiago, Chile, are titled “Surma,” “Karo,” “Maasai,” and “Dinka.” “African Ceremonies,” their defining body of work, is a double volume, pan-African study of rituals and rites of passage from birth to death, covering 93 ceremonies from 26 countries. This book won the United Nations Award for Excellence for “vision and understanding of the role of cultural traditions in the pursuit of world peace.” Honored twice with the Annisfield-Wolf Book Award in race relations for “outstanding contributions to the understanding of cultural diversity and prejudice,” Angela and Carol are also winners of the Royal Geographical Society of London’s Cherry Kearton Medal for their contribution to the photographic recording of African ethnography and ritual. The photographers have made four films about traditional Africa, including Way of the Wodaabe (1986), The Painter and the Fighter, and two programs for the Millennium Series Tribal Wisdom and the Modern World. Numerous exhibitions of their photography and films have been shown in museums and galleries around the world. In 2000 their Passages exhibition opened at the Brooklyn Museum of Art featuring 97 mural photographs, six video films and a selection of African masks, sculpture and jewelry. This exhibition has traveled to seven museums on three continents. Aware that traditional cultures in Africa are fast disappearing, Carol and Angela are working with an urgency to complete the third volume of their ongoing study of African Ceremonies with the goal of covering the remaining traditional ceremonies in the 13 African cultures in which they have not yet worked. Source: carolbeckwith-angelafisher.com
Tod Papageorge
United States
1940
Tod Papageorge is an American photographer whose career began in the New York City street photography movement of the 1960s. He started taking photographs in 1962 as an English literature major at the University of New Hampshire. Between 1979 and 2013 he directed the graduate program in photography at the Yale School of Art, where his students included Philip-Lorca diCorcia, Lois Conner, Abelardo Morell, Susan Lipper, Gregory Crewdson, An-My Le, Anna Gaskell, Steve Giovinco, and Katy Grannan. In 2007, Steidl published Passing through Eden, a collection of photographs Papageorge took over 25 years in Central Park. Also in 2007, Aperture published American Sports, 1970: Or How We Spent the War in Vietnam, containing photographs taken during his 1970 Guggenheim Fellowship.Source: Wikipedia About Passing through Eden Taken between 1969 and 1991, these black and white photographs capture the primeval character of Central Park, a human tragedy and comedy in this particular vision of the garden of Eden. During the 1970s, when Papageorge began to work on this series, Central Park was portrayed as a dangerous place not to be visited after dark. These photographs depict a different view showing innocence, beauty, ugliness, isolation, chaos and humour - the whole scope of human life on view within the park. Papageorge parallels this series with the first four books of Genesis, pulling the disparate images together by presenting the park as a public Eden, his elegy to a lost Elysium. This projected narrative lends the images structure and gravity: the audience can recognise Adam and Eve, Cain and Abel in various guises acting out their elemental roles in our commonplace world. Initially, Papageorge's project was driven less by a fascination with Central Park than by the desire to utilise a particular camera (6 x 9 cm Fujica) that was too cumbersome for the city's streets. He found within the park an intense and palpable realm of bodies, action and objects. Daily photographic excursions alongside Garry Winogrand and Joel Meyerowitz on the streets of New York had honed his abilities to both anticipate and capture great photographic moments within the disorder of the park. Established as an articulate and influential critic and teacher of other's work, Papageorge's own photographs have rarely been in the spotlight. Professor and Director of Graduate Studies in Photography at Yale Art School since 1979, he has taught many of the strongest American photographers of the past three decades, including Abelardo Morell, Gregory Crewdson, Anna Gaskell and Katy Grannan. This re-examination of Papageorge's photography has been prompted by the recent reconsideration of work by his peers -- Winogrand by the ICP, Friedlander by the MOMA and Stephen Shore by the ICP.Source: Michael Hoppen Gallery
Berenice Abbott
United States
1898 | † 1991
Berenice Abbott was an American photographer best known for her portraits of between-the-wars 20th-century cultural figures, New York City photographs of architecture and urban design of the 1930s, and science interpretation in the 1940s to 1960s. Abbott was born in Springfield, Ohio, and brought up in Ohio by her divorced mother, née Lillian Alice Bunn (m. Charles E. Abbott in Chillicothe OH, 1886). She attended Ohio State University for two semesters but left in early 1918 when her professor was dismissed because he was a German teaching an English class. She moved to New York City, where she studied sculpture and painting. In 1921 she traveled to Paris and studied sculpture with Emile Bourdelle. While in Paris, she became an assistant to Man Ray, who wanted someone with no previous knowledge of photography. Abbott took revealing portraits of Ray's fellow artists. Abbott was part of the straight photography movement, which stressed the importance of photographs being unmanipulated in both subject matter and developing processes. She also disliked the work of pictorialists who had become popular during a substantial span of her career, leaving her work without support from this school of photographers. Most of Abbott's work was influenced by what she described as her unhappy and lonely childhood. This gave her the strength and determination to follow her dreams. Throughout her career, Abbott's photography was very much a reflection of the rise in the development of technology and society. Her works documented and extolled the New York landscape. This was guided by her belief that a modern-day invention such as the camera deserved to document the 20th century. The film Berenice Abbott: A View of the 20th Century, which showed 200 of her black and white photographs, suggests that she was a "proud proto-feminist"; someone who was ahead of her time in feminist theory. Before the film was completed she questioned, "The world doesn't like independent women, why, I don't know, but I don't care." She identified publicly as a lesbian and lived with her partner, art critic Elizabeth McCausland, for 30 years. Berenice Abbott's life and work are the subject of the 2017 novel The Realist: A Novel of Berenice Abbott, by Sarah Coleman.Source: Wikipedia Let us first say what photography is not. A photograph is not a painting, a poem, a symphony, a dance. It is not just a pretty picture, not an exercise in contortionist techniques and sheer print quality. It is or should be a significant document, a penetrating statement, which can be described in a very simple term—selectivity. -- Berenice Abbott Berenice Abbott was born and raised in Ohio where she endured an erratic family life. In 1918, after two semesters at Ohio State University, she left to join friends associated with the Provincetown Players, in Greenwich Village. There she met Djuna Barnes, Kenneth Burke, Elsa von Freytag-Loringhoven, Edna St. Vincent Millay, Little Review editors Margaret Anderson and Jane Heap, and other influential modernists. From 1919-1921, while studying sculpture, Abbott supported herself as an artist's model, posing for photographers Nikolas Muray and Man Ray. She also met Marcel Duchamp, and participated in Dadaist publications. Abbott moved to Paris in 1921, where she continued to study sculpture (and in Berlin), and to support herself by modeling. During 1923-1926, she worked as Man Ray's darkroom assistant (he had also relocated to Paris) and tried portrait photography at his suggestion. Abbott's first solo exhibition, in 1926, launched her career. In 1928 she rescued and began to promote Eugène Atget's photographic work, calling his thirty years of Parisian streetscapes and related studies "realism unadorned." In 1929 Abbott took a new artistic direction to tackle the scope (if not the scale) of Atget's achievement in New York City. During 1929-38, she photographed urban material culture and the built environment of New York, documenting the old before it was torn down and recording new construction. From 1934-58, she also taught photography at the New School. During 1935-39, Abbott worked as a "supervisor" for the Federal Art Project to create Changing New York (her free-lance work and New School teaching commitment made her ineligible for unemployment relief) . From 1939-60, Abbott photographed scientific subjects, concluding with her notable illustrations for the MIT-originated Physical Sciences Study Committee's revolutionary high school physics course. In 1954, she photographed along the length of US 1; the work never found a publisher. In 1968, Abbott sold the Atget archive to the Museum of Modern Art in New York, and moved permanently to her home in central Maine (bought in 1956 and restored over several decades) . 1970 saw Abbott's first major retrospective exhibition, at the Museum of Modern Art. Her first retrospective portfolio appeared in 1976, and she received the International Center of Photography's Lifetime Achievement Award in 1989. She died at home in Monson, Maine in December 1991.Source: New York Public Library I took to photography like a duck to water. I never wanted to do anything else. Excitement about the subject is the voltage which pushes me over the mountain of drudgery necessary to produce the final photograph. -- Berenice Abbott In 1929, Abbott returned to the United States, where she embarked on her best-known body of work--a documentation of New York City for which she developed her famous bird's-eye and worm's-eye points of view. She worked on the project independently through the early years of the Depression, and in 1935, secured funding from the Federal Art Project (a part of the Works Progress Administration). Her pictures were published as Changing New York (1939), which was both critically and commercially successful; it remains a classic text for historians of photography. One of Abbott's later final projects was an illustration of a scientific phenomenon, produced in the 1950s in collaboration with the Physical Sciences Study Committee based at the Massachusetts Institute of Technology. Although not as well known as her New York work, these pictures are exquisite examples of her acumen for technical experimentation and her natural instinct for combining factual photographic detail with stunning artistic accomplishment. With their clear visual demonstration of abstract scientific principles, the photographs were chosen to illustrate physics textbooks of the 1950s and 1960s.Source: International Center of Photography
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