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Aaron Blum
Aaron Blum
Aaron Blum

Aaron Blum

Country: United States
Birth: 1983

Aaron Blum is an eighth generation West Virginian, and creates art deeply linked to his home. Most of his work centers around a single question, what does it mean to be Appalachian? Through this question he address many different artistic concepts from idealized memory vs. stereotypes to ideas of folk taxonomy. His creation process is a diversified approach of image-based media to create a glimpse into his own concepts of Appalachia, and the social fabric of a very large and misrepresented people and place. He pays close attention to the quality of light and the landscape as well as cultural markers to produce a unique version of life in the hills. After graduating with degrees in photography from West Virginia University and Syracuse University, Aaron immediately began receiving recognition for his work including Center of Santa Fe, Silvereye Center for photography, Critical Mass, and FOAM.

About The Prevailing Winds of Hills and Heritage
Appalachia pulls at me like a haunted memory. There is an ineffable force that compels me to suspend reality and embrace superstition and myth. It is a longing to hold on to my culture and history in spite of the modern world. The nebulous forests, enveloping moss and dark corners seem to tell a purer truth.

Storytelling in Appalachia has a long-standing tradition, and it infuses the region with mystery. Using lore, pseudo-scientific study, and personal experiences as a compass I see this place through idealized eyes of wonder, and these images become my personal folklore. They bring to life the fantasies and memories I carry with me. This is a place where you can wash away sin in cool stream waters, where corpse birds come to ferry away souls to the next life, rocks burn and kudzu conceals. This is the place where the prevailing winds whisper old stories to those who know how to listen.

Website

aaronblumphoto.com

 

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More Great Photographers To Discover

Barbara Hazen
Barbara Hazen
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Richard Nickel was an American architectural photographer and preservationist best known for documenting and preserving historic architecture, particularly the works of renowned architect Louis Sullivan. Nickel, who was born on May 31, 1928, in Chicago, Illinois, developed an early interest in photography and architecture. Nickel began documenting Chicago's architectural legacy in the 1950s and 1960s, focusing on buildings designed by Louis Sullivan, one of the forefathers of modern American architecture. His photographs captured Sullivan's buildings' intricate details, ornamental features, and craftsmanship, highlighting their beauty and significance. During the mid-twentieth century, Nickel became increasingly concerned about the destruction and neglect of historic buildings in Chicago. He understood the significance of architectural preservation and saw photography as a means of raising awareness about the need to protect these structures. Nickel actively advocated for the preservation of historic buildings in addition to his photography. He campaigned against the demolition of Sullivan's iconic Chicago Stock Exchange Building, which, despite his efforts, was demolished in 1972. Nickel's photographs of the building, as well as his writings on the subject, raised public awareness of the loss and inspired the Chicago preservation movement. On April 13, 1972, Richard Nickel was killed while photographing the ruins of the Chicago Stock Exchange Building, which was being demolished. Despite his untimely death, his legacy was preserved and exhibited posthumously through his photographs. Nickel's work had a significant impact on architectural preservation and historic building appreciation. His photographs captured not only the physical structures of the buildings, but also their spirit and essence, revealing their historical and cultural significance. His dedication to architectural preservation continues to inspire individuals and organizations working to protect our architectural heritage. Richard Nickel's contributions as a photographer and preservationist serve as a reminder of how important it is to document and cherish our architectural treasures so that future generations can appreciate and learn from them.
August Sander
August Sander
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1876 | † 1964
August Sander was a German portrait and documentary photographer. Sander's first book Face of our Time (German: Antlitz der Zeit) was published in 1929. Sander has been described as "the most important German portrait photographer of the early twentieth century." Sander was born in Herdorf, the son of a carpenter working in the mining industry. While working at a local mine, Sander first learned about photography by assisting a photographer who was working for a mining company. With financial support from his uncle, he bought photographic equipment and set up his own darkroom. He spent his military service (1897-99) as a photographer's assistant and the next years wandering across Germany. In 1901, he started working for a photo studio in Linz, Austria, eventually becoming a partner (1902), and then its sole proprietor (1904). He left Linz at the end of 1909 and set up a new studio in Cologne. In 1911, Sander began with the first series of portraits for his work People of the 20th Century. In the early 1920s, he came in contact with the Group of Progressive Artists (Kölner Progressive) in Cologne, a group as Wieland Schmied put it, "sought to combine constructivism and objectivity, geometry and object, the general and the particular, avant-garde conviction and political engagement, and which perhaps approximated most to the forward looking of New Objectivity [...] ". In 1927, Sander and writer Ludwig Mathar travelled through Sardinia for three months, where he took around 500 photographs. However, a planned book detailing his travels was not completed. Pure photography allows us to create portraits which render their subjects with absolute truth, truth both physical and psychological. That is the principal which provided my starting point, once I had said to myself that if we can create portraits of subjects that are true, we thereby in effect create a mirror of the times in which those subjects live. -- August Sander Sander's Face of our Time was published in 1929. It contains a selection of 60 portraits from his series People of the 20th Century. Under the Nazi regime, his work and personal life were greatly constrained. His son Erich, who was a member of the left-wing Socialist Workers' Party (SAP), was arrested in 1934 and sentenced to 10 years in prison, where he died in 1944, shortly before the end of his sentence. Sander's book Face of our Time was seized in 1936 and the photographic plates were destroyed. Around 1942, during World War II, he left Cologne and moved to a rural area, allowing him to save most of his negatives. His studio was destroyed in a 1944 bombing raid. Sander died in Cologne in 1964. His work includes landscape, nature, architecture, and street photography, but he is best known for his portraits, as exemplified by his series People of the 20th Century. In this series, he aims to show a cross-section of society during the Weimar Republic. The series is divided into seven sections: The Farmer, The Skilled Tradesman, Woman, Classes and Professions, The Artists, The City, and The Last People (homeless persons, veterans, etc.). By 1945, Sander's archive included over 40,000 images. In 2002, the August Sander Archive and scholar Susanne Lange published a seven-volume collection comprising some 650 of Sander's photographs, August Sander: People of the 20th Century. In 2008, the Mercury crater Sander was named after him.Source: Wikipedia I never made a person look bad. They do that themselves. The portrait is your mirror. -- August Sander
Julie Blackmon
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United States
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At the age of twenty-two, Avedon began working as a freelance photographer, primarily for Harper's Bazaar. Initially denied the use of a studio by the magazine, he photographed models and fashions on the streets, in nightclubs, at the circus, on the beach and at other uncommon locations, employing the endless resourcefulness and inventiveness that became a hallmark of his art. Under Brodovitch's tutelage, he quickly became the lead photographer for Harper's Bazaar. From the beginning of his career, Avedon made formal portraits for publication in Theatre Arts, Life, Look, and Harper's Bazaar magazines, among many others. He was fascinated by photography's capacity for suggesting the personality and evoking the life of his subjects. He registered poses, attitudes, hairstyles, clothing and accessories as vital, revelatory elements of an image. He had complete confidence in the two-dimensional nature of photography, the rules of which he bent to his stylistic and narrative purposes. As he wryly said, "My photographs don't go below the surface. I have great faith in surfaces. A good one is full of clues." After guest-editing the April 1965 issue of Harper's Bazaar, Avedon quit the magazine after facing a storm of criticism over his collaboration with models of color. He joined Vogue, where he worked for more than twenty years. In 1992, Avedon became the first staff photographer at The New Yorker, where his portraiture helped redefine the aesthetic of the magazine. During this period, his fashion photography appeared almost exclusively in the French magazine Égoïste. Throughout, Avedon ran a successful commercial studio, and is widely credited with erasing the line between "art" and "commercial" photography. His brand-defining work and long associations with Calvin Klein, Revlon, Versace, and dozens of other companies resulted in some of the best-known advertising campaigns in American history. These campaigns gave Avedon the freedom to pursue major projects in which he explored his cultural, political, and personal passions. He is known for his extended portraiture of the American Civil Rights movement, the Vietnam war and a celebrated cycle of photographs of his father, Jacob Israel Avedon. In 1976, for Rolling Stone magazine, he produced The Family, a collective portrait of the American power elite at the time of the country's bicentennial election. From 1979 to 1985, he worked extensively on a commission from the Amon Carter Museum of American Art, ultimately producing the show and book In the American West. Avedon's first museum retrospective was held at the Smithsonian Institution in 1962. Many major museum shows followed, including two at the Metropolitan Museum of Art (1978 and 2002), the Minneapolis Institute of Arts (1970), the Amon Carter Museum of American Art (1985), and the Whitney Museum of American Art (1994). His first book of photographs, Observations, with an essay by Truman Capote, was published in 1959. He continued to publish books of his works throughout his life, including Nothing Personal in 1964 (with an essay by James Baldwin), Portraits 1947-1977 (1978, with an essay by Harold Rosenberg), An Autobiography (1993), Evidence 1944-1994 (1994, with essays by Jane Livingston and Adam Gopnik), and The Sixties (1999, with interviews by Doon Arbus). After suffering a cerebral hemorrhage while on assignment for The New Yorker, Richard Avedon died in San Antonio, Texas on October 1, 2004. He established The Richard Avedon Foundation during his lifetime. Source: The Richard Avedon Foundation Born in New York, Richard Avedon attended city public schools and Columbia University, and served in the photographic section of the merchant marines. He studied under Alexey Brodovitch at the New School for Social Research from 1944 to 1950, and became the elder designer's protégé. Avedon was a staff photographer for Junior Bazaar and then Harper's Bazaar for some twenty years, and became a staff photographer at Vogue in 1966. In 1994 he was the first staff photographer hired by The New Yorker. For a photographer whose roots are in publication work, Avedon has been exceptionally successful in museums as well. He was included in the 1955 landmark exhibition The Family of Man at the Museum of Modern Art, and has received solo exhibitions at the Smithsonian Institution in Washington, D.C., the Museum of Modern Art, the Metropolitan Museum of Art, and many other institutions. Most recently, the Whitney Museum of American Art presented Evidence: 1944-1994, a career retrospective of his work, and the International Center of Photography organized Avedon Fashion 1944–2000 in 2009. In 1993, Avedon received the Master of Photography Infinity Award from ICP. Since the late 1940s--when Avedon's blurred black-and-white portrait heads were acclaimed for capturing the raw dynamism of youth--his photography has changed to reflect the style, energy and dynamism of the moment. He helped set the standard for sleek, urbane elegance in mid-twentieth century fashion photography, and his gift for highlighting the allure and drama of his subjects has made him one of the most iconic photographers of the late twentieth century. Avedon maintains that "a photographic portrait is a picture of someone who knows he's being photographed, and what he does with this knowledge is as much a part of the photograph as what he's wearing or how he looks."Source: International Center of Photography
Laura El-Tantawy
Laura El-Tantawy
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Laura El-Tantawy is an award winning British/Egyptian documentary photographer, artful book maker & mentor. She is a Canon Ambassador, representing the global camera giant’s vision & passion for visual storytelling. Born in Ronskwood in Worcestershire, UK, Laura studied in Egypt, Saudi Arabia, the US & UK. Living between East and West for much of her life inspires her work, which contemplates notions of home & belonging through exploring social & environmental issues pertinent to her background. Her photography is recognised for its characteristically painterly & lyrical eye on reality. Laura started her career as a newspaper photographer in the United States. She turned freelance in 2005, moving to Cairo and starting what became her seminal body of work In the Shadow of the Pyramids. Laura is the first Egyptian to be awarded the prestigious W. Eugene Smith Memorial Fund award, which she received for her long-term series I’ll Die For You. The award honours photographers whose work follows the tradition of W. Eugene Smith's humanistic photography & dedicated compassion. In 2016, she was among the four artists nominated for the prestigious Deutsche Börse Photography Foundation Prize, awarded annually to a photographer who made the most significant contribution to the photographic medium in Europe during the past year. Her work has been published in The New Yorker, Afar, Le Monde, Wall Street Journal, National Geographic, Time, New York Times, Huck & Foam. In 2020, Laura joined Canon’s global Ambassador Programme. Joining a roster of more than 100 visual professionals, she represents the future of visual storytelling, Canon's unique brand & “its silent heroes — the staff & visionary engineers who make my work possible” she said. Laura prides herself on her independent identity as a visual creative. Her goal as an artist is to produce socially engaged, unique and thought-provoking work. She often collaborates with like-minded individuals, institutions & organisations driven to inform responsibly, contribute positive change to the world & encourage stimulating thought & creativity. Source: www.lauraeltantawy.com
Branda Bancel
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United States
Brenda Bancel is the president of the Take 5 Foundation and owner of Brenda Bancel Photography LLC. She spent ten years in the advertising industry working with clients such as Apple and IBM before realizing that she wanted to focus on nonprofit work and using her own creative talent. She is a recent graduate of the New England School of Photography, where she graduated with honors in Documentary. She hopes to use photography to bring awareness to important social issues. About Finding the Sacred on the Sacred River "When I saw it, I knew, I had to go: A workshop during the Hindu spiritual festival on the Ganges River. Agency VII was organizing and I knew immediately, that this, I had to attend. I registered, applied, got in, got a visa, got a flight and showed up. I'd never been to India. And quite honestly, before leaving I worried more about my storyline, my vaccines and my fear of flying (thinking I’d be dead before I arrived)."
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Call for Entries
AAP Magazine #55 Women
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