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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

Ian McFarlane
Ian McFarlane
United States
1970
Ian McFarlane is a portrait and commercial photographer living in Athens Georgia. Ian began his love for photography his senior year in high school, knowing he would go in to the arts, he attended The University of Georgia Lamar Dodd School of Art. By his senior year he already knew that photography would be the path he would travel for the rest of his life. During his last year at UGA he became custom darkroom printer and photo consultant for Michael Stipe, lead singer for the band REM. For the next 8 years Ian worked closely with Michael, printing his personal photos and helped guide him on his journey back to his love for photography. In 1998 Ian printed the photographs for Micheals first book, 2 Times Intro: On The Road with Pattie Smith. Ian had his first solo show in 1998 with Jane Jackson Fine Art in Atlanta Ga. Where he was represented until 2005. In 2000 Ian took the leap to open his own studio and began shooting for Publication all over the country. Over the last 23 years Ian has continued to work as a freelance photographer as well as shooting personal B/W portrait projects. During the last 3 years Ian has worked on two portrait series dear to his heart. My Mother's Daughter, which is based on the loss of his mother to dementia and currently shooting, Welcome Ukrainian Refugees in Georgia. ''My true love for photography is the portrait. I only use natural light, finding that special patch of light and allowing the silent dance to begin.''
Cao Luning
Cao Luning
China
1990
Cao Luning is a street photographer who lives in Nanjing, Jiangsu Province, China, a city of 8 million people. He only started to do photography 3 years ago and all learnt by himself. For Cao Luning, photography is a means of getting to know and expressing himself. Just like the saying "You are what you read", he also believes "You are what you shoot". He's extremely crazy about Street, Travel and Documentary photography, and the uncertainty and infinite possibilities of them fascinate him. They are just similar to life, you never know what you are going to get tomorrow. You may capture some nice shots, or you might come back empty-handed. Street photographer is his identity. Cao Luning is a street wanderer and likes to watch people. He can linger on the streets all day long without feeling tired or fed up. When he shoots, he focuses on the serendipity of specific colors, light and shadows, gestures and the implied humor of scenes. Cao Luning reckons framing is crucial to a good photograph, and he's been greatly influenced by Henri Cartier-Bresson and his "The Decisive Moment Theory", which He thinks is something that every photographer should pay attention to. His mentors are Mangum Photographer Alex Webb and his wife Rebecca Norris Webb, and they both helped him a lot in developing his own vision. In his opinion, given different situations and scenarios, a good street photographer should swiftly apply different compositions that best suit the scenes, instead of using one or two methods for all situations, because that's not a creative process, it's just mechanical repetitions. Statement I'm a street photographer who started to do photography 3 years ago. For me, photography is a means of getting to know and expressing myself. Just like the saying "You are what you read", I also believe "You are what you shoot". I'm extremely crazy about Street, Travel and Documentary photography, and the uncertainty and infinite possibilities of them fascinate me. They are just similar to life, you never know what you are going to get tomorrow. You may capture many nice shots, or you might come back empty-handed. I'm a street wanderer and I like to watch people. I can linger on the streets all day long without feeling tired or fed up. When I shoot, I focus on the serendipity of specific colors, light and shadows, gestures and the implied humor of scenes. I reckon framing is crucial to a good photograph, and I've been greatly influenced by Henri Cartier-Bresson and his "The Decisive Moment Theory", which I think is something that every photographer should pay attention to. In my opinion, given different situations and scenarios, a good street photographer should swiftly apply different compositions that best suit the scenes, instead of using one or two methods for all situations, because that's not a creative process, it's just mechanical repetitions. Most of the works I submitted were shot during the pandemic in China.. On January 2020, The New Coronavirus Pneumonia (or COVID-19) outbroke in Wuhan, Hubei Province in China and soon spread all over the country. As a result, the Chinese government locked down the whole country, stopped all production activities, restricted intercity transportation, and people were advised not to go outside. I live in Nanjing, Jiangsu Province, a city of 8 million people, and when it was shut down, it was a bit like a ghost town in the beginning, not completely empty, but hard to find people on the streets. However, I found out by the Yangtze River and some parks, there are some citizens. People would go fishing, do sports, exercise or simply relax. So I often go to those places with my camera, trying to capture their life under the influence of Coronavirus. The virus has pressed the pause button for most of us, though it's not a good thing, objectively speaking, it gives us a good opportunity to look inside and review our living states. It offers us a window to slow down and appreciate all the good and beautiful things around us as well. In the meantime, we are also given the possibility to do the things that we always wanted to do. We should cherish it and live in the moment, despite how dreadful the epidemic situation might be, life has to go on. I hope you'll enjoy my works and get to know me better by them.
Evan Anderman
Evan Anderman
United States
1964
Evan Anderman is a fine art photographer based in Denver who is best known for his aerial images of Colorado's Eastern Plains, and other less-traveled landscapes across the American West. His work is held in the Denver Art Museum collection and has been exhibited at institutions nationally and internationally, including the DongGang International Photo Festival/South Korea, Mt Rokko International Photo Festival/Japan, The Midwest Center for Photography, The Dairy Center for the Arts, The Arvada Center, American Mountaineering Center, Denver International Airport, Carmen Wiedenhoeft Gallery, The Colorado State Capitol, Robischon Gallery, Lamont Gallery, Buttonwood Art Space, and in his own gallery in Denver's Santa Fe Arts District. In November 2013, Anderman was honored for his unique environmental photography with the inaugural Photo District News (PDN) Duggal Image Maker Award. Prior to becoming a full-time photographer, Anderman spent decades working as a geologist, and holds a Master's and a PhD in Geological Engineering from the Colorado School of Mines and a BS in Geological Engineering from Princeton University. Anderman's work aims to challenge our understanding of the relationship between human development and the natural world by documenting the way we use the land. "As a geologist, when I fly over the high plains of eastern Colorado, I look at the overlapping layers and how the land has been modified by a combination of processes, both natural and manmade," he writes on his website, EvanAnderman.com. "The lowest layer, the land itself, has been created over literally millions of years and forms the foundation. Draped on top of that is what mankind has imposed in various ways; activities and structure that are collectively called 'progress.' While my main interest is the subtle beauty of the landscape itself, I also like to tease out what man has done with that land, and make the viewer wonder what is going on and why. The images are fundamentally aesthetic, but leave you questioning the subject matter."
Dimitris Lambridis
Dimitris Lambridis
Greece
Dimitris Lambridis was born in Athens, Greece. He has studied photography at the NewYork Film Academy and Film Production at the University for The Creative Arts, in Farnham, UK. He works as a photographer and cinematographer between London and Athens, while creating personal projects in the medium of photography. These projects focus mostly on stories that involve themes such as loss, the margins, community and irreversibility. Red Willow: "Red Willow" is the name of the Native American tribe of Pueblo Indians residing in the Taos Pueblo, in the city of Taos, New Mexico. The Red Willow tribe operates as an independent sovereign state, with its own hospital, school system and governing body. The Taos Pueblo was probably built between 1000 and 1450, making it one of the oldest continuously inhabited communities in the United States. It is also said that the Red Willow tribe is one of the first forms of society in the US - prior to the arrival of the Spanish in 1598 and other colonizers who played a definitive role in the history of the country and the fate of all Native Americans. A really important establishment introduced to the Natives was Christianity, which fit within the already highly spiritual culture, without pushing their spiritual practices away. It fit, and was accepted as it functioned in a different layer. Faith plays a large role in Native American art and other forms of expression. The history of relations between the US government and the Native American Indians has been a difficult one. Increasingly, today's Native American groups are sovereign within their own territory but continue to have close connections with the US federal government. Access to higher education for Native Americans is limited as the opportunities afforded them are not broad. The people's attitude in conjunction with the endless desert, allowed for a clarity of mind, which was almost taking me by the hand and pointing the camera towards the things that really did matter. The earth, the mountain, and the deepest bond that will never be taken away from Red Willow - their connection to their land. Photographic approach As soon as I was granted access to photograph within the pueblo in Taos, New Mexico. I started thinking about the form in which the narrative would be best preserved. The magnitude of this culture in relation to the history that comes after they encountered the colonizers, is one to be deeply respected. Appropriately, I thought that the clean strong image of a medium format camera, will function also as an update to Ansel Adams' documentation of the tribe- made in the 1930's- yet with elements of our times, such as the colour film and the inevitably modern landscape within and around the Pueblo, such as cars, clothing and establishments. Approaching the Pueblo in relation to the outside environment of the town of Taos, was something that I wanted to establish after I witnessed a certain codependence, which might not be preferred by the tribal members, but seems necessary.
Wiktor Franko
Wiktor Franko
Poland
1983
Wiktor Franko, born in Kielce in 1983. He completed Polish Language Studies at the Swietokrzyska Academy, then got involved in photography and he has ever since been preoccupied with it. He deals with both fine art and commercial photography. His photographs have been published in a number of professional magazines, such as Prism Magazine, Camerapixo, Pokochaj Fotografie, Fabrikon Magazine, Musli Magazine, Confashion and a Chinese Prime Magazine. He exhibited his works at a few collective and individual exhibitions, and his photographs were awarded in a variety of photo contests - he was twice awarded in a prestigious Viva Photo Awards and two local contests Zycie Jest Piekne and Kielce Inaczej (he was a jury member with Pawel Pierscinski in the last two editions of Kielce Inaczej contest). Wiktor Franko was a collaborator of Charaktery magazine, and a number of his images were placed on the cover of that magazine. His photographs can also be found on book covers. On two occasions, he took photographs of famous people from the world of business, culture and politics, including a portrait photo depicting Malgorzata Tusk, Prime Minister's wife for Philanthropist's Calendar, a publication that is of importance for the region. Wiktor Franco is the author of three posters for The Off Fashion, a European contest for fashion designers that is held in Kielce. Initially, Wiktor's development as a photographer ran parallel to his stay in London, where he shot photos of jazz and rock music stars, including Marillion, King Crimson, Porcupine Tree, Archive, Chic Corea, Jan Garbarek. Currently, Wiktor is engaged in making music albums covers of Polish artists, including Strefa Ciszy, Lebowski. In his photographs, Wiktor Franko frequently uses literary motifs and allusions (a cycle devoted to Milan Kundera's novels). His works, strongly influenced by surrealism, are often defined as painterly. As he himself says, what is most important for him in photography is the atmosphere, a particular mood and surprise.Source: Galeria Winda
Deborah Turbeville
Deborah Turbeville
United States
1938 | † 2013
Deborah Turbeville was born in 1938, in Boston. Summers were spent in Ogunquit, Maine. 'Beautiful Place by the Sea' is the oceanside township's motto. 'Very bleak, very stark, very beautiful,' was Turbeville's description of it. Life was comfortable - she went to private school. Yet her mother described her as a 'shy and scary child'. Which is as it should be. The uneasy shuffle of ambiguity is the essence of Turbeville and her work - which itself shuffles between fashion magazine and art gallery, never fully at peace in either place. Like her near contemporaries, Helmut Newton and Guy Bourdin, she rethought and recast fashion photography in the 1970s. Perhaps even more than those two louche Europeans, though, she injected narrative and mystery into what is, after all, an unabashedly commercial process. Her pictures are as much riddles as they are images. Consciously damaged goods, they are blurry, grainy, tormented into painterly colours, scratched, marked, sellotaped - post-production work often done with her long-term assistant and collaborator Sharon Schuster. 'I destroy the image after I've made it,' said Turbeville. 'Obliterate it a little so you never have it completely there.' It's a quite un-American world, a view through the rear window, fascinated by the beaten, worn and forgotten. She has photographed her own house in Mexico as if she were a time-travelling visitor in her own intimate landscape, slightly drunk in exploration and contemplation of the rooms and their objects - tin retablos, wooden boxes, a painted carving of the Virgin Saint Maria Candelaria. She has photographed old Newport and the lost St Petersburg. One of her books was called 'Les Amoureuses du Temps Passe' - (female) lovers of times past. 'The idea of disintegration is really the core of my work.' When Jackie Onassis commissioned her to photograph the unseen Versailles, the late president's wife urged the photographer to 'evoke the feeling that there were ghosts and memories.' Turbeville began by researching the palace's 'mistresses and discarded mistresses', then photographed not just the palace's grand chambers and vistas but its store rooms and attics. She came to photography late. Arriving in New York at 19, with dreams of a stage career, she worked as a model and assistant to Claire McCardell - the fashion designer who brought wool jersey and denim to the catwalk. She joined Harper's Bazaar in 1963, working with its fashion editor, Marvin Israel, and his crew of photographers which included Diane Arbus, Richard Avedon and Hiro. She took her first pictures in Yugoslavia in 1966. They were blurry. She showed them to Avedon. He liked them, blurs and all. So he taught her technique. In 1972, she became a photographer. Like other adventurous photographers of the era, she worked for Nova magazine. She took some pictures for Vogue of girls in bikinis at a cement works. 'The most revolutionary pictures of the time,' said Conde Nast's editorial director Alexander Liberman. The work that made her name was the 'bathhouse' series she took for American Vogue in 1975 - fashion photographs of barely dressed women, wet and languid, almost kitsch. The oddest thing, though, is the sense that the women are prisoners - of what is not clear, of course. It's been said they look like they're in gas chambers. 'I go into a women's private world, where you never go,' Turbeville said. 'It's a moment frozen in time. I like to hear a clock ticking in my pictures.' If one of photography's most honourable impulses is to subvert - or flee from - the medium's inherent voyeurism, Turbeville collapses this paradox by succumbing to it. Victorian academic paintings presented unclothed women in bathing pools as if the painter were not there - the illusion of pornography. Turbeville's naked, wet women are under no such illusion. They know the photographer is there. They acknowledge her presence. They maybe even watch us, the viewer. The bathouse pictures were collected, with others, in her 1978 book 'Wallflower' - arrestingly and sympathetically designed by her mentor, Israel. In it are all the essentials of her work: a feeling that you are somewhere in the past; a languid, barely sexual sexuality; white, willowy women; distressed prints; a luminous quality; a sense of a narrative interrupted. Yet she's a jobbing photographer, too. She's worked for American Vogue and its British, French, Italian, and Russian counterparts. She's done ads for Ungaro, editorial photographic essays for Harper's Bazaar and portraits of Julia Roberts for the New York Times Magazine. She wears black, mostly. She has reddish hair. She has homes in Mexico, New York and Russia. She teaches in Russia. She's been married at least once. When she lived in Paris, at the turn of the 1980s, she'd rummage through the streets every evening, between 6 and 8 o'clock. 'I'm a voyeur,' she said. (Source: Pete Silverton - www.professionalphotographer.co.uk)
Jennifer Little
Jennifer Little
United States
1977
Jennifer Little (b. 1977) lives in Oakland, California. Her current photographic work focuses on social and ecological concerns and documents intersections between the natural and the man made. Jennifer received a B.F.A. in Photography from Washington University in St. Louis and an M.F.A. from the University of Texas at Austin. She is a tenured Associate Professor at University of the Pacific in Stockton, California, where she teaches courses covering Digital Photography, Video Production, Documentary Photography, the History of Photography, and Web Design. Jennifer is Chair of the Art Department at University of the Pacific. Jennifer Little's new photographic series, 100 Years of Dust: Owens Lake and the Los Angeles Aqueduct, is receiving significant recognition from galleries, publications, and curators. It just won the prestigious 2014 Critical Mass Top 50 Award from PhotoLucida. This series has also been selected for a solo exhibition at University of the Arts' Sol Mednick Gallery in Philadelphia from March 20 - April 24, 2015. Jennifer has been invited to give a presentation about Owens Lake at the Society for Photographic Education (SPE) National Conference in New Orleans, LA, from March 12-15, 2015. She also presented at the SPE West Regional Conference in Los Angeles on November 15, 2014, with Kathy Bancroft, the Tribal Historic Preservation Officer for the Lone Pine Paiute-Shoshone Reservation. Jennifer's series about Owens Lake won the 2014 "Dotphotozine Award for Excellence in Photography" and is featured in the September, 2014, issue of the magazine. This series also won first prize in an October - November, 2013, juried exhibition at Book and Job Gallery on Geary Street in San Francisco: The Human Impact: New Directions in Landscape Photography. Jennifer has exhibited her work at galleries and museums including Stanford University’s Thomas Welton Stanford Art Gallery; Tag Gallery in Bergamot Station Arts Center, Santa Monica, CA; Photo Center Northwest, Seattle, WA; Kala Art Institute in Berkeley, CA; The San Francisco Arts Commission Gallery; The LAB, San Francisco; Viewpoint Photographic Art Center in Sacramento, CA; Eisentrager-Howard Gallery at The University of Nebraska at Lincoln; The Marin Museum of Contemporary Art in Novato, CA; The Center for Fine Art Photography in Fort Collins, CO; and Jay Etkin Gallery in Memphis, TN. Jennifer’s work has been published and reviewed in Dotphotozine, View Camera Magazine, ArtAscent Magazine, Camera Arts Magazine, and The Austin Chronicle. Jennifer has presented artist talks at Stanford University, San Francisco Art Institute, the Foto 3 Conference, Kala Art Institute in Berkeley, CA, and the Dimen Cultural Eco-museum Forum on the Preservation and Development of Ancient Villages, Dimen, Guizhou, China.About Owens Lake and the Los Angeles AqueductThis project documents the Los Angeles Department of Water and Power’s (LADWP) legally mandated dust mitigation program at Owens Dry Lake in Southern California. It is the latest chapter in a century of legal battles over water rights and air quality in Owens Valley. Owens Lake lies in Southern California's eastern Sierra, about 200 miles northeast of Los Angeles. This 110-square-mile lake began to dry up in 1913 when the City of Los Angeles diverted the Owens River into the Los Angeles Aqueduct. The new water supply allowed Los Angeles to continue its rapid growth and turned the arid San Fernando Valley into an agricultural oasis, but at a tremendous environmental cost. By 1926, Owens Lake was a dry alkali flat, and its dust became the largest source of carcinogenic particulate air pollution in North America.1
Jennifer Baron
Jennifer Baron
The Netherlands
1971
Jennifer Baron is a Dutch photographer based in Amsterdam. After many years in the field of education, she has decided to pursue her passion for photography. Her journey into the world of visual storytelling has culminated in the recent publication of her self published debut book, ‘Frozen August.’ ‘I translate my feelings in my work using universal themes that deal with grief, trauma, loss and healing. There is always an autobiographical element present. Making visible experiences, pain and traces left behind. In my work, abstraction alternates with intimacy and emotion.’ Statement Jennifer’s photographic work is a visual dance that encourages the viewer to explore the subtle balance between the intangible and the tangible, the distant and the immediate. It’s in the contrasting elements of her art that a strong feeling emerges, motivating people to explore their own feelings and experiences. She believes that black and white photography has a unique ability to capture the raw essence of human emotions and experiences. It gives the viewers the opportunity to fill in the colors of their own emotions and interpretations. Her work is deeply rooted in her personal experiences and emotions. ‘I translate my feelings in my work using universal themes that deal with grief, trauma, loss and healing. There is always an autobiographical element present. Making visible the experiences, the pain and the traces left behind. In my work, abstraction alternates with intimacy and emotion.’ Frozen August When you have experienced a loss, you can go a long time without dealing with it. You get carried away by everyday life. Suddenly that grief is there again. Why you can still grieve intensely even years after the death of a loved one. ‘My work gives an insight into my grieving process over the sudden death of my brother in August 1990. After 33 years of keeping silent about this, this wound is still so palpable. My world in darkness invites you to follow the trail of emotions. Body and nature become landscapes of mourning. Light and dark are about hope and despair. By combining various media; photography, sketches and publication book, my project Frozen August came about.’
Jaroslav Rössler
Jaroslav Rössler
Czech Republic
1902 | † 1990
Jaroslav Rössler was a pioneer of Czech avant-garde photography and a member of the association of Czech avant-garde artists Devětsil (Butterbur). He was born to the Czech-German father, Eduard Rössler, and a Czech mother, Adéla Nollová. From 1917 to 1920, Rössler studied in the atelier of the company owned by renowned Czech photographer František Drtikol. Subsequently, he worked with the company as a laboratory technician. At 21 years old, he began a collaboration with the art theorist Karel Teige, who assigned him to create a typographic layout for magazines Pásmo, Disk, Stavba and ReD (Revue Devětsilu). While working on these tasks, Rössler deepened his knowledge of photographic methods. In his works he utilized and combined the techniques of photogram, photomontage, collage and drawing. The beginnings of his photographic work were influenced by Cubism and Futurism, but he also attempted to create the first abstract photographs. In 1923, he became a member of the avant-garde association Devětsil. In 1925, he went on a six-month study visit to Paris. The same year he began working as a photographer in the Osvobozené divadlo in Prague. Before his second departure to Paris, he co-worked as a commercial photographer with the pictorial magazine Pestrý týden. In 1927, Rössler moved to Paris together with his wife, Gertruda Fischerová (1894–1976). Initially, he focused on commercial photography. He collaborated with the experimental studio of Lucien Lorell, and worked on commissions for notable companies such as Michelin and Shell. However, later he found an interest in the "street life" of Paris, which influenced his future stay in the city. During a demonstration, he encountered the protesters and took photographs of the event. Shortly after that he was arrested, and after a six-month imprisonment, he was expelled from the country, in 1935. The alleged reason for his expulsion was his German-sounding surname. After his return from Paris, Rössler and his wife resided in Prague, Žižkov. He opened a small photographic atelier, but difficulties associated with the management of the studio caused a significant gap in his artistic work, lasting for almost two decades. In the 1950s, he resumed his previous activities and again began experimenting with the camera and photographic techniques. He created so-called prizmata (prisms), photographs taken through a birefringent prism. Additionally, he experimented with solarisation and explored the possibilities of the Sabatier effect. Jaroslav Rössler, together with František Drtikol, Josef Sudek and Jaromír Funke, is today considered an important exponent of Czech modern photography and avant-garde art.Source: Wikipedia Jaroslav Rössler was one of the most distinctive artists of the Czech avant-garde, known for fusing disparate elements of Symbolism, Pictorialism, Expressionism, Cubism, Futurism, Constructivism, New Objectivity and abstract art. From 1917 to 1920, Rossler studied and worked as a lab technician under František Drtikol, but he quickly abandoned the pictorialist style of his famous teacher, turning instead to more avant-garde techniques and compositional approaches, including experiments with photograms, enlarged detail, diagonal composition, photomontage, double exposure, and experiments with color advertising photographs and still lifes produced with the carbro print process. Jaroslav Rössler often photographed objects against stark backgrounds, or used long exposures, to reduce subjects to their elementary lines and geometric shapes. In 1923 he became a member of the assocation of Czech avant- garde artists Devětsil. From 1927 to 1935, he lived and worked in Paris, producing work influenced by Constructivism and New Objectivity. After his return to Prague, he was relatively inactive until the late 1950s, when he renewed experimentations with solarization and photographing through a prism.Source: Robert Koch Gallery
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Exclusive Interview with Robert Mack
Interview
Exclusive Interview with Robert Mack
Robert Mack is a California-based visual artist, photographer, and filmmaker. His fine art photography and films have been exhibited widely in the United States and Europe, with major shows at the Baltimore Museum of Art and the Reiss-Engelhorn Museum in Mannheim, Germany. Both institutions hold his work in their permanent collections. Working across different media, Mack has built a career exploring the complexities of human presence and representation. In 1981, while living in Baltimore, he produced The Perkins Project: Not Guilty by Reason of Insanity, a rare photographic and film study inside Maryland’s hospital for the criminally insane. These stark yet compassionate black-and-white portraits remain one of his most powerful and controversial bodies of work.
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