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Zakaria Wakrim
Zakaria Wakrim
Zakaria Wakrim

Zakaria Wakrim

Country: Morocco
Birth: 1988

Zakaria Wakrim, born in 1988, lives and works between Spain and Morocco. His early photoworks were quite experimental, willing to explore perceptual human boundaries using all sort of experimental means. After being catalogued as one of the "Emerging Artists" in his homeland, he started applying his experimental means to create a deep reflexion around the concepts of Change and Identity. The result consists in layers of visual stories that have a narrative and a conceptual side. His visual research is constant; he believes that the photographic language is organic.

His photo series are willing to occupy the narrative field, stories that give sense to local identity. The fast sense of change that is happening in North Africa blurs the frontiers between the old and the new. The intersection is hard to state as the old is easily forgotten and scavenged by the new. Documenting the sense of change, becomes a way to understand it better, in order to deal with identity as a starting point for culture.

Gallery

Raw Streetphoto Gallery

Website

www.zakariawakrim.com

 

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More Great Photographers To Discover

Eric Seidner
Eric Seidner
United States
1978
Eric Seidner is an award-winning American photographer who has spent two decades living and working in China. His work, published by esteemed photography organizations, focuses on travel documentary, capturing the people, culture, and character of a place. With a strong sense of geometry and pattern, he blends composition with storytelling, creating layered images that offer deeper perspectives. His personal projects often take him to remote regions or cultural festivals, always in search of compelling moments that connect people across different worlds.
Jeff Rothstein
Jeff Rothstein
United States
1950
Armed with 35mm cameras and black and white film, Jeff Rothstein has been chronicling New York City's streets for many decades. He considers himself an urban observer, capturing the city's environment, and most of all, those fleeting moments that will soon disappear into thin air. His photos have appeared in numerous publications, culminating with the 2017 release of his photobook, Today's Special, New York City Images, 1969-2006. The book is in the collection of many institutional libraries. Art historian and critic Robert C. Morgan considers Rothstein's photos as appearing casual, but, in fact, filled with a paradoxical magnitude of intimacy combined with historical empathy. He's still out there shooting his home city almost every day. A followup photobook is now in the planning stages. Today's Special, New York City Images 1969-2006
Loretta Lux
Loretta Lux
Germany
1969
Loretta Lux was born in Dresden, East Germany and is a fine art photographer known for her surreal portraits of young children. She currently lives and works in Monaco. Lux graduated from the Academy of Visual Arts in Munich in the 1990s, and debuted at the Yossi Milo gallery, New York in 2004. The show put both Yossi Milo and Loretta Lux on the map, selling out and setting prices never before seen from a new gallery. In 2005, Lux received the Infinity Award for Art from the International Center of Photography. Her work has since been exhibited extensively abroad, including solo exhibitions in 2006 at the Fotomuseum Den Haag, The Netherlands, and the Sixth Moscow Photobiennale. Her work is included in numerous museums collections worldwide, including the Solomon R. Guggenheim Museum; J.Paul Getty Museum, Los Angeles, San Francisco Museum of Modern Art; Museum of Contemporary Art, Los Angeles; Los Angeles County Museum of Art; Art Institute of Chicago; Israel Museum, Jerusalem; Fotomuseum, den Haag; Museo Nacional Centro de Arte Reina Sofia, Madrid and Musée de l’Elysée, Lausanne, Switzerland, and National Museum of Art, Osaka, Japan. She has had portfolios featured in numerous fine art magazines. The artist executes her compositions using a combination of photography, painting and digital manipulation. Lux's work usually features young children and is influenced by a variety of sources. She originally trained as a painter at Munich Academy of Art, and is influenced by painters such as Agnolo Bronzino, Diego Velázquez, Phillip Otto Runge. Lux also owes a debt to the famous Victorian photographic portraitists of childhood such as Julia Margaret Cameron and Lewis Carroll. Source: Wikipedia Loretta Lux was born in Dresden, Germany, in 1969. In 1989 she left East Germany for Munich, a few months before the fall of the Berlin Wall. From 1990–96, she studied at the Akademie der Bildenden Künste in Munich. Trained as a painter, Lux began taking photographs in 1999. Although Lux first experimented with self-portraits in works like The Hush (1999) and Self-Portrait (2000), she soon transitioned to images of children and adolescents, typically the offspring of friends who she often used as models. Her subjects, with gazes ambiguously empty yet psychologically activated, assume formal poses and appear in calculated garb and hairstyles. Employing photography, painting, and computer manipulation, Lux alters the images, extracting extraneous details, distorting proportions, and setting the children against mediated backgrounds that exist somewhere between Old Master paintings and cheesy studio-portrait backdrops. Lux's earliest works set children against icy blue skies, for example in Troll (2000), Lois (2000), and Isabella (2001). In 2001, while the skies continued to serve as backdrops in some works, Lux began to increasingly stage her images within barren pale pink interiors; such images include Hidden Rooms (2001) and Study of a Girl (2002). In several works including The Book (2003), Lux borrowed poses from Balthus, endowing those works with the rigidity and sense of perversion that characterized the French artist's oeuvre. Lux moved to Ireland in 2004 and increasingly depicted pairs of children rather than the solitary figures that occupied her earlier work. In her images of siblings like The Walk (2004), The Irish Girls (2005), and Hugo and Dylan (2006), the figures are psychologically isolated and physically interact quite gingerly with minimal and half-hearted gestures, perhaps an arm around a shoulder. Lux photographed the twins Sasha and Ruby (2005), girls who again sat for multiple images the artist produced in 2008. In 2007 Lux created her first self-portrait in seven years, this time occupying the pale blue and pink world of the children and bearing their ambiguous, confounding expression. Solo exhibitions of Lux's work have been organized by Stadtmuseum in Muenster (2003), Fotomuseum den Haag in The Hague (2005), Museo de Arte Contemporaneo de Monterrey (2008), and Kulturhuset in Stockholm (2009), among others. Lux's work has also been included in major exhibitions such as Arbeit an der Wirklichkeit, German Contemporary Photography at the National Museum of Modern Art in Tokyo (2005–06), Global Feminisms at the Brooklyn Museum (2007), Family Pictures at the Solomon R. Guggenheim Museum in New York (2007), and the Havana Biennale (2009). In 2005 she received the Infinity Award for Art from The International Center of Photography in New York. Lux lives and works in Monaco. Source: Guggenheim
Jan Saudek
Jan Saudek
Czech Republic
1935
Jan Saudek is an art photographer and painter. He and his twin brother Kaja Saudek are holocaust survivors. Jan Saudek's art work represents a unique technique combining photography and painting. In his country of origin, Czechoslovakia, Jan was considered a disturbed artist and oppressed by authorities. His art gained more prominence during the 1990s, thanks to his collaboration with the publisher Taschen. During the 2000s, Saudek lost all his photo negatives in a matrimonial dispute and his pictures are now displayed on the internet for free. Jan claims they were stolen from him. Jan is the author of many “mise en scene” that were re-taken and copied by other artists. The cliché of a naked man holding a naked newborn baby with tenderness became a picture that was reproduced so many times that the composition became as commonplace as posing for a graduation picture. I still dream of the day when I will take a photograph so beautiful that it can be called love. -- Jan Saudek During his life in communist Czechoslovakia, Jan was labeled by the totalitarian regime as a pornographer. He lived in poverty using the only room in his basement as his studio. A disintegrating wall and a window giving a glimpse into the backyard became the witnesses of his fantasies and collaborations with models of all different sizes and origins. Jan Saudek and his twin brother Karel (also known as Kája) were born to a Slavic (Czech) mother and Jewish father in Prague in 1935. Their mother's family came to Prague from Bohemia, and their father from the city of Děčín in the northwest part of that area. During World War II and after the invasion of the German Nazis, both sides of his family were racially persecuted by the invaders. Many of his Jewish relatives died in the Theresienstadt concentration camp during the war. Jan and his brother Karel were sent to a children's concentration camp for Mischlinge (mixed-blood in German, as Nazis classified Jews as a race distinct from "Aryans"), located in Silesia near the present Polish-Czech border. Their father Gustav was deported to Theresienstadt concentration camp in February 1945. Although their mother and many other relatives died, both sons and father survived the war. A Communist-dominated government gained power after the war to rule the country, enforced by the Soviet Union and considered to be behind the Iron Curtain. According to Saudek's biography, he acquired his first camera, a Kodak Baby Brownie, in 1950. He apprenticed to a photographer, and in 1952 started working in a print shop; he was restricted to this work by the Communist government until 1983. In 1959, he started using the more advanced Flexaret 6x6 camera, and also engaged in painting and drawing. After completing his military service, he was inspired in 1963 by the catalogue for American photographer Edward Steichen's The Family of Man exhibition, and began to work to become a serious art photographer. In 1969, Saudek traveled to the United States, where he was encouraged in his work by curator Hugh Edwards of the Art Institute of Chicago. I have no way of portraying the lives of others. I portray my own. -- Jan Saudek Returning to Prague, Saudek had to work on his photography clandestinely in a cellar, to avoid the attention of the secret police. With his work turning to themes of personal erotic freedom, he used implicitly political symbols of corruption and innocence. In the late 1970s, he became recognized in the West as the leading Czech photographer, and also developed a following among photographers in his own country. In 1983, the first book of Saudek's work was published in the English-speaking world. The same year, he became a freelance photographer; the Czech Communist authorities allowed him to stop working in the print shop, and gave him permission to apply for a permit to work as an artist. In 1987, the archives of his negatives were seized by the police, but later returned. His best-known work is notable for its hand-tinted portrayal of painterly dream worlds, often inhabited by nude or semi-nude figures surrounded by bare plaster walls or painted backdrops. He frequently re-uses elements (for instance, a clouded sky or a view of Prague's Charles Bridge). In this his photographs suggest the studio and tableaux works of mid-19th century erotic photographers, as well as the works of the 20th-century painter Balthus, and of Bernard Faucon. Saudek's early art photography is noted for its evocation of childhood. His later works often portrayed the evolution from child to adult (re-photographing the same composition/pose, and with the same subjects, over many years). Religious motifs and the ambiguity between man and woman have also been some of Saudek's recurring themes. During the 1990s, his work at times generated censorship attempts in the West because of its provocative sexual content. Saudek's imagery has sometimes had a mixed reception internationally. He gained early shows in 1969 and 1970 in the United States and in Australia. In 1970 his work was shown at the Australian Centre for Photography and was welcomed by curator Jennie Boddington at the National Gallery of Victoria. Decades later, by contrast, his photograph Black Sheep & White Crow, which features a semi-naked pre-pubescent girl, was removed from the Ballarat International Foto Biennale in Victoria, Australia just before the opening on 21 August 2011; objections had been made related to allegations of child prostitution for his subject. Saudek's photographs have been featured as covers for the albums of Anorexia Nervosa (New Obscurantis Order), Soul Asylum (Grave Dancers Union), Daniel Lanois (For the Beauty of Wynona), Rorschach (Remain Sedate), and Beautiful South (Welcome to the Beautiful South). Saudek lives and works in Prague. His brother Kája Saudek was also an artist, the best-known Czech graphic novelist.Source: Wikipedia Saudek's pictures display a fondness for sequences that can be traced back to his childhood appreciation of comic books. More obviously, his work is often inspired by the nineteenth-century tradition of photographs of large women posed in lingerie reproduced as postcards (quite possibly also the source of inspiration for Saudek's collection 30 Postcards). His formal training occurred from 1950 to 1952, when Saudek attended Graphic Arts school and took a photography class. Saudek first exhibited in Prague in 1963 at the Hall of the Theatre on the Balustrade; though he continues to show work in his home country occasionally, Saudek's pictures are most widely exhibited in the United States. His work is held by such institutions as the Art Institute of Chicago; Museum of Fine Arts, Boston; The Bibliothèque nationale de France, Paris; Musée Nicephore Nièpce, Chalon-sur-Saone, France; National Gallery of Victoria, Melbourne, Australia; and Photo Art, Basel, Switzerland. Saudek continues to live and work in the Czech Republic.Source: Museum of Contemporary Photography
Frederick Sommer
Frederick Sommer
United States
1905 | † 1999
Frederick Sommer (September 7, 1905 – January 23, 1999), was an artist born in Angri, Italy and raised in Brazil. He earned a M.A. degree in Landscape Architecture (1927) from Cornell University where he met Frances Elizabeth Watson (September 20, 1904 – April 10, 1999) whom he married in 1928; they had no children. The Sommers moved to Tucson, Arizona in 1931 and then Prescott, Arizona in 1935. Sommer became a naturalized citizen of the United States on November 18, 1939. Considered a master photographer, Sommer first experimented with photography in 1931 after being diagnosed with tuberculosis the year prior. Early works on paper (starting in 1931) include watercolors, and evolve to pen-and-ink or brush plus drawings of visually composed musical score. Concurrent to the works on paper, Sommer started to seriously explore the artistic possibilities of photography in 1938 when he acquired an 8×10 Century Universal Camera, eventually encompassing the genres of still life (chicken parts and assemblage), horizonless landscapes, jarred subjects, cut-paper, cliché-verre negatives and nudes. According to art critic Robert C. Morgan, Sommer's "most extravagant, subtle, majestic, and impressive photographs—comparable in many ways to the views of Yosemite Valley’s El Capitan and Half Dome by Ansel Adams—were Sommer’s seemingly infinite desert landscapes, some of which he referred to as 'constellations.'" The last artistic body of work Sommer produced (1989–1999) was collage-based largely on anatomical illustrations. Frederick Sommer had significant artistic relationships with Edward Weston, Max Ernst, Aaron Siskind, Richard Nickel, Minor White, and others. His archive (of negatives and correspondence) was part of founding the Center for Creative Photography in 1975 along with Ansel Adams, Harry Callahan, Wynn Bullock, and Aaron Siskind. He taught briefly at Prescott College during the late 60s and substituted for Harry Callahan at IIT Institute of Design in 1957–1958 and later at the Rhode Island School of Design. In 1934, Frederick Sommer visited Los Angeles. Walking through the art museum one day, he noticed a display of musical scores. He saw them not as music, but as graphics, and found in them an elegance and grace that led him to a careful study of scores and notation. He found that the best music was visually more effective and attractive. He assumed that there was a correlation between music as we hear it and its notation; and he wondered if drawings that used notational motifs and elements could be played. He made his first “drawings in the manner of musical scores” that year. (After reviewing this text, Fred asked that the author refer to his scores “only” in this way. When the author suggested that it was perhaps too long to be repeated throughout the text, he laughed and said, “Well, use it at least once.”) Although people knew of his scores, and occasionally brought musicians to his house to play them, no one ever stayed with it for long. In 1967, both Walton Mendelson and Stephen Aldrich attended Prescott College, Prescott, Arizona, where Sommer was on the faculty. They barely knew of his reputation as a photographer, and nothing of the scores. Towards the end of September he invited them to his house for dinner, but they were to come early, and Mendelson was to bring my flute. “Can you play that?” he asked, as they looked at one of the scores, framed, and sitting atop his piano. With no guidance from him, they tried. Nervous and unsure of what they were getting into, they stopped midway through. Mendelson asked Aldrich where he was in the score: he pointed to where Mendelson had stopped. They knew then, mysterious though the scores were, they could be played. On May 9, 1968, the first public performance of the music of Frederick Sommer was given at Prescott College. Sommer had no musical training. He didn't know one note from another on his piano, nor could he read music. His record collection was surprisingly broad for that time, and his familiarity with it was thorough. What surprised Mendelson and Aldrich when they first met him were his visual skills: he could identify many specific pieces and almost any major composer by looking at the shapes of the notation on a page of printed music. Of Sommer's known works, his drawings, glue-color on paper, photographs, and writings, it is only these scores that have been a part of his creative life throughout the entirety of his artistic career. He was still drawing elegant scores in 1997. And like his skip reading, they are the closest insight to his creative process, thinking and aesthetic. Bruce Silverstein Gallery is the New York representative of the Frederick & Frances Sommer Foundation.Source: Wikipedia Frederick Sommer was an artistic polymath, with deep interests in painting, drawing, photography, sculpture and collage. With his work he intended to engage the world formally, to harvest its chance gifts, decontextualizing and rearranging found images and objects according to often shocking visual affinities. The artist played with a wide variety of forms, textures and scale to create startling compositions amid objects and sites others found too insignificant to notice. Sommer was intent on expanding the limits of where beauty could be found, and after viewing a display of original musical scores, he began to formulate his own theories correlating the graphic design to the sound of musical scores. Alongside many great artists of the period including Edward Weston, Max Ernst, Man Ray and Aaron Siskind, Sommer created a unique and avant-garde body of work formulated from his interest in Surrealism. His works have been exhibited by the world’s most important institutions, including the George Eastman House, Rochester; The J. Paul Getty Museum, Los Angeles; Delaware Art Museum; Serpentine Gallery, London; Charles Egan Gallery, New York; Philadelphia College of Art; Washington Gallery of Modern Art, Washington D.C.; Pasadena Art Museum, California; Museum of Modern Art, New York; Institute of Design, Chicago; Zimmergalerie Franck, Germany; and the Los Angeles County Museum of Art. Work by the artist is represented in major museum collections internationally such as the Metropolitan Museum of Art, New York; Smithsonian Institution, Washington D.C.; Art Institute of Chicago; Museum of Modern Art, New York; Los Angeles County Museum of Art; Museum of Fine Arts, Boston; National Gallery of Art, Washington D.C.; Maison Européenne de la Photographie; George Eastman House, Rochester; and the Victoria and Albert Museum, London. Sommer’s work has been published widely. Noteworthy publications include Frederick Sommer: Photography, Drawing, Collage (2005), The Mistress of the World Has No Name: Where Images Come From (1987), Frederick Sommer at Seventy Five, a Retrospective (1980), and Venus, Jupiter and Mars: The Photographs of Frederick Sommer (1980).Source: Bruce Silverstein Gallery
Miguel Blázquez
Miguel Blázquez
Spain
2001
Miguel Bláquez was born in 2001 in Ávila, Spain. He is a prominent video artist with a strong academic background in the visual arts. He earned a Bachelor of Arts from the Escuela de Arte y Superior de Conservación y Restauración de Bienes Culturales de Ávila. Later, he pursued a Degree in Fine Arts at the Faculty of Fine Arts of the University of Salamanca. During his time at university, Blázquez actively participated in projects such as the Audiovisual Art Exhibition by the 4th Year Fine Arts students at the Juan del Enzina Theater in Salamanca. His talent was recognized when he won the XXVII edition of the San Marcos Awards in the “Audiovisual” category, with his work exhibited at the Museum of Contemporary Art of Salamanca (DA2) in 2024. Additionally, his piece “El vídeo más grande del mundo” was showcased at the (S8) XV Mostra Internacional de Cinema Periférico in A Coruña. Another of his works, “Vídeo ensayo”, was exhibited at the Condeduque Contemporary Culture Center in Madrid in 2023. Blázquez continues to establish himself as a talented video artist, constantly exploring and contributing to the world of art. Statement My photographic work often captures spectacular scenes that pay humble homage to the world around us. As a documentary artist, I prioritize exploring the depth and meaning within images over adhering to formal conventions. I am particularly drawn to both human and natural landscapes. As a photographer and videographer, I believe in the power of visual storytelling to ignite conversations, challenge perspectives, and foster empathy. My work serves as an invitation to explore and connect with the world in meaningful ways. My primary photographic influences include Tavepong Pratoomwong (Thailand), Victor Galeano (Colombia), Freddy Rodríguez Robles (Peru), Javier Arcenillas (Spain), Óscar Corral (Spain), Graciela Iturbide (Mexico), Leo Matiz Espinoza (Colombia), and Santiago Botero (Colombia). ARTICLE El cañón del Río Melcocho
Keliy Anderson-Staley
Keliy Anderson-Staley
United States
1977
Keliy Anderson-Staley was raised off the grid in Maine, studied photography in New York City and currently lives and teaches photography at the University of Houston in Texas. She earned a BA from Hampshire College in Massachusetts and an MFA in photography from Hunter College in New York. Anderson-Staley’s tintype portrait work was awarded a New York Foundation for the Arts Fellowship and a Puffin Grant. She participated in the Bronx Museum AIM residency program in 2007, the Light Work residency and fellowship in 2010, and the Bakery Photo Collective in Westbrook Maine in 2012. She received a grant in Summer 2011 to prepare a solo exhibition of her series of tintype portraits [hyphen] Americans at Light Work in Syracuse, NY. Her color series about back-to-the-landers in Maine, Off the Grid, was one of five runners-up for the Aperture Portfolio Prize (2009). Off the Grid received the grand prize at the Joyce Elaine Grant exhibition in Denton, TX in 2009 and the Arthur Griffin Award from the Griffin Museum of Photography in 2010. The project was also a finalist for the Duke Center for Documentary Studies/Honickman First Book Prize in 2008. She also recently received funding for her project, Imagined Family Heirlooms via Kickstarter, a crowd-funding website in 2011. Her photographs are in the permanent collections of the Library of Congress, Akron Art Museum, Cedar Rapids Museum of Art, Portland Museum of Art (Maine), and Museum of Fine Arts, Houston. She was the recipient of a New York Foundation for the Arts Fellowship, a Puffin Grant, a fellowship from the Howard Foundation and the Carol Crow Fellowship from the Houston Center for Photography. Her work published in a solo issue of Light Work’s Contact Sheet and has been shown at the National Portrait Gallery of the Smithsonian, Portland Museum of Art, Akron Art Museum, Bronx Museum of Art, Southeast Museum of Photography and the California Museum of Photography, as well as at a number of galleries around the country. Anderson-Staley has been making wet plate collodion tintypes and ambrotypes for ten years. Her fine art and editorial work has appeared in a number of magazines, including Photo District News, New York Magazine, Art and Auction, Hemispheres Magazine, Camerawork, Contact Sheet, Conde Nast Traveler and Esquire Russia. Online, her work has been featured on Flak Photo, Conscientious, Fraction Magazine, PetaPixel, Ahorn Magazine and Daylight Magazine. Her series of tintype portraits was published in 2014 under the title On A Wet Bough by Waltz Books.Source: Catherine Edelman Gallery
Nicoletta Cerasomma
Nicoletta Cerasomma
Italy
1977
Born in Lucca, Italy, I learned to see photographically during my travels around the world. I studied photography with training courses at Fondazione Studio Marangoni in Florence to qualify my knowledges. My work is bound up in an ambiguous and cinematic image-making that borders the real and the fantastic. My approach to photography provokes contemplation and reconfiguration of common place subjects via playful revelation of the bizarre and the uncanny. Statement As conceptual photographer I merge new ideas and heritage adding a touch of nowadays disenchanted, attractive and oniric. Recent portfolios show a personal thought with romantic hints and at the same time soft reminders towards symbolism. The recepient of my works has to assign a meaning to them because concepts, vision, dreams, real word are not defined. The content and the form melt in a unique item. What can happen seems to be the true world and what is really true have so many aspects that leave space at imagination.
Ray Knox
Ray Knox
United Kingdom
1960
I am a documentary photographer based in London. After studying Graphic Design at the University of Ulster, I moved to London to start my career as an Art Director. Working as a creative in various advertising agencies, I’ve been fortunate to have collaborated with, and learned from, some inspirational photographers. Encouraged by those photographers, I began making documentary projects and I now divide my time between photographing my personal projects and my advertising creative work. Close To Home "I started this photography project shortly after the introduction of the first Covid-19 lockdown as a way of alleviating my restlessness from being confined to home all day. I would venture out on my neighbourhood walks just after dusk when the streets were deserted and eerily quiet. Initially, I stuck quite close to home but over time I kept increasing the distance I covered on my meandering strolls around North London. The solitude I found wandering the streets was an almost meditative experience of simply observing as I walked. It gave me the chance to explore my local surroundings more intently and notice things. I had overlooked for years. What a revelation, streets so familiar during the day were completely transformed after dark. I discovered an alluring beauty photographing under streetlights casting their individual hues, transforming a mundane space by creating a surreal, dreamlike quality and inducing an air of mystery. Artificial light is much more controlled, and you can almost see more clearly because the light focuses your attention on a certain feature or colour. It also illuminates a scene in much the same way you would light a still life or a stage set. I get excited when I have the opportunity to photograph in fog as this gives light a wonderful cinematic quality, reminiscent of film noir. I believe there are an infinite number of interesting pictures to be made on our doorstep, but you have to search for them. Looking ahead I hope to continue this project through capturing the quiet beauty of my neighbourhood at night, which often goes unnoticed."
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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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