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Jim Ferguson
Jim Ferguson
Jim Ferguson

Jim Ferguson

Country: United States
Birth: 1954

Recently I "remerged" back into the fine art photography world, but this is my second round of showing and selling work. Years back I received a BFA from San Francisco Art Institute and MFA from the School of the Art Institute of Chicago. After getting my BFA, I started contacting galleries. I was successful from the very start with three galleries representing my work and acquisitions by major museums and numerous private collections.

In the fall of 2017 I re-emerged into the fine art world full time, introducing my work again to galleries and museums. Since "reemerging" I’ve had a number of successes. I was in an exhibition at Catherine Edelman Gallery and am represented in their Chicago Project. I’ve been included in exhibitions curated by April Watson, Elizabeth Houston, Douglas Beasley and Robert Klein. I’ve also had a One Person exhibition at Workspace Gallery, and was selected for the Top 200 in Critical Mass 2018.

Wide Range Statement
Traveling through the Southwest for the first time I was photographically hot. My imagery gelled into the beginning of a body of work. This first trip was truly life changing. The Southwest appealed to me so much that I moved to Albuquerque. It served as home base for travels in the West; thus beginning my Wide Range series.

I call this series Wide Range because of the open range nature of the American West and the wide variety of subjects I choose to photograph. Man's isolated impacts on the environment stood out more in the broad expanses of the landscape. I sought not to highlight the negative impacts but to utilize the man-made objects to create my images. The juxtaposition of these man-made objects vs. dramatic backgrounds allowed me to visually compact space into layered unity. This series began the visual journey I've traveled with my photography.

Unfamiliar Places Statement
Unfamiliar Places is a body of autobiographical memories that have been altered by the passage of time rather than by a proactive chemical or digital process. The images were stored on undeveloped film for 20 years, resulting in the degradation of the "latent" image. This work reflect the serendipity that is unique to working with the analogue process and highlights its inherent materiality. The unique process of the degradation of the film over 20 years mirror the historical content of the images.

The images are a result of my photographic journey, the degradation of the emulsion in the negatives and the layering of history with the film wrapper's film numbers and dots. They were taken in France Mexico and the U.S.

Over the past two decades I continued to photograph, standing guard against the instinct for gratification and instead allowing the pictures to rest peacefully in a dark place. It is now thrilling to finally see that the choice to wait offers its rewards: here are the both subtle diminishments and vital revelations in the aging process. Time has left marks on these images just as the events of a life do.

Website

www.jimfphoto.com

 

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Hiroji Kubota
Hiroji Kubota
Japan
1939
Hiroji Kubota (born 2 August 1939) is a Japanese photographer, a member of Magnum Photos who has specialized in photographing the far east. Born in Kanda (Tokyo), Kubota studied politics at Waseda University, graduating in 1962. In 1961 he met the Magnum photographers René Burri, Elliott Erwitt, and Burt Glinn. He then studied journalism and international politics at the University of Chicago, and became an assistant to Erwitt and Cornell Capa, in 1965, a freelance photographer. Kubota photographed the 1968 US presidential election and then Ryūkyū islands before their return to Japan in 1972. He then photographed Saigon in 1975, North Korea in 1978, and China in 1979–85, and the USA in 1988–92, resulting in books and exhibitions. Kubota won the Mainichi Art Prize in 1980,[2] and the Annual Award of the Photographic Society of Japan in 1981. Three of his publications won him the first Kodansha Publishing Culture Award in 1970: "Black People", and essays on Calcutta and the Ryūkyū islands.Source: Wikipedia Hiroji Kubota sounds a little over-the-top when he insists his "life is meaningless" without photography. But a glance at his latest and 19th book will convince you he is absolutely right, given how his life has been intertwined with some of Magnum's legendary photographers, like René Burri, Burt Glinn and my father, Elliott Erwitt. He started out working with some of them as a fixer and translator, even though he refused payment at first. "I was brought up comfortably and didn't need it," he said. He did, however, accept a beat-up Leica M3 from Burri. His life changed when he got the first edition of Henri Cartier-Bresson's The Decisive Moment a month later. "When I opened it, I said, 'My gosh, what is this?" he recalled. "That motivated me. That's when I became serious." His fate was sealed when Burri showed him a Swiss magazine that featured his Gaucho pictures. "It shocked me like crazy," he said. "I knew then I wanted to be a photographer." The results of those personally decisive moments are evident in Aperture's Hiroji Kubota Photographer a retrospective covering 50 years of his work. I met Hiroji almost that long ago, because my father, Elliott Erwitt, sponsored him when he first came to America, even picking him up at the TWA terminal at Kennedy Airport. They had met when Hiroji worked as a fixer on one of my father's early trips to Japan, in 1962, to illustrate Robert Donovan's book PT 109, about John F. Kennedy's World War II exploits. Hiroji was my father's translator when he photographed the captain and crew of the destroyer that famously cut Kennedy's boat in two. That kind of work led to his meeting other influential photographers who would encourage him, eventually bringing him to New York, where he became a familiar figure at the Magnum offices. Back then, the agency was a small, international and slightly dysfunctional family that was accessible if you met the right people, which he did. Cornell Capa, a Magnum photographer, "adopted me literally, not legally," he said. "He had no children, so he needed a son, a fairly well-behaved son who could cook for him." Capa, who entertained "big shots" at his Fifth Avenue apartment, helped Hiroji make a few extra dollars by having him cook. Burt Glinn also hired Hiroji as an assistant to help him get by. Hiroji showed similar ingenuity when he spent the better part of a year photographing in Chicago, where he ran an ad hoc Japanese catering business every other weekend to help pay the bills. By 1967, he was a successful photographer firmly ensconced at Magnum, and it was time to return to Japan. He has proved to be a remarkably tenacious photographer who immerses himself in a story and returns to it until he is satisfied. He has managed to get to places others can't - like his unlimited access on many trips to China, when travel within the country was still limited. He would talk government officials into allowing him the time and access he needed to achieve his purpose. Same with North Korea; he has made countless visits - at its invitation - at a time when it was essentially a closed country. -- By Misha ErwittSource: The New York Times During a visit by Magnum members to Japan in 1961, Hiroji Kubota came to know René Burri, Burt Glinn and Elliott Erwitt. After graduating in political science from Tokyo’s University of Waseda in 1962, Kubota moved to the US, settling in Chicago, where he continued photographing while supporting himself by working in a Japanese catering business. He became a freelance photographer in 1965, and his first assignment for the UK newspaper The Times was to Jackson Pollock’s grave in East Hampton. In 1968, Kubota returned to live in Japan, where his work was recognized with a Publishing Culture Award from Kodansha in 1970. The next year he became a Magnum associate. Kubota witnessed the fall of Saigon in 1975, refocusing his attention on Asia. It took him several years to get permission to photograph in China. Finally, between 1979 and 1984, Kubota embarked on a 1,000-day tour, during which he made more than 200,000 photographs. The book and exhibit, China, appeared in 1985. Kubota’s awards in Japan include the Nendo Sho (Annual Award) of the Japanese Photographic Society (1982), and the Mainichi Art Prize (1983). He has photographed most of the Asian continent for his book Out of the East, published in 1997, which led to a two-year project, in turn resulting in the book Can We Feed Ourselves? Kubota has had solo shows in Tokyo, Osaka, Beijing, New York, Washington, Rome, London, Vienna, Paris and many other cities. He has just completed Japan, a book on his homeland and the country where he continues to be based.Source: Magnum Photos
JR
JR
France
1983
JR has the largest art gallery in the world. Thanks to his photographic collage technique, he exhibits his work free of charge on the walls of the whole world - attracting the attention of those who do not usually go to museums. Originator of the 28 Millimeters Project which he started in and around Clichy-Montfermeil in 2004, continued in the Middle East with Face 2 Face (2007), in Brazil and Kenya for Women Are Heroes (2008-2011), the documentary for which was presented at the Cannes Film Festival in 2010 (Critics' Week). JR has created "Infiltrating art". During his collage activities, the local communities take part in the act of artistic creation, with no stage separating actors from spectators. The anonymity of JR and the absence of any explanation accompanying his huge portraits leave him with a free space in which issues and actors, performers and passers-by meet, forming the essence of his work. In 2011 he received the Ted Prize, giving him the opportunity to make a vow to change the world. He created Inside Out, an international participatory art project that allows people from around the world to receive a print of their portrait and then billboard it as support for an idea, a project, an action and share that experience. In 2014, working with the New York City Ballet, he used the language of dance to tell his version of the riots in the Clichy-Montfermeil district. He created The Groves, a ballet and short film, the music for which was composed by Woodkid, Hans Zimmer and Pharrell Williams, and which was presented at the Tribeca Film Festival. At the same time, JR worked in the abandoned hospital of Ellis Island, an important place in the history of immigration - and made the short film ELLIS, with Robert De Niro. In 2016, JR was invited by the Louvre, whose pyramid he made disappear the with the help of an astonishing anamorphosis. The same year, during the Olympic Games in Rio, he created gigantic new sculptural installations throughout the city, to underline the beauty of the sporting gesture. JR & Agnès Varda - Faces, Places. In 2017, he co-directed with Agnès Varda "Faces, Place"s, screened the same year in the official selection out of competition for the Cannes Film Festival. The film won the Golden Eye (for best documentary) and was nominated for a Caesar and an Oscar in the same category in 2018. He has received other awards around the world. In 2013, the first retrospectives of JR's work took place in Tokyo (at the Watari-Um Museum) and the Cincinnati Contemporary Arts Center, followed by exhibitions at the Frieder Burda Museum in Baden Baden in 2014, and at the HOCA Foundation in Hong Kong in 2015. He exhibited in 2018 at the Maison Européenne de la Photographie in Paris, and in 2019 at the San Francisco Museum of Modern Art (SFMOMA) and the Brooklyn Museum. Source: jr-art.net
Michael Kenna
Michael Kenna
United Kingdom
1953
Michael Kenna was born in Widnes, England in 1953. As one of 6 children born to a working class Irish-Catholic family, he initially aspired to enter the priesthood but his passion for the arts led him to The Banbury School of Art where he studied painting and then photography. Later he attended The London College of Printing and began working as a photographer and artist. He moved to San Francisco in 1977 where he was astounded by the number of galleries the city housed which allowed artists to showcase and sell their work. San Francisco has remained his home ever since. Michael Kenna's work has often been described as enigmatic, graceful and hauntingly beautiful much like the Japanese landscape. Kenna first visited Japan in 1987 for a one-person exhibition and was utterly seduced by the country's terrain. Over the years he has traveled throughout almost the entire country constantly taking photographs. From these many treks the book Japan, featuring 95 of these photographs, was conceived. The simplicity and clarity of Kenna's Japan alludes to rather than describes his subject allowing the viewer to have a completely unique and tailored interpretation. He has described this body of work as, "more like a haiku rather than a prose"; his work being like photographs written in short poem form. Kenna's photographs are often made at dawn or in the dark hours of night with exposures up to 10 hours. Kenna has said "you can't always see what's otherwise noticeable during the day... with long exposures you can photograph what the human eye is incapable of seeing". Michael Kenna's prints have been shown in numerous exhibitions throughout the world with permanent collections in the Bibliotheque, Paris; The Museum of Decorative Arts, Prague; The National Gallery of Art, Washington DC; and the Victoria and Albert Museum, London. Kenna has also done a great deal of commercial work for such clients as Volvo, Rolls Royce, Audi, Sprint, Dom Perignon and The Spanish Tourist Board. Japan is one of 18 books of Kenna's photography to have been published to date. Source: Supervision With more than fifty monographs documenting his travels, Michael Kenna shows no signs of slowing down in his endless pursuit of nature's haunting beauty. Whether working in his native England, Easter Island, the coastal towns of France or the islands in Japan, Kenna seeks places of solitude which speak volumes about humanity. Barren seascapes, abandoned fishing nets, fragmented piers, mysterious horizons, trees emerging from under snow drifts – these are just some of the images which dominate Michael Kenna's work from Japan. The result of his efforts can be seen in two books, Hokkaido (2006) and Japan (2002), both published by Nazraeli Press. His newest book, Mont St Michel, continues his passion for solace. Originally built as a community for Benedictine monks, Mont St Michel became a place of prayer, meditation and silence. Kenna made may journeys to Mont St Michel, staying for days at a time, living among the residents, following their codes of silence and prayer. Armed with a camera, Kenna walked the halls, crypts and towers, watching shadows sneak their way around columns and spires, recording the passing of time. Mont St Michel is dedicated to Michael's father who recently passed away. As Kenna states in his introduction: "My dad was a quiet man, he didn't seem to have a need to talk very much...We walked pretty much everywhere, and I liked to walk with my Dad...I think the time in-between destinations was most special for me. We didn't need to say very much to each other. Walking, observing, listening, waiting. Somehow I associate those walks with my time at Mont St Michel...He taught me that it's alright to walk alone sometimes." Whether photographing in Mont St Michel, Japan, China, or the United States, Michael Kenna invites the viewer to walk along with him as he captures moments between events, when human presence seems right around the corner and silence is always present... Source: Catherine Edelman Gallery
Kirk Crippens
Kirk Crippens
United States
Kirk Crippens is an American artist living in the San Francisco Bay Area. He had an early start with photography, inspired by his grandfather who kept a darkroom in his closet. Based in San Francisco since 2000, he began exhibiting in 2008. In 2010 he exhibited in thirteen shows, three were solo exhibitions. He was named Top 50 Photographer in Critical Mass, nominated for the 2011–2013 Eureka Fellowship Program, and invited to speak during PhotoAlliance’s Spring Lecture series at the San Francisco Art Institute. In 2011 he was included in eighteen exhibitions, three were solo, named Top 50 photographer for the second consecutive year, and a finalist for Photolucida’s book prize. In 2012 he was the artist in residence at RayKo Photo Center in San Francisco and participated in ten exhibitions. In 2013 he was the artist in residence at Newspace Center for Photography in Portland, Oregon. His portfolio Foreclosure, USA was recently collected by the Crystal Bridges Museum of American Art in Bentonville, Arkansas and was featured in their exhibition State of the Art, Discovering American Art Now in 2014-2015.
Pedro Jarque Krebs
Pedro Jarque Krebs
Peru
1963
Pedro Jarque Krebs is an award winning photographer born in Lima, Peru, graduated in Philosophy of Science from the Sorbonne University in Paris. His photos have won more than 100 photography awards internationally, 31 gold medals, 10 silver medals, 6 bronze medals and many honorable mentions. Among these awards are the Sony World Photography Awards, whose Peru National Award he won 3 times, in 2016, 2018 and 2019; the 2018 Bird Photographer of the Year competition (United Kingdom), where he was the overall winner; First place at: Montier Festival Photo (France) in 2018, Oasis Photo Contest (Italy) in 2017; the Sente-Antu Cup (China) in 2018, and the Trierenberg Super Circuit (Austria) in 2018. He was a finalist four years in a row of the Smithsonian Annual Photo Contest (United States). In October 2016, he was named photographer of the month by National Geographic, France. Statement There's no doubt that we, the human beings, have many problems to resolve as a species, and that our societies are far from having achieved the justice and equality we crave for, but to deal with the animal world, far from being a mere levity, has turned into a major problem of great magnitude which directly affects our survival as a species. It is no longer just about the loss of their diversity and beauty; it is an issue that affects our entire ecosystem, causing a serious imbalance. Our expansion has meant the disappearance of hundreds of thousands of living species. This artistic-photographic project aims to help breaking the barrier that we have built in our relationship with the animal life, showing animals in a closer, even intimate, way, isolated from any context, trying to rebuild with our look these destroyed bridges, as well and giving back to the animals part of its stolen dignity.
Mariko Evans
Mariko Evans
Japan
A self taught photographic artist, based in Vancouver, Canada, born and raised in Japan. Photography has always been her serious hobby since she obtained her first film SLR in 1990. After living/traveling to many places (including her inner world), she strongly reconnected with photography and started photographic services in 2008 in Sydney, Australia, where half her soul still resides. In 2011, she moved to Vancouver and continued to create her artworks. Her style is rather eclectic. She captures moments just as they are, and as she sees them through the feelings they evoke in her. She creates stillness through motion, uses little to no Photoshop/post production. Through photography, she seeks peace of mind, and her works express the world on mute, the boundary between painting and photography. When she is not holding her camera, she is most likely seen on the dance floors, dancing social Argentine Tango.
Oliver Stegmann
Oliver Stegmann
Switzerland
1970
I was born in 1970 in Basel, Switzerland. Since my late teen years, photography has become a key medium for me to express myself. Professionally, however, I took a different path, studying economics and now working in a management position. I'm married and a father of two lovely daughters. On many trips to different continents, I have continuously worked on improving my skills as a photographer and on developing my own visual language. I participated in various workshops of well-known photographers such as Mary Ellen Mark, Anders Petersen or Ernesto Bazan. Until 2007 I photographed exclusively with black-and-white film and made all prints in my own darkroom. In 2005, I started scanning the negatives, editing them in Photoshop and creating fine art prints. Two years later, I started to use also digital cameras. My long-term project on circuses behind the scenes is planned to be published as a photo book in 2021. My other on-going personal project is to document the childhood years of my children. Statement I love music, but I have never played an instrument. So the camera has become the "instrument" for my creative work: I compose images instead of songs. I prefer black and white photography because leaving out the colors, the way we usually see the world, directs the viewer's eye to the essence of the image. I have always had a passion for observing people. Their emotions, facial expressions, interactions, activities and personal moments inspire me. Photographing people is a way to communicate with them, to capture perhaps just a fraction of their lives. A powerful photograph becomes a true gift of the moment when it manages to capture some sort of mystery or magic. My photos are meant to transport the viewer into a world less known to them, perhaps reminding them of experiences long past or leading them mentally into a possible future. With my photos I do not want to tell everything, but deliberately suggest unanswerable behind what is shown.
Gudula Röttger
Gudula Röttger
Germany
1966
Gudula Röttger was born in 1966 in Germany and is based in Heidelberg, Germany. Influenced by her family she started with photography at the age of 6 years. After studying to become a teacher in sociology, politics, economics and German studies, she decided to become self-employed. The perfect balance for this activity is traveling and photography. Photography sharpens the senses and builds bridges to foreign people and cultures, but also sharpens the view of one's own environment and social structures. As a result, she decided to focus on street photography in 2020. Her photography often focuses on detailed compositions and layering, with a strong use of colors and a special emphasis on the play of light and shadow. With her series Bits and Pieces, she captures the vibrant diversity and pulsating chaos of the streets of Istanbul. This project was published in “The Theatre of Real Life Vol. 24” by the “Lichtblick School”. In 2024, she was named a finalist in the “Streets of the World” competition at the Rome Photo Lab, and her work was exhibited during the Rome Photo Festival. Additionally, one of her photographs was selected as an Editor's Pick in the @theindependentphoto Street Photo Awards. In 2025 she participated in a group exhibition “Seen By Her” in Jakarta.
Maurizio Di Pietro
Maurizio Di Pietro
Italy
1974
Maurizio Di Pietro is an Italian freelance documentary photographer, primarily focused on social and environmental issues. He graduated in 2001 with a degree in Computer Science and often incorporates his passion for science and technology into his work, along with a sense of intimacy and delicacy. After working for many years as a stage photographer, he became involved with several non-governmental organizations in Morocco, Sri Lanka, Guatemala, and the West Bank, where he discovered and developed a passion for documentary photography and soon began a career as a freelance photographer. Today he also works as a reportage photography teacher at the Factory10 photography school. His images have been published in national and international magazines such as National Geographic, Geo France, Der Spiegel, BBC, L’Espresso, and many others. His work has been awarded in prestigious international competitions, including the Sony World Photography Awards, Pictures of the Year, and Lucie. In 2023, he was honored as Environmental Photographer of the Year. Turkana’s Resilience: Turkana, in northwest Kenya, is the poorest and least developed county in the ASALs (Arid and Semi-Arid Lands). More than 60% of the inhabitants of the Turkana district are pastoralists, so their survival depends entirely on livestock, natural resources for food and daily activities. In the last few decades, the region has experienced a growing population, the air temperature increased by about 3 degrees, while more frequent and prolonged droughts have reduced the natural resource base. Rainfed agriculture is not possible. Pasture resources for livestock have dramatically reduced, encouraging those closest to Lake Turkana to turn to fishing as an alternative livelihood. Communication, roads, social services, and political support are almost non-existent, leaving those living around Lake Turkana physically isolated and politically marginalized. Chronic dependence on food aid is high. The area is the fuse of violent conflict, indeed proliferation of illegal arms from southern Sudan has contributed to the escalation of insecurity along the area’s shared borders with Ethiopia, Sudan, and Uganda and other counties in Kenya as Pokot and Marsabit. Warfare is traditionally an essential part of Turkana life and the principal occupation of young men. Weapons are considered a man’s proud possessions and the practical tool for increasing herds by raiding and for expanding their territory. Fear of conflict and prolonged drought have pushed many to move to urban centers, up to Nairobi, looking for a new life. Furthermore, significant oil reserves have been discovered recently in Turkana County. The dimensions are immense. The main basin in Turkana alone contains more than 600 million barrels of oil according to the UK-based operating company Tullow Oil. For the government of Kenya, the discovery of oil is very good news instead for the pastoral communities the effects of oil exploration are likely to be more ambivalent.
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