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Ed Sievers
Untitled (Self portrait in mirror), Venice Beach, CA, 1976
Ed Sievers
Ed Sievers

Ed Sievers

Country: United States
Birth: 1932 | Death: † 2002

Ed Sievers was born in 1932 in St. Louis, MO, the son of a family doctor that made house calls and an aspiring opera singer. He attended Grinnell College, graduating with a degree in Speech in 1954. His first job was as a creative writer for Hallmark Cards. The slogans he penned were notable for the wry wit and wisdom with which he commented on the human condition. At the same time, his interest in the arts was expanding from the literary to the visual, and would ultimately lead him in a new direction.

In 1966 he was accepted into the MFA program at the Rhode Island School of Design to study photography with Harry Callahan. Upon graduation in 1968 he joined the faculty of California State University, Northridge, as a specialist in fine art photography. He took up residence in the Carlton Hotel in Venice Beach and soon realized he had walked into a street photographer's dream.

Originally designed as a resort community modeled after its Italian namesake, Venice had fallen on hard times. Buildings were in disrepair and rents were cheap. Influenced by the Bohemian lifestyle of its poets, artists, students and a struggling lower class, the boardwalk suddenly sprang to life. There were musicians, dancers, jugglers, mimes, magicians, comedians, roller skaters, fortune tellers, gritty street people and colorful hippies. And, of course, there was the sprawling nude beach. Throngs of gapers flocked from throughout Southern California to enjoy the expressive spirit of the moment.

But that was only on weekends. A quieter, more sensitive mood prevailed during the week. The gentle gestures of holocaust survivors at the Israel Levin Center. The recovering alcoholics quietly heading home after Al-Anon meetings. The homeless searching for food and drink. The once cheerful cottages longing for attention. The iconic murals. The myopic murals. The motions of a people not sure of what lay ahead.

Within a decade the Venice that Ed knew had been swallowed up by rampant commercialism and the inexorable influx of the nouveau riche. Upon his death in 2002, the Edwin R. Sievers Memorial Award was established to share his vision with future students; "His approach to photography was straight forward: use the nuances of available light to enhance the subject, whatever that may be: ordinary, quirky, or sublime."

Source: Robert Mann Gallery

Gallery

Robert Mann Gallery

Website

www.robertmann.com/ed-sievers

 

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Olivia Arthur
Olivia Arthur
United Kingdom
1980
Olivia Arthur is a British documentary photographer. She co-founded Fishbar, a publisher and space for photography in London, with Philipp Ebeling in 2010. Arthur is a member of the Magnum Photos agency and has produced the books Jeddah Diary (2012) and Stranger (2015). Originally studying mathematics at Oxford University, Arthur later studied photojournalism at London College of Printing. She became a nominee member of Magnum Photos in 2008, an associate member in 2011, and a full member in 2013. In 2010 Arthur co-founded Fishbar, a publisher and space for photography in East London, with her husband Philipp Ebeling. Her first book Jeddah Diary (2012) is about the lives of young women in Saudi Arabia. Her second book Stranger (2015) views Dubai through the eyes of the survivor of a shipwreck.Source: Wikipedia Olivia Arthur is known for her in-depth photography examining people and their personal and cultural identities. Much of her work has illuminated the daily lives of women living in countries as varied as Saudi Arabia, India and across Europe. A more recent focus on large format portraiture has brought her work back to the UK. “For me, part of the power of still photography is the ambiguousness of pictures, the ability to give a hint about a scene or event without being too absolute,” says Arthur of her work. Arthur was born in London and grew up in the UK. She studied mathematics at Oxford University and photojournalism at the London College of Printing. She began working as a photographer in 2003 after moving to Delhi and was based in India for two and a half years. In 2006, she left for Italy to take up a one-year residency with Fabrica, during which she began working on a series about women and cultural divides. Representation and the way we see ourselves are also areas of interest for Arthur. She explored these themes in her project In Private/Mumbai (2016-2018) about sexuality in India and through her ‘Portrait of a City’ commission about young people for Hull, City of Culture (2017). Arthur’s work has been shown in publications including The New Yorker, Vogue and TIME Magazine among others and selected commercial clients include British Airways, Capeb and BNP Paribas. She has received support from the Inge Morath Award, the National Media Museum, OjodePez-PhotoEspana Award for Human Values. Arthur continues to return to India and to work in London where she lives. She became a full member of Magnum Photos in 2013.Source: Magnum Photos
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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
Bharat Patel
Bharat Patel
United Kingdom
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Bharat is an Indian born photographer living in Oxford, UK. At first embracing many genres of photography but since the last ten years he has been mainly involved in travel and documentary photography, some of these in collaboration with NGOs. Underlying influence in his photography is his upbringing in the British colonies and his exposure to different cultures and social structures. He has lived and experienced life in four different continents with vastly different life styles. From a young age his inclination to connect everything has had an influence on his photography. Mixed with this is his formal education as Electronic Engineer which exposed him to world of sub-atomic matter where order and hierarchy exist amongst the chaos, just like his experiences in real life. Bharat considers his work as “Photography for a Purpose”. This can be seen in his long-term project on “Nomadic Tribes of India”, “Brick Workers” and “Women Workers in the Informal Sector”. Always looking to preserve these as documentaries to retain the importance of what is present and that which may inform the future. Bharat uses both black and white and colour images depending on what he wants to portray. Without the distracting colours, his black and white images lay bare the subjects and show their inner selves. In his words everything is waiting to be photographed and to be remembered, it is how you photograph it that counts. Bharat is a member of the Royal Photographic Society.
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Urszula Tarasiewicz
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Urszula Tarasiewicz, Photographer, organizer of events and photo exhibitions. Studied at the National Film School in Łódź, Poland. I produce pictures with a medium format Hasselblad, which for me retains a particular sort of magic. The quality, the way light works on film, always elevates my interest when I decide to shoot a particular subject. The 'truth in photography' is a continuous debate. But that idea has always fascinated me. I observe the space around me, searching for a contrast between people and their environments. At times I allow the subject to play different roles or use simple props to alter the mood in the picture. There are many stories you can choose from when you observe the picture. I like the viewer to question its authenticity. For me, it's the interpretation that creates the magic. - Urszula Tarasiewicz Her photographs are the effect of acute observation of her surroundings and the ability to notice intriguing details and phenomena which are sometimes absurd and marginal, sometimes sentimental reminiscences of the People's Republic of Poland and the birth of the capitalism in Poland. Marcin Krasny The artist's eye focuses on the margins of reality, the kitsch and grotesque public space. Simple, plain and ascetic compositions, or quite the opposite - full of details, colorful - frames of Urszula Tarasiewicz's works depict the world as a place which is not as much absurd as it is pleasant and charming- Anna Czaban - Art Historian Urszula Tarasiewicz /b. 1975/ studied Photography at the Leon Schiller National Higher School of Film, Television and Theatre in Łódź, Poland. The works from the series New Urban Legends which are on display at the andel's Hotel in Łódź /curator Lucyna Sosnowska/ have won the portrait category at the 2010 Curator's Contest of the Photo District News Magazine, the 2012 New Talent Award of the German edition of the FotoMagazine, as well as the contest of the Norwegian photography magazine Fotografii for a place at the 17#Debutantutstilling 2012 exhibition in Oslo. The New Urban Legends series has been exhibited in, among others, the Milk Gallery NYC (2010). Other photo series by Urszula Tarasiewicz have been shown internationally: in the US at the Critical Mass exhibition (2012), the series The Future Is So Bright created in Norway during the Artist in Residence program at the Halsnøy monastery was presented at a group exhibition in Norway in 2013 and in Warsaw in 2015 at the Ja to Ktoś Inny show /curator Klima Boheńska/, at the Krinzinger Galerie in Vienna during the group exhibition Call Me on Sunday (2014, curator Ursula Maria Probst), at the Jam Factory gallery in Oxford (2014), in Stuttgart at the Face to Face show (2014), at the Bunkier Sztuki gallery in Kraków during the show Kasa z Widokiem /curator Lidia Krawczyk. Ogrodowa/Garden Street Garden Street, A project documenting flats after evictions on Garden Street. 150 families left the building. It was the first residential complex for workers in 1880 in the new industrial city of Lodz. Izrael Poznański wealthy entrepreneur (1833-1900) is regarded as being one of the icons of Łódź. His monumental factory just across Ogrodowa street along with the labourers' tenement houses, is a true city within a city. In its best years, nearly 7000 people in total worked and lived here. The moment Poznański's empire fell after World War II was the beginning of the estate's and all of its inhabitants' long agony. Its fate was concluded with the decommissioning of the Poltex company in 1991. Famuły became a no man's land, its residents left to their own devices. The project 100 Tenement houses in Łódź, thanks to which a major renovation of the Poznański's factory housing estate started in 2014 was preceded by a long process of relocating all the residents. It was during this time I began to document the empty flats. The famuły rooms stun with their ruthlessness, their coldness, with the visibly absent inhabitants. The artist guides us around the world which is already gone, lost. Looking at Tarasiewicz's photos, we're confronted with desolate rooms, dilapidated walls out of which someone ripped off electrical wiring and where time imprinted the ghosts of furniture and lost artworks.
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Richard Murai
Richard Murai
United States
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"The real voyage of discovery consists not in seeking new lands but seeing with new eyes." --Marcel Proust, 1923, La Prisonierre The world's sacred sites are visually rich and historically significant and provide sanctuary for spiritual reflection and creative exploration and discovery. They're striking archeological sites but first and foremost, they serve as vital and revered centers of pilgrimage, prayer and meditation. These images are excerpts of my visits to these sacred spaces and are evidence of an ongoing journey that examines intense spiritual devotion and religious fervor, past and present, within unique and distinctive cultures. They are multi-dimensional and compelling for both the photographer and the viewer and document golden ages of past millennia and cultures seeking to reconcile ancient traditions with conflicting modern values. Devotees seek serenity and escape from centuries of conquest and political upheaval, or the effects of poverty, global climate change and modernization. As we confront a perplexing, irrational and precarious world situation ongoing geo-political unrest and violence has caused fractious dissension and a difficult emotional time for all. Reluctance to accept diverse cultural, political, religious attitudes both here and abroad adds to the fear, cynicism and confusion. Becoming sensitive to unfamiliar cultures can quell much of this anxiety and may encourage tolerance and compassion. After transitioning from thirty-five rewarding years in photographic education, Richard lives in Monterey, CA, and continues to passionately pursue his creative artmaking. His ongoing fascination with world religion and culture has generated repeated visits to locations within India, Asia, South America, the Middle East, Russia and Europe. His work has been exhibited widely, has garnered awards from All About Photo, Center for Photographic Art, Spider Awards, and Travel Photographer of the Year, and have been featured in respected publications including B&W Magazine, Silver Shots International, Shots, Photographer's Forum and multiple issues of Lenswork print and special editions. His photographs are included in various private and corporate collections and is represented by the Weston Gallery, Carmel, CA
Bastiaan Woudt
Bastiaan Woudt
The Netherland
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Bastiaan Woudt (1987, NL) is a sought-after photographer that started a mere ten years ago without formal training. Besides his raw talent, he owes his rise in the art world to a strong work ethic and an entrepreneurial edge. From emotive portraits to mystic landscape photography, he is known to capture monochrome minimalism at its finest. Bastiaan Woudt began his journey into photography both by diving into photography books and experimenting with modern techniques. He learnt from the masters such as Irving Penn and Richard Avedon while exploring his own artistic instinct. Soon enough, Woudt was winning International awards and saw his work hung up in high-end galleries. With charcoal tones and elegant compositions, his photography feels like stepping into a modern painting. Light and shadow dance elegantly. You'll find a hint of surrealism as the sober shades ask you to see only the essence and awakens every detail. His work is minimalistic yet moves, playing with the beauty of imperfection — again, inspired by 50s, 60s and 70s photography. He honours this photography while exploring how modern in-camera methods and post-production can elevate the style of today. Woudt uses his gut feeling to guide the process. You’ll rarely find mood boards in his studio or detailed shooting lists. He stumbles on his subjects by letting people and places catch his eye. He distinguishes himself with a signature style and the high-end, artistic quality of his imagery. Besides intricate portraits and minimalistic nudes, he uses his talent to capture places like Nepal and Morocco. Woudt’s work has been exhibited widely at international fairs and museums such as Paris Photo, AIPAD New York, Photo London, Photo Shanghai and Fotografiska. His portfolio includes work for clients such as Harper's Bazaar, British Vogue, New York Magazine and Numéro Paris — to name a few. Besides being a renowned photographer, Bastiaan Woudt has an entrepreneurial side too. A love for photography books and elevated aesthetics inspired him to start his own business. 1605 Publishers is a platform for emerging and established artists and a publishing house for his own photography books as well as those of others. He also offers products like book stands and continues to explore the many possibilities of his business edge. Source: www.bastiaanwoudt.com Bastiaan Woudt has seen a meteoric rise within the world of contemporary photography. After starting his own photography practice from scratch a mere five years ago, with no experience or formal training, Bastiaan Woudt has developed into a photographer with his own distinct signature style - abstract yet sharp, with a strong focus on detail. As a student of the history of photography through devouring photobooks and visiting museums and fairs, Bastiaan Woudt has a strong preference for classic subjects, such as portraits and nudes, and we see references to illustrious periods from photography throughout his work, such as Surrealism and the documentary photography of the 1960s and 70s. But through a sophisticated use of both camera and post-production techniques, which he has taught himself by heavily experimenting with both, Bastiaan Woudt gives his own graphic and wholly contemporary twist to the classical. Bastiaan Woudt has a longstanding fascination with the African continent and photographing the Ugandan countryside, where the Marie-Stella-Maris Foundation supports local drinking water projects, thus was a dream coming true. Bastiaan Woudt went to visit Mukono (Uganda) in October 2017. There, in addition to a commission for the Marie-Stella-Maris Foundation, Bastiaan Woudt was given the opportunity to make his own work. In the short time of this journey, he admirably succeeded to connect with the people of Mukono. This resulted in a wide range of impressive monochrome (b/w) portraits, and surreal impressions of the local landscapes. Altogether, these autonomously produced images very much highlight Bastiaan Woudt's typical, sober and yet very dynamic, aesthetic 'signature' which, despite the early stage of his career, already has brought him wide and international recognition.Source: Jackson Fine Art
Joseph Cheung
Joseph Cheung
Malaysia
Joseph Cheung is a street photographer based in Kuala Lumpur, Malaysia. A retired professional with a background in engineering and project management. Joseph also holds a Diploma in Photography, which reflects his deep passion for the art. He is an active member of FJM Street Photography Malaysia and ASFON KL, contributing significantly to the local photography community. His works have been showcased in numerous local and international exhibitions, thanks to his participation in various photography contests. His photography has also been published in various magazines. Previously, Joseph worked as a stringer for a local newspaper, where he shared valuable photography knowledge and tips, further solidifying his expertise in the field. Statement : My journey into street photography began as a search for meaning in the seemingly chaotic rhythm of urban life. Every street corner, every fleeting moment, holds a story waiting to be uncovered. I’m drawn to the interplay of light, shadow, and human emotion, seeking patterns in the unpredictability. It's a practice in patience, observation, and embracing imperfection, where the unexpected often becomes the most beautiful. The streets are my canvas, and every frame is a fragment of a larger narrative. I’m still learning to find order within the chaos, but it’s this journey of discovery that fuels my passion.
Justyna Neryng
Justyna Neryng
Poland
1981
Born in Poland in 1981, Justyna Neryng spent much of her childhood playing with her father’s cameras and dark room while roaming the forests of Chelmsko on the Czech boarder. As an adult, a mother and an immigrant to Britain, her photography has flourished into a substantial body of portraiture. Perhaps the most evocative of her works are her exquisitely emotive self-portraits that seem to carry the dark spirit of the forest from her childhood as well as potently baring the scares of modern womanhood. They show vulnerability and intimate eroticism as well as a deep sense of isolation and alienation. It is these portraits that have been most published and exhibited in both in her polish homeland and in the UK. More recently Justyna has begun to collaborate with her daughter Nell, on a project called Childhood Lost. Justyna currently produces her works in her adopted home town of Brighton and Hove, where she lives with her daughter. Artist Statement: Childhood Lost is an autobiographical ,self portrait in a different body, ongoing project exploring the nature of portraiture and memory. As a single mother I have found myself exploring notions and representations of childhood. I see my daughter’s experiences of growing up in urban England conflicting with my own experiences of growing up in rural Poland.I must confess that my own childhood is not a source of many happy memories, perhaps the most resonant of which are the times I escaped to a world of fantasy played out in the forests surrounding my home village of Chelmsko. Watching my daughter grow up has in a sense held a mirror to my own memories of the past while experiencing her childhood dreams enacted through play, and story telling. I find myself in a strange place where I can experience my own memories as well as see my daughter’s childhood through my adult eyes. It is these notions I am seeking to explore with the Childhood Lost project. Interweaving childhood nostalgia with the stories and myths of my Polish childhood and those that I share with my essentially British daughter. The project is using these ideas to produce a series of portraits that evoke characters that populate this world we know as childhood. A court of characters from myth and dreams. The images are aesthetically inspired by portraiture from the Golden Age of Dutch painting. By drawing on paintings as inspiration I am hoping to give a timeless feel to the final images. Also key to the project is also the painstaking styling and prop building, which I am using to evoke these different persona played out by my daughter. I want to develop the series in to a substantial set of portraits of my daughter playing the characters of childhood, as well as producing more elaborate set pieces embracing a theatricality that would take the project to the next level. Subject to funding it would also be a dream of mine to be able to revisit the forests of my own childhood and produce work there. Justyna Neryng is a multi-award winning self-taught photographer born in Poland and now living and working in the United Kingdom. She spent much of her childhood playing with her father’s cameras and dark room while roaming the forests of her hometown. She specialises in portraits and nudes, her photography has flourished into a substantial body of portraiture. She is mainly known for her enchanting theatrical portraits of her daughter, a gallery of triumphal characters, captured on a neutral and undefined background, with their fantastic ‘uniforms’ and imperious look . These images are aesthetically inspired by portraiture from the Golden Age of Dutch painting. And her exquisitely emotive self-portraits that seem to carry the dark spirit of the forest from her childhood as well as potently baring the scars of modern womanhood. They show vulnerability and intimate eroticism as well as deep sense of isolation and alienation.Source: justynaneryng.com
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