Nubar Alexanian is a documentary photographer who has traveled through more than thirty countries to probe the many aspects of human experience. His work has appeared in major U.S. and European magazines, including Life, The New York Times Magazine, Fortune, Time, Geo, Stern, The Sunday Times of London, and The Independent. His five books include Stones In The Road: Photographs of Peru, Where Music Comes From, Gloucester Photographs, JAZZ, a collaboration with Wynton Marsalis and NONFICTION: Photographs by Nubar Alexanian From The Film Sets of Errol Morris. His work is widely collected and exhibited, including recent one-man shows at The Atlanta Contemporary Art Center; The Walker Art Center; Caren Golden Fine Art, NY and The Corcoran Gallery of American Art. He was born in Worcester, Massachusetts and lives with his family in Gloucester.
Marc Asnin has been working as a documentary photographer for more then thirty years. His work has appeared in countless publications, including The New York Times Magazine, Esquire, TIME, the New Yorker, Mother Jones and LIFE. Among numerous honors, he has won the W. Eugene Smith Memorial Award, a grant from the National Endowment for the Arts, the Mother Jones Documentary award, an Alicia Patterson Fellowship, an Indiana University Distinguished Citizen Fellowship, and two NYFA Fellowships. Asnin’s work has been exhibited at such institutions as The Ansel Adams Center for Photography, Contemporary Arts Center, Cincinnati, Los Angeles County Museum of Art, Baltimore Museum of Art, Blue Sky Gallery, Portland Museum of Art, and Visa Pour L’Image. Asnin’s images are in the permanent collections of the MOMA, the Museum of the City of New York and, the ICP.
Richard Barnes’ photographs touch on themes relevant to science, history, archeology, and architecture. Recent projects explore the conditional meaning and value created when museums collect and display objects, and how that meaning is deconstruct- ed when objects are recontextualized. He has been given access to areas of museums that are hidden from public view, photographing objects wrapped, crated, or in storage. Our present day relationship to our history and the ways we collect and catalogue its residue are thematic threads entwining a broad range of work.
Born in Berlin in 1958 and now based in Los Angeles, Uta Barth is among the most influential artists working with photography to have emerged in the last decade. Her photographs take the complete opposite approach to the famous Dusseldorf school of photographers, which include Thomas Struth and Andreas Gursky. While they record their subjects in sharply objective archival detail, Barth’s images of interiors, buildings, suburban roads or natural environments are often out of focus, perversely cropped and apparently empty of any foreground subject. Yet what emerges from this reduction and abstraction of subject matter is a body of photographs of extraordinary, haunting beauty, evocative of great moments in the history of painting, from Vermeer to Whistler, or of a cinematic ambience such as the fume-laden neon haze of Martin Scorsese’s Taxi Driver.
The following monographs have been published about her work:
2004 Uta Barth. Contemporary Artist Series, London: Phaidon Press, 2004. Essays by Uta Barth, Pamela Lee and Jeremy Gilbert-Rolfe, interview with Matthew Higgs, and selected writings by Joan Didion.
2004 Barth, Uta. white blind (bright red). SITE Santa Fe, 2004. Essay by Jan Tumlir.
2000 Smith, Elizabeth A.T. At the Edge of the Decipherable: Recent Photographs by Uta Barth. Los Angeles: Museum of Contemporary Art and St. Ann’s Press, 2000 (2nd edition).
2000 Barth, Uta. …and of time. Artist book, 2000. Essay by Timothy Martin. Published in conjunction with a project commissioned by the J. Paul Getty Museum, Los Angeles, for the exhibition Departures: 11 Artists, at the Getty, 2000.
2000 Uta Barth – In Between Places. Seattle: Henry Art Gallery and DAP Press, Essays by Sheryl Conkelton, Timothy Martin, and Russell Ferguson.
1999 Barth, Uta. nowhere near. Artist book, 1999. Essay by Jan Tumlir. Published in conjunction with a three-part exhibition project by the same name, at ACME., Los Angeles; Tanya Bonakdar Gallery, New York; and Andréhn-Schiptjenko, Stockholm,
1995 Smith, Elizabeth A.T. At the Edge of the Decipherable: Recent Photographs by Uta Barth. Los Angeles: Museum of Contemporary Art and RAM Publications, 1995 (1st edition).
Nina Berman is a documentary photographer with a primary interest in the American political and social landscape.
Her work has been extensively published, exhibited and collected, garnering praise in both the art and journalism communities with awards from the World Press Photo Foundation, the New York Foundation for the Arts, and the Open Society Institute documentary photography fund.
Her first monograph, “Purple Hearts – Back From Iraq” a collection of portraits and interviews with U.S. soldiers wounded in the war, was published by Trolley in 2004 and received wide acclaim. The book was made into a feature length documentary film by the same name and screened worldwide. Her work on wounded veterans has continued and her 2006 “Marine Wedding” portrait, which shows a severely disfigured marine with his young bride on their wedding day, is considered to be an iconic image of life during wartime.
Her work has been the subject of several solo and group exhibitions in galleries and museums in New York, Chicago, Washington D.C., and throughout Europe.
She is on the faculty of the International Center of Photography in her hometown of New York City.
Dawoud Bey holds a Master of Fine Arts degree from Yale University, and is currently Distinguished College Artist and Professor of Photography at Columbia College Chicago, where has taught since 1998. Bey’s works are included in the permanent collections of numerous museums, both in the United States and abroad, including the Addison Gallery of American Art, the Art Institute of Chicago, the Brooklyn Museum, the Detroit Institute of Arts, the Fogg Art Museum at Harvard University, the High Museum of Art in Atlanta, the Museum of Contemporary Art, Chicago, the Museum of Modern Art, NY, the San Francisco Museum of Modern Art, the Studio Museum in Harlem, the Whitney Museum of American Art, and other museums world wide. He has received numerous fellowships over the course of his long career, including the John Simon Guggenheim Memorial Foundation Fellowship and a fellowship from the National Endowment for the Arts. The Walker Art Center organized a mid-career survey of his work, “Dawoud Bey: Portraits 1975-1995,” that traveled to institutions throughout the United States and Europe. A major publication was also published in conjunction with the exhibition. Aperture recently published his latest project Class Pictures in September 2007 and has organized a traveling exhibition of this work that is touring museums throughout the country through 2010.
Elinor Carucci, Photographer; born in Israel 1971, lives and works in NYC, internationally exhibited – solo shows at the Herzlia Museum for Contemporary Art, Edwynn Houk gallery, Fifty One Fine Art Gallery and Gagosian Gallery, London among others. Her photographs are included in collections in US (The Museum of Modern Art NY, Brooklyn Museum of Arts, ICP, The Jewish Museum, Houston Museum of Fine Arts, etc.) Europe and Israel. Work has appeared in The New York Times Magazine, including an eight page portfolio of her work published on May 22. Also in The New Yorker, Details, New York Magazine, W, Aperture, ARTnews and others. Recipient of numerous awards including the ICP Infinity Award (2001), and a Guggenheim Fellowship (2002). Author, Closer, Chronicle Books 2002 and Diary of a Dancer, SteidlMack 2005. Carucci is currently teaching in the School of Visual Arts and is represented by Edwynn Houk gallery, New York.
Phil Collins is a visual artist currently based in Berlin. Recent solo exhibitions include Aspen Art Museum (2008), Dallas Museum of Art (2007), Carnegie Museum of Art, Pittsburgh (2007), Tate Britain, London (2006–07), San Francisco Museum of Modern Art (2006), Sala Rekalde, Bilbao (2006), Stedelijk Museum voor Actuele Kunst, Gent (2006) and Wexner Center for the Arts, Columbus (2005). Collins has participated in numerous group exhibitions, most recently in Life on Mars, 55th Carnegie International, Carnegie Museum of Art, Pittsburgh (2008), Cinema Effect: Illusion, Reality and the Moving Image, Hirshhorn Museum and Sculpture Garden, Washington (2008), and Double Agent, Institute of Contemporary Arts, London (2008). Collins was awarded the Paul Hamlyn Foundation Award for Visual Arts in 2001, and was nominated for the Turner Prize in 2006. He is represented by Tanya Bonakdar Gallery, New York, Kerlin Gallery, Dubiln, and Victoria Miro Gallery, London.
Lois Conner is an American landscape photographer. Conner’s work has been shown at museums internationally and included in collections such as the Museum of Modern Art, the Metropolitan Museum of Art in New York, the Sackler Gallery in Washington, D.C., the Australian National Gallery, the Victoria and Albert Museum and the British Library in London. She has been awarded fellowships from the John Simon Guggenheim Memorial Foundation, the National Endowment for the Arts, and Anonymous was a Woman Foundation to make her work.
Conner received her MFA from Yale University. She taught photography at Yale University for over a decade, and, among others, Princeton University, Stanford University, China Academy for the Arts in Hangzhou, and the International Center for Photography in New York. Currently she is at Sarah Lawrence College in New York.
The exhibition: Landscape as Culture at the Sackler Gallery in Washington, D.C. was her first major museum exhibition. A book of her work, China, The Photographs of Lois Conner, was published in 2000. Upcoming publications this year are: American Trees (Yale Art Gallery), Beijing Spectacle: Ruination and Reinvention and Lotus.
Eileen Cowin’s work has been presented in over 30 solo exhibitions and in more than 165 group exhibitions. In 2000,Still (and all) Eileen Cowin 1971-1998, curated by Sue Spaid, opened at The Amory Center for the Arts, Pasadena, California. The exhibition was accompanied by a publication and traveled to the Southeast Museum of Photography, Daytona Beach, Florida, the University of Maryland Fine Arts Gallery, Baltimore, Maryland and The Contemporary Arts Center, Cincinnati, Ohio
Eileen Cowin’s work has been included in: New American Photography, by Kathleen Gauss published by the Los Angeles County Museum of Art; Eileen Cowin, John Divola: New Work, No Fancy Titles, published by the California International Arts Foundation; The Privileged Eye: Through the Narrative Portal by Max Kozloff, Eileen Cowin published by the Min Gallery, Tokyo, Japan; Scene of the Crime, by Ralph Rugoff published by the Armand Hammer Museum at UCLA, Los Angeles, California, Contemporary Art in Southern California, by Mark Johnstone published by Craftsman House, Australia and This Side of Paradise: Body and Landscape in Los Angeles published by Merrell with The Huntington Library.
Cowin has received numerous awards, among them are Individual fellowships from the National Endowment for the Arts (1979,1982,1990), a commission from the Public Art Fund in New York, an Individual Artist Grant from the City of Los Angeles (1997) and a Completion Grant, from The Durfee Foundation (2000) and an Artist’s Fellowship in New Genres from the California Community Arts Foundation. Eileen Cowin was commissioned by the Los Angeles County Museum of Art to do a billboard for Made in California and was selected to be the inaugural artist for the Metro Rail Light Boxes in Los Angeles. Eileen Cowin’s videos have been included in the USA Film Festival (award for best experimental film), The Los Angeles International Short Film Festival and the New Orleans Film Festival.
Her videos have also been shown at Fringe Exhibitions, A; deepriver, LA; and Remote Lounge, NY.
Paul D’Amato was born in Boston where he attended Boston Latin School at the height of racial unrest, civil rights, and bussing. He moved to Oregon to attend Reed College and claims to have learned as much from traveling cross-country four times a year -often by hitch-hiking and hopping freight- as he did in class. After receiving an MFA from Yale he moved to Chicago where he discovered the communities of Pilsen and Little Village. The pictures and writing D’Amato produced there over the next fourteen years–despite having had to move to Maine to teach–eventually were made into the book, Barrio (University of Chicago Press, 2006). Paul moved back to Chicago in 2001 to teach at Columbia College and is currently photographing in the black community on the near west side for a project tentatively called “Please be Free Now.” He has been awarded numerous grants and fellowships including a Guggenheim Fellowship, a Pollock-Krasner Grant, and a Rockefeller Foundation Grant to Bellagio, Italy. www.pauldamato.com
Tim Davis’ current show, KINGS OF CYAN, is on at Galerie Mitterand + Sanz in Zurich. His show, MY LIFE IN POLITICS, will open in November at the Luckman Fine Arts Complex in Los Angeles. He teaches photography at Bard College and Yale University, and will show at Greenberg Van Doren in the spring.
Philip-Lorca diCorcia, studied at the School of the Museum of Fine Arts, Boston, and received his MFA in Photography from Yale University in 1979. He is often acknowledged as one of the most influential photographers of his generation, and his work is frequently shown alongside that of his peers in exhibitions addressing our cultural zeitgeist. At the beginning of his career in the late 1970s, diCorcia situated his friends and family within fictional interior tableaus. He later shifted his attention outward, photographing strangers in urban spaces—Berlin, Calcutta, Hollywood, New York, Rome, Tokyo—and infused the pictures with supplementary lighting to achieve a sense of heightened drama. DiCorcia received his first solo show in 1985 and has had one-person exhibitions worldwide, including those at the Museum of Modern Art (New York), the Centre National de la Photographie (Paris), the Whitechapel Art Gallery (London), the Museo Nacional Centro de Arte Reina Sofia (Madrid), Art Space Ginza (Tokyo), and the Sprengel Museum (Hanover). In 2001, diCorcia won the Infinity Award for Applied Photography from the International Center for Photography in New York. In 2007 he put out Thousand, a collection of Polaroids which spans over 20 years of personal and artistic creation, shifts notions of context, narrative, and individual perception. Recently, he opened a show at LACMA that features works from his key series of the past twenty years including Hustlers, Streetwork, Heads, and Lucky 13. His merging of a high degree of photographic preconception, with the happenstance of street casting, has become an influential mode of contemporary practice and secured diCorcia’s place in photography’s pantheon. He is represented at.
Doug DuBois’ photographs are in the collection of the Museum of Modern Art in NY, SFMOMA in San Francisco, J. Paul Getty Museum in Los Angeles and the Victoria and Albert Museum, London. He has received fellowships from MacDowell Colony, Yaddo, The National Endowment for the Arts, SITE Santa Fe, Light Works and The John Gutmann Foundation. Doug DuBois has exhibited at The J Paul Getty Museum in Los Angeles, MOMA in New York, The Museum of Fine Arts in Houston, SITE, Santa Fe, New Langton Arts in San Francisco and PARCO Gallery, Tokyo, Japan.
Doug DuBois’ photographs have been published by the Museum of Modern Art, The J. Paul Getty Museum, Double Take, The Picture Project, The Friends of Photography, and in magazines including The New York Times, Details and Black Book.
A monograph of his photographs will be published by Aperture in the spring of 2009.
Doug DuBois received an MFA from the San Francisco Art Institute. He is an associate professor at Syracuse University in New York.
Jason Evans is senior lecturer in Photography at the UCA in Farnham.
His writing has recently appeared in Aperture, Photoworks and Vacuum.
His work is held in the collections of The Victoria and Albert Museum, Tate and Photomuseum, Antwerp.
Mitch Epstein’s photographs are in numerous major museum collections, including New York’s Metropolitan Museum, Museum of Modern Art and Whitney Museum of American Art, the J. Paul Getty Museum in Los Angeles, and the San Francisco Museum of Modern Art.
His current project, American Power, examines energy usage and the idea of excess in the United States and will be published by Steidl in fall 2009. His recent books include Mitch Epstein: Work (Steidl, 2007) and Family Business (Steidl, 2003). Epstein was the recipient of the Berlin Prize in Arts and Letters from The American Academy in Berlin in spring 2008.
Mr. Epstein lives in New York City with his wife and daughter.
Wendy Ewald has for thirty-eight years collaborated in art projects with children, families, women, and teachers in Labrador, Colombia, India, South Africa, Saudi Arabia, Holland, Mexico, and the United States. Starting as documentary investigations of places and communities, Ewald’s projects probe questions of identity and cultural differences. In her work with children she encourages them to use cameras to record themselves, their families, and their communities, and to articulate their fantasies and dreams. Ewald herself often makes photographs within the communities she works with and has the children mark or write on her negatives, thereby challenging the concept of who actually makes an image, who is the photographer, who the subject, who is the observer and who the observed. In blurring the distinction of individual authorship and throwing into doubt the artist’s intentions, power, and identity, Ewald creates opportunities to look at the meaning and use of photographic images in our lives with fresh perceptions.
Wendy Ewald has received many honors, including a MacArthur Fellowship and grants from the National Endowment for the Arts, The Andy Warhol Foundation, and the Fulbright Commission. She was also a senior fellow at the Vera List Center for Art and Politics at the New School from 2000-2002. She has had solo exhibitions at the International Center of Photography in New York, the Center for Creative Photography in Tucson, the George Eastman House in Rochester, Nederlands Foto Institute in Rotterdam, the Fotomuseum in Wintherthur, Switzerland, and the Corcoran Gallery of American Art among others. Her work was included in the 1997 Whitney Biennial. She has published ten books, her fifth, a retrospective documenting her projects entitled Secret Games, was published by Scalo in 2000. Two books on recent projects were published in 2005. A third, “To The Promised land” was published in 2006 to accompany an outdoor installation in Margate, England commissioned by ArtAngel. She is currently teaching at Amherst College. She also remains an artist in residence at the John Hope Franklin Center and senior research associate at the Center for Documentary Studies at Duke University.
Larry Fink is a professional photographer of 45 years. The recipient of two Guggenheim Fellowships as well as two NEA grants, he has had one man shows at the Museum of Modern Art, the Whitney Museum of Modern Art, the San Francisco Museum of Art, the Musee de la Lausanne Photographie in Belgium, and the Musee de l’Elysee in Switzerland, amongst others. He shows in galleries regularly in New York, Los Angeles, and Paris, France. In 2002, he received an honorary degree of Doctor of Fine Arts from the College for Creative Studies in Detroit, Michigan.
He has seven books published: Social Graces (Aperture 1984, no longer in print), Boxing (powerHouse Books 1997), Runway (powerHouse Books 2000), a second publication of Social Graces (powerHouse Books 2001) which features images of that time never published before, The Forbidden Pictures (powerhouse Books 2004) a political satire on the Bush regime, Larry Fink (Phaidon 2005) a small retrospective book, Primal Elegance (Lodima Press 2006), and a book of music images Somewhere There’s Music (Damiani Editore 2006). Larry Also has a commissioned book for the Cleveland Clinic called Two Views (2006).
His commercial work includes advertising campaigns for Smirnoff, Bacardi, and Cunard Lines (Q.E.2). His work has appeared in top publications including Vanity Fair, W, GQ, Detour, The New York Times Magazine, and The New Yorker. He has been teaching for the past 41 years, the last 16 years as a professor of photography at Bard College.
In 2007, Larry has had several shows; “Larry Fink and George Grosz” at the Heckscher Museum in Long Island, “Somewhere There’s Music” at the Gallery Forni in Milan, Italy, “Somewhere There’s Music” at the Museo de la Rosse in Bologna and the Museo Alinari in Florence, Italy and “Logging, The Olympic Peninsula” at the Lorenselli Arte Gallery in Milan, Italy. He also co-curated a show on Lisette Model and her influence on the world of photography for the Aperture Foundation that opened in September 2007. Larry photographed at the Metropolitan Museum of Art an interactive exhibition in real time where the images of the evening were projected wall size in the Temple of Dendur. An elegant book is in the making on the events of cultural importance for the Frescolbaldi Family in Florence, Italy. There was an exhibition in February 2008 at Princeton University of a mini study of poverty in America; it’s title being “Diminishing Returns”. Larry was also commissioned by Vanity Fair to cover the 2008 political trail of Barack Obama, Hillary Clinton, and John McCain. His work on Barack Obama and Hillary Clinton was shown at the Pace/MacGill Gallery and will also be shown at the Robert Klein Gallery in the fall of 2008.
Harrell Fletcher has worked collaboratively and individually on a variety of socially engaged, interdisciplinary projects for over fifteen years. His work has been shown at SF MoMA, the de Young Museum, The Berkeley Art Museum, and Yerba Buena Center For The Arts in the San Francisco Bay Area, The Drawing Center, Socrates Sculpture Park, The Sculpture Center, The Wrong Gallery, and Smackmellon in NYC, DiverseWorks and Aurora Picture show in Houston, TX, PICA in Portland, OR, CoCA and The Seattle Art Museum in Seattle, WA, Signal in Malmo, Sweden, Domain de Kerguehennec in France, and The Royal College of Art in London. Fletcher exhibits in San Francisco and Los Angeles with Jack Hanley Gallery, in NYC with Christine Burgin Gallery, in London with Laura Bartlett Gallery, and Paris with Gallery In Situ. He was a participant in the 2004 Whitney Biennial. Fletcher has work in the collections of MoMA, The Whitney Museum, The New Museum, SFMoMA, The Berkeley Art Museum, The De Young Museum, and The FRAC Brittany, France. In 2002 Fletcher started Learning To Love You More, an ongoing participatory website with Miranda July. A book version LTLYM was published in 2007 by Prestel. Fletcher is the 2005 recipient of the Alpert Award in Visual Arts. His exhibition The American War originated in 2005 at ArtPace in San Antonio, TX, and traveled to Solvent Space in Richmond, VA, White Columns in NYC, The Center For Advanced Visual Studies MIT in Boston, MA, PICA in Portland, OR, and LAXART in Los Angeles among other locations. Fletcher is a Professor of Art and Social Practice at Portland State University in Portland, Oregon.
Jason Fulford is a photographer and co-founder of J&L Books. He has lectured at the Corcoran College of Art, Cranbrook Academy of Art, LACMA, Mass Art, P.S.1, SVA, Wesleyan University and Yale University. He is also a contributing editor to Blind Spot. Fulford’s photographs have been featured in Harper’s, The New York Times Magazine, Time, and on book jackets for Don Delillo, John Updike, Bertrand Russell, Terry Eagleton, Ernest Hemingway and Richard Ford. Monographs include Sunbird (2000), Crushed (2003), and Raising Frogs for $$$ (2006). He lives in Scranton, PA.
Tierney Gearon’s most recent work, The Mother Project, is the culmination of a series spanning more than eight years. The artist continues to photograph her family, but now concentrates on her mother, who lives alone in a small town in upstate New York. The images depict psychologically intense, often bizarre scenarios, some of which occur naturally and some of which are facilitated or encouraged by the artist. Many images include Gearon herself or one or more of the artist’s children. The subject of The Mother Project is the interaction between the artist, her mother and her own children. The photographs are personal studies of her family, yet raise larger issues of aging, mental illness, and the complicated dynamic of the mother-child relationship. Tierney Gearon was recently the subject of a full-length documentary film entitled Tierney Gearon: The Mother Project. Produced by Jack Youngelson and Peter Sutherland, the documentary premiered at the 2006 Tribeca Film Festival, screened at the Vancouver International Film Festival and CINEMA Rome Film Festival, and aired on the Sundance Channel in 2007. In November 2007, Steidldangin published a book of over 70 images from the project entitled Daddy, where are you?. Ms. Gearon’s work has been exhibited at Saatchi Gallery, London, in 2001. She was born in Atlanta in 1963 and currently lives and works in Los Angeles.
Before his immersion in photography, Frank Gohlke studied English Literature. At Yale University (M.A. in English,1966), Gohlke met Walker Evans, and then studied privately with Paul Caponigro. His photographs came to notice in the influential 1975 group exhibition New Topographics: Images of a Man-Altered Landscape at the International Museum of Photography (George Eastman House) in Rochester. That same year, he accepted his first of two Guggenheim fellowship, one of many awards he has earned. He has participated in important commissions from the Seagrams Corporation, AT&T, the Laboratorio di Fotografia in Reggio Emilia, Italy, the George Gund Foundation in Cleveland, the City of Venice, Italy, and Queens College, New York. His books include Landscapes from the Middle of the World (Friends of Photography, 1988), Measure of Emptiness: Grain Elevators in the American Landscape (Johns Hopkins Press, 1992), and Mount St. Helens, Photographs by Frank Gohlke (Museum of Modern Art, 2005). He has had numerous one-person exhibitions, including the Chicago Art Institute (1974), the Museum of Contemporary Photography, Chicago (1988), and the Museum of Modern Art, New York (1978, 1983, 2005). A major retrospective exhibition and catalogue are in preparation at the Amon Carter Museum, Fort Worth for 2007. He has taught at Massachusetts College of Art, the Art Institute of Boston at Lesley College, the School of the Museum of Fine Arts, Boston, and the universities of Harvard, Princeton and Yale.
Jim Goldberg is a Professor of Art at the California College of Arts and Crafts and a member of Magnum Photos. He has been exhibiting for over 30 years and his innovative use of image and text make him a landmark photographer of our times. He began to explore experimental storytelling and the potentials of combining image and text with “Rich and Poor”, (1977-85), where he juxtaposed the residents of welfare hotel rooms with the upper class and their elegantly furnished home interiors to investigate the nature of American myths about class, power, and happiness. In “Raised by Wolves” (1985-95), he worked closely with and documented runaway teenagers in San Francisco and Los Angeles to create a book and exhibition that combined original photographs, text, home movie stills, snapshots, drawings, diary entries as well as single and multi-channel video, sculpture, found objects, light boxes and other 3-D elements. He is currently working on two books on migration in Europe to be published in 2009 and 2010 by Steidl. He is represented by Pace/MacGill Gallery in New York and the Stephen Wirtz Gallery in San Francisco.
His work is in numerous private and public collections including NYMOMA, SFMOMA, Whitney, Getty, LACMA, Corcoran, MFA Boston, Hallmark Collection, The High Museum, Library of Congress, MFA Houston, National Museum of American Art, and the Art Institute of Chicago.
Jim Goldberg’s fashion, editorial and advertising work has appeared in numerous publications including W, Details, Flaunt, The New York Times Magazine, Esquire, Rebel, GQ, The New Yorker, and Dazed and Confused.
Born in Danville, Virginia in 1941, Emmet Gowin is Professor of Photography in the Lewis Center for the Creative and Performing Arts, Princeton University, and has been teaching in the Visual Arts Program since 1973. In 1990, a retrospective of his work, Emmet Gowin / Photographs: This vegetable Earth is but a shadow, was published by the Philadelphia Museum of Art. A recipient of a Guggenheim (1974) and two NEA Fellowships (1977 and 1979); he has also received awards from
the Southeastern Center for Contemporary Art (1983); the Seattle Arts Commission (1980); the 1983 Governor’s Award for Excellence in the Arts from the State of Pennsylvania; the 1992 Friends of Photography Peer Award; and a Pew Fellowship in the Arts for 1993-94. In 1997 Gowin received the President’s Award for Distinguished Teaching from Princeton University, His work is represented by Pace MacGill Gallery in New York.
For recent work see; Changing the Earth, Yale University Art Gallery 2002, Mariposas Nocturnas ~ Edith in Panama, Pace / MacGill Gallery, New York, 2006, on their website and a Pace / MacGill Gallery Catalogue (still available from Pace/MacGill).
Katy Grannan was born in Arlington, Massachusetts in 1969. She currently lives and works near San Francisco. Her work will be included in a March 2009 group exhibition titled Into the Sunset: Photography’s Image of the American West at the Museum of Modern Art, New York. Grannan will be a featured speaker in conjunction with the exhibition. Her photographs have been exhibited in the 2004 Whitney Biennial and the 2004 Arles Photo Festival; among many others. In 2005 Grannan received the Aperture Award to an Emerging Artist. In 2004, she received the Baum Award for Emerging American Photographers, and in 1999, the Rema Hort Mann Foundation Grant. Grannan is a frequent contributor to the New York Times Magazine. In 2000 she received the PASS Award, with Margaret Talbot, for her photographs accompanying Talbot’s New York Times Magazine story “What’s Become of the Juvenile Delinquent?” Her work is included in the collection of the Museum of Modern Art, New York, the Guggenheim Museum, New York, the San Francisco Museum of Modern Art, the Whitney Museum of American Art and the Metropolitan Museum of Art, New York, among others. Her first monograph, Model American, was released by Aperture in 2006. Grannan’s second publication, The Westerns, was published by Fraenkel Gallery, Greenberg Van Doren Gallery, and Salon 94, in January 2008.
Sharon Harper received an M.F.A. in Photography and Related Media from the School of Visual Art in New York City. She has had solo exhibitions at Galerie Röpke, Cologne; Galeria Arnés y Röpke, Madrid; the Whitney Museum of American Art, New York; Marcel Sitcoske Gallery, San Francisco, Savage Gallery, Portland,Oregon; and the Goethe Institute in New York City. Her work was included in the Greater New York exhibition at P.S. 1 Contemporary Art Center in New York in 2000 and is in permanent collections at the Museum of Modern Art, New York, the Whitney Museum of American Art, The Albright-Knox Art Gallery in Buffalo, and the Portland Art Museum, Portland Oregon.
She has been an Artist-in-Residence at the Headlands Center for the Arts in Sausalito,California, at the Banff Centre in Banff, Canada, a fellow at the MacDowell Colony, at the Ucross Foundation in Wyoming, a Meredith S. Moody fellow at Yaddo, a Sam and Dusty Boynton fellow at the Vermont Studio Center and a resident at the Virginia Center for the Creative Arts.
She is an Assistant Professor at Harvard University in the Visual and Environmental Studies Program.
Todd Hido is a San Francisco Bay Area-based artist whose work has been featured in Artforum, The New York Times Magazine, Eyemazing, Metropolis, The Face, I-D, and Vanity Fair. His photographs are in the permanent collections of the Whitney Museum of Art, the Guggenheim Museum, New York, San Francisco Museum of Modern Art, and the Los Angeles County Museum of Art, as well as in many other public and private collections.
In 2001 an award winning monograph of his work titled, House Hunting, was published by Nazraeli Press and a companion monograph, Outskirts, was published in 2002. His third book, Roaming, was published in 2004.
His latest book—Between the Two—this one focusing on portraits and nudes—was published in 2007.
He is an adjunct professor at the California College of Art, San Francisco, California
Jeff Jacobson was born in Des Moines, Iowa, in 1946. He graduated from the University of Oklahoma in 1968, and from Georgetown University Law Center in Washington, D.C., in 1971. While practicing as an ACLU lawyer in the American South in the early 70’s, Jeff became interested in photography, shooting in southern jails and rural areas. After completing a workshop at Apeiron with Charles Harbutt, in 1974, Jacobson quit his law practice to devote full energies to photography.
In 1976, Jeff began working in color while photographing the American presidential campaign. It was during this personal project that he began experimenting with strobe and long exposures, a now familiar technique that he pioneered. Jacobson joined Magnum Photos in 1978, and in 1981 he left Magnum and helped found Archive Pictures. He continued his color explorations in the United States throughout the 80’s, which culminated in the publication of his monograph, My Fellow Americans, by the University of New Mexico Press. Jeff does assignments for magazines, such as The New York Times Magazine, Fortune, Time, Geo, Stern, Life and many others.
Jacobson’s photographs are in the permanent collections of The Whitney Museum of American Art in New York, The San Francisco Museum of Modern Art, George Eastman House in Rochester, NY, The Center For Creative Photography, Tucson, Az., The Joy of Giving Society in New York, and have been exhibited at George Eastman House in Rochester, N.Y., The Walker Arts Center, Minneapolis, Minnesota, The International Center of Photography, New York, The Jewish Museum, New York, High Museum of Art, Atlanta, Ga., Museo Rufino Tamayo, Mexico City, The Armand Hammer Museum in Los Angeles, Carla Sozzani Gallery in Milan, Italy, The Kircaldy Museum in Scotland, Museum of The Jewish Diaspora in Tel Aviv, Newhouse Center for Contemporary Art, Staten Island, NY, Smithsonian Institution, Washington, D.C., Nexus Gallery, Atlanta, Georgia, The Toledo Museum of Art, Toledo, Ohio, Carnegie-Mellon University Art Gallery, Pittsburg, Pa., The Jersey City Museum, Jersey City, NJ. Ackland Art Museum, Chapel Hill, NC, Spencer Museum of Art, Lawrence, Kansas, Laguna Gloria Art Museum, Austin, Texas and at photography festivals in Pingyao, China, Perpignan, France, Coimbra, Portugal, and Eindover, The Netherlands. Jeff teaches workshops regularly at ICP in New York, and has also taught at The Tuscany Photo Workshop, in Buonconvento, Italy, The Anderson Ranch, in Aspen Colorado, Centro de la Imagen, in Mexico City, The Center for Photography at Woodstock, NY, and The Julia Dean Workshops, in Los Angeles. He has been awarded grants from the National Endowment For The Arts, and The New York Foundation For The Arts.
In 1990, Jeff moved to Los Angeles and began a series of pictures, which were published in his new book, Melting Point, by Nazraeli Press, autumn, ’06. An exhibition of Melting Point was at the Peer Gallery, in New York City, Nov. ’06 – January ’07, and will travel to Cedro 26 Gallery, in Rome, Italy, April 2008, and the Festival Of The Photograph, Charlottesville, Va., June 2008. Jeff now lives with his wife, Marnie Andrews, in Mt Tremper, a Catskills hamlet about two hours north of New York.
Eirik Johnson is a Boston-based photographer where he is an assistant professor at the Massachusetts College of Art and Design. His work has been exhibited at spaces including the Museum of Contemporary Photography in Chicago, the George Eastman House in Rochester, and the Aperture Foundation in New York. He has received several awards including the Santa Fe Prize in 2005 and a William J. Fulbright Grant to Peru in 2000. His work is in the permanent collections of institutions including the Museum of Contemporary Photography, the National Fulbright Foundation, and the Joseph and Elaine Monsen Collection. His first monograph BORDERLANDS, was published by Twin Palms Publishers in 2005. A second monograph SAWDUST MOUNTAIN, will be published by Aperture in May 2009. Johnson is represented by Rena Bransten Gallery in San Francisco, CA and G. Gibson Gallery in Seattle, WA.
Ron Jude’s work has been exhibited at the Photographer’s Gallery in London, the High Museum of Art in Atlanta, and Roth/Horowitz Gallery in New York. Jude’s photographs have been published in numerous magazines including The New Yorker, Blind Spot, Nest and DoubleTake. He is the co-founder of A-Jump Books and the author of Alpine Star and Postcards. Other Nature, a collection of photographs from 2001-2007 will be published by The Ice Plant (Los Angeles) in October of this
year. He currently lives and works in upstate New York.
Lisa Kereszi is a photographer living and working in New Haven, Connecitcut. She is a graduate of the MFA photography program at Yale University, where she now teaches. Publications include The New York Times Magazine, The New Yorker, GQ and Harper’s, among others. She is in many public and private collections, including that of the Whitney Museum of American Art, and is represented by Yancey Richardson Gallery in New York. She has recently published a monograph entitled Fantasies with Damiani Editore, and has another book on the way with Nazraeli Press.
Michael Light is a San Francisco-based photographer and bookmaker focused on the environment and how contemporary American culture relates to it. His work is concerned both with the politics of that relationship and the seductions of landscape representation. He has exhibited extensively nationally and internationally, and his work has been collected by the San Francisco Museum of Modern Art, The Getty Research Library, The Los Angeles County Museum of Art, The New York Public Library, and the Victoria & Albert Museum in London, among others.
For the last fifteen years, Light has aerially photographed over settled and unsettled areas of American space, pursuing themes of mapping, vertigo, human impact on the land, and various aspects of geologic time and the sublime. A private pilot, he is currently working on an aerial photographic survey of the inter-mountain states, tentatively titled Some Dry Space: The Inhabited West. Light recently won a 2007 Guggenheim Foundation Fellowship in Photography to pursue this project.
Another strain of Light’s practice has been to rework familiar historical photographic and cultural icons into landscape-driven perspectives, often with an aerial component, by sifting through public photographic archives. His first such project, FULL MOON (1999), used lunar geological survey imagery made by the Apollo astronauts to show the moon both as a sublime desert and an embattled point of first human contact. His last archival project, 100 SUNS (2003), focused on the politics and landscape meanings of military photographs of U.S. atmospheric nuclear detonations in Nevada and the Pacific from 1945 to 1962. Light’s books have been published in 19 different editions worldwide.
Light is represented by Hosfelt Gallery, San Francisco and New York, Craig Krull Gallery, Santa Monica, and Wiesehofer Gallery, Cologne.
Born to Chinese immigrant parents in Jackson Heights, New York, Liu’s career as an artist began at 15 when she started experimenting with photography and collage mixed media. Her debut photography exhibit, Unraveling, at SoHo’s Cast Iron Gallery in 1993 landed her an art grant to study in Beijing, China. Subsequently, in 1995, she had her next exhibition, Catapult, at Los Angeles’ Purple Gallery. Liu’s body of work explores the transformation of ideas and experience, connecting to the world around us through metaphors. Her early work combines photomontage, drawing and found objects, with a heavy influence on powerful photographic images. From 2004 to 2006 Liu attended New York Studio School for painting. Over the years, she has proven herself a gifted artist across many disciplines and art has remained a constant in her life. Comparing her work as an actor to that of a visual artist, Liu says, “The beauty of art is that you can go and look at a piece and move around its space. When you look at something on film, you can’t stop or go back. The frames push you forward.” Of her Antenna installation at Halifax’s Emotion Picture Gallery in the spring of 2006, curator Thom Fitzgerald said, “Liu cements her works together like bricks in architecture. Politics and religion ripple under the surface, sometimes emerging in a fragment of a photograph. Voices of protest and conflicting ideologies are woven into a fabric of complicated emotions.” At her most recent Glass Onion show in September 2006 at New York City’s Milk Gallery, Liu donated 100% of the proceeds to UNICEF, an organization to which she is an ambassador. Montblanc commissioned her in April 2007 as one of their new young artists and honored her at Art Basel in Miami in December 2007. Liu’s last show took place in May 2008 at Munich’s Gallerie Six Friedrich Lisa Ungar.
1993 Cast Iron Gallery, New York
1995 Purple Gallery, Los Angeles
2006 Emotion Picture Gallery, Halifax
2006 Milk Gallery, New York
2008 Gallerie Six Friedrich Lisa Ungar, Munich
Catherine Lord, an artist and writer who lives in Los Angeles, is professor of Studio Art at the University of California, Irvine. She is the author of the experimental photo-text narrative, The Summer of Her Baldness: A Cancer Improvisation, and is currently working on an extended book project, The Effect of Tropical Light on White Men.
David Maisel’s work is concerned with mining the aesthetic territory of the apocalyptic sublime, and with addressing themes of loss, elegy, and memorialization. His aerial photography project, called Black Maps, shows the undoing of the natural world by wide-scaled human intervention in the landscape. His images of these environmentally damaged sites, where the natural order has been eradicated, are both spectacular and horrifying. Although Maisel’s photographs evidence the devastation of these locations, they also transcribe interior, psychic landscapes that are a meditation on contemporary consciousness. As otherworldly and surreal as these images appear, they depict shattered realities of our own making. His work explores areas that have been kept hidden or secret, and that are charged by both their profane beauty and their ethically questionable nature.
The scale of Maisel’s prints, at up to 48”x96”, serves to convey the sublime, seemingly limitless aspect of the sites from which they are made. The forms of environmental disquiet and degradation function on a metaphorical level, and the aerial perspective enables one to experience the landscape like a vast map of its undoing.
Black Maps has unfolded in chapters, focusing on such subjects as strip-mines, clear-cuts, leaching fields, tailings ponds, firestorms, and other manipulations of the natural world. For example, The Lake Project (2001-2003) is comprised of images made in the vicinity of Owens Lake in California, which was drained and depleted in order to bring water to the desert city of Los Angeles, and which became an enormous environmental disaster in this process. Terminal Mirage (2003-2005) uses aerial images made at the site of the Great Salt Lake as a means to explore both abstraction and, as the curator Anne Tucker has written about this series, “the disturbingly engaging duality between beauty and repulsion.”
David Maisel was born in New York City in 1961. He received his BA from Princeton University, and his MFA from California College of the Arts, in addition to study at the Graduate School of Design at Harvard University. He is the recipient of a 2007 Visiting Scholar Fellowship at the Getty Research Institute, and has previously been the recipient of grants from the National Endowment for the Arts and the Opsis Foundation. He was an Artist in Residence at the Headlands Institute for the Arts in Spring 2008. He is presently short listed for the Prix Pictet, a major new photography award, and is nominated as a candidate for the 2009 Alpert Award in the Visual Arts.
Maisel’s work is represented in the permanent collections of the Metropolitan Museum of Art, the Los Angeles County Museum of Art, the Brooklyn Museum of Art, and others. His monograph The Lake Project (Nazraeli Press, 2004), was selected as one of the Top 25 Photography Books of 2004 by the critic Vince Aletti. His second monograph, Oblivion (Nazraeli Press, 2004), depicts tonally-reversed black and white aerial views of Los Angeles. His most current monograph, Library of Dust, was released by Chronicle Books in Fall 2008.
David Maisel is represented by the Von Lintel Gallery, New York and the Haines Gallery, San Francisco. His work can be seen at www.davidmaisel.com
Born in New York City in 1958, Laura McPhee earned a BA in Art History from Princeton University in 1980 and an MFA in photography from Rhode Island School of Design in 1986. A Guggenheim Fellowship recipient, she worked collaboratively with photographer Virginia Beahan to produce the Aperture book and traveling exhibition, No Ordinary Land (1998). In 1998, McPhee was awarded a Fulbright Scholars Program Fellowship for work in India and Sri Lanka. In 2006, the Museum of Fine Arts, Boston exhibited a solo show entitled River of No Return. An artist-in-residence at Alturas Foundation, McPhee spent two years photographing in the Sawtooth Valley in rural Idaho as a part of the Foundation’s inaugural program. McPhee is represented in Boston by Carroll and Sons and in New York by Bonni Benrubi Gallery. She lives and works in Brookline, MA.
Susan Meiselas received her B.A. from Sarah Lawrence College and her M.A. in visual education from Harvard University. Her first major photographic essay focused on the lives of women doing striptease at New England country fairs.
She photographed the carnivals during three consecutive summers while teaching photography in the New York public schools. CARNIVAL STRIPPERS was published by Farrar, Straus & Giroux in 1976. A selection was installed at the Whitney Museum of Art in June 2000. The original book was revised and reprinted by the Whitney Museum and Steidl Verlag in 2003.
Meiselas joined Magnum Photos in 1976 and has worked as a freelance photographer since then. She is best known for her coverage of the insurrection in Nicaragua and her documentation of human rights issues in Latin America, which were published widely throughout the world. In 1981, Pantheon published her second monograph, NICARAGUA, JUNE 1978-JULY 1979 which will be reprinted by Aperture, fall 2008.
Meiselas served as an editor and contributor to the book EL SALVADOR: THE WORK OF THIRTY PHOTOGRAPHERS (Writers & Readers, 1983) and edited CHILE FROM WITHIN (W.W. Norton, 1991) featuring work by photographers living under the Pinochet regime. She has co-directed two films: “Living at Risk: The Story of a Nicaraguan Family” (1986) and “Pictures from a Revolution” (1991) with Richard P. Rogers and Alfred Guzzetti. In 1997, she completed a six year project curating a 100 year photographic history of Kurdistan, and integrating her own work into the book entitled KURDISTAN: IN THE SHADOW OF HISTORY (Random House, 1997; reprinted by the University of Chicago Press, 2008). Meiselas then created the website, www.akaKURDISTAN.com, an online archive of collective memory; as well as an exhibition that launched at the Menil Collection in Houston, and traveled for eight years to several venues in the United States and Europe.
Her 2001 monograph, PANDORA’S BOX (Magnum Editions/Trebruk) which explores a New York S & M club, has been exhibited both at home and abroad. In 2003, ENCOUNTERS WITH THE DANI was featured as an installation in the International Center of Photography’s Triennial “Strangers” and co-published by ICP/Steidl Verlag. The book explores a 60 year history of outsiders’ discovery and interactions with the Dani, an indigenous people of the highlands of Papua in Indonesia.
Meiselas has had one-woman exhibitions in Paris, Madrid, Amsterdam, London, Los Angeles, Chicago and New York. Her work is included in American and international collections. Honorary awards of recognition include: the Robert Capa Gold Medal for “outstanding courage and reporting” by the Overseas Press Club for her work in Nicaragua (1979); the Leica Award for Excellence (1982); the Engelhard Award from the Institute of Contemporary Art (1985); the Maria Moors Cabot Prize from Columbia University for her coverage of Latin America (1994); the Hasselblad Foundation Photography prize (1994) and most recently, the Cornell Capa Infinity Award (2005). In 1992, she was named a MacArthur Fellow. In History, a major U.S. overview highlighting key moments in Meiselas’ documentary process will be exhibited at the International Center for Photography in the fall 2008.
Richard Misrach was born in 1949 in Los Angeles. He is best known for his ongoing series, Desert Cantos, a body of work spanning more than thirty-five years which studies the landscape and man’s complex relationship to it. Additional bodies of work include his documentation of the industrial corridor along the Mississippi River known as Cancer Alley, a rigorous study of weather and time in his serial photographs of the Golden Gate, and his current project, On The Beach, in which he photographs human interaction and isolation. Misrach’s photographs are held in the collections of over fifty major institutions, including the Museum of Modern Art, the Whitney Museum of American Art; the Metropolitan Museum of Art and the National Gallery of Art, Washington. A mid-career survey was organized by the Houston Museum of Fine Arts in 1996. Among the monographs published on his work are Bravo 20: The Bombing of the American West; Crimes and Splendors: The Desert Cantos of Richard Misrach; The Sky Book; Richard Misrach: Golden Gate, and Chronologies. He is the recipient of numerous awards in the arts including four National Endowment for the Arts Fellowships and a Guggenheim Fellowship. In September 2007 the exhibition, Richard Misrach: On The Beach, opened at The Art Institute of Chicago and will travel to museums across the U.S. for 2 years.
Abelardo Morell was born in Havana, Cuba in 1948. He immigrated to the United States with his parents in 1962. He has received a number of awards and grants, which include a Cintas grant in 1992 a Guggenheim fellowship in 1994 and a Rappaport Prize in 2006. His work has been collected and shown in many galleries, institutions and museums, including the Museum of Modern Art, The Whitney Museum of American Art, the Metropolitan Art Museum in New York, The Chicago Art Institute, The San Francisco Museum of Modern Art, The Houston Museum of Art, The Boston Museum of Fine Art, The Victoria & Albert Museum and over forty other museums in the United States and abroad
His publications include a photographic illustration of Alice’s Adventures in Wonderland (1998) by Dutton Children’s Books, A Camera in a Room (1995) by Smithsonian Press, A Book of Books (2002) and Camera Obscura (2004) by Bulfinch Press. Abelardo Morell (2005) was published by Phaidon Press.
The Frost Art Museum in Miami has organized a traveling exhibition of the show Vision Revealed: Selections from the work of Abelardo Morell, beginning in May, 2006 and showing in Brazil, Chile, Argentina and Mexico. Morell is currently the Happy and Bob Doran Artist in Residence at the Yale University Art Gallery, where a retrospective of his work, Behind the Seen: The Photographs of Abelardo Morell, will be on exhibit in 2008.
Recently, filmmaker Allie Humenuk has completed a film entitled Shadow of the House, an in-depth documentary about Morell’s work and experience as an artist.
Morell is professor of Art at the Massachusetts College of Art in Boston, MA, USA.
Nicholas Muellner is a photographer, writer and curator based in central New York. His work considers the poetics of representation as a conduit between political understanding and personal experience. Current projects include the exhibition and artist’s book Moscow Plastic Arts (Arcadia University Art Gallery, 2005) the forthcoming book The Photograph Commands Indifference (A-Jump Books, 2008), and Final Report, a new body of photographs that will be exhibited at the Bobrinsky Gallery in St. Petersburg, Russia in 2009. In addition to solo and group exhibitions in New York and Philadelphia, he has collaborated on curatorial projects and multi-media works, including Now Is The Winter, an exhibition of politically and psychologically linked works by U.S. and Russian artists that opened at Proekt_Fabrika in Moscow in May 2007. He teaches Photography and Critical Studies at the Park School of Communications, Ithaca College.
Laurel Nakadate is a photographer and video artist. She was born in Austin, Texas and raised in Ames, Iowa. She received an M.F.A. from Yale University in 2001. Her work has been shown in many places including The Mary Boone Gallery, Greater New York at P.S.1, The Yerba Buena Center for the Arts, The Getty Museum, The Reina Sofia, Michel Rein Gallery, Stephen Wirtz Gallery, Danziger Projects, The Berlin Kunst film Biennale, Chalk Horse Sydney, and the Aldrich Museum. In 2008, she completed her first feature film, “Stay The Same Never Change”. She lives in New York City.
ROBERT AND SHANA PARKEHARRISON
The ParkeHarrisons construct fantasies in the guise of environmental performances for the protagonist of their images – who interacts with the landscape. Tapping into their surreal imaginations, the artists combine elaborate sets within vast landscapes to address issues surrounding man’s relationship to the earth and technology while additionally delving into the human condition.
As Robert ParkeHarrison said regarding the work “We want to make images that have open, narrative qualities; images containing ideas about human limits. These mythic images mirror our world, where nature is domesticated, controlled, and destroyed.”
Robert ParkeHarrison studied photography at the Kansas City Art Institute and the University of New Mexico. In 1999 he was the recipient of a John Simon Guggenheim Fellowship. Shana ParkeHarrison received a degree in painting from William Woods College. She went on to study Dance history and metalsmithing and University of New Mexico. The ParkeHarrisons’ collaboration has developed organically over the past sixteen years. In 2000 they began to publicly claim co-authorship of their images. “The Architect’s Brother,” a museum exhibition of 45 of their images traveled throughout the United States, Canada and Europe. Currently their images are included in various group exhibitions including, “ The Missing Peace: Artists Consider the Dalai Lama,”“Imaging a Shattered Earth: Contemporary Photography and the Environmental Debate” and “Envisioning Change,” an exhibition in conjunction with the United Nations Environment Programme’s, World Environment Day.
Their works are included in numerous collections including Los Angeles County Museum of Art, Whitney Museum of American Art, Museum of Fine Arts Houston, San Francisco Museum of Modern Art, The Art Institute of Chicago and the International Museum of Photography at George Eastman House. In October 2008 the ParkeHarrisons’ new book of color images by Twin Palms Publishers will debut alongside an exhibition at Jack Shainman Gallery in New York.
Hirsch Perlman; Artist; Mr. Perlman received his B.A. from Yale University. Since 1985, his work has been exhibited throughout the United States and Europe including one-person exhibitions at the
Renaissance Society, Chicago; a Projects exhibition at the Museum of Modern Art, New York; Kunstraum, Vienna, Drammens Museum, Norway His work was included in the 1989 and 2002 Whitney Biennials as well the 1993 Venice Biennale and is represented in the collections of the
Whitney Museum of American Art, The Museum of Contemporary Art, Los Angeles, and The Museum of Contemporary Art, Chicago, The Museum of Contemporary Art, Seattle, The Hammer Museum, Los Angeles. He has received two NEA artist’s fellowship grants, a Louis Comfort Tiffany
Foundation grant, and the Augustus Saint-Gaudens Memorial Fellowship. He is currently department head in sculpture at UCLA. He has taught in the Graduate Sculpture Dept. at Yale University, the MFA program at USC, as well as the MFA and BA programs at University of California, Los Angeles, California Institute of the Arts, Valencia, University of California, Irvine, University of Illinois at Chicago, Otis College of Art & Design, and Art Center, Pasadena. His work is represented by Blum & Poe, Santa Monica; Robert Miller Gallery, New York, and Monika Sprüth Galerie, Köln.
Laurie Simmons is an artist/ photographer currently working in New York. Since the mid-70¹s, Simmons has staged scenes for her camera with dolls, ventriloquist dummies, objects on legs and occasionally people, to create images with intensely psychological subtexts. By the early 1980¹s Simmons was at the forefront of a new generation of artists, predominantly woman, whose use of the media as subject began a new dialogue in contemporary art. In 2006, Simmons made her first film ³The Music of Regret,² a mini musical in three acts which premiered at MOMA and has since screened at museums and festivals worldwide including the Walker Art Center, the Hammer Museum, the Tate Modern, the Centre Pompidou, the Kunst Film Biennale in Cologne, and the 21st Century Museum of Contemporary Art in Kanazawa Japan.
Her work is in the permanent collections of the Metropolitan Museum of Art, the Guggenheim Museum, the Museum of Modern Art and the Whitney Museum of American Art in New York City; the Museum of Contemporary Art in Los Angeles; the Corcoran Gallery of Art in Washington DC; the Hara Museum in Tokyo; the Ellipse Foundation in Lisbon, Portugal and the Stedelijk Museum of Modern Art in Amsterdam, among others.
Mike Slack was born in 1970 in Muncie, IN, and currently lives and works in Los Angeles. His Polaroid photographs have been published in two volumes—OK OK OK (J&L Books, 2002; reissued by The Ice Plant, 2006) and Scorpio (The Ice Plant, 2006). His work has appeared in Harper’s, The New York Times, The Los Angeles Times and other publications. He is working on third and final book of Polaroids called Bright Future (or The Worst is Yet To Come).
Based in Minneapolis, Minnesota, Alec Soth has received fellowships from the McKnight and Jerome Foundations and was the recipient of the 2003 Santa Fe Prize for Photography. His photographs are represented in major public and private collections, including the San Francisco Museum of Modern Art, the Museum of Fine Arts Houston and the Walker Art Center. His work has been featured in numerous solo and group exhibitions, including the 2004 Whitney and Sao Paulo Biennials. His first monograph, Sleeping by the Mississippi, was published by Steidl in 2004. The follow-up to his widely acclaimed Sleeping series, NIAGARA, was published in 2006. In 2007 Steidl published Dog Days, Bogotá. Alec Soth is a member of Magnum Photos.
Larry Sultan has pushed the boundaries of photographic practice since 1977 with the publication of Evidence, a collection of found institutional photographs created in collaboration with photographer Mike Mandel. His work has been exhibited and published widely and is included in the collections of the Art Institute of Chicago, the Museum of Modern Art, the Whitney Museum of American Art, the Solomon Guggenheim Museum, the San Francisco Museum of Art to name a few. Sultan is a professor of art at California College of the Arts in San Francisco.
Peter Sutherland is a New York City based artist. His work employs some of the techniques of traditional documentary photography to capture the hidden beauty of ordinary objects and everyday situations. He’s released several publications and films, most recently Buck Shots (powerHouse Books) and Tierney Gearon: The Mother Project (Zeitgeist Films).
Sutherland has shown in group exhibitions at Rivington Arms/NY, Guild and Greyskull/NY, Circleculture Gallery/Berlin, V1 Gallery/Copenhagen and the travelling Tiny Vices show, currated by Tim Barber. His solo exhibitions have been on view at Someday Gallery/Melbourne, MU/Eindhoven and Gallery White Room/Tokyo.
HANK WILLIS THOMAS
Hank Willis Thomas was raised in New York City. He received a B.F.A in Photography and Africana Studies from New York University’s Tisch School of the Arts in 1998. He received an M.F.A in photography and a M.A. in Visual Criticism at the California College of the Arts in 2004. His photographs have been published in numerous books and publications including: Reflections in Black: A History of African American Photographers (W.W. Norton 2000), 25 under 25: American Photographers (Power House Books 2003), Black: A celebration of a Culture (Hylas Publishing 2004) and Winter in America (self-published in 2006 with Kambui Olujimi). His work has been exhibited in galleries and museums nationally and internationally, including PS1, the Studio Museum in Harlem, Zacheta National Museum of Art in Poland, the Yerba Buena Center for the Arts in San Francisco, and in the 2006 California Biennial at the Orange County Museum of Art. His work with the ©ause Collective is installed at the University of California, San Francisco, the Oakland International Airport and was featured at the 2008 Sundance Film Festival. Thomas is a recipient of the New York Foundation for the Arts Fellowship Award (2006), the Renew Media Arts Fellowship from the Rockefeller Foundation (2007), an Investing In Artists grant from the Center for Cultural Innovation (2007) and the Aperture West Book Prize for a publication of his work in 2008.
Wolfgang Tillmans is a fast-starter. Within just a few years, he succeeds in rising from a young German provincial photographer to become the star of the international art scene. Even before his study from 1990-92 at the Bournemouth & Poole College of Art and Design, Tillmans has a number of small exhibitions and is published in various ‘Zeitgeist’ magazines. This crossover between photographic art and lifestyle remains a noticeable constant in his work. At first glance, Tillmans’ pictures look like snapshots, authentic documents of a metropolitan subculture. In fact, they are carefully staged interpretations of reality. Tillmans translates his personal experiences and sensations into pictures. He photographs what he loves. His glance is without cynical distance. The people know that they are being photographed. They are not objects – they are accomplices who are helping Tillmans to present his subjective view of reality. This honesty in the generating process is what gives the pictures their warmth and credibility. For exhibitions, Tillmans combines the photographs of people with still life photos, cityscapes and landscapes to create spacious collages. Without glass or frame, he simply sticks the pictures to the wall. The colour enlargements adjoin torn-out newspaper pages and ink-jet prints. In the museum too. Tillmans strives for pure expression, without idealisation or excess. With this style, he has a definitive effect on the aesthetics of the nineties and become the model for a whole generation. In 1993, his first major exhibition is held at Daniel Buchholz in Cologne, followed in 1995 by the Kunsthalle, Zurich, and the Portikus, Frankfurt, and then the Kunstmuseum, Wolfsburg, in 1996. In the same year, he also shows his works at the “New Photography” group exhibition in the Museum of Modern Art in New York. Tillmans is the first photographer to win the Turner Prize, in 2001, which is one of the most significant awards for contemporary art.
Catherine Wagner is an artist who photographs elements of contemporary society and transforms them into conceptual images that investigate culture. For over thirty years she has been a keen observer of the built environment, examining institutions of learning and knowledge, such as art museums and science labs, as well as the ways we construct our cultural identity. Her current project, A Narrative History of the Light Bulb, is a natural linkage to her past work involving science, technology, and culture. Ms. Wagner’s process involves the investigation of what art critic David Bonetti calls “the systems people create, our love of order, our ambition to shape the world, the value we place on knowledge, and the tokens we display to express ourselves.”
While Ms. Wagner has spent her life residing in California, she has also been an active international artist, working on collaborations, site-specific installations, and lecturing extensively at museums and universities. She has received many major awards, including the inaugural Visual Arts Fellowship from the San Jose Museum of Art, a Guggenheim Fellowship, NEA Fellowships, and the Ferguson Award. Ms. Wagner was also named one of Time Magazine’s Fine Arts Innovators of the Year for 2001. Her work is represented in the collections of the Museum of Modern Art, the Whitney Museum of American Art, the Metropolitan Museum of Art, the Los Angeles County Museum of Art, the San Francisco Museum of Modern Art, Museum of Fine Arts, Houston, the Museum of Folkswang, Essen, Germany, and the Victoria and Albert Museum, London. Her monographs include Cross Sections (Twin Palms Press 2002), Art & Science: Investigating Matter (Washington University, 1996), Home and Other Stories (Los Angeles County Museum of Art, 1993), and American Classroom (Museum of Fine Arts, Houston, 1988). Ms.Wagner is represented by Gallery Luisotti in Santa Monica, California and the Stephen Wirtz Gallery in San Francisco.
James Welling received his MFA from Cal Arts in 1974. He was associated with the “Pictures Generation,” that developed in New York around Metro Pictures Gallery in the early 1980’s and in the 1990’s he exhibited extensively in Europe, most notably in Jan Hoet’s 1992 documenta IX in Kassel, Germany. In 1995 Welling became head of the Photography Area in the Department of Art at UCLA. His recent work was included in the 2008 Whitney Biennial.
Los Angeles based artist Mark Wyse’s photographic work reflects an engagement with the slippery and paradoxical nature of photographic meaning. His work is often conceptually caught between reflecting on the medium itself and the desire/experience of seeing. Wyse seeks the tension between conscious and unconscious aspects of making photographs and often does so in relationship to other artists. He was born in Santa Monica, CA and received his MFA from Yale in 2001. He is currently in the exhibition “Photography on Photography: Reflections on the Medium since 1960”, at the Metropolitan Museum of Art. His recent shows include “Disavowal” and “Marks of Indifference” at Wallspace NY (solo) and “Red Wind” at Blum and Poe, Los Angeles (group). Nazraeli Press released his publication 18 Landscapes in 2005. His work has been featured in numerous publications including The New York Times, The New Yorker, Art on Paper, The Los Angeles Times, The Village Voice and Art in America. His work is in the permanent collections of the Metropolitan Museum of Art, The Museum of Contemporary Art (Los Angeles), JGS, The Yale University Art Museum, and the La Salle Bank Photography Collection in Chicago