Hiroshi Sugimoto


Early-twentieth century Modernism greatly transformed our lives, liberating the human spirit from untold decoration. No longer needing to draw attention from God, all aristocratic attempts at ostentation have fallen away. At last we avail ourselves of  mechanical aids far beyond our human powers, attaining the freedom to shape things at will.

I decided to trace the beginnings of our age via architecture. Pushing my old large-format camera’s focal length out to twice-infinity―with no stops on the bellows rail, the view through the lens was an utter blur―I discovered that superlative architecture survives, however dissolved, the onslaught of blurred photography. Thus I began erosion-testing architecture for durability, completely melting away many of the buildings in the process. - Hiroshi Sugimoto


Hiroshi Sugimoto-

Hiroshi Sugimoto was born in Tokyo in 1948. In 1970 he moved to Los Angeles and studied photography at the Art Center College of Design. He lives in New York and Tokyo. He is best known for his highly stylized photographic series of seascapes, movie theaters, natural history dioramas, waxworks and Buddhist sculptures. These series provoke fundamental questions about the relationship of photography and time, as well as exploring the mysterious and ineffable nature of reality.

In recent years, Sugimoto’s work has become increasingly concrete at the same time as it has become notably more abstract. It has broken out of, or beyond, photographic illusion to touch the moment of an ideal space rendered in photography. In his Architecture series (1997-2002), rather than photographing key modernist buildings to elucidate their lines and volumes, Sugimoto blurred the image in an effort to capture not the buildings themselves but mental images of them.  - http://www.gagosian.com/artists/hiroshi-sugimoto/


I’m a habitual self-interlocutor. Around the time I started photographing at the Natural History Museum, one evening I had a near-hallucinatory vision. The question-and-answer session that led up to this vision went something like this: Suppose you shoot a whole movie in a single frame? And the answer: You get a shining screen. Immediately I sprang into action, experimenting toward realizing this vision. Dressed up as a tourist, I walked into a cheap cinema in the East Village with a large-format camera. As soon as the movie started, I fixed the shutter at a wide-open aperture, and two hours later when the movie finished, I clicked the shutter closed. That evening, I developed the film, and the vision exploded behind my eyes. -Hiroshi Sugimoto


David Hilliard (born 1964, Lowell, Massachusetts) is an American photographer. He received his MFA from Yale University in 1994.

Hilliard is a fine arts photographer that mainly works with panoramic photographs. He draws inspiration from his personal life and those around him for his subject matter. Many of the scenes are staged, evoking a performative quality, a middle ground between fact and fiction.

For years I have been actively documenting my life and the lives of those around me, recording events and attempting to create order in a sometimes chaotic world. While my photographs focus on the personal, the familiar and the simply ordinary, the work strikes a balance between autobiography and fiction. Within the photographs physical distance is often manipulated to represent emotional distance. The casual glances people share can take on a deeper significance, and what initially appears subjective and intimate is quite often a commentary on the larger contours of life.

For me, the construction of panoramic photographs, comprised of various single images, acts as a visual language. Focal planes shift, panel by panel. This sequencing of photographs and shifting of focal planes allows me the luxury of guiding the viewer across the photograph, directing their eye; an effect which could not be achieved through a single image.

I continually aspire to represent the spaces we inhabit, relationships we create, and the objects with which we surround ourselves. I hope the messages the photographs deliver speak to the personal as well as the universal experience. I find the enduring power and the sheer ability of a photograph to express a thought, a moment, or an idea, to be the most powerful expression of myself, both as an artist, and as an individual.

David Hilliard    http://www.davidhilliard.com/

Carrie Mae Weems
Weems was born in 1953, in Portland, Oregon. In her late teens she moved to San Francisco to pursue a career in modern dance, studying movement with Anna Halprin’s postmodern Dancer’s Workshop. She also became politically active in the labor movement. During the late 1970s, Weems began to pursue her interest in photography, first as a means of political and personal documentation, then increasingly as a form of intellectual and aesthetic expression. She earned a bachelor of fine arts degree at the California Institute of the Arts in 1981 and a master of fine arts degree at the University of California, San Diego in 1984. She is also an avid student of history, political theory, literature, philosophy and folklore, all of which she brings to bear in her work. While African Americans are her primary subject, Weems has stated that she wants people of color to stand for the human multitude and for her work to resonate with all audiences.

My responsibility as an artist is to work, to sing for my supper, to make art, beautiful and powerful, that adds and reveals; to beautify the mess of a messy world, to heal the sick and feed the helpless; to shout bravely from the rooftops and storm barricaded doors and voice the specificity

"The Kitchen Table Series" (1990), a photographic investigation of a single domestic space in which the artist staged scenes of "the battle around the family" between women and men, friends and lovers, parents and children.

"Like Family Pictures and Stories, this series offers a valid portrait of an often overlooked subject, in this case, a modern black woman—“the other of the other.” The images trace a period in the woman’s life as she experiences the blossoming, then loss, of love, the responsibilities of motherhood, and the desire to be an engaged member of her community. The protagonist is Carrie Mae Weems herself—a practice that will continue throughout the next decades of her career. The role of words has become more prominent with fourteen stand-alone text panels that relay the at times rocky story. Near the end, the woman stands alone, strong and self-reliant, looking directly at the viewer, her arms squarely planted on her kitchen table, where the events have unfolded under a light of interrogation. Although Kitchen Table Series depicts a black subject and is loosely related to her own experiences, Weems strives for it to reflect the experiences of Everywoman and to resonate across racial and class boundaries. ” http://frist.toursphere.com/en/kitchen-table-series-18373.html



Hannes Wallrafen

Born in 1951, Hannes Wallrafen has been based in Amsterdam since 1972 when he moved there to train as a photographer at the Rietveld Academy. 

In 1976 he began working as a professional documentary photographer, travelling extensively throughout the world producing images for magazines and third-world organisations. In complete contrast to his traditional documentary-style commissioned photography, in 1986 he began a series of studio-based personal images, which he arranged like a stage director, using models, sets and studio equipment. This work led to a host of new assignments.

In 1988 Hannes went to Colombia to begin a project on García Márquez, which was published as a book - The World of Marquez - in the Netherlands, UK and Colombia in 1993, with an introduction written by Márquez himself. 

In 1998 he completed a project called “Past Imperfect” in which he captured the feeling of the 50s and 60s in Geldrop. This series was also published as a book, which was launched during an exhibition at the National Foto Institute in 1999.

In 2000 he was asked to develop an idea on the Middle American country Honduras. After his first visit in September 2000 he found the theme for the new project: ‘Of Time and the Tropics’. It was published as a book by KIT publishers and launched during the fotofestival NOORDERLICHT in September 2002. 

Due to an genetic illness Hannes Wallrafen lost nearly all the sight in both his eyes in 2004 which meant a sudden end to his career as a photographer. Since then, Wallrafen has changed his focus to the world of audio and is now creating sound-scapes.



Gueorgui Pinkhassov
French/Russian, b. Moscow 1952

“The power of our Muse lies in her meaninglessness. Even the style can turn one into a slave if one does not run away from it, and then one is doomed to repeat oneself. The only thing that counts is curiosity. For me personally, this is what creativity is about. It will express itself less in the fea ”

Pinkhassov’s interest in photography began while he was still at school. After studying cinematography at the VGIK (the Moscow Institute of Cinematography), he went on to work at the Mosfilm studio and then as a set photographer.

In 1978 Pinkhassov joined the Moscow Union of Graphic Arts and obtained the status of an independent artist. His work was noticed by the prominent Russian filmmaker Andrei Tarkovsky, who invited Pinkhassov to the set to make a reportage about his film ‘Stalker’ (1979).

Pinkhassov moved permanently to Paris in 1985. He joined Magnum Photos in 1988. He works regulary for the international press, particularly for Geo, Actuel and the New York Times Magazine. His book, Sightwalk, explores individual details, through reflections or particular kinds of light, often approaching abstraction.



French/Rssian, b. Moscow 1952