6.12.2019

ARNOLD NEWMAN PRIZE for New Directions in Photographic Portraiture

Photograph by Viktoria Sorochinski, series “Daddy“
2018 Arnold Newman PrizeWinner

Prepare your Entry for the "Arnold Newman Prize for New Directions in Photographic Portraiture," a $20,000 prize awarded to a photographer whose work demonstrates a compelling new vision in photographic portraiture. In addition to the winner, the jury selects three finalists each year who are invited to participate in an exhibit at the Griffin Museum of Photography.

The Jurors are: Paula Tognarelli, Director of the Griffin Museum of Photography • Elizabeth Avedon, Independent Curator, PhotoBook + Exhibition Designer • Jessica Dimson, Deputy Photo Editor, The New York Times

The Prize is funded by the Arnold and Augusta Newman Foundation and administered by Maine Media Workshops + College.
  

PHOTOLUCIDA: Critical Mass 2019

Photograph: Chloe Aftel @chloeaftel

Get your best work ready because Photolucida's Critical Mass 2019 is now open for submissions!

Entering it’s 16th year, Critical Mass was created as a way to facilitate connections between emerging photographers and industry professionals with an aim at creating career-changing opportunities! With 200 museum curators, gallerists, publishers and more on the jury there is no better way to get your work seen in this digital day and age.

This year Photolucida is offering some amazing awards: A solo show at Blue Sky Gallery during Portland Photo Month, the Rauschenberg Residency Award, a Top 50 Exhibition at the Center for Photographic Art in Carmel, CA curated by Elizabeth Avedon, and publication in issue #63 of GUP Magazine for a selection of finalists. All finalists will also receive this special issue of GUP after it is published!
https://www.photolucida.org/critical-mass/entry-details

P.S. I'm thrilled to be curating the Critical Mass 2019 Top 50 exhibition at the Center for Photographic Art in Carmel, CA! EA

5.29.2019

GREG KAHN : Havana Youth

 Havana Youth by Greg Kahn (Yoffy Press)

Smoke Machine at Fiesta Unica
Photograph © Greg Kahn

Miramar, Havana
Photograph © Greg Kahn
Havana Youth by Greg Kahn (Yoffy Press)

"In Havana Youth, Greg Kahn explores Cubans born after 1989, who have only known a time after the USSR dissolved and left the Caribbean nation with few resources and a growth-crippling, US-led economic embargo. Those kids, born during what is called “The Special Period”, are now in their twenties and developing a sense of individuality in a society that was historically focused on collectivism. This is their cultural counter-revolution, and they are redefining what it means to be Cuban." –Yoffy Press

Photographs by Greg Kahn
Introduction by Ariana Hernandez-Reguant
Yoffy Press 2019

Hardcover, 11.25 x 8.5 inches
144 pages + additional softcover zine
Edition of 500

ISBN: 978-1-943948-12-3
Trade Edition (unsigned):  $50.00
Signed by artist: $60.00

Greg Kahn is a Washington, DC - based American documentary fine art photographer. In August of 2012, Kahn co-founded GRAIN Images with his wife Lexey, and colleague Tristan Spinski. His work concentrates on issues that shape personal and cultural identity. His Pulitzer Prize nominated project, “It’s Not a House, It’s a Home,” explores how the foreclosure crisis in Florida defined a new class of homelessness. His recent project in Cuba considers how governance molds individuality.

5.18.2019

KWAIDAN: Stories and Studies of Strange Things by Lafcadio Hearn. Illustrated with Photographs by Hiroshi Watanabe

  “The Story of Mimi-Nashi (Earless) Hoichi”
KWAIDAN: Stories and Studies of Strange Things
Photograph © Hiroshi Watanabe

“The Story of Aoyagi”
KWAIDAN: Stories and Studies of Strange Things
Photograph © Hiroshi Watanabe

 “The Story of O-tei”
KWAIDAN: Stories and Studies of Strange Things
Photograph © Hiroshi Watanabe

“The Dream of Akinosuke”
KWAIDAN: Stories and Studies of Strange Things
Photograph © Hiroshi Watanabe

Photo illustrated by Hiroshi Watanabe. Limited Edition with a silver gelatin print from 1 of the 4 photos above, in an edition of 25. Cased in slip case.

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KWAIDAN: Stories and Studies of Strange Things presents the complete text of Hearn’s classic 1903 book of Japanese ghost stories, collected during travels in his adopted homeland and presented in English for consumption by Western audiences. This edition pairs the original stories with twenty-eight photographs from celebrated photographer Hiroshi Watanabe, as well as an introduction from horror expert Paul Murray. Watanabe’s photographs provide illumination and illustration for these eerie tales. This new edition of a classic text is likely to appeal to worldwide fans of Japanese folklore, supernatural stories, and contemporary photography.


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 A Limited Edition of 25 / $250. in U.S.
Slip-cased with a silver gelatin print from one of the 
4 photographs above.
In the US order directly from Hiroshi Watanabe : 
contact@hiroshiwatanabe.com 

In the UK order from Beyond Words / £200.00
https://www.beyondwords.co.uk/kwaidan-limited-edition

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 Making of KWAIDAN “The Story of Mimi-Nashi Hoichi”
Buddhist spell is written over Hoichi’s body while 
the spell checker dictates for accuracy of the scriptures.
 
Making of KWAIDAN “The Story of Aoyagi”

Kwaidan: Stories and Studies of Strange Things is a new edition book of short classic Japanese ghost stories written by Lafcadio Hearn over a century ago. Hearn (1850-1904) was an Irishman who was born in Greece, grew up in Ireland, and emigrated to the US where he became a writer. He later moved to Japan and married a Japanese woman, had children, and became a professor. He traveled all around in Japan with his wife and heard many strange traditional folklore stories. Kwaidan is a collection of those short stories that he wrote in English for western population. He died in Japan soon after the publication of Kwaidan. Those stories are now visually revitalized by accompanying photographs by award winning photographer Hiroshi Watanabe, who has lovingly brought this edition into print for the Unicorn Publishing Group.

Hiroshi Watanabe was born in Japan. He graduated from Department of Photography at Nihon University in 1975. He moved to Los Angeles after graduation and became involved in the production of TV commercials for Japan. He later established his own production company and produced numerous commercials. He received an MBA degree from UCLA Business School in 1993. In 1995 his passion for photography rekindled, and since then he has traveled worldwide extensively photographing what he finds intriguing at that moment and place. In 2000 he closed the production company in order to devote himself entirely to the art. Since then, his work has been published and exhibited around the world, and he received numerous awards. His work is in the permanent collections of many art museums such as Philadelphia Museum of Art, Houston Museum of Fine Arts, George Eastman House, Santa Barbara Museum of Art, J. Paul Getty Museum, San Jose Museum of Art, New Mexico Museum of Art, North Carolina Museum of Art, Los Angeles County Museum of Art. In 2016, He received the Pollock-Krasner Foundation Grant.


by Lafcadio Hearn and Hiroshi Watanabe

144 pages with 28 Photographs by Hiroshi Watanabe
$32.00 Hardback, trade edition
Unicorn Publishing Group

5.01.2019

MYTH OF A WOMAN : Agnieszka Sosnowska

 My Belt, Héraðsandur, Iceland, 2011
© Agnieszka Sosnowska

 Self Portrait for Rodin, Kleppjárnsstaðir, Iceland, 2012 
© Agnieszka Sosnowska

 Self Portrait. Mjóifjörður, Iceland, 2013
© Agnieszka Sosnowska

 Longbow Practice. Self Portrait. Kleppjárnsstaðir, Iceland, 2018
© Agnieszka Sosnowska
 
The Icelandic landscape is beautiful, but brutally unforgiving. There is majesty in the black cliffs and glaciers, but harsh winds and long winters render them dangerous for part of the year . . . a place both alluring and treacherous, Iceland is the perfect metaphor for Agnieszka Sosnowska’s photographs about the dichotomies of womanhood.” 
Kat Kiernan, Myth of A Woman monograph 


Self Portrait. Nude, Landsendi, Iceland, 2015
 © Agnieszka Sosnowska

 Rúnar. Fremrasel, Iceland, 2018
© Agnieszka Sosnowska

 The Doll. Self Portrait. Reykjavik, Iceland, 2018
© Agnieszka Sosnowska

Photographer Agnieszka Sosnowska, exhibition of over fifty photographs, Myth of A Woman, is opening at the National Museum of Iceland May 4th, 2019. The core of the almost fifty photographs began with Sosnowska's intention to interpret the poem, “Móðir mín í kví, kví,” in a series of self-portraits in the East fjords of Iceland shot in many of the same places from where these stories originated.

Throughout Iceland’s history, women that bore children from circumstances that were not acceptable at the time - either shamed by the pregnancy or afraid their families or society would dismiss them - would leave their newborns out in the wilderness to die of exposure. “Móðir mín í kví, kví,” tells of a woman haunted by the voice of her abandoned child and driven to madness by her choice. Sosnowska has stated she is unable to bear children and this painful fact had affected her sensibility. In this way she connected with these Icelandic women and their sacrifices; to have the ability of motherhood taken away from you by means out of your control can be consuming. The result is a unique body of work, using a 4X5 view camera to create these mythical images.

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I was deeply touched by Agnieszka Sosnowska’s intensely personal self-portraits in a 2015 photo-documentary on LensCulture, years before meeting her in person at The Icelandic Photography Festival 2018. I was honored to have the opportunity to curate this exhibition, creating a path through her personal journey. I spoke with Ms. Sosnowska, currently living on a farm outside of Egilsstaðir, Iceland, about her early work and recent and past influences:

EA: What age did you begin to photograph?

AS:
I was 18 years old when I started making self-portraits as a student studying photography. I am 47 years old now and am still creating them. My professors at Massachusetts College of Art were Abe Morell, Laura McPhee, Barbara Bosworth, Nick Nixon, and Frank Gohlke. Their work ethic as professors and working artists was and still is intense. As teachers they constantly questioned why you are doing what you are doing. The program was tough. You had to deliver new work on a weekly basis and the critiques were brutally honest.

As a student, I would take the bus from Mass Art to the Arnold Arboretum in Jamaica Plain to photograph. I was visually interested in the trees and unusual plants that grow there. It took years of traveling and growing up to acquire the skills and courage of how to photograph people. To gain a person’s trust and comfort for a photograph is truly an art form.

Over time I started to place myself into the pictures at the Arnold Arboretum. I wanted to play with the composition and scale in nature. It was a matter of convenience to use myself. This convenience turned to challenge. I realized that it was not where I positioned myself into the frame but how I reacted to what was around me. What was the story? What was I trying to say? How could I make it convincing?

EA: Who were your mentor’s or photographers you admire?

AS: I am mostly influenced by filmmakers, painters, musicians and writers. As a teenager I loved Jim Jarmusch films. “Down by Law” and “Stranger Than Paradise,” taught me that black and white can be complete colors to tell a story. In college I discovered Frida Kahlo paintings. She taught me that your life can be a story. It is important enough.

The music of Kate Bush and PJ Harvey have inspired narrative in my thought process. Listening to Bush’s “Hounds of Love” as a teenager and Harvey’s “Let English Shake” was a visual experience. Those albums are masterpieces. “Into the Wild” by Jon Krakauer had a huge influence on my life. Fifteen years ago while camping in the wilderness of Iceland I would read passages from this book to my husband. This book awakened me. You can live life or wait for it to take you.

I am drawn to photographers that work with people or a place over a long period of time. It means something to them. It isn’t a project that the artist sets out to conquer. They are living it. They are the story they are telling. In order for me to keep looking at an image I have to feel it. There has to be a real connection. No matter how unbelievable the photograph might appear, you end up believing it.

Contemporary photographers I deeply admire are…Chris Killip. His 4X5 series entitled “In Flagrante” is an inspiration. He understands what it means to become part of a community in order to tell a story about it. LaToya Ruby Frazier. Her self-portraits. Wow! What a series. In my opinion she is the most important photographer living today; Mike Brodie. His portraits of his friends train hopping. He is a poet. Nan Goldin. Her portraits of her lovers and friends. Her honesty is uncompromising.

These photographers deliver such honesty in their work that it stays with you. Their photographs are able to connect and communicate to a wide range of viewers. They have something to say. Their language is universal and it stays with you long after you see it.

EA: Has living on your farm in Iceland changed your perspective?

AS: Absolutely. My husband, Runar, and I made a conscious lifestyle choice to live as we do. He and I have nothing in common as far as hobbies go but what joins us is our love of nature. We both wanted the same lifestyle and we took a chance on each other. We own 400 hectares of land with lakes. It is private and isolated even by Icelandic standards. It is very quiet and special. I can't imagine living anywhere else. I have become self reliant and independent. When problems arise, you have to solve them yourself. It’s made me stronger both physically and mentally.

EA: Why did you choose to live in Iceland?

AS: Since immigrating to Iceland 10 years ago I’ve been asked this often. My reasons range from the rural lifestyle that I’ve adopted here, a good job, beautiful nature, and more often my response ends on the topic of Icelandic women. In my eyes the female spirit in Iceland encompasses strength and community. This strength has served as an inspiration in my life as an immigrant in this new land I now call my home. 

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A catalogue will accompany the exhibition, Myth of a Woman, with a preface by Inga Lára Baldvinsdóttir, Museum Exhibitions Director; a foreword by Icelandic poet, Ingunn Snжdal; an introduction by Kat Kiernan, Director, Panopticon Gallery; and an essay by Agnieszka Sosnowska. 31 duo-tone images, 9.5 x 11,” 41 pages, soft cover (Fall, 2019).

MYTH OF A WOMAN
Agnieszka Sosnowska
May 4th. 2019 – Sept 1, 2019
Curated by Elizabeth Avedon
 
Þjóðminjasafn Islands
National Museum of Iceland, Reykjavнk 

Agnieszka Sosnowska is represented in the U.S. by Panopticon Gallery

4.20.2019

ASHLY STOHL : DAYS + YEARS

Days + Years  Photograph © Ashly Stohl

 Days + Years  Photograph © Ashly Stohl

Days + Years  Photograph © Ashly Stohl


“Parenting, like childhood, is a wild trip: some days are boring, moments are ridiculous or moments are hard, love abounds. Ashly captures all of this with an unflinching—and unjaded—eye. This book is a monument to her children, but it’s also a testament to the person she herself is and to the multiplicity of work she does twenty-four hours a day.”Lynn Melnick, Days + Years

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Days + Years, an exhibition of photographs by Los Angeles artist Ashly Stohl at the Leica Store Soho, New York launches in conjunction with the release of Stohl’s second book, Days + Years, which takes from the common bit of parenting wisdom, “The days are long but the years are short.”

From after-school snacks to sibling squabbles to family vacations, here is the messy and bustling day-to-day, as seen through Stohl’s celebrated eye. Now, and with her usual fearlessness, warmth, and darkly wry humor, Stohl’s Days + Years broadens the focus to her entire family.

May 2, 2019 - June 30, 2019
Leica Store Soho Gallery
460 W. B'way, NYC
www.leicastoresoho.com

Artist reception May 2, 2019, 6pm – 8pm

The book Days + Years will be released in June 2019

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Ashly Stohl’s first book, Charth Vader, folloewed the journey of the the photographer's visually impaired son, Charth Vader, as he battled his way through childhood. Profits from the book benefit the Vision Center at Childrens Hospital Los Angeles. Charth Vader met with great recognition: featured on ABC News, Huffington Post, and news outlets worldwide. View on Peanut Press

Charth Vader  Photograph © Ashly Stohl

Charth Vader  Photograph © Ashly Stohl


4.17.2019

Notre-Dame de Paris : 100 Photos Published

 Notre-Dame de Paris   Photograph Lynn Saville 

 
Édouard Baldus, Facade of Notre-Dame de Paris,
between 1851 and 1870

Photographs of Notre-Dame de Paris 

In all Her Beauty and Glory

100 photos published

[nearly 1500 received from viewers]


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4.02.2019

THE 2019 NEW YORK PORTFOLIO REVIEWS

 Jay and Missy, Prospect Park, 2018   Photograph © Bruce Polin
 
Allie, Prospect Park, 2017   Photograph © Bruce Polin
 
Photographer Bruce Polin with "Aubrey, Prospect Park, 2017"

"What's the opposite of a Cellphone Picture?" is the title of the New York Times Lens Blog article about Photographer Bruce Polin! "Walking around Prospect Park with a 100 pounds of gear, including a boxy 8 by 10 camera, Bruce Polin collaborated with strangers to make idyllic portraits.... read more here

Bruce Polin lives and works in Brooklyn, New York…."Prospect Park is really the optimal microcosm of New York's profound diversity. My use of its natural assets as the backdrop somehow imparts additional political resonance, given that our public lands and environmental protections seem to be eroding by the minute, and climate change denial is now, incredibly, a governing principle. The park, designed in 1867 by Frederick Law Olmsted and Calvert B. Vaux, is a vast organism, fertile, with secret winding paths, and infinite textures and sounds. There are many unique 'neighborhoods' within it. The park has become my studio in a way -- one in which I don't have much control, an aspect that can be frustrating but often liberating…." read more brucepolin.com

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Anna Maria Gallegos de Houser and Bonneville Salt Flats, 2017, diptych
Photograph © Tomas van Houtryve 

Tomas van Houtryve holding
Bernadette Therese Ortiz Pena and Carter Lake, 2017, diptych

Tomas van Houtryve is a conceptual artist, photographer and author whose major works interweave investigative journalism, philosophy and metaphor. Van Houtryve makes images using a wide range of processes, ranging from 19th century wet plate collodion to thermal imaging and Augmented Reality. 

Lines and Lineage: The boundary between Mexico and the United States used to be 1100 kilometers farther north, following what is now the state line between Oregon and California and running east to Wyoming before zagging southeast to Louisiana. Originally home to the indigenous peoples of the region, much of this land was Spanish and then Mexican territory for centuries before becoming what we now think of as the American West….Using glass plates and a nineteenth-century camera to photograph landscapes along the original border and create portraits of descendants of early inhabitants, this project imagines what that history might look like. It questions the role that photographs—both present and missing—have played in shaping the identity of the West. 

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from the series “One Day in History
Survivor of the July 22, 2011 terror attack on Utøya, Norway
Photograph © Andrea Gjestvang
"Seven years ago, Cecilie Herlovsen and her best friend Andrine were hiding together at the sea shore of Utoya. Andrine was killed. Cecilie was shot in her arm, should and in the chin. Her arm had to be amputated. Today, Cecilie is still disabled to work or study. She has lost her sickness benefits compensation and feels that she never received the help she needed to fully recover." 
Andrea Gjestvang with new work taken in the Faroe Islands
Norweigen born photographer, Andrea Gjestvang is living and working in Oslo, where she takes on assignments and pursues long term personal documentary projects....With an intimate photographic approach, she explores political and social issues often connected to the lives of adolescents. Her project “One Day in History”, portraits of the young survivors of the 22nd of July 2011 terror attack on Utøya, Norway, gained international recognition, exhibitions and awards, including the prestigious L’Iris d’Or/Sony World Photography Awards Photographer of the Year 2013.
Currently Gjestvang’s fascination and interest in remote and inaccessible environments in the North, brought her to Greenland and the Faroe Islands, where she explores the intimate lives and persistence of people in vulnerable communities. see more: andreagjestvang.com
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"A student of Ugwa Secondary School in Obodougwa community, demonstrates how frustrating and difficult paying attention in class can be, due to the cracking noise from a gas flaring site in her community." Tales of The Oil Rich South. Photograph: CODE/KC Nwakalor
Black soot. "The city has been plagued with the presence of black soot in their atmospheric air believed to be due to unregulated refinery activities." Tales of The Oil Rich South.  Photograph: CODE/KC Nwakalor
Photographer KC Nwakalor

"A lady in her late 30’s lost her younger brother a year ago to cancer, she believes his illness and death might be linked to the environmental pollution."– Tales of The Oil Rich South

KC Nwakalor is an International documentary photojournalist based in Abuja, Nigeria. He is driven by the need to visually humanize real issues in Africa. His works centers around Socioeconomic, Health and Environmental issues in Africa. His scrupulous attention to detail, determination for a better Africa has led him to produce work for notable organisations like The New York Times, Bloomberg, USAID, OXFAM, Amnesty International, Marie Stopes International, Jeune Afrique, Options UK, Ipas, and Connected Development (CODE).
Tales of The Oil Rich South: For the past 2 years, Port Harcourt City (the heart of the oil rich Rivers state, in the Niger Delta Region of Nigeria) have been plagued with the presence of black soot in their atmospheric air. This is believed largely to be due to unregulated refinery activities and destruction of seized crude oil products. This environmental pollution poses a lot of health hazards, from bronchitis to chronic cough to cancer etc. While little has been done by the government to fix this issue, thousands of lives risk developing health issues as a result of their long term exposure to such contaminated air. see more: kcnwakalor.com
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 Photograph © Charmaine Poh
Jean Goh and Xener Gill pose for a portrait, with Xener’s parents’ wedding portrait projected onto the backdrop. Jean met her first few partners through church. While she still believes in God, she decided to step back from serving in the church she attended, partially because the institution disapproved of homosexuality. Jean identifies as gender queer. It is Xener’s first relationship with a woman.


Charmaine Poh is a Chinese-Singaporean artist, photographer, and writer based between Singapore and Berlin. Her practice combines photography with research, text, video, and installation, focusing on issues of memory, gender, youth, and solitude in the Asian context. Often working with the form of narrative portraiture, she considers the performance of self and the layers of identity we build. She works with communities in a collaborative process that holds space for introspection, intimacy, and sharing. She is interested in the stories that make us who we are. A series about queer love is forth coming. charmainepoh.com

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It’s All In My Head   Photomontage © Etinosa Yvonne
 
It’s All In My Head   Photomontage © Etinosa Yvonne

 Etinosa Yvonne

Etinosa Yvonne is a self-taught documentary photographer from Nigeria. Her work focuses on under-reported societal issues as it affects the everyday Nigerian and society at large. In 2018, she got a grant from Women Photograph to fund her ongoing project, It’s All In My Head. Later that year, she emerged as the overall winner of the National Geographic/Lagos Photo Portfolio Review. Etinosa leverages on the immediate impact of photographs to shed light on various issues that affect marginalized members of her society.  read more: etinosayvonne.me 
 
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from the series, The Aesthetics of Disappearance, 2019
from the series, The Aesthetics of Disappearance, 2019
Tristan Cai received his B.F.A(hon) from Nanyang Technological University, Singapore and his M.F.A from San Francisco Art Institute, he has also pursued non-degree studies at TaiK ( The Helsinki School). He has studied under and been influenced by Henry Wessel, Linda Connor, Meridel Rubenstein, Stephanie Syujuco and Jryki Parentainen.

Cai’s multi-disciplinary art practice utilizes research-based ethnographic approaches to understand the human condition. Employing counter-strategies, he produces oblique visual narratives consisting of archival materials, composited photographs, objects and videos to examine the veracities of our histories. He is also constantly reflecting on the possibilities, limits and failures that the medium of photography offers.


Tristan Cai's new series, The Aesthetics of Disappearance, 2019, shown at The New York Portfolio Review, is based on Singapore's colonial era and the idea of slavery. Even as the British abolished slavery in 1833, slavery and indentured servitude continued to exist in Singapore for more than a 100 years until the 1950's. Watch for more on this project in the future. tristancai.com
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 Plies   Photograph © Jabari Jacobs

 Miss Cameroon   Photograph © Jabari Jacobs

Jabari Jacobs  Photographer + Director

Jabari Jacobs is a highly sought after Fashion and Music Photographer + Director. Originally from Prince George's County, Maryland, he now works worldwide, though primarily in Los Angeles and New York, shooting campaigns for Nike, Universal Music Group, Adidas, Hypebeast, Reebok, Puma, Warner Music Group, Sony Music, Roc Nation, Conde Nast, Disney, BET, and many more! His work covers the spectrum from the most contemporary urban rap, aka Trap Music, to my own Era's, Earth, Wind and Fire. see more jabarijacobs.com
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Metal Wings, 2012   Photograph © Mariya Kozhanova 

Russian Photographer Mariya Kozhanova
 
Finding Identity Through Cosplay in Russia is the title of the New York Times Lens Blog article about Russian Photographer Mariya Kozhanova. Born in Kaliningrad, Russia, of a generation around the time the Soviet Union fell in 1991, her series “Declared Detachment”represents a generation of Russians born when well organized society and established identity  fell apart. All myths and believes that was the driving force for generations before were destroyed.

Now a lack of base and missing of foundation in society opened them to a life which they could not trust. Forces for creating their own identity from the beginning were missing. In this moment, their society could not offer them any deserved faith, ideals or any other meaning. This Young Generation of Russians started to borrow it from totally different cultures.

Some of them declared their way through Japanese mass-culture of “cosplay” where in a simple, catchy, bright, spectacular, superficial world of anime heroes with attractive idols and colorful looks you could become any of those figures yourself. This generation escaped into a different ideology and tried to build their illusive world on the ruins of the past. read more  mariyakozhanova.com

Her next project:
Mariya is photographing Eastern Orthodox nuns in a small monastery

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Photograph AP Photo/Ivan Valencia
“Es una mujer indígena Embera Katío de la comunidad de la Puria. La Puria es una comunidad que está a 3 horas caminando por las selvas chocoanas. Es una comunidad donde solo viven mujeres y niños. Los hombres y jefes de la comunidad, fueron asesinados o reclutados por grupos armados ilegales. Debido a esto, las mujeres tuvieron que tomar control de la comunidad como verdaderas líderes.” Foto de @aivanvalencia fotógrafo profesional y #CanonFellow

“This is an Embera Katío indigenous woman from the Puria community. La Puria is a community that is 3 hours walking through the Chocoan jungles. It is a community where only women and children live. The men and heads of the community were killed or recruited by illegal armed groups. Because of this, women had to take control of the community as true leaders. “  Photo by Ivan Valencia, a Columbian Professional Photographer and #CanonFellow see more ivanvalencia.org and on Instagram @aivanvalencia/

 
Ivan Valencia, a Freelance Photographer born in San Andres Island, Colombia

A man covers his face with a cap as he walks past a fire during a protest at the border between Brazil and Venezuela, Saturday, Feb.23, 2019. Tensions are running high in the Brazilian border city of Pacaraima. Thousands remained at the city's international border crossing with Venezuela to demand the entry of food and medicine. Photograph: AP Photo/Ivan Valencia


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 Photograph © Lisa Kahane

Lisa Kahane   lisakahane.com 

New York based photographer Lisa Kahane specializes in documentary work and portraiture for people in the arts...

The Bronx had almost stopped burning by 1979. The intensity and extent of the devastation permeated the landscape. It was an awesome mess, not just another neighborhood, but another realm, visible but incomprehensible. The Bronx came undone in a confluence of unfortunate circumstances: the life cycle of community, rampant city planning, economic change, racism, poverty, failed hopes, drugs, crime, abandonment, counterproductive government response. It was destroyed for profit. The entire story has yet to be told.

A friend suggested to photographer Lisa Kahane that she record it for a time when it would be a memory, which was then impossible to imagine.The result, Do No Give Way to Evil: Photographs of the South Bronx, 1979–1987, is an extraordinary document of devastation and rejuvenation, as Kahane records the first seeds of rebuilding.

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Maya Touam with her Flemish-inspired series Ready Made

Born in France of two Algerian parents, Maya-Ines Touam has always stretched her eyes and curiosity on both sides of the Mediterranean Sea. It is natural that his artistic career has embraced the influences of these two continents...Thus, through multiple media, the young artist undertakes a work that is both anthropological and dreamlike. She plunges her hands into the roots of her origins to shoot striking images. We discover with it the history and the beauty of a thousand-year-old culture, but also the practical and geographical aspects of a fabric or objects too often caricatured. A work on the borders of two worlds, that the elegance and the weight of the words makes conversation serenely. – Clement Belet 
see more Maya-InesTouam
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I'm honored to have once again been invited as a Reviewer for this year's 7th Annual New York Portfolio Review, sponsored by The New York Times LENS blog and the Craig Newmark Graduate School of Journalism at CUNY. Much thanks and praise goes out to James Estrin and David Gonzalez, Co-Editors of The New York Times LENS Blog; Andrew L. Mendelson, Associate Dean, at the Craig Newmark Graduate School of Journalism at CUNY; Producer Laura Roumanos, Executive Director of United Photo Industries; and their team, for creating this enormously important and free event for the benefit of photographers, documentarians and photojournalists.