Search results for ""author communia"

Beginning in Tunisia and spreading across the Middle East and North Africa, everyday citizens stepped into the streets, staking their claim to a democratic future. The image of these protests captured the imagination of the world. Revolution by Love takes you inside these protests, onto those streets, and shares with you the stories of the individuals who made this historic moment possible. The book's contributors bear witness to the bravery of Libyans who faced down troops as they secured satellite technology to share with the world what was happening in Tripoli; the courage of doctors, facing gunfire, as they treated patients in Bahrain; and the everyday struggles of families in Gaza. At each moment, within every story shared, there is also a continual return to the love shared with friends and within families--a love that served as the foundation for the protests that changed the world. Contributors include: Ahmed Abdelhakim Hachelaf, Raghda Abushahla, Muna Abbas Ali AlBuloushi, Shatha Al-Harazi, Samah Elmeri, Dala Ghandour, Mirelle Karam Halim, Shadin Hamaideh, Mohammed Masbah, Amal Matar, Salma Nazzal, Ibrahim Yousif Shebani, and Emna Ben Yedder.

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In this remarkable pseudo-documentary and biography, Sara Macel followed her father, a traveling salesman, on his trips across the United States. May the Road Rise Up To Meet You evokes "a feeling of loneliness that is tangible throughout the empty hallways, car parks and airports," says The Telegraph. On a larger scale, this project explores the changing nature of "the road" in American culture. Sara Macel (b.1981, Houston TX) received her MFA in Photography, Video & Related Media at the School of Visual Arts in 2011 and her BFA in Photography + Imaging from New York University's Tisch School of the Arts in 2003. Her work has been internationally exhibited and is in various private collections. Her recent honors include Magenta Foundation's Flash Forward, Top 50 Photographer's in Photolucida's Critical Mass Award, and she was named a winner in the New York Photo Festival. In 2012, Sara received the Individual Photographer's Fellowship Grant from the Aaron Siskind Foundation. [Her first monograph, May the Road Rise to Meet You, was published by Daylight Books in 2013, and a traveling exhibition of that work was shown in solo shows in 2014 at the Center for Photography in Woodstock and the Houston Center for Photography and Silver Eye Center for Photography in 2015.] In addition to her freelance work, Sara currently teaches photography at SUNY Rockland and was an artist-in-residence at The Wassaic Project in upstate New York. Sara is co-director of the Brooklyn chapter of the photo non-profit Crusade for Art. [Her work was recently featured in The New Yorker, Wired Magazine, Fraction Magazine, and Lenscratch among others.]

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"A few days before Christmas, 2004, I was diagnosed with lymphoma," writes Jeff Jacobson in his preface to The Last Roll. The NY Times LENS Blog described Jacobson as "pushing the visual boundaries of photojournalism" in this work providing a first-person depiction of a cancer patient's changing perspectives on life, death, art, and the world at-large. A former Magnum photographer known for his quirky style, Jeff Jacobson was one of the first art photographers to use color film exclusively. For his 1991 book My Fellow Americans he traveled the country, capturing the look and mood of a decade. Over time, Jacobson refined his style by using Kodachrome 200. He pushed it two stops in the developing process, which yielded a grain more typical of black-and-white film. This became his look, his signature. After his chemotherapy treatments, confined indoors at his home in Mount Tremper, New York, he started making a visual diary. At first, he was just thinking in terms of individual images. Then Kodak announced it was ceasing production of Kodachrome, and the project acquired new layers. No longer just about moments of grace amid personal loss, it was now also about enshrining a part of photographic history. His new book, The Last Roll, was born.

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Between 2004 and 2007, American photographers Martin Hyers and Will Mebane made a series of road trips through the American South, West and East to create a photographic archive of objects. The project yielded more than 9,000 photographs captured in 25 states. Martin Hyers is one-half of Gentl & Hyers, a New York based photography team that met while studying photography at Parson’s School of Design. They have been working together since 1993; photographing still life, food, beauty, fashion, interiors & travel for a wide array of editorial and advertising clients. In addition to this commercial work, Hyers is currently involved in an ongoing personal photography project with fellow photographer William Mebane. A resident of Brooklyn, NY, William Mebane works professionally as a photographer on a wide range of fine-art, commercial and editorial assignments. His work has been exhibited internationally at spaces such as The Museum of Contemporary Photography in Chicago, published by The New York Times Magazine and used in advertising campaigns for brands such as Eileen Fisher and Newcastle. His work has been featured online with new media platforms such as tinyvices.com and Humble Arts.

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Drawing on a range of approaches and media, including photography, digital imaging, film and video, writing, collecting, re-using archival materials, and online venues, Growing Up in the New Age sets out to reconsider the social utopias of the 1960s and early 1970s and discuss what we might learn from them today. Marjolaine Ryley is an artist who has exhibited and published her work nationally and internationally including exhibitions at Wolverhampton Art Gallery; Street Level Photoworks, Glasgow; Impressions Gallery, Bradford; and The Palacio des Artes, Porto. Her work is held in several major collections including The Victoria and Albert Museum, London and the Serralves Museum, Porto. Much of her work has explored family photography including her book Villa Mona – A Proper Kind of House (Trace Editions 2006), and Field Study 7 – Residence Astral (PARC 2008) which was published to coincide with the artist’s visiting fellowship at the Photography and the Archive Research Centre (PARC). She has recently contributed a chapter on her current work Growing up in the New Age: A Journey into Wonderland to the book Alternative Worlds (Berghahn 2012). Ryley’s practice incorporates photography, the moving image, text, and objects to explore memory, history, familial relationships, and archival narratives, linking personal experiences with broader social and political issues. Ryley lives in Newcastle upon Tyne, UK with her husband, daughter and son. She lectures part-time in Photography and Video Art at the University of Sunderland.

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Postcards Home is a record of a period of personal upheaval; of the endings and beginnings of very important relationships; of illnesses and deaths and births. All of the works in this book were taken with an iPhone, and most were immediately sent to someone he cared about, or were shared within his broader social network. Henry Jacobson is a photographer and filmmaker based in New York and Los Angeles. His still photography has been published and exhibited internationally. He curated his first major exhibition at CPW, to critical acclaim, and has given many lectures and interviews on the evolution of photography through the use of smartphones and social networks.

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Oral histories of Mexican farmworkers in the Philadelphia region

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For Sarah Christianson, home is a 1,200-acre farm in the Red River Valley of North Dakota. Her parents are the fourth, and last, consecutive generation to work this land. She combined her images with materials from her family’s archive to create a rich, multilayered narrative about family tradition, agriculture, emigration and the passage of time. Sarah Christianson (b. 1982) grew up on a four-generation family farm near Cummings, North Dakota. Christianson holds an MFA in photography from the University of Minnesota. Her work has been exhibited internationally and can be found in the collections of several institutions in the Midwest and the National Museum of Photography in Copenhagen, Denmark. She has also received grants from the San Francisco Arts Commission and the Center for Cultural Innovation.

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Adrain Chesser and ritualist Timothy White Eagle traveled throughout western US with a loose band of comrades, practicing a hunter-gatherer way of life. A lyrical portrait of a contemporary nomadic existence, The Return is "a call to arms to detach from destructive modernity."—Hyperallergic Adrain Chesser is largely self-taught and has refined his practice through a mentor/protege relationship with Rosalind Solomon and later Debbie Fleming Caffery. He completed a Santa Fe Art Institute residency in April 2005. He has been featured on TEDx Vienna and has exhibited in Austria, Louisiana, Missouri, NYC, Pennsylvania, Washington and many more. Collections of Chesser’s work can be found at The Museum Fine Arts (Houston), Norton Museum of Art, Portland Museum of Fine Art and Vincent Price Collection At East Los Angeles College. Timothy White Eagle, born in Tucson AZ, his mother was Apache from White Mountain. He was given up for adoption and raised by a working class white family in Washington state. Graduated from Univ. of Utah with a BFA in Theater. He spent his 20's exploring performance based art. He has worked extensively in the past two decades exploring Native American, Pagan and other earth based Spiritual practices. He began a mentor/protege relationship with Shoshone Elder Clyde Hall in 1995. Around that same time he began helping to craft personal and community rituals within his Spiritual circles. In 2006 he began collaborating with photographer Adrain Chesser. Their work together has been displayed and published nationally and internationally. In 2014 he and Adrain released their book, "the Return". Timothy continues to foster relationships with artists seeking to create objects and performances which contain the convenience of Spirit. He dances at a unique cross roads between art and ritual.

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“These pieces show the regenerative power of nature and human beings’ insatiable appetite to expand, explore, conquer and transform nature into civility,” Van Ort states. In Minescape, the photographs range from images of the mines themselves, set on stark white backgrounds, to landscapes that are unusable until meticulously cleared and images of prosthetic limbs. Brett Van Ort was born in Washington D.C. and raised and schooled in Texas. He moved to Los Angeles, California after obtaining an undergraduate degree in film from T.C.U. Van Ort moved to London in 2008 and received his M.A. in Photojournalism and Documentary Photography at the London College of Communication shortly thereafter.Van Ort's work has been exhibited internationally[, including Photoespana, LOOK11, Liverpool's International Photography Exhibition and FORMAT in Derby, UK. He has been published in numerous magazines and webzines including Photo District News (PDN), American Photography 26, The British Journal of Photography (BJP), The New York Times Online, Vice, and BLDGBLOG, to name a few.] [His first monograph Minescape, was released as a printed book by Daylight Books in 2013. TED books and Daylight Digital converted Minescape into a digital, ebook version, days after the printed versions release.]Brett moved back to Los Angeles in 2012 to continue projects about toxic soil in America and the destruction of the Southern California high desert by the housing crisis.

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Vincent Cianni adds to the historical record of the struggles of gays and lesbians in the US military. Gays In The Military: Photographs And Interviews reveals stories of men and women who served in silence in this "apt coda to an experience marked by an evolution from darkness into light."—The New York Times Documentary photographer Vincent Cianni graduated from Penn State university, the Maryland Institute College of Art, and SUNY New Paltz. He teaches photography at Parsons The New School of Design, NYC. He currently lives in Newburgh, NY. Cianni’s documentary work explores community and memory, the human condition, and the use of image and text. His photographs have been exhibited at Los Angeles County Museum of Art; Museum of Fine Arts, Houston; Philadelphia Museum of Art; The Nasher Museum, Photographers’ Gallery, London; the 7th International Photography Festival in Mannheim; and the George Eastman House. A major survey of his work was exhibited at the Museum of the City of New York in 2006.

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In Los Restos, documentary photographer Kevin Kunishi (born 1975) offers a visual account of how the shared horrors of war endure beyond all divisive political ideology. This series consists of portraits of Sandinistas and their opposing Contra veterans, interviews as well as artifacts and landscapes from that volatile era, accompanied by extensive interviews. Kevin Kunishi's work has been exhibited widely both in the United States and internationally. In 2011 he was the honorary recipient of the Blue Earth Alliance Award for Best Photography Project, an award that honors projects that demonstrate excellence in the field of photography. Kunishi received his MFA in Photography from the Academy of Art University in San Franciso, CA, and his BA in History from the University of California Santa Barbara.

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Flavored by the oddities of historic personalities and facts, Dr. Radway’s Sarsaparilla Resolvent is set in Bush Hill, Philadelphia, 1871—home to the Baldwin Locomotive Works and a massive, gothic prison. Acclaimed writer Beth Kephart captures the rhythms and smells of an extraordinary era as William Quinn and his Ma, Essie, grapple with life among terrible accidents, miraculous escapes, and shams masquerading as truth.

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Photographs Not Taken is a collection of photographers’ essays about failed attempts to make a picture. Editor Will Steacy asked each photographer to abandon the conventional tools needed to make a photograph—camera, lens, film—and instead make a photograph using words, to capture the image (and its attendant memories) that never made it through the lens. In each essay, the photograph has been stripped down to its barest and most primitive form: the idea behind it. This collection provides a unique and original interpretation of the experience of photographing, and allows the reader into a world rarely seen: the image making process itself. Photographs Not Taken features contributions by: Peter Van Agtmael, Dave Anderson, Timothy Archibald, Roger Ballen, Thomas Bangsted, Juliana Beasley, Nina Berman, Elinor Carucci, Kelli Connell, Paul D’Amato, Tim Davis, KayLynn Deveney, Doug Dubois, Rian Dundon, Amy Elkins, Jim Goldberg, Emmet Gowin, Gregory Halpern, Tim Hetherington, Todd Hido, Rob Hornstra, Eirik Johnson, Chris Jordan, Nadav Kander, Ed Kashi, Misty Keasler, Lisa Kereszi, Erika Larsen, Shane Lavalette, Deana Lawson, Joshua Lutz, David Maisel, Mary Ellen Mark, Laura McPhee, Michael Meads, Andrew Moore, Richard Mosse, Zwelethu Mthethwa, Laurel Nakadate, Ed Panar, Christian Patterson, Andrew Phelps, Sylvia Plachy, Mark Power, Peter Riesett, Simon Roberts, Joseph Rodriguez, Stefan Ruiz, Matt Salacuse, Alessandra Sanguinetti, Aaron Schuman, Jamel Shabazz, Alec Soth, Amy Stein, and others.

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