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Garry Winogrand

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Garry Winogrand (14 January 1928, New York City – 19 March 1984, Tijuana, Mexico) was a street photographer known for his portrayal of the United States in the mid-20th century. John Szarkowski called him the central photographer of his generation. Winogrand was known for his portrayal of American life in the early 1960s. Many of his photographs depict the social issues of his time and in the role of media in shaping attitudes. Winogrand’s photographs of the Bronx Zoo and the Coney Island Aquarium made up his first book The Animals (1969), a collection of pictures that observes the connections between humans and animals. His book Public Relations (1977) shows press conferences, protesters beaten by cops, and museum parties. In Stock Photographs (1980), Winogrand published his views of the Fort Worth Fat Stock Show and Rodeo. At the time of his death there was discovered about 2,500 rolls of undeveloped film, 6,500 rolls of developed but not proofed exposures, and contact sheets made from about 3,000 rolls. The Garry Winogrand Archive at the Center for Creative Photography (CCP) comprises over 20,000 fine and work prints, 20,000 contact sheets, 100,000 negatives and 30,500 35mm colour slides as well as a small group of Polaroid prints and several amateur motion picture films.

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Meriem Bouderbala

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Meriem Bouderbala was born in Tunisia. She studied painting and engraving at the school of Beaux-arts in Provence from 1980 to 1985 and completed a national diploma in the arts. Meriem moved to London in 1986 to study engraving at the Chelsea School of Art. Since 1986 Meriem has exhibited her artwork frequently in both France and Tunisia; including exhibitions of her veils in Lyon (Galerie Olivier Houg, Lyon, 1998). In Tunisia Meriem has exhibited her work a number of times both in Sidi Bou Said and central Tunis. Group exhibitions have taken her as far as Washington where she participated in an exhibition of Women in the Arts at the National Museum of Women in the Arts (1994) and at the Museum of Contemporary Art in Lisbon. Meriem continues to exhibit her work widely and a number of pieces can now be seen as part of the permanent collection of the Arab World Institute in Paris. Meriem’s work has received wide recognition and she has won a number of prizes and important commissions. In 1993 she won the prize for best artist at ‘Art Junction International’ in Cannes and in 1997 the ‘Espace Paul Ricard 1997’ prize. Meriem has completed a number of public commissions for the Tunisian Minister of culture, ELF Foundation (Paris), the Arab World Institute (Paris) and the French Institute of Cooperation (Tunis). Her work has also appeared as illustration in a number of books including the poems of Tita Reut.

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Will It Beard

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Will It Beard is a photo series by Stacy Thiot where her husband Pierce Thiot sticks random household objects in his beard.

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Bruce Gilden

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Like all artists, Bruce Gilden’s life bleeds into and informs every piece of work he’s ever created. Growing up in Brooklyn with what he describes as a “tough guy” of a father, Bruce developed a love of the streets, often calling them his “second home.” But the love was more than just a simple connection — it was a creative fascination. It was the unique energy of the streets that mesmerized Bruce, an energy that can momentarily expose something inside people that generally stays hidden. Bruce made it his life’s work to capture those moments. Another defining characteristic of Gilden’s photography is his creative attraction to what he calls “characters,” and he has been tracking them down all through his career. His first major project, which he worked on until 1986, focused on Coney Island, the legendary Brooklyn beach where New Yorkers who cannot escape the city heat have been going for cheap thrills summer after summer.

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Cliff Briggie

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” I make photographic images by opening heart and mind to their naturally wakeful state—a vivid, raw, intimate experience—like licking honey from a razor blade and not backing away. Choice of subject is guided by what flickr colleague Brad Wise calls the hidden energies within ordinary objects. This has helped me to take myself less seriously, accept that everything changes–and eventually ends–and realize that extraordinary and ordinary both manifest from the same essential energy. The viewer brings his own openness and life to his collision with art and artist, and finds resonance, annoyance, recognition, excitement, or boredom. Or, as my young friends say, It is what it is and It’s all good. I have been inspired by a line from Rilke’s poem THE WAY IN: Whoever you are, some evening take a step out of your house, which you know so well, enormous space is near…….. Rilke wants us to see that infinite space is right in the midst of our ordinary, day-to-day life. Step out, he says. See the extraordinary in the ordinary! Then, familiarity gives way to shock and awe as we come eye to eye with life’s inconceivable spaciousness and vastness–existing alongside the world we know so well–reveals itself. We may become confused in that moment, as well, and ask: is this nonsense, clear seeing, fantasy, or the true nature of reality? Often asked about my water and ice images Is it real or is it Photoshop? the answer, almost always, is This is how it really is. A photograph captures a MOMENT–too brief to see. Within the moment is a FLASH–color, form, or movement–always different, always extraordinary. A photograph FREEZES the moment. Ice, light, and water move, morph, flash, and change. Little pieces of paint take on a life of their own, suddenly exploding, colors streaming everywhere–CLICK–and then, they are gone forever. It is at once so breathtaking, heartbreaking, and compelling that I have missed more than a shot or two. ” – Cliff Briggie

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Marc Da Cunha Lopes

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Born in 1979, Marc Da Cunha Lopes works and lives in Paris. He studied photography in Gobelins Paris, graduated in 2005. He has been commisioned to photograph advertising campaigns for international companies such as Nike, Fiat, Peugeot, Sony. His personal work was show for the first time in Rabouan Moussion gallery in Paris in 2011.

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Ben Zank

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Ben Zank was born on June 19, 1991 in New York City. At the age of 18, he began taking photographs for fun after he discovered a Pentax ME Super in his grandmother’s attic. His self-portraits aim to stretch the viewer’s imagination and express his feelings when words fail.

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Pablo Genovés

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Pablo Genovés (b. 1959, Madrid) has placed his personal stamp on contemporary Spanish photography. His work employs a combination of digital photography techniques and appropriated old images to create unusual and unexpected outcomes, leading the viewer to question the relationship between man and nature. (via Marlborough Gallery)

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Alessandro Puccinelli

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” In 2011 I decided to buy an old(but super well constructed) motorhome Hymer 1983 and move it along the south coast of Portugal in some of my favorite places along the european coast. I did that just to be able to take care of my personal photography project and also… because I just wanted to do what I like. Here is a small series of images taken in 2013 before to go to sleep.” – Alessandro Puccinelli

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Super Heroes at home by Gregg Segal

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” The people wearing these costumes are much like the tourists in that they have a shared reverence for the fantasy of Hollywood. Many have come with hopes of making it in the industry but their freelance work on Hollywood Boulevard may be as close as they come to realizing their dreams. Masquerading as icons and posing for pictures with tourists from all over the world affords them an illusory sense of stardom. More than anyone else, they define contemporary Hollywood, conveying the community’s aspirations and its fringe-level reality. I followed the super heroes home to highlight the contrast of the fantastic and mundane. Though in costume, the super heroes are unmasked by the ordinariness of their apartments and their routine chores. While I photographed Batman, a family pulled over to take his picture. He strode up to them with super hero confidence and the children approached him with awe. He was Batman because he was Batman to them. Then later, in his apartment, when he’d taken off his mask and cape and was reheating leftovers in the microwave, he was merely ordinary. I could see what is was that drew him back to Hollywood Boulevard. ” – Gregg Segal

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