Photo Schools


The online publisher about schools of photography, created for students and teachers.


Fraenkel Gallery, San Francisco
01.05.2014 - 03.07.2014

Fraenkel Gallery is pleased to announce the exhibition Hiroshi Sugimoto: Acts of God, to be presented May 1 – July 3, 2014. This exhibition is the first U.S. presentation of Sugimoto’s The Last Supper: Acts of God (1999/2012), a five-panel photograph, more than 24 feet in length. The artist first created this work in 1999, from a life-size wax reproduction of Leonardo’s The Last Supper, which he photographed at a museum in Izu, Japan. In 2012, while the work was stored in the artist’s basement, it was damaged by the storm surge and flooding that occurred when Hurricane Sandy hit New York City.


© Hiroshi Sugimoto, The Last Supper: Acts of God (detail), 1999/2012

Sugimoto chose to retain the dramatic marks, colorations and ripples that have changed the character of the photograph. He commented:

I chose to interpret this as the invisible hand of God coming down to bring my monumental, but unfinished Last Supper to completion. Leonardo completed his Last Supper over five hundred years ago, and it has deteriorated beautifully. I can only be grateful to the storm for putting my work through a half-millennium’s worth of stresses in so short a time.


© Hiroshi Sugimoto, The Last Supper: Acts of God, 1999/2012

Gallery II also will feature a single work, Sea of Galilee, Golan, 1992, a black-and-white seascape with a quietly undulating surface and a nebulous horizon. This is the sea on which Jesus is said to have walked—one of the miracles of Jesus in the Gospels. Gallery III will present five large-format prints from Sugimoto’s most recent series, In Praise of Shadows. Each photograph is an extreme close-up of a single candle flame, whose flickering white heat seems to sear the paper.


© Hiroshi Sugimoto, Sea of Galilee, Golan, 1992

Hiroshi Sugimoto (b. 1948, Tokyo, Japan) lives and works in New York and Japan. Among his series are Seascapes, Theaters, Dioramas, Portraits (of wax figures), Architecture, Lightning Fields, and Photogenic Drawings. His work is in the collections of the Tate Gallery, London; The Metropolitan Museum of Art, New York; The National Museum of Modern Art, Tokyo; and Foundation Cartier, Paris, among many others. In 2013 he received the decoration of Officier dans l’Ordre des Arts et des Lettres from the French government. His work is currently the subject of a solo exhibition at the J. Paul Getty Museum, Los Angeles, on view through June 8, 2014.

© Hiroshi Sugimoto | Fraenkel Gallery


1. Tell us about your approach to photography. How it all started? What are your memories of your first shots?

Photography appeared quite late in my life. I studied Fine Arts, and I was convinced that I wanted to be a graphic designer, but gradually I moved away from design and I began to feel more interested in art, which I saw as a powerful tool of expression.

2. How did your research evolve with respect to those early days?

As part of my trajectory as a fine artist, photography has always been my preferred medium for engagement with my narrative lines and visual language. However, at the very beginning I wasn’t interested in the process, it was the outcome, in terms of narrative success what attracted me the most. That’s why I used to work always with digital, and it was not until I had time to think about my methodology, during my MA, when I bumped into analog processes and the beauty of traditional photography rather than digital imagery. Leaving the excesses of the digital explostion, I encountered in the very early stages, the very demanding methodology of analog. I was learning how to educate my creative process in order to ‘achieve a photograph’, rather than bump into it among a thousand JPEGs. I understood this process as a journey towards my maturity as an image-maker, some kind of ‘intensive training’ of my methodology and aesthetics.


© Jesús Madriñán from the series ‘Boa Noites’

3. Tell us about your educational path. You have studied at Bellas Artes Universidad de Barcelona and later Central Saint Martins in London. How has your interest in photography evolved in relation to these experiences?

Studying Fine Arts was the best decision I could ever make, one of my best experiences, because that critical and reflective view of the world shaped the person I am now. On the other hand, studying at Central Saint Martins wasn´t so important for me, as it was a self-directed course -too much self-directed in my opinion- so for me it meant the chance to take time for myself and my projects, but with professional guidance. The facilities, the photo technicians, the classmates, the research… all these together provided a good environment in which to learn and to carry out a personal project. For me that course was like discovering the best recipe for achieving a good dish. That course at CSM gave me all those ingredients and the steps I had to follow in order to become a professional in my medium. What I loved about CSM was working and learning hand-in-hand with a lot of talented people, extraordinarily qualified, from all around the world with similar interests, ages and experiences.


© Jesús Madriñán from the series ‘Boa Noites’

4. What are the courses that you are passionate about and which are meaningful for you? Any professor or teacher that has allowed you to better understand your work?

I did not have a good relationship with my tutor at CSM, he was a very narrow-minded person -which is something unusual in a photographer- and he wasn’t developing his tasks properly as a teacher, so me and all my classmates were quite frustrated. Curiously, I found an important support in the photo technicians, that were amazing, and were always happy to help. You could book the photo studio with them and they were 100% available for you and your questions. They guided you with anything you needed for your shooting or project. Also you had the option of just trying things out in order to learn; lighting, cameras, video, etc. So it was like a personalised private lesson. The facilities had all the materials and equipment you needed. I can say that the photo technicians, Jet and James, taught me everything I know about photography technique, and for me that was fundamental in my development as a photographer.


© Jesús Madriñán from the series ‘Looking for something’

5. About your work now. How would you describe your personal research in general?

I draw inspiration from my own experience and from the context that surrounds me to create my works. I enjoy exploring documentary photography by subverting the principles of the genre itself. The paradox of capturing life’s spontaneity by techniques taken from the studio’s predictability constitutes the realm where I locate my reflections about the limits between reality and fiction. I love photography because it gives me the immediacy, the ability to narrow a reality and, somehow, the ability to capture that which depends solely on chance. This is something that interests me a lot, because photography allows me, in many cases, to be the first one surprised when I see the outcome. This is wonderful. I use a large format film camera, which is quite cumbersome and requires a lot of concentration because of its complexity, so, my work thrives on the contradiction of using meticulous techniques in inevitably spontaneous and chaotic situations.


© Jesús Madriñán from the series ‘Looking for something’

6. Taking portraits it’s quite central theme of your works. From where did this come? And how is this attitude evolving through your works?

I have always been interested in portraiture, not only as a document, but also as a tool for capturing the identity of the portrayed, hidden under several layers of representation and trapped in the form of a picture forever . If I focus on young people is because, in my projects, I tend to be inspired by my own experiences. I belong to those environments where I work. You could say that I interrogate myself by taking those pictures, because, somehow, they are a projection of myself, since we belong to the same generation, and we live in the same time.


© Jesús Madriñán from the series ‘Portraits

7. Tell us about ‘Good Night London’ series?

“Good Night London” is a series of documentary portraits taken in several London night clubs. Shot in such a hostile scenario, this series explores how artificial environments work as a key element in teenagers’ identity construction. Studio conventional photography is then taken out of context, invading this complex scenario. The calm and inspiration of a studio is here substituted for the hostile and noisy nightclub as a background in which the characters are cast.


© Jesús Madriñán from the series ‘Good Night London

Just like the many other elements of their night, being exposed to the camera offers portraiture and the portrayed another twist of the game in which to invent a way to project themselves according to whatever narrative they may want to construct. “Good Night London” freezes real scenes, turning the noisy and the wild into an atmosphere of calm and serenity.

8. Do you have any preferences in terms of cameras and format?

I tend to work with large format, 4x5 or 8x10.

9. Is there any contemporary artist or photographer, even if young and emerging, that influenced you in some way?

Of course, I can say names like Gareth McConnel, Nikolay Bakharev, Richard Learoyd, Marguerite Kelsey, Emile Friant, Rineke Dijkstra, Marlene Dumas…


© Rineke Dijkstra, Shany, Palmachim Israeli Air Force Base, Palmachim, Israel 

10. Three books of photography that you recommend?

I´m gonna say the ones that I am reading right now, “Wolfgang Tillmans. Lighter”, “Contexto Crítico. Fotografía Española del Siglo XXI”, and “El Bodegón Español en el Museo del Prado”.

© Wolfgang Tillmans, ‘Lighter’ from haveanicebook on Vimeo.

11. Is there any show you’ve seen recently that you find inspiring?

Biographical Forms. Construction and Individual Mythology, at Museo Reina Sofía, Madrid.

12. Projects that you are working on now and plans for the future?

I am moving to Colombia, where I´ll be living for the next months, as I´ll be teaching in the University. Also I am working in three new projects, and at the end of the year the publishing house Fabulatorio will be publishing a book about the ‘Boas Noites’ series, which is very exciting. In the meantime I´ll be opening solo exhibitions in Mexico, Uruguay, Argentina, and Spain, and several group exhibitions in Spain.

© Jesús Madriñán

© Daniel Naudé
New entry on the DOGS page of our archive.Daniel Naudé’s Animal Farm brings together 50 photographs taken between 2007 and 2011. In an introductory essay to the book (click here to read in full), Naudé describes his initial encounter with an Africanis dog, in the desert plans of the Karoo, and the many road trips that followed in his photographic pursuit of these and other animals, their place in the South African landscape and their relationship to the humans that populate it. Martin Barnes, senior curator of photography at the Victoria and Albert Museum in London, observes that each of Naudé’s photographs ‘is a shared moment in time, one in which the animal and the human seem at once named and yet nameless, specific and yet universal. There is a mutual “now-ness” to this collection of arresting human-animal gazes, mediated by the camera. In total, they read like a remarkable series of ecstatic, intensified meeting points in which we query what it means to be alive, locked in momentary register with another sentient being.’ High-res

© Daniel Naudé

New entry on the DOGS page of our archive.

Daniel Naudé’s Animal Farm brings together 50 photographs taken between 2007 and 2011. In an introductory essay to the book (click here to read in full), Naudé describes his initial encounter with an Africanis dog, in the desert plans of the Karoo, and the many road trips that followed in his photographic pursuit of these and other animals, their place in the South African landscape and their relationship to the humans that populate it. Martin Barnes, senior curator of photography at the Victoria and Albert Museum in London, observes that each of Naudé’s photographs ‘is a shared moment in time, one in which the animal and the human seem at once named and yet nameless, specific and yet universal. There is a mutual “now-ness” to this collection of arresting human-animal gazes, mediated by the camera. In total, they read like a remarkable series of ecstatic, intensified meeting points in which we query what it means to be alive, locked in momentary register with another sentient being.’


© Julia Borissova / Saint-Petersburg

FotoDepartament Foundation presents an exhibition ‘Look Into It’ of photographers who participated in the educational program FotoDepartament.Institut and project "Young Photography"as a part of the “X International Photobiennale 2014” in Moscow:

19 March - 21 April 2014


Association «Vystavochnyye zaly Moskvy»
FotoDepartament Foundation
Gallery «Grinberg»
Gallery «Zamoskvorechye»

Natalya Baluta / Moscow
Anastasia Bogomolova / Chelyabinsk
Julia Borissova / Saint-Petersburg
Aleksandr Verevkin / Saint-Petersburg
Nik Degtyarev / Moscow
Alla Mirovskaya / Moscow
Kirill Savchenkov / Moscow
Maria Sakirko / Moscow
Elena Churikova / Moscow
Fedor Shklyaruk / Moscow

Nadya Sheremetova / FotoDepartament

© Elena Churikova / Moscow

Last few years contemporary photography has been actively exploring the medium itself, returning a fresh sound to issues of appealing to the origins, nature of images and finding more and more new areas for extension photography knowledge. Principles and strategies of forming a new image and viewers’ vision transformation in the moment of perception of photography becomes a starting point for exploring the exhibition “Look into it”.

What’s about a situation when the object does not exist in reality but the image translates its presence? Photography has the potential to fix an object, phenomenon, thought – something formless. For example, how can you catch the Ether? To observe the movement of stillness? How to materialize the work of memory, reminiscences or process of oblivion? How to visualize or even enter into the field of imagination? How the future time arises in the images, future time, which seems absolutely impossible for the arising on the images? “Look into it” means look into the photography, into more and more complicated theoretical questions, which are asked and achieved today by practitioners – photographers.

Maria Sakirko / Moscow

All participants of this exhibition are photographers, who studied in educational program FotoDepartament.Institut or were involved in the project “Young Russian Photography”, which FotoDepartament has been done for more than 5 years already.

This project represents team exhibitions (first in St. Petersburg and then in different cities of Russia) of new photography generation, who were chosen by international professional curators on the basis of open submission of works through the website

Project purpose is a research of current state of ideas about photography medium and reflecting contemporary reality, as well as search, promoting and support of young artists, who have chosen photography as main medium.

© Alexander Veyovkin / Saint-Petersburg

Exhibition space:
Gallery “Zamoskvorechye”, Moscow, Serpukhovskiy val, d.24, k.2
+ 7 495-954-30-09


tel.: +7 (901) 301-7994 /e-mail:
Vosstaniya street, 24, 2d yard, ground floor
art-claster “Fligel”
Saint-Petersburg / Russia
tel.: +7-901-301-7994

LAURA GILPIN (1891 - 1979)

For more than 60 years, Laura Gilpin earned her living as a photographer, balancing commercial jobs with the work she loved most: making pictures of the Southwest and its Native people.

Even before leaving for New York in 1916 to study with Clarence H. White, Gilpin photographed the landscape of her native Colorado. Later, she became interested in the history and archaeology of the region and photographed the Pueblo Indians of New Mexico and their ancient ruins

Gilpin’s early Southwestern pictures reflect the influence of her training. The pictorialists placed greater emphasis on the evocation of mood than on detail and favored the soft, delicate grays of platinum printing papers. Thus, Gilpin’s soft-focus platinum prints of Mesa Verde and her sweeping landscapes of the Colorado prairies suggest as much about the emotion she felt upon viewing the scene as the subject.

Gilpin’s long involvement with the Navajo began in l930, when she and her companion, Elizabeth Forster, ran out of gasoline in a remote section of the Navajo reservation. Gilpin’s early Navajo pictures focused on particular individuals. Through these portraits, she came to understand the difference between sentimentality and sentiment; she created a compassionate record of traditional Navajo life of the era.

To make a living during the Depression, Gilpin published photographic postcards, worked on a series of lantern slides on archaeological subjects and even operated a turkey farm. In l94l, she published her first major book, “The Pueblos: A Camera Chronicle.” After WWII, she settled in Santa Fe and published “Temples In The Yucatan: A Camera Chronicle of Chichen Itza” and “The Rio Grande: River of Destiny,” that established her importance as a cultural geographer and reiterated the significance of her landscape work.

In l950, she went back to the Navajo reservation and re-photographed many of her previous subjects for her 1968 book, “The Enduring Navajo.”

Whether printed on platinum or silver paper, her pictures are characteristically infused with a soft, luminous light and composed with classic elegance. Gilpin was a woman of Western toughness and Eastern gentility who could hire a plane or camp overnight to get the picture she wanted. For more than a half a century, she practiced her profession with consummate craftsmanship and a great love for the world around her.

© Scheinbaum & Russek LTD

ISIA Urbino / Werkplaats Typografie Summer School 2014

In 2009 two schools with a course in Graphic Design, Werkplaats Typografie (ArtEZ), Arnhem, The Netherlands and ISIA Urbino, Italy, joined together to set up an international Summer School. Due to its success and the many positive responses from the students who took part in it, we have continued to organize it in the summer of 2010, 2011, 2012 and 2013. In 2014 we will organize the Summer School again and are calling for your application.

The Summer School takes place in a former convent in the heart of the Renaissance town of Urbino, Italy, which is where ISIA Urbino is located. It’s one of the best universities for Graphic Design in Italy and solely devoted to this practice. It has all the (technical) facilities you might expect from a good school, and as a participant of the Summer School you are allowed to use these facilities.

We’re looking for (young) professionals and students in the field of (graphic) design, and surrounded practices (like writing, photography, illustration, publishing), or art, architecture and theory related practices. It doesn’t matter how old you are, where you’re from, what your background is, what your interests are, how much experience or education you had. This Summer School offers an opportunity for anyone who is talented, inspiring and a non-conventional thinker and maker. Candidates, with an authentic, open and critical mind, who are interested to learn, to explore and re-think their own work in a unique context and who don’t mind working over summer, instead of going to the beach are welcome to apply.

During the two week workshop you will be guided by tutors from both institutions. The Summer School 2014 will be organized and supervised by Karel Martens, Armand Mevis, Maureen Mooren and Leonardo Sonnoli. All four of them have an outstanding international reputation with their independent design practices. They will encourage you to make your own work in relation to a theme which relates to the local, cultural and historical context of Urbino.

The Summer School takes place from Sunday 20th of July, until Friday evening 1st of August.

The application deadline is Monday 19th of May, 2014.

For more informations visit

© ISIA Urbino


This is a new exhibition slot dedicated to emerging photographers selected by the Photofusion Gallery Committee from the 2013 summer BA and MA degree graduate shows.


© Sharon O’Neill, from the series Flats, 2013

We have selected 3 artists including Sadaf Chezari from the BA Photography course at LCC, Sharon O’Neill, an MA Photography graduate from Brighton University, and Sian Macfarlane, an LCC MA Photography graduate who was also awarded the LCC Photofusion Award 2013.


© Sadaf Chezari, from the project Somewhere Else

The exhibition collectively explores the concepts of space, architecture, alienation and identity through photographic archival found footage, staged domestic settings and video. Each artist is presenting an extended body of work since graduating and the exhibition brings into view some of the directions emerging photographers are currently taking.


© Sian Macfarlene. Still from the moving image piece We will meet sooner than two mountains

Exhibition Dates
4 April – 15 May 2014

Launch Party
Thursday 3 April, 18.30 – 21.00

Sharon, Sadaf and Siân will be discussing their photographic projects in the exhibition, touching upon the common themes and ideas running through the three bodies of work, and about their artistic careers since graduating.

The talk will be chaired by renowned photographer and LCC lecturer Tom Hunter.

© Photofusion Gallery

ICP-Bard MFA Solo Exhibition Openings

Join us at the MFA Studios for the opening of the group exhibition by the first-year students in the ICP-Bard program. There will be a performance recreating Fluxus artist Alison Knowles’ 1962 piece Shoes of your choice.


© Kasia Gumpert


Kathy Akey
Laura A. Gonzalez
Kasia Gumpert
Marina Leybishkis
Xavier Lujan
Emilie Lundstrom
Nina Mendez-Marti
Juana Romero
Aline Shkurovich
Kkory Trolio
Kim Weston

The exhibition is on view during Open Studios on May 4–5.


© Emilie Lundstrøm

ICP-Bard MFA Studios, 24–20 Jackson Avenue, 3rd Floor, Long Island City, Queens




1. Tell us about your approach to photography. How it all started? What are your memories of your first shots?

When I was young, maybe ten years old or less, I used to ask my father if I could take some photographs with his reflex, an Olympus OM 2. After having taught me how to focus with the camera and some other useful techniques, I started to take the very first shots or, at least, I tried. This happened mainly during mountain excursions, family parties and on other similar occasions when my father carried his camera. I think that these first almost casual and playful experiences are an important basis for my photographic education.


© Giacomo Streliotto

After these early experiences, my parents gave me a small compact camera, but during high school I did not use it very often. However, in those years my interest in art and images in general increased. I then decided to enroll in the degree course in Visual Arts at IUAV, in Venice, to pursue these interests and find new ones. I did my first photographic project  during a course with Marco Zanta. The project was a series of photos which described different aspects of a small post-industrial area near Venice.

2. How did your research evolve with respect to those early days?

If I think about the first photographs I took when I was a child I believe it obvious to think that my research has evolved based on the experiences, the influences different types of images had on me, and the studies I carried out. What still remains now, however, it is a sort of playful approach to reality through photography. Then, while on my very first photographic projects at university, many things have evolved. Particularly in the last three years of university, I explored various features of photography and tried to find the best way to put together all the influences I have acquired through those years. Influences that come from the study of different photographers’ works, some artistic research projects, and a range of other things, such as exhibitions, books, memories, places, everyday life experiences, etc. Trying to put together all the influences that you have been exposed to in order to create something personal and original it is certainly not that easy. This is still something that I try to do and it will surely be a constant feature of my work.


© Giacomo Streliotto

3. Tell us about your educational path. Bachelor’s degree in Visual Arts at IUAV and then you got a Master’s degree in Cultural Heritage Photography at ISIA in Urbino. What are your best memories of your studies. What was your relationship with photography at that time?

As I said before, I decided to enroll in the bachelor degree course in Visual Arts to deepen my interests and learn more about arts. At university, we attended many frontal lectures, and also workshops where we were asked to develop tasks according to a theme or specific guidelines. To complete those tasks, I used photography most of the times, as it came very easy. It was the photographic medium that I felt more comfortable to work with. So, after having gone through this three-year experience, I decided to improve my technical and theoretical skills in photography by enrolling in the second-cycle degree course in Cultural Heritage Photography at the ISIA in Urbino.


© Giacomo Streliotto

Here I assimilated the basic principles of studio photography and how to shoot various cultural heritage subjects (outdoor an indoor shooting) by employing a wide range of techniques. I acquired a great number of photo editing techniques, and learned how to work better with analogue and digital photography. I also had the possibility to attend lessons and workshops held by important authors and photographers, which helped me to better understand my work and know how to better develop a project. I have a lot of nice memories of my studies, but I think the best ones are about the experiences and views I shared with some people.

4. What were the courses that you were passionate about and which have remained meaningful for you.

During the years at IUAV, the lessons of Antonello Frongia and Guido Guidi have been very important and formative thanks to their multidisciplinary teaching approach. I also remember with great pleasure a course with René Gabri, in which we were encouraged to exchange our views on various issues such as culture, politics and art, starting from philosophical texts and personal experiences. I did other important courses at ISIA, which have been useful. Those courses help me to improve my technical skills and learn how to better “read” an image or a photographic project.


© Giacomo Streliotto

5. Any professor or teacher that has allowed you to better understand your work?

I have been lucky to work under the guidance of some very motivating and inspirational figures at IUAV and ISIA. All of them, in different ways, have helped me to improve my skills, to change some points of view, to better understand my work. One of the last and important teachers I met  has been Luca Capuano. He encouraged me to change some features of my work and try different ways to carry out a photographic project. He also had always some good advice which improved my technical and artistic skills.


© Giacomo Streliotto

6. You’ve participated as well to workshops, with photographers like Franco Vaccari, Mario Cresci and Guido Guidi. Tell us about these experiences in general and how they affect your personal research.

In 2008, I attended a workshop held by Guido Guidi, which has been very important for my education. In this workshop, Guido helped us to reflect on photography and other issues related to representation. Between other important teachings, this experience taught me how to carefully observe the reality that surrounds me, how to deal with the less considered features of the landscape, such as marginal areas and industrial ones. What Guido Guidi thaugt me has influenced my work and also some of the formal aspects of my photos. However, I am constantly working in order to find my own point of view. On the other hand, the workshops of Franco Vaccari and Mario Cresci have been less influential, but still very useful. They help me to reason about the photographic medium, the relationship between photography and society and the importance of photo archives.


© Giacomo Streliotto

7. By looking at your bio I can see that you’ve been featured in some exhibitions. Did you also get the chance to publish something of your own work?

Actually, I have exhibited my works only a few times, because I have not focused on displaying that much. I have recently felt more comfortable with showing my projects mainly through my website. I am also looking for different ways to exhibit my work. I believe that publishing a photographic book is probably the best way to present a project. I still have not got the chance to do so.

8. About your work now. How would you describe your personal research in general?

I always try to represent with photography the complexity of certain places. I am interested in the complexity of landscapes and in the interaction between the human being and the environment, as much as in the ambiguities of photography, as a means of representation. Taking photographs is an activity that constantly teaches me how to have a different attitude towards things and pay close attention to everything around me. A fundamental feature of my work, especially in the last years, has been the activity of walking. By walking slowly in a place you can focus on what you usually do not watch. Another important feature of my research is to look at other authors’ works, which are not necessarily photographic projects.


© Giacomo Streliotto

9. Do you have any preferences in terms of cameras and format?

It depends on the project I am going to work on, but I tend not to have any preferences. I have used different types of analogic and digital cameras. As far as the format is concerned, I prefer the 6x7 format, but I also like the 6x6 one.

10. Tell us about ‘La Brenta’.

The idea of a photographic analysis of the river called Brenta, which is located in the northeast of Italy, originates from my affection for this river and the places it crosses. I did not want to report the environmental issues that affect the river and I did not want to map the territory or to catalogue the artistic heritage and the natural one. My aim was to give the image of the river while exploring various features. For this reason, I started by reading the history of the river that is strictly connected to the history of the Veneto region, which is now characterized by what might be called an urbanistic chaos. It is a tangle of small and medium urban centers, industrial and commercial areas which, with their gradual expansion, have almost deleted the difference between the urban dimension and the agricultural/natural one.


© Giacomo Streliotto

Then I visited various museums, examined their material, and studied archives and private collections. In so doing I retrieved images and historical photographs, which are used as objet trouvé inside the project. Pictures which maintain the folds, the cracks or the stains, features that help to enhance the “photography object”, its materiality and the value that it acquires in the photo sequence. It is a sequence composed of photographs taken during the various routes I have followed along the course of the river. The series of images is not organized on a thematic index, nor according to a precise travel itinerary, but composed from scattered fragments linked together by a network of analogies. It is an attempt to trace a new possible path through images and find specific characteristics and identities of the landscape crossed by the river.

11. Is there any contemporary artist or photographer, even if young and emerging, that influenced you in some way?

As I said above, what Guido Guidi taught me has really influenced my work, but many other photographers have done so, such as Robert Adams and, in general, all the photographers of the “New Topographics” exhibition, Luigi Ghirri, Michael Schmidt, the Düssledorf School, just to name a few.


© Giacomo Streliotto

12. Three books of photography that you recommend?

There are many photography books that I could recommend. I list the first ones that come to mind:

Michael Schmidt, 89/90

Guido Guidi, Varianti

Paul Graham, A Shimmer of Possibilities

13. Is there any show you’ve seen recently that you find inspiring?

Recently, I have visited the Foam Museum in Amsterdam. I believe that “America by Car” by Lee Friedlander and the installation of a young photographer called Peter Puklus were interesting projects.

14. Projects that you are working on now and plans for the future?

I am thinking about to start a new work and I have some ideas. I would like to develop a project in the area around the Monte Grappa, a famous area which has been a strategic point in the first World War. I am interested in the landscape of the mountain, but I would also consider some of the historical photographs and written memories of soldiers.


© Giacomo Streliotto

Recently I have been involved for collaborations on other different projects and I am looking for let my work known.

© Giacomo Streliotto

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