The M. Reichmann Grant
For Emerging Photographers
These are all of the current grant submissions, newest first.
I would like to create a captivating and professional quality photo series using techniques that I have been experimenting with such as chemical reactions and cymatics (with soap bubbles, oil and water), as well as documenting species that are photosensitive themselves, or attracted to light (such as volvox globator algae). All photos will be shot under my compound microscope.
The series will aim to highlight strong visual connections or parallels between the micro and macro worlds, whether
Faces can give off different emotions by just a stare, or certain movements. I want my photos to give the faces of people to tell a story, something they can hang on their walls. Faces are my favorite to photograph, the impact that a person makes to a photo is so impacting. This is how I am expressing myself through expressing the different emotions that other people’s faces express.
My project is to work as an Artist-in-Residence with scientists at Biosphere 2, located in the Sonoran desert of southern Arizona. I will be creating botanical lumen prints of diverse plant species, from a wide range of biomes, within the facility. These images will share an artistic interpretation of the botanical richness within Biosphere 2, with a wide audience. My goal is to work with botanists and other scientists exploring the exciting intersection of my two passions, Art and Science.
Vincent Galarneau uses photography to create abstract microscapes and haunting imageries. His work blurs the frontiers between photography and painting, challenges our perception of scale and provoque imagination.
The M. Reichmann Grant would allow him to push forward his art by creating his first solo exhibition.
It is a story of a man and his homeland that were alienated from each other yet remaining within one mutual world of seclusion.
The project recounts the journey of an unrecognized state as explored through the memory and identity of the Wolf, a self-exiled ex-soldier wounded in that war. He lives in self-imposed isolation high up on a mountain. It was by chance that I met him on a road when he rescued me and nurtured me back to health.
In 2016, fifty years of internal armed conflict in Colombia came to an end after 6 years of peace negotiations between the Government and the rebel group FARC. Thousands of soldiers have been killed or wounded by landmines. My documentary project aims to contribute to collective memory building through the exploration of their physical and emotional wounds, their current activities and relations as part of their resilience processes, and the symbolic representation of their memories of war.
This new series–recently launched with a journey to Peruvian jungle in search of the local edible larvae of palm weevils–intends to turn my own personal phobia into art that transforms classical images of female body, often seen as exotic. The resulting photographs turn our perceptions, both in regards to the strange, grotesque creatures that are used as food in non-western societies, and the exotic female that has traditionally been objectified by male gaze in the western art history.
During the course of a lifetime, we gather things that, to some extent, tells our story. Who we were in terms of status, preferences, hopes, fears and dreams are mirrored in the objects left behind. Some bear witness of dreams turned to projects realized or transformed, while others remain as symbols for the unfulfilled.
When we think of the Middle East, we think of crude oil. Sought as an important commodity that brings high income to governments that control its production and distribution. Olive oil, with its long production line of harvesting and distribution, falls back in second place, forgotten as an integral part of every mediterranean man's life. “OilMill" takes these two natural resources, and puts them on the front line.
I am exploring the ways people come together. My goal is to understand the how, why and effects of these connections. The sometimes temporary and fleeting moments of fun through celebration, the permanence of community, the repetitive, traditional nature of ceremony and the strength of solidarity in times of political and social unrest.
I’m developing a long-term project on the migratory crisis in Europe. Recently, I did a story on the fence built by the hungarian government, to stop the migrants fluxes on the border with Serbia. My goal is to continue this series of work in other european countries that have built or are building similar infra-strutures, in order to expand knowledge about social and political changes happening at the moment in european countries, that are leading to an increase of authoritan policies.
The goal of the Front Range Wildlife Photographers is to provide a designed meeting place, virtually and physically, for wildlife and nature photographers in Colorado and beyond. The project we desire to have funded through The M. Reichmann Grant from the Luminous Endowment for Photographers focuses on public group art showings that will bring wildlife indoors for those that cannot access these animals in their natural habitat.
Three years ago, I made my first photographic trip to the Democratic Republic of Congo with an NGO called Focus Congo. It was the beginning of my transition from the advertising industry to the humanitarian field. This year in June, I again have the opportunity to travel with Focus Congo. The aim is to build on images from my previous trip, which showcased the beauty and strength of the Congolese people and reflected our deliberate choice to explore the positive rather than exploit the negative.
Recently, while helping clear out a storage unit full of several decades’ worth of film and photo gear, I came across a mysterious roll of 16mm film. When I reviewed the footage, I was surprised to find a label on leader halfway through the roll claiming it as outtakes from a newsreel about the Battle Of Britain. Images of dive bombers and dog fighters, anti-air guns and warships, roundels and the iron cross. Even the outtakes are images of great emotional power.
As the world moves into mass globalization, who are the people and traditions that make up a culture, and how close are we to mass production wiping out the last of the artisans. Ireland is a country rich in culture, but desperately close to shutting the door on a dying generation who may very well take their skills to the grave.
I will be forever jealous of the knowledge and value that our ancestors had for their environment's flora. Everywhere, they were surrounded by potential balms, poultices, pain relievers, euphoriants, and entheogens, using these systems as tools for the sustenance of their bodies and edification of their spirits. As pharmacology continues to advance, I believe it is important to have a sophisticated understanding of the plants from where it derived and knowledge of their traditional uses.
“Character assassination” talks about different women, or different characters of a woman. I investigate the collective female psyche by discovering my own subconscious. These female figures are not only built on my intimate experiences, anxiety and relevant social presence, but also concerns general cultural, mythological, religious and fine artistic references too. The series talks about global epidemics, women struggle with patriarchal history and the ambiguity of humanity.
Be Worth Imitating is a socially conscious photo series focused on inspiring young people to do more and be more.This is done by showcasing young men portraying one communities most influential African American men from sectors of community leadership, politics, and business. Children will emulate the images, attitudes, and the activities that are presented to them.This exhibit is designed to help counteract the internalized racism and low self esteem possessed by many African American youth.
"Spirit Desire: Ceremony and the Everyday in Haitian Vodoun” is an ongoing visual and textual exploration of African and Diaspora spiritual practices which began in Haiti in in 2013. The project focuses on documenting an eclectic series of stories covering Haitian Vodoun rituals and ceremonies in historical Lakou [spiritual compounds] and the everyday life of Vodouizants.
This ongoing, long-term project engages in an interrogation of the landscape, architecture and public spaces of the city of Kolkata in India. From the blue-and-white painted housings and public spaces, to inane beautification programs undertaken by the municipality, to insignia of a soccer crazy population, to the bizarre nature of urbanization, to the never-ending indulgence in mythology and religion – my work documents the strange and uneasy normality with which the Kolkatans live everyday.
Forced evictions are an increasingly constant, visible and daring fact in all countries, especially in Latin America, if the threat comes from the government with the complicity the media, serves to hide or misrepresent the real reasons and the economic background that all of them entail, such as concessions of new goods or services or payment of favors to their donors, we are witnessing the consolidation of violence and impunity as policies of State.
This is is a series of exploratory documentary photographs examining the diverse and unexpectedly complex culture of Midwestern women. Tossing regional cliches aside Valin explores the surprising and quickly shifting Midwestern demographic, often exploring life in the margins. The photographer has spent thousands of hours walking streets and locations documenting women from all walks of life, much of it is focused on those who have the least voice.
My project is a series of underwater photograms created in the Colorado River and the Colorado Delta, as the water flows from the U.S/Mexico border to where it empties into the Gulf of California. The photograms are created in the water in the dark of night in various areas of the Colorado River, with the intention of raising awareness of water quality of the primary water source in the western United States, and a major agricultural and environmental influence in northern Mexico.
Fueled by a passion for art history, my proposed project combines the historical, spiritual, and practical. I wish to create my own tarot deck made up of 78 tintype photographs, each corresponding to a specific card. Because the tarot uses symbolism to convey spiritual guidance to the reader, this project will allow me to explore visual history, as well as develop my own fantastical style of portraiture.
In the shadow of 200ft high concrete grain elevators in Buffalo, NY is a community known as The Old First Ward. The buildings and people share a similar worn out forgotten deterioration but stand unflinchingly before you as if to state, “I’m not going anywhere.”
“You’ll be back one day, and you'll show your story of Santa Fe”. A message I got from an unknown woman in Santa Fe, NM in 2014. The adventure photography project aims to show the oldest city of US existing today through the lens of photographer who is living 11500 km away from New Mexico. By this, I would make a special, unique photography story of the city and release a large format book. The photographs below taken from my recent photography project about my native city Tashkent.
This photo project focuses on highlighting a medical mission consisting of a volunteer medical outreach group that will provide mobile medical clinics for the benefit of low income children and adults living in the most undeserved areas of rural Vietnam.
Since the '80s, pit bulls have been demonized by society. This has sealed the fate of countless dogs who face prejudice, systematic abuse and death in shelters around the world. In America alone, an estimated 800,000 pit bulls are euthanized every year. Flower Power is about challenging the way we perceive pit bulls from shelters, by softening their image and shortening the emotional distance with the viewer.
Project: a book and an exhibit
The main goal of the “Timeless Verona” project is to showcase some characteristic corners of the city in black & white, with an out-of-the-time distinctive look. All the pictures will be carefully composed and edited in order to avoid the presence of any modern time reference, and then processed in order to have an iconic old print appearance.
Signs of Your Identity is an ongoing project to explore the legacy of forced assimilation education in North America. Through a combination of multiple exposure portraits, transparent overlays, landscapes, and brief interview excerpts, the work examines the concepts of intergenerational trauma, cultural genocide, and healing.
This series of photographs was made in a remote area along Colorado’s western slope between 2012-2015. The pictures describe; an abstractly seen landscape, the mountain men who are its inhabitants, the psychological tenor of living in near isolation, and the unyielding high-desert sun. I sought to question the more persistent tropes of our American Mythology: the rugged cowboy, the dominion of wilderness, and the subjective authorship of those observations from a historically male perspective.
The “fly-over” state of Minnesota is more fascinating than you may realize. Within contains wholly unique sights such as a waterfall that disappears into a pothole to destinations unknown, 10,000-year-old petroglyphs, and one of the oldest mountain ranges in the U.S. “Boxed in Minnesota” will photograph these and many more unique locations with only a box camera.
Documenting Greek culture through daily life photography, from village life to big city life and from mainland Greece to the islands, where adhering to tradition is often the strongest. Through depictions of Greek daily life, I aim to illustrate the fragile balance between the young and the old, and between ancient and modern Greece.
Kalongo is a remote village in Northern Uganda around a 3 hour drive on dirt roads from the next largest village. It is also home to St. Mary's Midwifery School, one of the most prominent in sub-saharan Africa. The students of St. Mary's are trained to work even in the most desperate situations. The care of a midwife is fundamental to saving lives in areas of Africa where hospital access may be limited.
A photo documentary project contrasting everyday life in sinking island nation of Tuvalu with the climate change declarations of COP21. It will highlight how Tuvaluans - those on the front line of climate change - go about their daily lives despite the challenges they face: rising sea levels, coastal erosion, tropical cyclones, salted water supplies and drought.
49 black/white pictures
In the time span of three years I’ve taken pictures in Italy, France, Turkey, Thailand and Kosovo.
I took pictures of unfamiliar places, pictures of strangers.
The flash of the camera has consecrated my epiphanies, impressing the shroud that lies on the subjects whose truth I’ve discarded.
These images are relics of the invisible.
Every picture has an undeniable subject, no space left to distraction.
Every picture becomes a tarot card, a singular repres
Portraits of Women With Their Weight In Dough is an on-going series inviting self-identified women to lay with their weight in dough. Developed over the past year, this project engages with women from diverse backgrounds to comment and reflect on the current psychological and physical state of women in contemporary society. The portraits of women result in either still photography or moving image and aims to include self-identified women of all ages, races, body types and social demographics.
A project comprising images and brief historical essays attempting to capture the visual identity of two cities centers of the automotive industry in their respective countries, now trying to renew their economic and social structures, in part, at least, through the arts and culture.
The project consists of a set of large-scale images depicting an imaginary Jewish family, all played by myself. As a woman portraying men, the photographs play with the idea of inhabiting roles otherwise inaccessible to us. While rooting the work in historical research, I foreground the role of fantasy in the act of reconstructing the past, both to emphasize the imaginative work of historical memory and identification.
With the generous support of this grant I plan to photograph more of El Salvador rounding out essential pieces that I have not yet captured. I feel these images are critical to complete the message I am trying to illustrate of the country and its people.
My goal with this funding is to print and frame 20-30 curated pieces to offer for exhibition purposes.
Unequal Scenes portrays dramatic scenes of inequality around the world from a drone's perspective. Using new technology and a keen eye for balance, contrast, and design, I have researched and shot South Africa's most divided communities. I intend to continue my project, with your help, to expand and take photos in the Global North.
As a young man I spent 1971 living & fighting with members of the Vietnamese Navy on a VNN river ship. Although cloaked in warrior’s garb a hidden artist within me screamed for freedom. As an old man I long to spend up to a month in Vietnam now that the artist has been unconditionally released. With camera, journal & creativity firmly in hand I will revisit the places I saw in 1971, document them & share my images & writings on my website, in a Flagstaff photo exhibit and a book.
After being on the National Committee of the Women's March on Washington, and as the Head of Development for a female-oriented Production Company, and especially due to the incoming US administration, I want to delve in to the contemporary roles of women around the world through portraits, verité, and interviews, showcasing that there IS not a role, but rather a large and growing spectrum of opportunity, yet exploring the many barriers still yet to be broken.
In May of 2016, I launched The Jonquil Project to document the amazing people who reside in and/or contribute to my community of Smyrna, GA, a suburb of Atlanta affectionately called Jonquil City. As a resident of Smyrna and a person who believes in the importance of documenting history and the power of legacy, I created The Jonquil Project as a way to leverage my passion for portraiture and celebrate and enrich Smyrna's history.
I propose to photograph some of the elderly men and women (including my mother) who originally came to this country as refugees from all over the world and who now live at Woodland Pond Circle for the final months and years of their lives. Their stories are deeply tragic at times yet inspiring and many went on to become leaders in their various fields as activists, scientists, inventors and or authors.
A project to create a photo book and series of prints that documents the story of various artists, both in front of and behind the camera, working together to create a short independent film.
I have always been interested in the hidden primitive qualities in people that are not normally socially acceptable. Although these are normal ways of life, they are sometimes morbid, private or explicit. I am progressively discovering that in my work, I am trying to make connections between humans and nature, whether it is in life, death, decay, depression, or ecstasy.
A stream of everyday randomness - people, streets, cars, cats, dogs, clothes, shoes, exotic landscapes, garbage, colours, patterns, lights etc. It lives, intervenes, merges and changes all the time - creating an absurd, funny and beautiful combinations. In all that I have the role of a participant, an observer and an interpreter. It’s the excitement of a hunter to discover and capture. “Devil’s in the details”, they say.
The goal for my proposed project is to integrate fine art portraiture with fashion editorials. I plan to continue the use of my aesthetics from previous work using a controlled setting - studio or on location or a combination of both - and stylized lighting techniques.
The attached images show a sample of previous work completed as a student.
Working closely with Nixon Jibas, Executive Councilman of the Kili-Bikini-Ejit Local Government and the greater Bikinian-Marshallese community, “The Last of Us” intimately documents through a series of uranotypes (an archaic photographic process that uses the slightly radioactive uranyl nitrate) the Bikinian diaspora and its people, whose vanishing culture presents the story of the human condition as one eroded and possibly made extinct by manmade and natural disasters.
I created this self-portrait series over the course of 6 years after my father passed away, wanting to gain a spiritual understanding of death and loss. However, after shooting some of this in parts of Europe, my life took a major turn and I ended up moving to France. In the last year and a half, I have been working on other photographic self-portraits, but it is this series - the catalyst to this major change that I would like to gain as much exposure with as I can.