Biographicall data, excerpts from essays written about the artist and 20 examples of his/her landscape photography work.

PHOTOGRAPHERS/ARTISTS

LIDA ABDUL

ANSEL ADAMS

ROBERT ADAMS

ZELGAM AZIZOV

LARA BALADI

LEWIS BALTZ

YTO BARRADA

BRENDT AND HILLA BECHER

HENRY HAMILTON BENNETT

HENRI CARTIER BRESSON

MARILYN BRIDGES

BARBARA BOSWORTH

EDWARD BURTYNSKY

ALEXANDRA CROITORU

OMAR D

TANJA DABO

SHEZAD DAWOOD

AURORA DEDIU

BERNHARD EDMAIER

HASAN ELAHI

FOUAD ELKOURY

TERRY EVANS

ANNE FERRAN

ROBERT FRANK

LEE FRIEDLANDER

MASAFUMI FUKAGAWA

PETER GOIN

PAUL GRAHAM

ANDREAS GURSKY

DIVITRY GUTOV

RULA HALAWANI

GARY HALLMAN

WANDA HAMMERBECK

SUSAN HEFUNA

YEE I-LANN

EIRIK JOHNSON

YAO JUI-CHONGYEONDOO JUN

ANASTASIA KHOROSHILOVA

MARY KLETT

SZE TSUNG LEONG

DANA LIXENBERG

SALLY MANN

EDGAR MARTINS

RYAN MCGINLEY

RICHARD MISRACH

OSCAR MUNOZ

AYDAN MURTEZAOGLY

JENNY ODELL

CATHERINE OPIE

BAS PRINCEN

RAM RAHMAN

KOKA RAMISHVILI

RAQS MEDIA COLLECTIVE

LISA REIHANA

ROSANGELA RENNO

MARK SEALY

CAMILLE SEAMAN

STEPHEN SHORE

TARYN SIMON

MELANIE SMITH

JOEL STERNFELD

THOMAS STRUTH

HIROSHI SUGIMOTO

TIMOTHY O. SULLIVAN

MITRA TABRIZIAN

WOLFGANG TILMANS

JEFF WALL

QIU ZHIJIE

CARLETON WATKINS

CURATORS

ISOBEL CROMBIE – SENIOR CARTOR OF PHOTOGRAPHY AT THE NATIONAL GALLERY OF VICTORIA

DUSSELDORF SCHOOL OF PHOTOGRAPHY

A group of students a the Kunstakademie Dusseldorf in the mid 1970s who studied under the influential photographers Bernd and Hiller Becher, known for their rigorous devotion to the 1920s German tradition of Neue Sachlichkeit (New Objectivity).  The Becher’s photographs were clear, black and white pictures of industrial archetypes (pitheads, water towers, coal bunkers).  Andreas Gursky, Candida Hofer, Axel Hutte, Thomas Ruff and Thomas Struth modified the approach of their teachers by applying new technical possibilities and a personal contemporary vision, while retaining the documentary method their tutors propounded.

AMERICAN SOCIAL REALIST PHOTOGRAPHY

During America’s Great Depression of the 1930s and 1940s, photographers were employed by the Farm Security Administration (FSA) to document the rural poverty and exploitation of sharecroppers and migrant laborers in an attempt to garner support for Presidential Franklin D. Roosevelt’s New Deal.  The photographs were distributed free of charge to newspapers across the country and brought the plight of displaced farming communities to the public’s attention.  The most famous images were made by Dorothea Lange and Walker Evans, whose black-and-white stills of starving fruit pickers in California became iconic symbols of the Great Depression. 

CONCEPTUAL PHOTOGRAPHY

The rise of conceptual photography in the 1960s coincided with the early exploration into video art.  Using cameras, artists like Richard Long and Dennis Oppenheim began recording their performances and temporary art works in a manner that is now often described as deadpan. The aim was to make simple, realistic images of the artwork that looked as documentary as possible.  It was the pedestrian nature of photography, its unshakable capacity to photograph everything the same that the artist liked, believing it was the art depicted in the photograph that was important.  Precedents for conceptual photography can be found as far back as the early twentieth century when Alfred Stieglitz photographed Marcel Duchamp’s readymade made from a urinal, Fountain, for an exhibition in New York.  The original Fountain was lost, but the photographs by Stieglitz remain and have become works

of art in themselves.