Stratis Vogiatzis

Kampos Project (Woman in White)

2016

In the Middle of Things, 2014 Archival pigment print 32 x 40 inches Edition of 6 New York based artist Jennifer Mien Mien Lin’s (1983-) conceptual photography is a look into th...

Ennui, 2013 Archival pigment print 12 x 20 (editions of 12) 18 x 24 (editions of 12) 32 x 42 (editions of 6) New York based artist Jennifer Mien Mien Lin’s (1983-) conceptual photog...

Lady in Pink, 1980 Archival pigment print 60 x 40 inches Edition of 10 Robert Farber’s style has influenced generations of photographers. His painte...

We Feel Like You Do, 2005 Archival pigment print on heavy rag paper 42 x 64 inches Edition of 7+2AP A study of forms. Forms that are mechanical: cold engineering but designed with ...

To The Point, 2002-2005 Archival pigment print on heavy rag paper 28.5 x 60 inches Edition of 7+2AP A study of forms. Forms that are mechanical: cold engine...

4600 METERS 2 Tryptic 25,67cm x 37cm Archival Pigment print on Hahnemuhle Phototorag Baryta 315gsm Edition: 5 plus 2 artist proofs --- Maria Marshall B. 1966, BOMBAY, INDIA Maria ...

'Harvest Dance' Limited edition archival photograph. Unframed, hand signed and numbered _________________ Late August, captured in the glow of the evening sun, my daughters join han...

This fine art print features back of a woman wearing Yellow-Gray scarf, holding two of her babies. This image was shot by Dorte Verner in Djibouti, East Afr...

This Photograph features a beautiful Geisha walking it the rain holding a red umbrella. Geisha are Japanese women who entertain through performing the ancient traditions of art, danc...

This Photograph features a side-view of a beautiful Geisha walking in the rain holding a purple umbrella. Geisha are Japanese women who entertain through performing the ancient tradi...

The first person to photograph the Huichol in their remote communities in the inaccessible canyons of the Western Sierra Madre was probably the Norwegian anthropologist, Carl Lumholtz. He ventured into their territory in 1895, shortly before the arrival of the French naturalist and ethnographer Léon Diguet, who was also a photographer. Like so many who were engaged with documenting Indigenous peoples across the Americas in those brutal years of expansion and settlement, Lumholtz believed that the disappearance of his subjects was inevitable: “the weaker must succumb to the stronger, and the Indians will ultimately all become Mexicans.” The photographs of the Huichol by Pablo Ortiz Monasterio—taken on some twenty trips over the past three decades—prove that Lumholtz was fortunately, terribly wrong. They reveal abundant evidence of cultural survival (what the Huichol call “la costumbre”), made possible by their extraordinary resistance to the religious, nationalist, and economic forces that have long assaulted—and that continue to assault—Indigenous communities everywhere. Though Ortiz Monasterio is also an outsider, he does not operate—like Lumholtz or Diguet—as an old-fashioned preservationist, nor is he confident in the superiority of Western culture, nor is his work only destined for museum vitrines...

"I wrap, cover or paint my body with the same pattern as the backdrop and represent myself as a part of that landscape. With this act, I am building my own identity through the entou...