Adam Wiseman

Critical Mass is one of the best ways to get your work in front of a lot of people all at once. It’s tough to get 250+ curators, dealers and collectors all in one place to be able to see your work. Critical Mass gives us as reviewers the ability through our online jurying process to investigate and sit with the images, spend time with them we may not otherwise have in a fast paced environment. When your work is good, it gets noticed.

This is how I found Adam’s work. What struck me about his images is the breathing room his photographs have. There is a beautiful minimalism, a quiet space allowing us to focus from edge to edge, place ourself in the image and participate in the experience Adam lays before us.

LAR /Museo Soumaya

Basurita

Not Close Enough

Robert Capa famously said “If your pictures aren’t good enough it is because you are not close enough”, sadly he was to get too close; stepping on a mine which killed him, one of the first journalists victim of the Indochina War.

LAR /Museo Soumaya

Botella Nivel

I have been a photographer for over 20 years. I completed the documentary program at the International Center of Photography in NY and I was a fine printer at Magnum NY for over two years. As a result I have always been preoccupied with getting closer physically and emotionally to my subjects. Eugene Richards, Bruce Guilden, Martin Parr, Larry Towell and Jacob Holdt were some of the photographers I have admired over the years for their ability to do just this. On my way to Magnum from Brooklyn on September 11, 2001 I rushed to the twin towers, I took pictures mostly of the crowds watching the towers burn and then crumble as opposed to the towers themselves. I was drawn to them and their expressions as fellow New Yorkers. I began to understand the importance of getting close; I was searching for answers in the faces of others.

After leaving Magnum I felt my pictures had lost the spontaneity and personality that had excited me so much as a student; they had become an amalgamation of styles without the impact, beauty and honesty the photographers I was emulating were able to achieve in their work.

Los Angeles

Santa Monica Beach 1

Throughout my career as an editorial photographer I was able to develop a personal style, I have always taken creative risks as a photographer and struggled to keep my work from becoming formulaic. This can be a challenge, if you discover that a certain method works it is easy to repeat it over and over again for your clients. I try and let my work evolve and make every assignment a challenge to create personal work.

Over the past couple of years I started to notice that I was stepping further and further back from my subject, or rather my subject dissolved into something that was more intangible: No longer a person, an activity, a moment, but an energy, a mood, an emotional environment. This has developed into a personal project; I have become interested in the language of photography, specifically the language of documentary photography and how it can be used in art or conceptual photography. Stephen Shore, Alec Soth, Andreas Gursky, Sze Tsung Leong; there are many photographers who have blurred the lines between documentary photography and conceptual art. With this body of work I am interested in finding and capturing these emotional environments much as a documentary photographer would set out to find and capture their subject matter. I hope to continue developing this language using the aesthetic of negative space and homogenic landscapes to create a coherent body of work. My challenge to Capa’s wisdom is tongue and cheek, however the thought that I no longer need to get physically closer, is liberating and exciting.

Tremblant  Quebec

Skiers

About Adam

Born in Mexico City in 1970, Wiseman has lived in Mexico, NY, Scotland and Brazil. He has a BA from NYU in Ethnographic Film (1992) and completed the Documentary Program at the International Center of Photography in NY (1996).

After living in NY for 13 years working as a freelance photographer and as fine printer for the Magnum photo agency, Wiseman returned to Mexico City in 2001.

In 2012 he recieved the prestigious national SNCA/FONCA fellowship awarded by the Mexican government as part of their National System for Creators of the Arts. He was a Photolucida Critical Mass top 50, recieved the Best of Show Award in the 2012 Photo Review Competition, and was named a PhotoEspaña Visionary. His work was also featured in LENSCRATCH, Fototazo, and F-Stop Magazine.

LAR /Museo Soumaya

Workers and Thinker

He continues to work as a freelance photographer in Mexico City and has collaborated for publications such as Rolling Stone, Metropolis, Domus, The New York Times, Time Magazine, Los Angeles Times Magazine, Wall Street Journal, Mens Journal, El Mundo, Le Monde, Le Monde 2, The Telegraph Magazine, The Guardian, Colors Magazine, National Geographic Traveler, National Geographic en Espanol, and Paris Match among others. His work has also been published in the books; ¨Harvard Design School Guide to Shopping¨ Rem Koolhaas/Tashen, ¨New York September 11 by Magnum Photographers¨ Powerhouse books, ¨Mutations¨ Actar, and “The Endless City” Phaidon/London School of Economics.

His work has been exhibited in the US, Switzerland, Spain, NY, Mexico, Japan, at the 2006 Venice Biennal as well as having a photograph from 9-11 in the permanent collection of the Smithsonian Institute in Washington D.C. and in the 9/11 Memorial in NY.

His most recent solo show called “Area Conurbada” was exhibited from May-August 2012 at the Museo Archivo de la Fotografia in Mexico city.

Wiseman currently teaches and works as an independent fine art and documentary photographer in Mexico City

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