The lawsuit brought by Roberts in 2022 has received a mixed ruling from Judge LaShann DeArcy Hall, but she denied dealer Richard Beavers's motion to dismiss it
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While some are confident that certain democratic institutions and safeguards will hold, many expressed fear, shock and dismay
“I recently had a photoshoot of two famous actors in their hotel room, promoting a movie that recently came out. I was supposed to have 30 minutes with them, but they were incredibly rude to my photo assistant and me and ended up leaving after just 3 minutes. I had only managed to get a handful of photos and ended up crying in the hotel bathroom while my assistant helped pack up.”
In Part 2 of our exclusive interview with New York photographer Evelyn Freja, we delve deeper into her journey, exploring the experiences and philosophies that shape her artistic vision. Evelyn opens up about the challenges of working in a highly competitive industry, her approach to capturing genuine moments, and the surprising lessons she’s learned along the way.
Part 1 of Our Exclusive Interview with Evelyn Freja
From memorable photoshoots with high-profile clients to candid insights on navigating rejection, Evelyn shares what it takes to thrive as a full-time artist in one of the world’s most vibrant cities. Her passion, resilience, and authenticity shine through as she reflects on the creative process and the beauty of connecting with her subjects.
How do you continue to grow and develop as a photographer, even after achieving success?
I am surrounded by photographer friends who constantly lift me up and inspire me. I’m also really lucky because my partner of eleven years is a photographer (we met in photo school), and he is a constant source of inspiration and motivation both inside and outside of photography.
Of all the photos you’ve taken, which one is your favorite?
My favorite photographs come not so much from the final product as from the experience. I’ve had shoots where the final photographs weren’t the best, but the time spent with the subject was incredibly joyful. Those experiences translate through to the final photograph.
Can you describe a particularly memorable or challenging shoot and how you handled it?
I recently had a photoshoot of two famous actors in their hotel room, promoting a movie that recently came out. I was supposed to have 30 minutes with them, but they were incredibly rude to my photo assistant and me and ended up leaving after just 3 minutes. I had only managed to get a handful of photos and ended up crying in the hotel bathroom while my assistant helped pack up. It was disheartening, but at the same time, it was a valuable learning experience—not to take things personally or internalize unspoken criticism. At the end of the day, I am so grateful to be able to take photos for a living in New York City.
It takes less than a second to capture a photo, but how much time and effort go into preparing for the perfect shot?
I’ve spent weeks, sometimes months, leading up to shoots, meticulously planning every detail: from lighting to colors to mood to poses. I can obsess over the smallest details, but I’ve also learned that no matter how much planning goes into photoshoots, something will probably almost always go wrong. Photography is as much about planning the shot as it is about staying flexible with any issues that may arise.
What is your philosophy when it comes to capturing the essence of a moment or a subject?
It’s important that I never put too much of myself in my photos. I want the essence of the subject to shine through as the main focal point, but I also understand that having your photo taken isn’t always enjoyable. It’s all about making the subject feel comfortable and at ease while still letting them be the focus.
Is it expensive to pursue photography, and how long did it take you to achieve financial success in this field? What lessons did you learn along the way?
It’s easy to get overly focused on having brand-new equipment, fancy lenses, and expensive lights, but the reality is that photographers don’t need all that. I’ve taken some of my favorite photos on a cheap, beat-up second-hand camera. Photography can be an expensive industry, but when you’re starting out, it’s good to remember that you don’t need high-end equipment to create beautiful art.
Was it difficult to become a full-time photographer, and what risks, challenges, or setbacks have you faced in your career?
The hardest part of being a full-time artist is getting used to rejection and being ignored. It’s natural to want to throw in the towel and quit when you’ve reached out to forty or fifty art directors and editors and only two of them get back to you, but it’s a necessary part of the process. Just keep going, and tune out any negative internal dialogue.
Part 3 is Coming Soon!
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The Graffiti-strewn building became a pilgrimage for devotees of the singer when it opened 32 years after his death—but despite healthy ticket sales, the institution has racked up huge debts, with its backers accused of mismanagement
Politicians have slammed the museum for ‘glorifying’ the attack on Frederick McCubbin’s ‘Down on his luck’
The former chief curator of the Mesa Contemporary Arts Museum is suing the municipality for allegedly ordering the removal of a print from a Shepard Fairey exhibition
Georgina Jackson, the director of The Douglas Hyde Gallery of Contemporary Art at Trinity College, Dublin, will be the pavilion's curator
BY SVETLANA POPOVA
Anastasia Egonyan is a contemporary photographer and artist from Ukraine with Armenian roots, currently based in Berlin. She actively participates in exhibitions across Germany, the Netherlands, the United Kingdom, and Switzerland. Her photographic language embodies the coexistence of two seemingly opposite approaches that, paradoxically, enhance each other.
As a photographer, Egonyan is drawn to two visual extremes: depersonalized, human-free views of large capitalist metropolises, and nude figures frozen in poignant, semiotically rich poses. The interplay between these contrasting visual strategies within a single artistic context beautifully illustrates the originality and professionalism of her creative vision.
Cities
Egonyan’s urban landscapes are infused with artificial life: streetlights and indoor lighting shine, neon signs glow, and public spaces and technical facilities function as intended. Yet, these spaces are devoid of human presence. The people who built these technological environments have seemingly vanished, leaving traces of their existence in posters and large formats. Where have they gone?
According to Egonyan’s aesthetic, they may have hidden away, fled forever, entered a parallel world, or become meta-observers. It does not matter whether the city is Paris, Berlin, or elsewhere; Egonyan finds a common thread among them: the dissonance between the scale of the city and its parts relative to the average human body. In the absence of human figures, these cities feel abandoned and desolate.
This subtle yet ironic recognition of fundamental human values in Egonyan’s work reflects our tendency to view the absence of people in familiar spaces as a tragedy, revealing our deep-rooted anthropocentrism. Here, Egonyan critiques not only this anthropocentrism but also the viewers’ unexamined assumptions about humanity’s place in urban landscapes.
Figures
Egonyan’s photographs of human figures stand in stark contrast to her cityscapes. Whereas her urban images depict an alien, somewhat theatrical setting, her work with nudes presents a scene of vulnerability within a carefully crafted, intimate environment.
Her artistic approach is ethical, aimed at avoiding the objectification of the body while retaining a fundamentally personal relationship with her models and a narrative integrity in the final image. In line with Egonyan’s intentions, these photographs avoid any false pathos or artificiality; they are created in natural, intimate spaces—often the photographer’s home or other organic interiors.
Egonyan’s approach combines deliberate composition with improvisation, emphasizing the dynamics and unpredictability of the process. The ultimate aim of her work is to challenge societal perceptions of objectified bodies, inviting viewers to engage with the personhood behind each figure.
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Sponsored content. Story submitted by Irina Evseenko. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News
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Amsterdam’s Rijksmuseum is returning the favour and lending one of its works after showing the Frick’s Vermeers in its blockbuster exhibition last year
The enigmatic installation artist shares the thinking behind her minimal yet profound meditations on human existence