Douglas Harper is a founding member of the International Visual Sociology Association and recently served as President. In his early work, particularly the book Good Company: A Tramp Life, Harper used documentary style photography as an aspect of immersive ethnography. He later discovered John Collier’s description of photo elicitation, and his book Working Knowledge was the first in depth use of that method. He has also used photography to study social landscapes in studies of Hong Kong migrants, and used historical photos in several aspects of studies of agriculture in the US, and the sociology of food in Italy. Overall his eight book length studies have all developed visual methods in one or several ways. His current project, now in the writing stage, is a thirty-year visual study of Piazza Maggiore in Bologna, Italy, made in more than twenty-five visits to that city. In this longitudinal visual ethnography, Harper shows how Italy has evolved over thirty years, from the patterns of gender interaction to the discursive strategies of protests, demonstrations, and other forms of civil expression that routinely take place in the piazza. His book Visual Sociology is the first comprehensive overview of that subject matter.
His work has been translated to several languages and his photos have appeared in international exhibitions.
With piercing irony, Dan Perjovschi comments on the absurdities and cynicisms of the “brave new world” in his daily drawings, thrown with a few strokes. Current topics from the world news are sharpened as well as general social phenomena or things that affect the artist personally. With his figures and scenarios, Perjovschi expansively populates the walls, floors, corridors or windows of the art institutions.
His solo exhibitions include: “Unframed” Kiasma, Helsinki (2013); “Not over” MACRO, Rome (2011); “What Happen to US?” MoMA, New York (2007); “I am not Exotic I am Exhausted” Kunsthalle Basel (2007), “The Room Drawing” Tate Modern, London (2006) and “Naked Drawings” Ludwig Museum, Cologne (2005). Perjovschi has participated in numerous group shows and biennials such as the Jakarta Biennial (2015), the Sydney Biennial (2008), the Venice and the Moscow Biennial (2007), or the 9th Istanbul Biennial (2005).
Perjovschi received the George Maciunas Prize (2004), and the Rosa Schapire Prize – Kunsthalle Hamburg (2016). At Wurtenbergiser Kunstverein he had a solo show (“Solid ground”) in 2006, and he participated in several group shows such as “On difference#1” (2005), “On Dithering” (2013), and “Tito’s Bunker” (2017).
He lives and works in Sibiu and in Bucharest, Romania.