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Richard Dweck
Richard Dweck
Richard Dweck

Richard Dweck

Country: United States

Photography has been Richard Dweck's vehicle for expressing what he sees and feels when he moves through the world. He has been through some extraordinarily difficult experiences in life but has been able to use them to see and feel the world more acutely. For him there is no greater pleasure than having someone who is looking at his photograph understand the feelings that he felt when he took that photograph. He also enjoys hearing them express very different feelings and show him things in his own photographs that he might never have seen or felt.

The Old City of Jerusalem
Last year, for the first time, I photographed at the Western Wall and other sites in the Old City of Jerusalem. The impetus for my travel to this area to photograph was the interplay between my Arabian and Jewish roots combined with my own deep self-reflection following a tragic family loss. When I found that so many people were dressed in black and white it only seemed natural that my photographs should be B&W as well.

I shot my pictures from the same level as my subjects (or even from below when that was possible) giving me the sense that I could look into them more deeply and imagine their thoughts. The Gaze shows both the deep reflection of the elder along with the reverence of the child. The child's focus and that of my camera are on the elder. The backdrop is the historic 2000+-year old wall.

My landscape and architectural photographs tend to the more abstract, while my portraits are more representational. Nonetheless, geometry and textures still play a big part in portraits. The main focus for me is the emotions that I can capture that can resonate deeply within me and very hopefully with the viewers of my work. I definitely look forward to returning for another emotional and introspective journey there one day.

Websites

www.rdweck.com

@richarddweck

 

Inspiring Portfolios

Marijn Fidder
© Marijn Fidder
Julien Chatelin
© Julien Chatelin
Marcus Yam
© Marcus Yam
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More Great Photographers To Discover

Suzanne Engelberg
Suzanne Engelberg
United States
Based in the San Francisco Bay Area, Suzanne Engelberg is especially interested in interpretive landscape photography. Her connection to the natural world has been a strong force throughout her life. She began her career as an attorney with a special interest in environmental law. Fifteen years ago, she became enthralled with photography and shifted her attention to this practice. Primarily self-taught, she has enhanced her knowledge through study at many venues, including the San Francisco Art Institute. She has exhibited extensively, both nationally and internationally, and is the author of Visions of Phoenix Lake. While Suzanne has a particular passion for photographing forests and oceans, she is equally delighted to explore urban culture with her camera. Her style, which is often minimalistic and graphic, shows her strong affinity for color, particularly the myriad shades of blue. Overall, she is captivated by the way color, light, and form coalesce to create an image.
John Coplans
John Coplans
United Kingdom
1920 | † 2003
John Rivers Coplans was a British artist, art writer, curator, and museum director. His father was Joseph Moses Coplans, a medical doctor and a man of many scientific and artistic talents. His father left England for Johannesburg while John was an infant. At the age of two, John was brought to his father in South Africa; from 1924-1927 the family was in flux between London and South Africa, settling in a seaside Cape Town suburb until 1930. Despite the instability of his early home life, Coplans developed an enormous admiration for his father, who took him to galleries at weekends and instilled within him a love for exploration, experimentation, and a fascination with the world. In 1937, John Coplans returned to England from South Africa. When eighteen, he was commissioned into the Royal Air Force as an Acting Pilot Officer. Due to his hearing being affected by a rugby match, two years later, he volunteered for the army. His childhood experience living in Africa led to his appointment to the King’s African Rifles in East Africa. He was active as a platoon commander (primarily in Ethiopia) until 1943, after which his unit was deployed to Burma. In 1945 Coplans returned to civilian life and decided to become an artist. After being demobilised, Coplans settled in London, rooming at the Abbey Art Centre; he wanted to become an artist. The British government was giving grants to veterans of the war, and he received one such grant to study art. He tried both Goldsmiths and Chelsea College of the Arts, but found that art school did not suit him. He painted part-time for clients including Cecil Beaton, Basil Deardon whilst running his business John Rivers Limited which specialised in interior decorating. In the mid-1950s, Coplans began attending lectures by Lawrence Alloway at the Institute of Contemporary Arts. Here he was introduced to the budding Pop Art movement, which he would become deeply involved in as both critic and curator. His experience viewing exhibitions such as the Hard-Edged Painting exhibition (ICA, 1959) and New American Painting (The Tate, 1959) helped to solidify his growing passion for not just Pop Art, but American art as well. During this period he struggled as a young artist to find his artistic voice, and developed an abstract painting practice which reflected trends of tachism and Abstract Expressionism pioneered by Americans Jackson Pollock and Willem de Kooning. Coplans would later refer to this early painting work as "derivative"; these paintings were shown in exhibitions at the Royal Society of British Artists (1950) and later at the New Vision Center. In 1960, Coplans sold all of his belongings and moved to the United States, initially settling in San Francisco and taking a position at UC Berkeley as a visiting assistant design professor. Here he met gallerist Phil Leider, the future editor of ArtForum. Leider connected Coplans to John Irwin, who wanted to start a magazine. Coplans convinced Irwin that the West Coast needed an art publication: one that gave voice to art that was important, but had not yet received critical attention. He further suggested that it should be published in square format so that both vertical and horizontal images would be viewed equally, thus giving birth to ArtForum's iconic shape—and to the successful foundation of ArtForum itself. Coplans was a regular writer for the magazine. His perspective on art writing was anti-elitist, using popular appeal and excitement over new work to “stimulate debate and awareness” especially for West Coast artists. Finding himself conflicted between his painting and writing careers, he chose the latter and devoted the next twenty years of his life to the magazine, as well as curatorial pursuits and a career as a museum director. It was not until 1981, at the age of 62, that he returned to his career as an artist.Source: Wikipedia John Coplans had a career in reverse. He was 60 by the time he established himself as a photographer, having already had a long and active life as a curator, editor, writer, artist and decorator. A pioneer of selfportraiture, he took large format black-and-white close-ups of his bare body that sent ripples of shock, recognition and frequent praise through the international art world. A major element in the fascination was an obsession with one of our few remaining taboos: the process of ageing and physical decrepitude. And with the anonymity of identity: in Coplans' words, "To remove all references to my current identity, I leave out my head." The blow-ups of sagging flesh, creased folds, odd protuberances and body hair of an old man become the documentary tale of the decline of Everyman. After a brief spell teaching at the University of California, Berkeley, in 1962 Coplans co-founded Artforum magazine and, for the next two decades, his career was to be as artistically various as it was financially precarious. Artforum was intended to combat the anti-intellectualism Coplans felt he had encountered at Berkeley, and the notion that there was nothing to be said about art, since you either made it or looked at it. His whole background was in stimulating debate and awareness, at a popular rather than an elite level. Inevitably, as he later explained, "The thing was how to get the eastern establishment to read about west coast art". Within five years, the magazine was relocated to Manhattan, with Coplans acting as west coast editor. As a museum curator, he enjoyed similarly shifting fortunes. His first project was a pop art exhibition at the Oakland art museum, and, in 1963, he became director of the university gallery at Irvine, organising an important show by Frank Stella. From 1967 to 1971, he transferred to the Pasadena art museum. Alongside established artists like Roy Lichtenstein, Andy Warhol and Donald Judd, he gave Robert Irwin, Richard Serra and James Turrell their first shows. In 1971, Coplans moved to New York to became editor of Artforum, and, in 1975, published his own version of events leading to the bankruptcy and takeover of the Pasadena art museum, “Diary Of A Disaster.” During his seven years at the helm, Artforum increasingly jettisoned the militant formalism with which it had been identified, and became a platform for the catholicity of Coplans' artistic tastes, including19th-century photography and contemporary European abstract art. In 1978, the publisher gave Coplans the choice of buying the magazine or quitting. Not being in a position to do the former, he became director of the Akron art museum in Ohio, where, again, he combined curatorial work with launching a new magazine, appropriately named Dialogue. He also published books on photographers, ranging from Weegee to Brancusi, and started his own photographic experiments. By 1980, Coplans was back in New York, and the following year had his first solo show at the Daniel Wolf Gallery. At last, he had found not only the medium but also the subject of his artistic expression. He called his works auto-portraits, and, created by means of a live-feedback video camera with an automatic shutter, they honed in on the physical landscapes of the body with all the sculptural focus - but without the distortions of the lens - of Bill Brandt's Perspective Of Nudes (1961). This was to become Coplans' constant subject matter. In 1986, he had his first show of self-portraits at the Pace/MacGill Gallery, New York. Sandra Phillips, the long-time photography curator at the San Francisco Museum of Modern Art, immediately saw the importance of the work. His first major museum exhibition followed at SF MoMA in 1988, and the exhibition traveled on to the Museum of Modern Art in New York that same year. The work was rapidly acquired and shown by the The J. Paul Getty Museum, the Museum of Modern Art in New York, and the Whitney Museum of Art; in 1997 (the same year he remarried), a major retrospective was staged MoMA PS1 Contemporary Art Centre in Queens. He published books of the work, principally the anonymous-sounding A Body, Body Parts and A Self-Portrait, and finally Provocations, which includes his photo-essays and criticism. Coplans has a daughter, Barbara, and a son, Joseph; he has two granddaughters. He was married four times. His fourth wife, photographer Amanda Means, is the Trustee for the John Coplans Trust in Beacon, New York. John Coplans was born June 20, 1920 in London and died on August 21, 2003 in New York.Source: The John Coplans Trust
Madhur Dhingra
Madhur Dhingra
India
1958
I was born an only child to my parents, in Delhi, into a family torn apart by the aftermath of the India-Pakistan partition. Hailing from a affluent background in Pakistan my family was now struggling for survival in the walled city of Delhi totally penniless. Imbedded with deep insecurities and freshly bearing the scars of partition my family was now setting up trade in the walled city dealing in fabric. It is relevant for me to mention this background for these very insecurities I too inherited from my family and they remain with me till date even with the changed times and lifestyle. Things improved gradually financially, with the trade flourishing and much because of the sheer hard work of my grandfather, father& chachas(father's brothers).We settled in Delhi at the start as big joint family. I have grown up hearing tales of how we had started life selling fabric on the pavements of the walled city where we now own several properties. My father could never get over those scars of partition. I too was repeatedly made to realize that ( for better or for worse) even though I was born much later in Delhi. At the age of five I was put to school at St.Xavier's High School, Raj Niwas Marg, Delhi. That period was to become the most memorable part of my life. I remember enjoying that period thoroughly. I was always an above average student with a lot of love for extracurricular activities. In school I would love going hiking, camping, swimming & cycling with the boy scouts. From the very start I was naughty and mischievous and was a regular in getting in and out of trouble. After school I went to the Delhi University and took up English Hons as my subject. But nowhere was it in my mind to take up studies serious. Restless from the start I wanted to travel the world. I now join the Merchant Navy at the age of seventeen ,as a deck cadet leaving college in the first year itself. I loved this new experience and was good at learning navigation. Very soon I was promoted to become the navigating officer. For the first year I never came back home at all. I was fulfilling my desire to see the world thoroughly meeting different types of people and experiencing different kinds of cultures . Once while travelling in the city of Jeddah near Mecca during Ramadan I was amazed to see gold slabs and coins being sold on the pavements of the city. On the loudspeaker I then heard the azaan (prayer call) and to my utter astonishment I saw people leave all this gold unattended and enter the nearby mazjid for prayer. Such was the strictness of the prevailing law of the land that anybody caught stealing would have his hand chopped off. Nobody dared to steal. Now quite a different experience was when my ship first entered Thailand. To my utter surprise I saw hoards of women entering my ship. Their numbers must have been no less than a hundred odd. I was on duty and I objected to their entry and was immediately informed by my senior officer to back off as they were entering with the permission of the captain. These were prostitutes who stayed on my ship till the time it stayed there. Nobody was questioning the morality or the ethics. It was gala time for all officers, crew, and the Captain. This was the way of life for most sailors . One horrific incident I remember was when our Burmese radio officer died on the ship due to a liver problem. As we were still some days away from the next port,his body was put in the deep freezer of the ship, the same place where all vegetables and other eatables were stored. Life was going on as if nothing had happened and everybody was eating and drinking as any other day. In a ship life all relationships and friendships are very temporary and the moment a person gets off the ship all these are left behind and forgotten. My bag of experiences was filling up fast. The restlessness and void was again setting in fast. I was getting bored again after about five years of sailing. The novelty had worn off and my inherent nature and upbringing was not that of a sailor in any way .I finally decided to say quits and joined the family business which was waiting for me to return. My dad was overjoyed at this decision of mine. I had no problem settling into this environment as it just happened to be in my blood. I now decide to get married too. I get married and soon after become a father of two adorable children. My age at that period would have been early twenty or so. Time flew by fast earning bread and butter for my family. Nothing was more important than bringing up the kids properly and with a lot of love, something which I was deprived of badly during my childhood days. But now again the same restlessness and void was setting in. I was in a dilemma, now trying out new ways to end this emptiness . I initially tried my hands at learning sculpture at Triveni Kala Sangam Mandi House, but I soon realized that medium was not meant for me. Destiny seemed to have other plans for me and it was during this period that I was gifted a SLR by someone, a Ricoh 500 as I now try to remember. The camera body had a dial with some numbers and also some numbers on the lens of which I had no clue. There were photography classes also being held in Triveni Kala Sangam and I joined these classes with sculpture classes I was already doing. It was here I met my photography teacher and now a lifelong friend Satyasri Ukil for the first time. The Basic course was about learning the techniques of Black & White photography. Satyasri was a dedicated, honest & straightforward teacher. His likes and dislikes purely dealt with the merits of the image and not with the person who had shot the image. I was learning fast with my association with Satyasri at Triveni where he was teaching then . A few of us guys(now renowned photographers), formed a sort of a team under the guidance of Ukil (as we address Satyasri,till date).We were shooting developing and printing the whole day long. Photography was now no longer a hobby but a frenzy. I soon set up my own darkroom in my house and would develop and print negatives all night long. I now start trekking again now with a new SLR in hand going to high altitudes and to very difficult locales. I remember showing my first serious work to Ukil and found him overjoyed. Soon my ambitions grew and I start shooting product for the advertising agencies. My first breakthrough as I clearly remember had come from the agency 0& M whose creative head then was Benoy Mitra, who was one day present at the colour lab called "MultiColour in Jhandewalan, when my portfolio prints were coming out of the lab. He saw my work and quietly handed over his card asking me to see him in the agency. I was overjoyed. This was breakthrough I needed desperately. I soon started getting assignments from most major agencies. But now I started getting bored again shooting mountains product and off and on some fashion. I still needed to express myself in a different way. I decide to work towards my first solo exhibition and I show my landscapes and mountain work to the management of INDIA INTERNATIONAL CENTRE. After seeing my work they agree to sponsor my show fixing the date to 28th November 1998.It is pertinent to mention here that I had then "only" shown them my beautiful landscapes and mountain TP's as I had nothing more at that time in my kitty. I started a new journey, first shooting Ladakh. I found immense peace and tranquility (acting as a balm for my troubled mind )in the monasteries I visited. The filtrations of light from the windows and doors into the dark interiors of the monasteries were indeed very beautiful, tranquil and peaceful. I would sit inside these monasteries for hours at a stretch calming my taut nerves. The prayer gong would echo inside the main hall and seep deep inside my soul. I have always equated light with God and have believed that the darkness of the human soul will ultimately come alive with the play of Light (God) on it. My next visit was to Banaras. Here I found people visiting the Ghats in very colorful attires. A activity on these ancient Ghats like the Dashashwamedh Ghat would start very early in the morning. People from all over India visit Banaras to perform various religious rituals, right from the birth of a child to the cremation of the dead and also later to perform rites for their safe and comfortable passage after death. The quality of light that I found in Banaras was very warm & golden and I wouldn't hesitate a moment to call it heavenly. Now a special reference to the Manikarnika Ghat " the ghat of the dead" is needed. People from all over India come to Kashi (ancient name of Banaras)to cremate their dead at Manikarnika.It is believed by Hindus that a cremation at Manikarnika Ghat gives the human soul an unhindered passage to heaven. Pyres are being lit here continuously without getting extinguished for the last 3000 years. But it was on this BURNING GHAT that my worst nightmare was to begin. I would visit this ghat daily looking at the activities. It was not very long before I realised that whenever a body of a poor person would come in, it would be cremated in a bizarre manner. It required two mun wood at the least (mun is an Indian measure of weight equivalent to 20 kgs) to cover a human body completely for cremation. But the person accompanying the dead body did not have that much money in his pocket. So only that much wood was purchased in which only the torso could be covered by wood. The legs and head were left hanging out and the pyre lit. The head would get burnt in a horrific manner with the head and feet falling away from the torso partially burnt. Then these torn away parts were picked up and put into the pyre or thrown into the Ganges. This whole sequence was so bizarre that I decided to get it on film and show it to the world. This I did manage to photograph secretly even after a lot of objections and hindrances from the people in charge at Manikarnika. Man really "was" meeting his God in Kashi, though in a very bizarre manner. So much for Kashi, our GATEWAY TO HEAVEN.I have posted only a few of those pictures on this website just to avoid unnecessary disturbance to people's minds. In the meantime the Purn Kumbh was being held at Hardwar. This again has become a very interesting event to relate. I was aghast to see completely naked so called Naga "sadhus" storming the streets of Hardwar. It was here I came to understand from the local inhabitants of Hardwar that this whole show was a complete farce. These so called ascetics only stormed the streets during the Khumb. Neither do they live in the remoteness of the Himalayas leading a renounced life, but on the contrary live in air conditioned lavishly furnished akharas in Hardwar itself. They were a weird sight. ( I have shown some photographs of them in my Black & White section). Here I saw them fight pitched battles with the police before the procession. DOWNRIGHT CRIMINALS TO THE VERY CORE, MOST OF THEM. On the day of the procession I got up early in the morning and positioned myself on roof top of a house near the Niranjani Akhara.This was very early in the morning and I was testing the auto focusing of my telephoto 300mm Canon lens when I saw a group of nagas in the akhara compound. I was taken aback when I saw one Naga fiddling with the genitals of the other Naga, "AND I TOOK THE SHOT".(later to appear on the first page of THE INDIAN EXPRESS). There were hutments built for sadhus by the kumbh authorities across the river bed. I would visit those and sit with some real sanyasis and listen to their discourses and hear them sing bhajans. This was a very nice and peaceful experience. The Kumbh ended and my exhibition date also was drawing near. The IIC Gallery wanted to see the final prints that I had decided to display. Nowhere in my final selection were those beautiful landscapes to be seen. Their place had been taken by naked sadhus with Trishuls and burning ghats & corpses. The Gallery management told me in no uncertain terms that they will not allow the show to go on unless these pictures were withdrawn. My dilemma was that my photo essay "Where Man Meets God'" was a story of a man's passage of life, his wanderings, his search for God. This essay was incomplete without these pictures. I told the management that I will show my work as it is and will not remove any picture from the list. Much courage to take this right stand was coming from Satyasri Ukil who stood by me all this while withstanding this massive ONSLOUGHT . IIC Management banned my exhibition. It was during this period that me and Satyasri Ukil were introduced to Suneet Chopra a reputed Art Critic. He later introduced us to Siddharth Tagore, a gallery owner at Art Consult Hauz Khas Village. Siddharth Tagore offered to hold my preview party at his gallery inviting respected artists like B.C.Sanyal, Jatin Das and many other artists of repute. The preview was a major success with all these stalwarts in their respective art fields giving their nod to my exhibition. Mr.Khushwant Singh the famous and a very respected writer too came up with an article on me in his column "Malice Towards One And All .Now IIC started shifting its stance and a compromise was reached. "That the images will be allowed to display but only facing towards the Gallery wall, whoever who wanted to see them could do so at his own discretion". Almost everybody saw those images.. Many reputed people visited the exhibition, some of them I mention in my TESTIMONIAL column. Eight major newspapers wrote elaborately on this exhibition. There was a TV interview also held by a channel also. The exhibition was a huge success on the whole. I am now planning another exhibition with a different theme and gearing up to hold another show in Milan. Life for me as a photographer continues...
Aaron Deppe
Aaron Deppe
Germany
1988
Aaron Deppe is a German Lifestyle and Portrait Photographer, born in Gifhorn (Germany) in 1988. Before photography, Aaron worked in the music industry and lived in Australia, Sydney for a while. Currently, he is a Berlin-based photographer who works with actors and other artists on their internet presence, as well as commercially for several brands and on movie sets.
Nicola Ducati
Nicola Ducati
Italy
1973
My name is Nicola Ducati I am an Italian photographer, travel and portrait photography is my expressive medium. With my pictures I want to tell stories that create empathy between the viewer and the subject with elegance and authenticity. I was born in a small town among the Italian Alps. I have always lived in a beautiful place that has made me grow and appreciate nature, animals, quiet places and respect for what surrounds us, I think this way of living in the countryside has greatly influenced my photographic sensitivity. I approached the world of photography by chance. As a child, I used to play with an old camera found who knows where, a shabby but fascinating object that soon became a passion. Later, my curiosity led me to experiment with many different genres, from the first landscape, travel photography, and finally the travel portrait. Today I especially like photography, which tells stories but also lets you imagine them, which excites and suggests reflections. A narrating photography. What I like I photograph only what I like and what fascinates me, I am a curious person and i try to find what in the world unites us not what divides us, I mean that I try to bring out those traits of humanity that make us all connected. An exercise to accept with empathy the entropy of our world. My photography is not conceptual, it represents what I see, what I feel important, what excites me or moves me. I love when the emotion and the story hidden inside a picture reaches the observer. I entrust my work and aesthetics photography to the task of telling and giving the observer inspiration and sense of belonging. Photography that responds to this, is a successful one.
Julian Wasser
Julian Wasser
United States
1938
Julian Wasser started his career in photography in the Washington DC bureau of the Associated Press. While at Associated Press he met Weegee and rode with the famous news photographer as he shot photos of crime scenes in Washington. Weegee was a major influence on Wasser’s style of photography. After serving in the Navy in San Diego the former AP copyboy became a contract photographer for Time Magazine in Los Angeles doing assignments for Time, Life, and Fortune. His photographs have appeared in and been used as covers of Time, Newsweek, and People magazines in the United States. He has done cover assignments for The Sunday Telegraph, and The Sunday Times colour supplements in London. His photos have appeared in US Magazine, Vanity Fair, TV Guide, Paris Match, Der Spiegel, Oggi, Hello, Playboy, Elle, Vogue, and GQ and in exhibitions in galleries and museums.Source: www.julianwasser.com Perhaps his most notorious photo session was of groundbreaking artist Marcel Duchamp playing chess with a naked Eve Babitz in 1963 at the Pasadena Museum of Art during Duchamp’s first retrospective. Organized by Walter Hopps, then director of the museum (now the Norton Simon Museum), the exhibition was the first comprehensive survey of Duchamp’s storied career, which began in 1911 at the legendary Armory show in New York. Duchamp, by this time, was the most influential artist in the world, having revolutionized the modern art world with his unconventional concepts. At the time, he had retired from being an artist to pursue his passion for chess. His numerous works had never been shown collectively, and the landmark show is still considered to be one of the seminal exhibitions of all time. The opening night was a who’s who of the most highly-regarded artists and collectors of the era, and effectively inaugurated the establishment of the Pop art movement. Among the group of up-and-coming artists who attended were Andy Warhol, Billy Al Bengston and Ed Ruscha.Source: Juxtapoz In 1963 a long overdue retrospective for Marcel Duchamp, arguably the most significant and influential artist of the 20th century was held at the Pasadena Art Museum. The exhibition, curated by art world renegade and acting museum director, Walter Hopps, was Duchamp’s very first museum retrospective in the United States and a coup for the West Coast art world. Having produced some of the most groundbreaking examples of conceptual art since the early part of the century, Duchamp was a legendary figure by the 1960s and his presence in California was a pivotal moment in L.A. history and lore. Artists and luminaries including Ed Ruscha, Billy Al Bengston, Larry Bell, Dennis Hopper and a very boyish Andy Warhol flocked to the opening gala of Duchamp’s retrospective and Time Magazine sent L.A. based photographer, Julian Wasser to cover the event. At the time, Wasser, who began his career as a teenager shooting crime scenes in Washington D.C., was unaware of Duchamp’s significance in the pantheon of art. But known for being in the right place at the right time and catching formative moments in L.A. history with an unmistakable eye, Wasser not only captured the energy of Duchamp’s opening reception, but produced several of the most iconic pictures of the artist ever made. Duchamp posing next to his groundbreaking readymade Bicycle Wheel, originally conceived in 1913 and Duchamp playing chess with a nude Eve Babitz were among the images Wasser took while on assignment. Though Time never published Wasser’s pictures, the latter photograph, inspired by one of Duchamp’s master paintings Nude Descending a Staircase and the artist’s obsession with chess, went on to become one of the most recognizable staged photographs of the 20th Century. The exhibition Julian Wasser : Duchamp in Pasadena Revisited brought the quintessential photographs of Julian Wasser, together with an installation of appropriated works of art produced primarily by L.A. based artist Gregg Gibbs to create an exclusive experience of the 1963 Duchamp retrospective at the Pasadena Art Museum. Works on view originally produced by Duchamp and appropriated by Gibbs included early works such as Bicycle Wheel, Nude Descending a Staircase, I.H.O.O.Q, 1919; With Hidden Noise, 1916, and one of Duchamp’s masterworks (The Large Glass) The Bride Stripped Bare of Her Bachelors, Even 1915-1923. The piece de resistance was a life-sized recreation of Wasser’s now-infamous photograph of Marcel Duchamp and Eve Babitz playing chess at the museum in 1963.Source: Robert Berman Gallery
Laurie Freitag
Laurie Freitag
United States
1956
Laurie Freitag is a self-taught, digital photographer making pictures with her iphone based in Los Angeles, California. Her early years, spent in the Bronx, Coney Island & Far Rockaway, influence her work with themes of family, childhood, memory & home. After 20 years working behind the scenes in TV news, she took a buyout & went back to school where she took every Child Development class offered. She's been working the past 10 years as a nanny where she has intimate access to documenting children. Freitag says, "I enter their world. Watching them puts me into positions I could have never thought up. This latest series, 'In the Garden at Chislehurst' had me sitting very low as a 4 year old played in the dirt next to me. As I looked up, I found the wonder of the dracena trees above me. Those are the images that comprise this newest series. Artist Statement: My series,'In the Garden at Chislehurst', explores my challenges of adjusting emotionally to the Covid-19 pandemic. When the pandemic came to my world I thought I could 'handle' it but I spent most evenings stockpiling supplies from Amazon preparing for the worst. My days, on the other hand, are spent in a garden in Los Angeles as a nanny to a 4 year-old boy, where he pulls berries from a bush to make berry stew. I sit alongside him in the dirt as he 'cooks.' In this pretend world of innocence & nature I'm safe & able to hide from the realities just outside the garden.
Nazanin Alipour Jeddi
Nazanin Alipour Jeddi
Iran/United States
Nazanin Alipour Jeddi, known as Sitaaj, is a self-taught freelance photographer and translator born in Tehran, Iran, and currently residing in the United States. She specializes in capturing the nuanced experiences of women, exploring themes of gender, identity, and cultural dynamics. Sitaaj's photography has been exhibited internationally and recognized with multiple awards. Her work highlights the profound interplay between women's experiences and the cultural systems surrounding them, fostering dialogue and understanding through her art. In addition to her photography, Sitaaj is an accomplished translator. Her fifth translated book, Howto Be an Artist, was recently published in Tehran. Through her creative work and translations, Sitaaj seeks to inspire and empower individuals to pursue their passions, regardless of their backgrounds or circumstances. Photography remains her true passion, providing a medium to tell compelling and meaningful stories. Lingering Shadows The photography series "Lingering Shadows" is an attempt to capture the simple yet complex and hidden moments that women experience in their everyday lives. These images use the color blue to emphasize the often invisible fatigue—an endless cycle of tasks that, despite their importance, sometimes feel futile and unproductive. The dominant presence of blue conveys a deep sense of coldness and isolation. The goal of this series is to invite viewers to rethink the aspects of women's lives that often go unnoticed. Simple moments, such as drinking tea, preparing food, or a brief pause amid the daily chaos, take on new meaning in these images, representing the emptiness, futility, and underlying complexities in these seemingly ordinary experiences. These photos are not only a personal narrative but also a reflection of the collective experience of women around the world.
Paul Outerbridge
Paul Outerbridge
United States
1896 | † 1958
Paul Outerbridge, Jr. was an American photographer prominent for his early use and experiments in color photography. Outerbridge was a fashion and commercial photographer, an early pioneer and teacher of color photography, and an artist who created erotic nudes photographs that could not be exhibited in his lifetime. Paul Outerbridge, while still in his teens, worked as an illustrator and theatrical designer creating stage settings and lighting schemes. After an accident caused his discharge from the Royal Canadian Naval Air Service, in 1917, he enlisted in the U.S. Army where he produced his first photographic work. In 1921, Outerbridge enrolled in the Clarence H. White school of photography at Columbia University. Within a year his work began being published in Vanity Fair and Vogue magazine. In London, in 1925, the Royal Photographic Society invited Outerbridge to exhibit in a one-man show. Outerbridge then traveled to Paris and became friends with the artists and photographers Man Ray, Marcel Duchamp, and Berenice Abbott. In Paris he produced a layout for the French Vogue magazine, met and worked with Edward Steichen, and built the largest, most completely equipped advertising photography studio of the times. In 1929, 12 of Outerbridge's photographs were included in the prestigious, German Film und Foto exhibition. Returning to New York in 1929, Outerbridge opened a studio producing commercial and artistic work, and began writing a monthly column on color photography for the U.S. Camera Magazine. Outerbridge became known for the high quality of his color illustrations, which were done in those years by means of an extremely complex tri-color carbro process. In 1937, Outerbridge's photographs were included in an exhibit at the Museum of Modern Art and, in 1940, Outerbridge published his seminal book, Photographing in Color, using high quality illustrations to explain his techniques. Outerbridge's vivid color nude studies included early fetish photos and were too indecent under contemporary standards to find general public acceptance. A scandal over his erotic photography led to Outerbridge retiring as a commercial photographer and moving to Hollywood in 1943. Despite the controversy, Outerbridge continued to contribute photo stories to magazines and write his monthly column. In 1945, he married fashion designer Lois Weir and worked in their joint fashion company, Lois-Paul Originals. He died of lung cancer in 1958. One year after his death, the Smithsonian Institution staged a one-man show of Outerbridge's photographs. Although his reputation has faded, revivals of Outerbridge's photography in the 1970s and 1990s has periodically brought him into the public's awareness. Source: Wikipedia
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