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Kay Erickson
Kay Erickson
Kay Erickson

Kay Erickson

Country: United States
Birth: 1949

I have been a photographer since I received my first camera at age 7.
After receiving a BFA in photography from the University of Minnesota, Summa cum Laude, I went on to earn a MS degree.
I received a Mayoral Proclamation for a project I worked on with the Santa Monica/Malibu School System, teaching educational standards through photography. I also worked with the Boys and Girls Club in Long Beach, California, teaching photography through a grant with the Los Angeles Center of Photography.
I started out photographing images using black & white film, then hand-tinting the prints with photo oils.
As I combined my love of travel with my passion for photography, I transitioned into digital color photography, making images of diverse cultures and environments around the world.
I have worked with several NGOs, including Calcutta Rescue, and the SWIC (Society for the Welfare of Indian Children), both in Calcutta, India.
Currently I'm working on a project with the Ojibwe, a Native American tribe in Minnesota, to capture portraits of the elders, and record their spoken word stories for future generations.
My work has been exhibited globally, including Los Angeles, New York, Minneapolis, Colorado, Washington, Amsterdam, Turkey, Paris, Berlin, and Spain.

Exhibitions

Saatchi Art

Fine Art America

Artavita

Websites

kayerickson.com

www.ojibweproject.com

 

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More Great Photographers To Discover

Nakaji Yasui
Nakaji Yasui
Japan
1903 | † 1942
Nakaji Yasui was one of the most prominent photographers in the first half of the 20th century in Japan. Yasui was born in Osaka and became a member of the Naniwa Photography Club in 1920s and also became a member of the Tampei Photography Club in 1930. His photographs cover a wide range from pictorialism to straight photography, including photomontages. He appreciated every type and kind of photograph without any prejudice and tried not to reject any of them even during wartime. Source: Wikipedia Nakaji Yasui was born in 1903 in Osaka and passed away in 1942. From the 1920s on, Yasui was an active photographer in the Kansai region of Japan; he is now seen as one of the most prominent Japanese photographers of the prewar period. At the very beginning of an era in which Japanese photography would express itself in a way that was both more international and more in step with the times, Yasui produced his photographs while enthusiastically incorporating many new theories of art into his work—and thinking extremely carefully about how these theories might impact his own development within the context of that time in Japan. Although Yasui’s career was short, his work has influenced Daido Moriyama and many other important contemporary Japanese photographers. In 2010, His major photography publications include the essay Landscape Photography in Practice (1938) and the photography book Nakaji Yasui photographer 1903-1942 (2004). Taka Ishii Gallery produced “Nakaji Yasui Portfolio” (a set of 30 modern prints in a limited edition of 15). Source: Taka Ishii Gallery
Bruce Mozert
Bruce Mozert
United States
1916 | † 2015
Robert Bruce Moser (November 24, 1916 – October 14, 2015), known as Bruce Mozert, was an American photographer. He was considered to be a pioneer of underwater photography and his images of Silver Springs, Florida, were widely circulated during the early and mid 20th century. Mozert was born in Newark, Ohio, to Fred and Jessie Moser. He was the youngest of three children and the only son. The family moved to a farm in Scranton, Pennsylvania, while he was still young, where his father became the superintendent of the Scranton Stove Works. He graduated high school and took a job as a truck driver that brought coal to New Jersey, but quickly decided he was "too sensitive to be a truck driver" and moved to New York City to live with his sister, the well-known model and pin-up artist Zoë Mozert. Through Zoë, Bruce met Victor de Palma, a lead photographer for Life magazine, who hired him as a film developer and helped him into the field. He joined the Freelance Photographers Guild and worked for Pic. In 1938, while he was on an assignment to photograph women's shoes in Miami, Florida, Mozert heard about the filming of one of Johnny Weissmuller's Tarzan movies in Silver Springs. He traveled to meet the cast and ended up staying in Ocala, becoming the official photographer of Silver Springs for the next 45 years. He served in the U.S. Army Air Forces during part of World War II and there learned aerial photography. Mozert took advantage of the extremely clear water of Silver Springs by taking underwater photographs with specially constructed waterproof camera housings. He built his first such housing in the early 1940s. The novelty and clarity of his underwater photographs were major advertisements for Silver Springs and the distribution of the photos over wire services helped the attraction bring in visitors from 1940 to 1970. Most of his photographs feature submerged women doing ordinary tasks that would be done on land, such as cooking, reading newspapers and mowing lawns. Most of the women were actually employees of Silver Springs and one of his most frequently shot models, Ginger Stanley, was an underwater stunt double for Creature from the Black Lagoon. Physical tricks were often used to make the underwater scenes appear more realistic. He also took underwater movie stills for the many productions filmed in Silver Springs. Above the water, he took pictures of visitors going on glass bottom boat tours, developed the film while they were on the tour, and then had the photos ready to sell to visitors when they returned. Mozert spent his last years working out of his studio in Ocala, Florida, where he digitized film. His pictures have been featured in publications such as Huffington Post, National Geographic, Life, Look, Pic and Smithsonian Magazine. Mozert died at his home in Ocala on October 14, 2015 at the age of 98. Source: Wikipedia
Cory Johnson & Neil Kremer
Cory Johnson & Neil Kremer
United States
Character-based portraits and narrative-driven scenes are our thing. Large & complex productions are where we thrive, and we specialize in capturing authentic moments in even the most manufactured of settings. True collaborators at heart, we formed Kremer/Johnson to explore our combined creative vision. We share in all duties from ideation & pre-production through shooting & post. Together we create still & moving images for editorial, corporate, and advertising clients nationwide.
Nan Goldin
Nan Goldin
United States
1953
Nancy "Nan" Goldin is an American photographer. As a teenager in Boston in the 1960s, then in New York starting in the 1970s, Nan Goldin has taken intensely personal, spontaneous, sexual, and transgressive photographs of her family, friends, and lovers. In 1979 Nan Goldin presented her first slideshow in a New York nightclub, and her richly colored, snapshotlike photographs were soon heralded as a groundbreaking contribution to fine art photography. The Ballad of Sexual Dependency—the name she gave her ever-evolving show—eventually grew into a forty-five-minute multimedia presentation of more than 900 photographs, accompanied by a musical soundtrack. Goldin first exhibited at Matthew Marks Gallery in 1992. Her work has been the subject of two major touring retrospectives: one organized in 1996 by the Whitney Museum of American Art and another, in 2001, by the Centre Pompidou, Paris, and Whitechapel Art Gallery, London. Recent exhibitions include the slide and video presentation Sisters, Saints & Sybils at La Chapelle de la Salpêtrière, Paris, and her contributions to the 40th Les Rencontres d'Arles in 2009. Goldin was admitted to the French Legion of Honor in 2006 and received the Hasselblad Foundation International Award in 2007. The Ballad of Sexual Dependency was most recently presented live in Turbine Hall at Tate Modern, London, in 2008, and the slideshow was installed in the exhibition Here is Every. Four Decades of Contemporary Art at the Museum of Modern Art New York, September 2008 to March 2009. Her Scopophilia exhibition is currently part of Patrice Chéreau's special program at the Louvre. Goldin lives and works in Paris and New York.Source: www.matthewmarks.com For me it is not a detachment to take a picture. It’s a way of touching somebody—it’s a caress.... I think that you can actually give people access to their own soul. -- Nan Goldin Nancy Goldin is an American photographer and activist. Her work often explores LGBT subcultures, moments of intimacy, the HIV/AIDS crisis, and the opioid epidemic. Her most notable work is The Ballad of Sexual Dependency (1986), a slide show, that documents the post-Stonewall gay subculture and Goldin's family and friends. She is a founding member of the advocacy group P.A.I.N. (Prescription Addiction Intervention Now). Goldin's first solo show, held in Boston in 1973, was based on her photographic journeys among the city's gay and transgender communities, to which she had been introduced by her friend David Armstrong. While living in downtown Boston at age 18, Goldin "fell in with the drag queens," living with them and photographing them. Among her work from this period is Ivy wearing a fall, Boston (1973). Unlike some photographers who were interested in psychoanalyzing or exposing the queens, Goldin admired and respected their sexuality. Goldin said, "My desire was to show them as a third gender, as another sexual option, a gender option. And to show them with a lot of respect and love, to kind of glorify them because I really admire people who can recreate themselves and manifest their fantasies publicly. I think it's brave". Goldin admitted to being romantically in love with a queen during this period of her life in a Q&A with Bomb "I remember going through a psychology book trying to find something about it when I was nineteen. There was one little chapter about it in an abnormal psych book that made it sound so ... I don't know what they ascribed it to, but it was so bizarre. And that's where I was at that time in my life. I lived with them; it was my whole focus. Everything I did – that's who I was all the time. And that's who I wanted to be". Goldin describes her life as being completely immersed in the queens'. However, upon attending the School of the Museum of Fine Arts in Boston, when her professors told her to go back and photograph queens again, Goldin admitted her work was not the same as when she had lived with them. Goldin graduated from the School of the Museum of Fine Arts in 1977/1978, where she had worked mostly with Cibachrome prints. Her work from this period is associated with the Boston School of Photography. Following graduation, Goldin moved to New York City. She began documenting the post-punk new-wave music scene, along with the city's vibrant, post-Stonewall gay subculture of the late 1970s and early 1980s. She was drawn especially to the hard-drug subculture of the Bowery neighborhood; these photographs, taken between 1979 and 1986, form her slideshow The Ballad of Sexual Dependency—a title taken from a song in Bertolt Brecht's Threepenny Opera. Later published as a book with help from Marvin Heiferman, Mark Holborn, and Suzanne Fletcher, these snapshot aesthetic images depict drug use, violent, aggressive couples and autobiographical moments. In her foreword to the book she describes it as a "diary [she] lets people read" of people she referred to as her "tribe". Part of Ballad was driven by the need to remember her extended family. Photography was a way for her to hold onto her friends, she hoped. The photographs show a transition through Goldin's travels and her life. Most of her Ballad subjects were dead by the 1990s, lost either to drug overdose or AIDS; this tally included close friends and often-photographed subjects Greer Lankton and Cookie Mueller. In 2003, The New York Times nodded to the work's impact, explaining Goldin had "forged a genre, with photography as influential as any in the last twenty years." In addition to Ballad, she combined her Bowery pictures in two other series: I'll Be Your Mirror (from a song by The Velvet Underground) and All By Myself. Goldin's work is most often presented in the form of a slideshow, and has been shown at film festivals; her most famous being a 45-minute show in which 800 pictures are displayed. The main themes of her early pictures are love, gender, domesticity, and sexuality. She has affectionately documented women looking in mirrors, girls in bathrooms and barrooms, drag queens, sexual acts, and the culture of obsession and dependency. The images are viewed like a private journal made public. In the book Auto-Focus, her photographs are described as a way to "learn the stories and intimate details of those closest to her". It speaks of her uncompromising manner and style when photographing acts such as drug use, sex, violence, arguments, and traveling. It references one of Goldin's notable photographs "Nan One Month After Being Battered, 1984" as an iconic image which she uses to reclaim her identity and her life. Goldin's work since 1995 has included a wide array of subject matter: collaborative book projects with Japanese photographer Nobuyoshi Araki; New York City skylines; uncanny landscapes (notably of people in water); her lover, Siobhan; and babies, parenthood and family life. In 2000, her hand was injured and she currently retains less ability to turn it than in the past. In 2006, her exhibition, Chasing a Ghost, opened in New York. It was the first installation by her to include moving pictures, a full narrative score, and voiceover, and included the three-screen slide and video presentation Sisters, Saints, & Sybils. The work involved her sister Barbara's suicide and how she coped through the production of numerous images and narratives. Her works are developing more and more into cinemaesque features, exemplifying her gravitation towards working with films. After some time, her photos moved from portrayals of dangerous youthful abandonment to scenes of parenthood and family life in progressively worldwide settings. Source: Wikipedia
Lorenzo Vitali
Lorenzo Vitali
Italy
1953
Born in Milan, the city where he lives and works. My works have been published in many magazines in Italy and abroad and have won numerous international awards. I have presented his main projects in personal and collective exhibitions. I always tackle my photographic projects after a phase of careful preparation which involves an in-depth study of the theme and several inspections of the places that will be the subject of my shots. This requires a certain amount of time, but it is also essential to get into the right atmosphere by having everything I need at my disposal. The atmospheres of my works always correspond to my way of perceiving the place and this often leads me to intervene in an important way in the post-production phase. Painting is also very important in my cultural background and in general my approach to photography takes into account the entire visual arts. Creative and experimental, always attentive to new artistic proposals in his environment, I develope the aesthetic sense of my works by combining classic elements and innovation. I pay particular attention to shapes and materiality.
Stig Marlon Weston
Stig Marlon Weston
Norway
Growing up in Norway, Weston studied professional photography in college. While working as an independent photographer for magazines and organizations he has developed his own career as an artist. He has exhibited with international festivals and galleries in Copenhagen, Berlin, London and New York and his work is in the collections of the National Museum of photography in Norway. This year he will publish his first photobook with a long term collaborative film swap project. At home in Oslo he runs the CYAN studio space with a photo gallery and a community darkroom, creating a workspace for professional photographers as well as other artists interested in analog photography. Aiming to grow this community he initiated the founding of the Nordic Analog Network of darkrooms and artist residencies to share the development of analog photography across the region. Statement Westons photography focuses on process based techniques. Examining how we look at the world around us to connect the way we choose to see things with how they actually look he makes images that close the gap between the physical subject and the photographic image. Using cameraless techniques like photograms and lumenprints his pictures are imprints of the subject and become proof of a truth unseen by human eyes. Encouraging the viewer to reflect on what they expect to see and understand in a photograph he creates opportunities to compare the image to what is actually there.
Laurin Strele
Laurin Strele
Austria
1992
Laurin Strele is an Austrian-born photojournalist and Leica Ambassador known for his intimate portrayals of life in conflict-affected regions. His work focuses on human endurance and identity in the face of political and social upheaval. He has documented stories across Syria, Ukraine, Lebanon, and beyond, publishing in outlets such as GEO and Newsweek. Statement: My photography seeks to reveal the humanity and resilience that endure even in the most fragile contexts. Through color, texture, and silence, I aim to portray how people reclaim meaning and dignity in everyday life.
Tod Papageorge
Tod Papageorge
United States
1940
Tod Papageorge is an American photographer whose career began in the New York City street photography movement of the 1960s. He started taking photographs in 1962 as an English literature major at the University of New Hampshire. Between 1979 and 2013 he directed the graduate program in photography at the Yale School of Art, where his students included Philip-Lorca diCorcia, Lois Conner, Abelardo Morell, Susan Lipper, Gregory Crewdson, An-My Le, Anna Gaskell, Steve Giovinco, and Katy Grannan. In 2007, Steidl published Passing through Eden, a collection of photographs Papageorge took over 25 years in Central Park. Also in 2007, Aperture published American Sports, 1970: Or How We Spent the War in Vietnam, containing photographs taken during his 1970 Guggenheim Fellowship.Source: Wikipedia About Passing through Eden Taken between 1969 and 1991, these black and white photographs capture the primeval character of Central Park, a human tragedy and comedy in this particular vision of the garden of Eden. During the 1970s, when Papageorge began to work on this series, Central Park was portrayed as a dangerous place not to be visited after dark. These photographs depict a different view showing innocence, beauty, ugliness, isolation, chaos and humour - the whole scope of human life on view within the park. Papageorge parallels this series with the first four books of Genesis, pulling the disparate images together by presenting the park as a public Eden, his elegy to a lost Elysium. This projected narrative lends the images structure and gravity: the audience can recognise Adam and Eve, Cain and Abel in various guises acting out their elemental roles in our commonplace world. Initially, Papageorge's project was driven less by a fascination with Central Park than by the desire to utilise a particular camera (6 x 9 cm Fujica) that was too cumbersome for the city's streets. He found within the park an intense and palpable realm of bodies, action and objects. Daily photographic excursions alongside Garry Winogrand and Joel Meyerowitz on the streets of New York had honed his abilities to both anticipate and capture great photographic moments within the disorder of the park. Established as an articulate and influential critic and teacher of other's work, Papageorge's own photographs have rarely been in the spotlight. Professor and Director of Graduate Studies in Photography at Yale Art School since 1979, he has taught many of the strongest American photographers of the past three decades, including Abelardo Morell, Gregory Crewdson, Anna Gaskell and Katy Grannan. This re-examination of Papageorge's photography has been prompted by the recent reconsideration of work by his peers -- Winogrand by the ICP, Friedlander by the MOMA and Stephen Shore by the ICP.Source: Michael Hoppen Gallery
Richard Steinheimer
Richard Steinheimer
United States
1929 | † 2011
Richard Steinheimer (1929-2011) is considered to be among the greatest American railroad photographers. A pioneer in the field, he documented the railroad's transition from steam to diesel power, using elaborate lighting equipment to photograph by night and even positioning himself atop moving trains to capture them in motion. His appreciation for the American railroad and the landscape of the American West is immediately apparent in his exceptional body of work. Richard Steinheimer was born in Chicago in 1929. In 1939, when his family moved to Glendale, California, their house was located near the Southern Pacific main line. In 1945, he began photographing with a Kodak Brownie camera, and two years later began to work with a medium-format Speed Graphic camera, with which he created some of the most beautiful night photographs of railroads ever made. He attended San Francisco City College and from 1956 to 1962 worked as a photojournalist on staff of the Marin Independent Journal. In 1963, his book Backwoods Railroad of the West was published and eventually became one of the most collectible railroad books. His work has been published in Trains Magazine, Railfan, Locomotive & Railway Preservation, Vintage Rail, and numerous books. Richard Steinheimer passed away on May 4, 2011. Source: Robert Mann Gallery
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