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Arthur Leipzig
Arthur Leipzig

Arthur Leipzig

Country: United States
Birth: 1918 | Death: 2014

Arthur Leipzig (October 25, 1918 – December 5, 2014) was an American photographer who specialized in street photography and was known for his photographs of New York City.

Leipzig was born in Brooklyn. After sustaining a serious injury to his right hand while working at a glass wholesaler, Leipzig joined the Photo League where he studied photography, took part in Sid Grossman's Documentary Workshop, taught Advanced Technique classes for three years, and exhibited his work. From 1942 until 1946 he was a staff photographer for PM. He also studied under Paul Strand before quitting the League to pursue a career as a freelance photojournalist.

In 1955 Leipzig's 1943 photograph King of the Hill, depicting two little boys challenging each other on a sand heap, was selected by Edward Steichen for the world-touring exhibition The Family of Man at the Museum of Modern Art in New York, that was seen by 9 million visitors.

Leipzig was a professor of art and the director of photography at the CW Post Campus of Long Island University from 1968–1991. In an effort to build his department and enhance the quality of photographic techniques, Leipzig recruited two well-known photojournalists, Louis Stettner and Ken Johnson (formerly a photo editor with Black Star) to his staff. He also recruited the now, highly regarded female photographer, Christine Osinski. Leipzig contributed his work to many publications including Fortune, Look, Parade, and Natural History, while continuing to pursue his independent projects. In 2004, he won the Lucie Award for Outstanding Achievement in Fine Art Photography.

Leipzig died in Sea Cliff, New York on December 5, 2014, aged 96.

Source: Wikipedia


Leipzig shot thousands of rolls of film over five decades, producing beautifully constructed yet socially powerful photographs that take a sincere look at street life. Among the most memorable are photo essays on children’s street games, city workers atop the Brooklyn Bridge, Coney Island, and V-Day. Leipzig candidly captured New York’s favorite personalities as Louis Prima, W.C. Handy and Mayor La Guardia. His assignment locales outside of New York City included Peru, Sudan, and the Sahara, as well as places closer to home like West Virginia, Kansas and Jones Beach.

Acclaimed as a sensitive and impassioned documentary photographer, Arthur Leipzig has always directed his camera toward the human condition and his deep love of people, shooting in a straightforward fashion, never forcing the moment but rather allowing a human story to transform simply and spontaneously. As a result, his photographs depict the human community with great intimacy and dynamic energy.

Source: Howard Greenberg Gallery


Arthur Leipzig's photography is represented in the permanent collections of The Museum of Modern Art, The Brooklyn Museum, The National Portrait Gallery, The Jewish Museum, and The Bibliothèque nationale de France. His solo exhibitions include Arthur Leipzig: a World View at the Howard Greenberg Gallery, Growing Up in New York at the Museum of the City of New York, Jewish Life Around the World at the Nassau County Museum of Fine Art.

Source: Jackson Fine Art


 

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Jacques Lowe
United States
1930 | † 2001
Jacques Lowe (born Jascha Lülsdorf) was a photographer and publisher best known for his role as U.S. President John F. Kennedy's official photographer during his election campaign and presidency. Lowe was born in Cologne, Germany, on Jan. 24, 1930. He came to New York in 1949 and became an assistant to the photographer Arnold Newman in 1951. Lowe began working as Kennedy's campaign photographer in 1958, and documented the Kennedy administration after his election until 1962. Lowe died at his home in Manhattan on May 12, 2001. Months after his death, approximately 40,000 of Lowe's negatives were destroyed in the September 11 attacks on the World Trade Center.Source: Wikipedia Jacques Lowe is an internationally renowned photographer and photo journalist who is best known for his portraiture of the leading personalities of our time, nationally and internationally, in politics, business, and the entertainment world. In 1951, Mr. Lowe was a prize winner in Life magazine's contest for young photographers, after which Roy Stryker, the grand old man of photography, gave him an eight week assignment in Europe. Starting in 1953 as a contributor to Jubilee magazine he won numerous awards for his photo journalistic work among gypsies and other minorities. He went on to contribute to such magazines as Time, Life, Look, The Saturday Evening Post, Ladie's Home Journal, Paris Match, Epoca, Stern, and many others, and he was a staff photographer at Collier's Magazine at the time that journal folded. In 1956, through his work, he befriended Robert F. Kennedy who had been appointed majority counsel to the McClellan Committee. In 1958 Ambassador Joseph P. Kennedy, who admired his work, asked him to photograph his "other son, Jack." That assignment led to his becoming the Official Campaign Photographer of John F. Kennedy's quest for the presidency and, when elected, the personal photographer of President Kennedy. Although offered the White House Photographer's job Lowe declined, but the president asked him to "stick around and record my administration. Don't worry, I'll make it worth your while." His work for the campaign, the Kennedy White House, and the Kennedy family has resulted in six books, numerous exhibitions from the USA to Moscow, several prime time television shows, and some 150 major magazine pieces and covers. Reviewers have credited Lowe's "natural, warm, and intimate images of the president and his family and the workings of the presidency with keeping alive the Kennedy flame for generations yet to come." Following his work at the Kennedy White House Lowe returned to his studio in New York where he renewed his magazine, advertising and corporate photography work. His clients ranged from AT&T to Hertz Cars, from DuPont to United Airlines He won numerous gold and silver art director's awards for his commercial work. Lowe was a 26 year old freelance journalist in 1956 when he was assigned by three magazines within the same week to photograph Chief Counsel Robert Kennedy. They became friends and Lowe soon was invited to spend weekends at Kennedy's Hickory Hill home in Virginia. Joseph Kennedy, Sr. was impressed with Lowe's photographs and requested he photograph his other son 'John'. Although the initial meeting between Lowe and Senator Jack Kennedy was not an auspicious start, the relationship soon changed course due to Lowe's honorable approach to his photographs and he was provided unprecedented access to one of the most iconic leaders of the 20th century, as well as members of his family. These legendary images share an intimate view of John F. Kennedy as he was on the intense campaign trail, important moments during the early years of his term as President and family moments with his wife Jackie and his children. The archive comprises over 40,000 images.Source: Westwood Gallery What do you do when, as a photographer, you are told your image archive is so precious that it's uninsurable? The answer for Jacques Lowe, whose images helped create the legend of John F Kennedy, was to store them in JP Morgan's seemingly impregnable vault in Tower 5 of New York's World Trade Center. But then 9/11 came, and his life's work went with it. After the terror attack, Jacques Lowe's daughter, Thomasina, campaigned to try and retrieve her father's archive from the twin tower's rubble before they were razed. Amazingly, the safe in which they were stored was found intact, but the contents – over 40,000 negatives – were reduced to ash. All was not completely lost though, as 1,500 of Lowe's contact sheets were located elsewhere in New York. From these, selected images were painstakingly restored for an exhibition at the Newseum in Washington DC. A collection of prints from the original negatives were also made by the photographer himself, prior to his death four months before 9/11. An exhibition at Proud Chelsea in London is now showcasing these rarities.Source: The Guardian
Laura Aguilar
Mexico/United States
1959 | † 2018
Laura Aguilar, a pioneering photographer, used her lens as a powerful tool for social empowerment and representation. Born with a keen eye and a deep sense of empathy, Aguilar sought to challenge the traditional narratives of art history by capturing the beauty and dignity of marginalized communities often overlooked by mainstream society. Aguilar's work defied convention, focusing on subjects that had long been excluded from the artistic canon. From lesbians and Latinas to individuals with disabilities and those whose bodies did not conform to societal norms, Aguilar fearlessly confronted stereotypes and celebrated the diversity of human experience. Her photographs were a testament to the strength, resilience, and inherent worth of each individual, regardless of their background or identity. I wouldn't know what to do with the perfect body. Can we get comfortable with the imperfections? – Laura Aguilar What set Aguilar apart as an artist was not only her choice of subjects but also her meticulous attention to the formal aspects of photography. Drawing inspiration from both modernist and Social Documentary traditions, Aguilar infused her work with a unique perspective informed by her own lived experience as a lesbian Latina. Through her lens, she sought to capture the essence of her subjects in a way that transcended superficial appearances, inviting viewers to connect with the humanity and complexity of each individual. Above all, Aguilar viewed art as a means of giving voice to those who had been silenced or marginalized. Her photographs served as a powerful form of advocacy, challenging viewers to confront their own biases and preconceptions while fostering empathy and understanding. Through her art, Aguilar sought to create a more inclusive and compassionate society, one where all individuals were valued and respected for who they are. I know some people see me as very childlike, naïve. Maybe so. I am. But I will be damned if I let this part of me die! – Laura Aguilar Despite facing obstacles and adversity throughout her life, Aguilar remained steadfast in her commitment to social justice and equality. Her work continues to inspire and provoke, reminding us of the importance of representation and the transformative power of art. Laura Aguilar's legacy lives on through her photographs, which serve as a testament to the enduring strength of the human spirit and the possibility of positive change.
Hendrik Kerstens
Netherlands
1956
Since 1995, Dutch photographer Hendrik Kerstens has been photographing his daughter, Paula. His photographs have been collected by museums around the world and have inspired taste-makers as diverse as Elton John and Alexander McQueen. (McQueen, in fact based his Fall 2009 collection on Kerstens' image of Paula with a plastic bag as a head-dress, using the image as his invitation for the show.) Initially Kerstens' photographs were created out of the artist's desire to capture something of the fleeting moments that fade of childhood. The pictures recorded everyday events – his daughter's sunburn, the child's bath. However, one day there was a moment of revelation when Kerstens not only saw her in relation to the events of her own life, but also projected on her his interest in the Dutch painters of the seventeenth century.
 As Kerstens recalls, "One day Paula came back from horseback riding. She took off her cap and I was struck by the image of her hair held together by a hair-net. It reminded me of the portraits by the Dutch masters and I portrayed her in that fashion. After that I started to do more portraits in which I refer to the paintings of that era. The thing that fascinates me in particular is the way a seventeenth-century painting is seen as a surface which can be read as a description of everyday life as opposed to the paintings of the Italian renaissance, which usually tell a story. Northern European painting relies much more on craftsmanship and the perfect rendition of the subject. The use of light is instrumental in this." A number of the portraits of Paula are clearly reminiscent of Johannes Vermeer. The austerity of the photograph, its clarity, the serene expression on the young girl's face, and not least, the characteristic "Dutch" light, all combine to create this impression.
 However, Kerstens was not just imitating painting. As the series progressed, he became increasingly interested in the game of creating a conceptual and humorous dialog between past and present. The titles give the game away. "Napkin" looks like a maid's bonnet. In "Bag", a plastic grocery bag is shaped to look like a lace hood. In other pictures no pretense is made to imitate 17th century clothing but Paula's face and Kerstens' light turn a thoroughly modern hoodie into a classic and timeless garment. Conceptually, Kerstens' photographs play with the dialog between the mediums of painting and photography, with seriality, and time. On a more emotional level, they address everyday reality while expressing his love for his child, and the knowledge and development of his craft.Source: Danziger Gallery Hendrik Kerstens' (1956) oeuvre consists of a consequent sequence of portraits from his muse, his daughter, each time with a different angle, meaning or purpose. In the hemisphere of the radically realist paintings of the Dutch Golden Age, Kerstens explores the photograph as a surface, a platform to study contemporary ordinary objects and its meaning in historical tradition. With his typical selection for down-to-earth forms of headwear, from a napkin, a wet towel, spheres of lace to folded aluminium foil, he recalls how daily life has always been an integral subject of art, whether in the 17th or in 21st century. With his clear ambition to illustrate the dialogue between history and contemporary life, rich and sober, functional and valuable, Kerstens also accomplishes to renew and contemporize history while boosting the position and function of day-to-day objects. In connecting todays photography techniques with the camera obscura techniques in earlier times, Kerstens raises awareness for the use and development of the photographic process. It is not accidental that he is a state-of-the-art perfectionist, taking nothing for granted and giving a lot of attention to the work process. The printing proces itself, the hardly visible transition of the many dark tones, the interplay of light and shadow, Kerstens dedicates himself completely in refining the image, where details and the way of looking play a key role. Kerstens, who worked many times with Kathy Ryan from The New York Times Magazine, was awarded the PANL award (2001) in the Netherlands; the Taylor Wesing Photographic Portrait Prize (2008) at the National Portrait Gallery in London, the silver LeadAward Medaillon, Porträtfotografie des Jahres (2010) in Germany and the 11th Lucie Award (2013). Kerstens work and ideas were included in Alexander McQueen's spectacular show The Horn of Plenty: Everyting but the Kitchen Sink, a retrospective on 15 shocking years in fashion.Source: Flatland Gallery Galleries:   Danziger Gallery   Jenkins Johnson Gallery   Dean Project   Flatland Gallery
Ernest Cole
South Africa
1940 | † 1990
Ernest Cole was born in South Africa’s Transvaal in 1940 and died in New York City in 1990. During his life he was known for only one book: House of Bondage – published in 1967. In 2011, the Hasselblad Foundation produced a follow-up: Ernest Cole: Photographer. Cole’s early work chronicled the horrors of apartheid and in 1966 he fled the Republic of South Africa becoming a ‘banned person’. He was briefly associated with Magnum Photographers and received funding from the Ford Foundation and Time-Life. In North America, he concentrated on street photography in primarily urban settings. Between 1969 and 1971, Cole spent an extensive amount of time on regular visits to Sweden where he became involved with the Tiofoto collective and exhibited his work. From 1972, Cole’s life fell into disarray and he ceased to work as a photographer, losing control of his archive and negatives in the process. Having experienced periods of homelessness, Cole died aged forty-nine of pancreatic cancer in 1990. In 2017, more than 60,000 of Cole’s negatives missing for more than forty years were discovered in a Stockholm bank vault. This work is now being examined and catalogued.Source: Magnum Photos Ernest Cole (1940–1990)—one of South Africa’s first black photo-journalists—created powerful photographs that revealed to the world what it meant to be black under apartheid. With imaginative daring, courage, and compassion, Cole portrayed the everyday lives of blacks as they negotiated apartheid’s racist laws and oppression. Apartheid, which means “apartness” in Afrikaans (the language of South Africa’s white minority of Dutch descent), was an often brutally enforced legal policy that separated people by race in all aspects of life, within a white supremacist hierarchy of power. Born in Eersterust, a black freehold township in Pretoria, Cole was forcibly relocated with his family to nearby Mamelodi in the late 1950s. While still a teenager, he began working as a darkroom assistant at Drum, a black lifestyle magazine in Johannesburg. There he mingled with young black South African photographers, journalists, jazz musicians, and leaders of the burgeoning anti-apartheid movement. Inspired by Henri Cartier-Bresson’s photo-essays, Cole embarked on a life mission to produce a book that would awaken the rest of the world to apartheid’s corrosive effects. House of Bondage was published in New York in 1967. Although it was immediately banned in South Africa, contraband copies spurred on the country’s emerging activist photographers. Cole’s images are hard-hitting and incendiary, yet often subtle and even elegant. He frequently worked clandestinely with a hidden camera to capture scenes he was forbidden to photograph, employing striking perspectives and framing. Many of the prints on view here are displayed for the first time uncropped, as he originally intended, and often accompanied by House of Bondage’s incisive captions. In 1966 Cole was arrested by the South African police. Fleeing to Europe, he took with him little more than the layouts for his book. He spent the remaining 23 years of his life in painful exile between Sweden and the United States; after 1975 he was often destitute, living on New York City streets and in the subway. In 1990 he died of cancer at the age of 49—one week after Nelson Mandela’s release from prison. Nearly all his possessions were lost; fortunately, he had given some prints to Tio Fotografer, a Swedish photographers’ association, which later donated them to the Hasselblad Foundation. Bringing this remarkable artist’s works to the international stage, Ernest Cole Photographer commemorates his pioneering efforts to capture the complex truths of day-to-day, lived experiences during harrowing times. Critiquing institutionalized segregation and celebrating human resilience, Cole challenged the status quo, and his work continues to speak eloquently and forcefully to contemporary issues of poverty and racial inequality in the United States and worldwide.Source: Grey Art Gallery, NYU
Matthew O’Brien
United States
Matthew James O’Brien is a photographer from San Francisco whose work celebrates humanity and the natural world. He studied zoology at the University of California at Berkeley. His understanding of the natural world informs his photography and his understanding of humanity. Across all of his work, regardless of the medium, there is one unifying theme— finding beauty, in any circumstance. That could be in the inner-city schools of Oakland, rural Sinaloa, Mexico caught up in narco violence, the dying ranching community across the bay from San Francisco, or war-ravaged Colombia. His work has been exhibited and collected by various institutions including the Library of Congress, the Houston Museum of Fine Arts, the California Museum of Photography, the Fries Museum (Netherlands), the Art Science Museum (Singapore) and el Museo de Arte Moderno de Cartagena (Colombia). Among the awards he has received are a Mother Jones International Fund for Documentary Photography Award, a Community Heritage Grant from the California Council for the Humanities, and a Fulbright Fellowship. He was a Creative Uses Consultant for Polaroid, and has worked extensively with Polaroid films, including No Dar Papaya, his eleven-year exploration of Colombia, which became a book (Icono Editorial/Placer Press). O’Brien also works with video, and teaches photography in English and Spanish. He has taught at UC Berkeley, the Universidad de Antioquia and the Universidad de Medellín in Colombia, among other places. His work has appeared in publications from The Washington Post to Camera Arts. His favorite clients to work with are NGO’s that work to make the world a better place.
Aaron Siskind
United States
1903 | † 1991
Aaron Siskind was born on December 4, 1903 in New York. He was the son of Russian Jewish immigrants and the fifth of six children. After receiving his Bachelor of Social Science degree from the College of the City of New York in 1926, he went on to teach high school English in the New York public school system for 21 years. His first loves were music and poetry, but he took an interest in photography after his 1929 wedding, when he received his first camera as a honeymoon present. He began his career in photography as a documentarian in the New York Photo League in 1932. From 1936 to 1940, he oversaw the League’s Feature Group as they created documentary photo essays of political importance, fueled by a desire for social change.On the invitation of Harry Callahan, Siskind joined the faculty of the Institute of Design in Chicago in 1951, taking over as head of the photography program in 1961, when Callahan left. Siskind and Callahan, famous for their synergy as teachers and photographers, reunited in 1971 when SIskind left the Institute of Design for the Rhode Island School of Design where Callahan then taught. Siskind continued to teach at RISD until his retirement in 1976. He traveled broadly, making multiple trips to Mexico and Italy, including a stint in Rome, funded by his 1966 John Simon Guggenheim Memorial Fellowship.Siskind died at age 87 in Providence, Rhode Island. The Aaron Siskind Centennial Celebration took place in 2003 and 2004, with exhibitions at more than a dozen institutions across the country, each devoted to a different period or theme of his life and work.
Christopher Felver
United States
1946
Christopher Felver (born October 1946) is a photographer and filmmaker who has published several books of photos of public figures, especially those in the arts, most notably those associated with beat literature. He has made numerous films (as director, cinematographer, or producer), including a documentary on Lawrence Ferlinghetti, Ferlinghetti: A Rebirth of Wonder, released in 2013. Christopher Felver has photographed numerous writers, intellectuals and filmmakers such as Charles Bukowski, William Burroughs, Noam Chomsky, Gregory Corso, Clint Eastwood, Lawrence Ferlinghetti, Allen Ginsberg, Dennis Hopper, Oliver Stone, Elizabeth Taylor, Hunter S. Thompson and Kurt Vonnegut. His photography has been exhibited internationally, with solo photographic exhibitions at the Arco d'Alibert, Rome (1987); the Art Institute for the Permian Basin, Odessa, Texas (1987); Torino Fotografia Biennale Internazionale, Turin, Italy (1989); Centre Georges Pompidou, Paris (1994); Roosevelt Study Center, Middelburg, Netherlands (1998); Fahey/Klein Gallery, Los Angeles (2002); the Maine Photographic Workshop (2002); Robert Berman Gallery, Los Angeles (2007); the San Francisco Public Library (2018)[3] and other galleries and museums. His works have also appeared in major group exhibitions, including The Beats: Legacy & Celebration, New York University (1994) and Beatific Soul: Jack Kerouac On The Road, New York Public Library (2007). A collection of his photographs is held by the University of Delaware. Source: Wikipedia Christopher Felver is a cultural documentarian. His distinctive visual signature is a lasting contribution to the legacy of our national cultural community. Felver’s films & photographs reads like a roster of American mid-century avant-garde. Aside from portraits, Christopher Felver has also produced another body of work entitled: Ordered World. About this body of work, curator, James Crump writes, “Mr. Felver celebrates the elemental essences manmade and natural objects that tend to elude observation. Working in a manner not unlike Karl Blossfeldt, Albert Renger-Patzsch and the New Objectivity artists of 1920s and ’30s Germany, Felver asserts his own contemporary vision here. His pictures are informed by Minimalism and the keen, refined observation of a poet unwilling to discard the mundane or topical content that surrounds us but, nevertheless, is overlooked in the quickened pace of our technologically frenzied age. The series, while concerned with monumentalizing and focusing our attention on the ordered and structured surfaces of objects, resists any historical referencing to the hardened gaze of the twentieth century. It asks the viewer to ruminate on the overlooked beauty which surrounds us, the wonderment that unfolds, with careful and refined examination.” In 1994 Felver attended a Connecticut gathering of Native American dancers in ceremonial dress. These 20 photographs capture a traditional gathering of Northeastern tribes in Felver’s direct portrait style. As visiting artist in 1988 & 1989 at the American Academy in Rome, Christopher Felver made over 250 portraits of European artists across the continent. Felver’s 1350 portraits represent American and European cultural icons. In 1984 Christopher Felver traveled as a journalist to Japan, Hong Kong and Beijing documenting the customs and social conditions. Writers Lawrence Ferlingetti, Robert Creeley, David Amram, Amiri Baraka, George Plimpton, David Shapiro, Luc Sante, Lee Ranaldo, William Parker, Douglas Brinkley, Gary Snyder, Lance Henson, Linda Hogan and Simon Ortiz have written introductions for Christopher Felver’s books. Source: chrisfelver.com "With his gravelly voice, Felver would have made a great gumshoe in a mystery serial during the Golden Age of American radio, which ended around 75 years ago. Luckily for us, he did not miss his calling, which is to take portraits of the people who make up the cultural backbone of America — its artists, writers, composers, and musicians — people in the public eye, even if that audience is tiny." "Felver didn’t just take a photograph, as each portrait is accompanied by a short poem or line of poetry written by the subject in his or her own hand. He finds another way to be a witness." "I cannot think of another person who has given us such intimate portraits of Sherman Alexie, Amiri Baraka, Louise Erdrich, Lawrence Ferlinghetti, Allen Ginsberg, Joy Harjo, Eartha Kitt, Jasper Johns, Toni Morrison, Patti Smith, and Anne Waldman. He has made photographic portraits of Native American writers, and of composers and musicians from John Cage and Doc Watson to Mavis Staples and Ozzy Osbourne. He spent a week in Nicaragua in early part of 1984 with Lawrence Ferlinghetti, five years after the 1979 July revolution there. The photographs in Felver’s book, The Late Great Allen Ginsberg (2002), were taken between 1980 and 1997, in which various other people make appearances: Philip Glass, Ray Manzarek, Ed Sanders, Norman Mailer, Robert Frank, and Gary Snyder." "Each of these projects reveals another side of Felver’s capacity to engage with others and the world, as well as to stand aside and let his subjects speak. I cannot think of anyone who has been as devoted as Felver has been to his subjects. Perhaps it is time we find a way to return that devotion." -- John Yau Source: Hyperallergic
Sean Gallagher
United Kingdom
1979
Sean Gallagher is a British photographer and filmmaker, who has been in Asia for over 15 years. Based out of Beijing, China, he specialises in covering issues surrounding the climate crisis and other global environmental issues for some of the world's leading news outlets. He creates innovative photographic, video and multimedia projects that highlight individual's stories from communities that are affected by issues such as climate change, biodiversity loss, pollution, desertification and deforestation. He is a 8-time recipient of the Pulitzer Center on Crisis Reporting travel grant, his images are represented by the National Geographic Image Collection and he is a Fellow of the UK Royal Geographical Society. He graduated in Zoology from university in the United Kingdom and it is his background in science that has led to much of his work being focused on communicating environmental issues through visual storytelling. His selected awards include; Environmental Photographer of the Year - Changing Environments Prize (2019), Resilience Science Journalism Fellow - Craig Newmark Graduate School of Journalism at City University New York (2019), Woods Hole Oceanographic Institute Science Journalism Fellow (2017), Environmental Film of the Year - Winner - 'The Toxic Price of Leather', Environmental Photographer of the Year Competition (2014), Published 'Meltdown', a multimedia eBook documenting China's environmental crises in the early 21st Century (2013). Photography and Climate Change Awareness
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