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Warren Agee
Warren Agee
Warren Agee

Warren Agee

Country: United States
Birth: 1966

Warren Agee, born 1966 in Buffalo, NY, USA, is a fine art photographer whose practice explores his connection with the natural world. After attempting many different creative careers including drawing, architecture, jewelry-making and the fiber arts, Warren accidentally discovered photography in the mid 1990s while making color transparencies of his jewelry to submit to juried art fairs. He soon pointed his camera to everything growing in his yard and never looked back. He fully embraced digital technologies in the early 2000s. He works primarily in monochrome. "Unless it is the focal point of an image, I find color tends to distract from form and content. My photographer's eye primarily sees structure, composition, and texture." His work has been exhibited in various galleries including Middlebury, VT. and Minneapolis, MN, as well as receiving honorable mentions in the 2021 Monovisions Awards. He currently resides in Petaluma, CA, USA.

Statement
The slopes of Mt. Tamalpais ("Mt. Tam"), which rises over 2500 feet above Marin County just north of San Francisco, consists of a vast and varied landscape of rolling grasslands, meadows, canyons, lakes, waterfalls, and redwood forests. Marine fog rolls in off the Pacific coast and supplies moisture year-round, creating what seems to be a tropical rainforest complete with moss-covered oaks and boulders. It is an unlikely setting for a region located a mere 20 miles from a bustling city. The average age of the redwoods on Mt. Tam is 600-800 years, a mind-boggling number to consider as you stand underneath them. These images attempt to portray the otherworld quality of Mt. Tamalpais., where one half-expects fairies and trolls to greet you as you hike along the trails.
 

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Désirée Dolron
Netherlands
1963
Désirée Dolron is a Dutch photographer and filmmaker. Her oeuvre ranges from documentary photography and still lifes to portraiture and film.Throughout her career, Dolron has been investigating themes such as the passing of time, the relation between finite and transcendent and the complexity and impermanence of the human condition. Dolron was awarded the 1996 Laureate Prix de Rome (Amsterdam, NL). Her work is represented in numerous international public and private collections including the Solomon R. Guggenheim Museum in New York, Collection H&F in Barcelona, Museo Nacional Centro de Arte Reina Sofia in Madrid, Gemeentemuseum in The Hague, Stedelijk Museum in Amsterdam, la Collection Neuflize Vie in Paris and the Victoria and Albert Museum in London. Désirée Dolron lives and works in Amsterdam. Source: desireedolron.com The meticulous attention to production details characterizes her body of work, and elements such as sound (or its absence –silence) are often used as important tools of narration, helping the viewer to enter into the conceptual depth of Dolron’s works. Both moving and still images are composed by the artist and manage to recreate a reality that is a-temporal, undefined yet extremely present. Desirée Dolron (1963 Haarlem, NL) was awarded the 1996 Laureate Prix de Rome (Amsterdam, NL), and her work is part of major international collections such as the Solomon R. Guggenheim Museum in New York (US), the Museo Nacional Centro de Arte Reina Sofía in Madrid (SP), the Stedelijk Museum in Amsterdam (NL), and the Victoria and Albert Museum, London (UK). Source: GRIMM Gallery
Alejandra Nowiczewski
Italy/Argentina
1966
Born in Buenos Aires and based in Madrid since 2022, Alejandra Nowiczewski is a sworn translator and a photographer specializing in philosophical, social and environmental issues. She obtained a Master’s Degree in Photographic Projects from PhotoESPAÑA and completed several photography workshops and mentorship programs in Argentina and Madrid. She has recently exhibited in Madrid Penumbra, a conceptual photobook dummy based on a book she wrote on the translation of legal metaphor and its social dimension. Addressing metaphor and symbol, she presents her photographic series as a visual and metaphorical reinterpretation of processes, concepts or essential texts. Within the framework of contemporary photography, she seeks to explore the ability of the photographic document to suggest something more than itself, to serve as a conduit to visualize social, philosophical or environmental topics. Her works were featured in Artdoc Magazine and in its online exhibition. She was also a nominee in the reFocus Awards 2022, Black & White Photo Contest, Minimalism, and was selected for PhotoESPAÑA’s Descubrimientos PHE25 portfolio review. She has exhibited her photographic work in Buenos Aires (Rolf Art, Ingõt Arte, Pinta BAphoto 2024 and 2022, and BAphoto 2021) and Madrid (PhotoESPAÑA, Centro de Arte Alcobendas, Museo Zapadores Ciudad del Arte and PhotoESPAÑA, Galería Nueva Las Letras). Her works are also in private collections in Argentina. Statement: I intend that my work, in its form of expression, should have the potential to add meaning and raise awareness. In line with my training in translation and its social dimension, I am interested in creating visual metaphors from linguistic metaphors, with the aim of bringing the cognitive into the visual universe and thus broadening its understanding. My work also explores a variety of themes, ranging from philosophical to climate change, biodiversity and sustainability issues. In the first case, I try to awaken intuition regarding the symbolic; in the second, I compose my images in such a way that, beyond their aesthetic component, they raise awareness about these critical global issues, which I consider priority for human and natural systems. I also accompany my projects with documentary archives that support the research on these topics.
Tina Modotti
Italy / United States
1896 | † 1942
With her camera, Tina Modotti presents a distinctive vision of 1920s Mexico. As a Hollywood actress turned Comintern agent, Modotti used photography as an artistic and political outlet. Born​ in Udine,Italy,​ ​Modotti emigrated to San Fransico at the age of sixteen. She quickly established herself as a successful actress and modeled for notable photographers including Jane Reece and Edward Weston. The latter became her lover and artistic mentor. In 1923, Weston and Modotti set up a successful portrait studio in Mexico City. While there, Modotti moved within avant-garde circles, befriending Frida Kahlo and Diego Rivera. It was during this period in Mexico that she developed her passion for both photography and politics; this culminated in a solo exhibition at the National Library in 1929 which emphasized the revolutionary quality of her work. A year later Modotti was exiled from Mexico because of anti-communist sentiments and in 1931 she set aside a promising career in photography to devote herself entirely to political activism. She worked as a Comintern agent until her death in 1942. Although her life and photographic style are often linked with Edward Westo​n, her political engagement and the eye for composition she harnessed to express it are her own. Calla Lilies (1925) represents a cool appraisal of natural beauty and shows Modotti’s interest in formalism, something she shared with Weston, as she emphasizes the stark lighting, the near symmetry, and the tactile presence of the flowers. In Workers Parade (1926), however, while Modotti’s skill in formal composition is still evident, as the lighting and angle emphasize the repeated pattern of the hats, this dramatic view of a May Day parade in Mexico City reveals Modotti’s Communist sympathies and her ambition to use photography to promote political change.Source: Hundred Heroines Tina Modotti was an Italian American photographer, model, actor, and revolutionary political activist for the Comintern. She left Italy in 1913 and moved to the USA, where she worked as a model and subsequently as a photographer. In 1922 she moved to Mexico, where she became an active Communist. Modotti was born Assunta Adelaide Luigia Modotti Mondini in Udine, Friuli, Italy. Her mother, Assunta, was a seamstress; her father, Giuseppe, was a mason. In 1913, at the age of 16, she immigrated to the United States to join her father in San Francisco, California. Attracted to the performing arts supported by the Italian émigré community in the San Francisco Bay Area, Modotti experimented with acting. She appeared in several plays, operas, and silent movies in the late 1910s and early 1920s, and also worked as an artist's model. In 1917, she met Roubaix "Robo" de l'Abrie Richey. Originally a farm boy from Oregon named Ruby Ritchie, the artist and poet assumed the more bohemian name Roubaix. In 1918, Modotti began a romantic relationship with him and moved with him to Los Angeles to pursue a career in the motion picture industry. Although the couple cohabited and lived as a "married couple", they were not married. She was listed as a U.S. citizen in the 1920 Los Angeles township census. Often playing the femme fatale, Modotti's movie career culminated in the 1920 film The Tiger's Coat. She had minor parts in two other films. The couple entered into a bohemian circle of friends. One of these fellow bohemians was Ricardo Gómez Robelo. Another was the photographer, Edward Weston. As a young girl in Italy her uncle, Pietro Modotti, maintained a photography studio. Later in the U.S., her father briefly ran a similar studio in San Francisco. While in Los Angeles, she met the photographer Edward Weston and his creative partner Margrethe Mather. It was through her relationship with Weston that Modotti developed as an important fine art photographer and documentarian. By 1921, Modotti was Weston's lover. Ricardo Gómez Robelo became the head of Mexico's Ministry of Education's Fine Arts Department, and persuaded Robo to come to Mexico with a promise of a job and a studio. Robo left for Mexico in December 1921. Perhaps unaware of his affair with Modotti, Robo took with him prints of Weston's, hoping to mount an exhibition of his and Weston's work in Mexico. While she was on her way to be with Robo, Modotti received word of his death from smallpox on February 9, 1922. Devastated, she arrived two days after his death. In March 1922, determined to see Robo's vision realized, she mounted a two-week exhibition of Robo's and Weston's work at the National Academy of Fine Arts in Mexico City. She sustained a second loss with the death of her father, which forced her to return to San Francisco later in March 1922. In 1923, Modotti returned to Mexico City with Weston and his son Chandler, leaving behind Weston's wife Flora and their youngest three children. She agreed to run Weston's studio free of charge in return for his mentoring her in photography. Together they opened a portrait studio in Mexico City. Modotti and Weston quickly gravitated toward the capital's bohemian scene and used their connections to create an expanding portrait business. Together they found a community of cultural and political "avant-gardists", which included Frida Kahlo, Lupe Marín, Diego Rivera, and Jean Charlot. In general, Weston was moved by the landscape and folk art of Mexico to create abstract works, while Modotti was more captivated by the people of Mexico and blended this human interest with a modernist aesthetic. Modotti also became the photographer of choice for the blossoming Mexican mural movement, documenting the works of José Clemente Orozco and Diego Rivera. Between 1924 and 1928, Modotti took hundreds of photographs of Rivera's murals at the Secretariat of Public Education in Mexico City. Modotti's visual vocabulary matured during this period, such as her formal experiments with architectural interiors, blooming flowers, urban landscapes, and especially in her many beautiful images of peasants and workers during the depression. In 1926, Modotti and Weston were commissioned by Anita Brenner to travel around Mexico and take photographs for what would become her influential book Idols Behind Altars. The relative contributions of Modotti and Weston to the project has been debated. Weston's son Brett, who accompanied the two on the project, indicated that the photographs were taken by Edward Weston. In 1925, Modotti joined International Red Aid, a Communist organization. In November 1926, Weston left Mexico and returned to California. During this time Modotti met several political radicals and Communists, including three Mexican Communist Party leaders who would all eventually become romantically linked with her: Xavier Guerrero, Julio Antonio Mella, and Vittorio Vidali. Starting in 1927, a much more politically active Modotti (she joined the Mexican Communist Party that year) found her focus shifting and more of her work becoming politically motivated. Around that time her photographs began appearing in publications such as Mexican Folkways, Forma, and the more radically motivated El Machete, the German Communist Party's Arbeiter-Illustrierte-Zeitung (AIZ), and New Masses. Mexican photographer Manuel Álvarez Bravo divided Modotti's career as a photographer into two distinct categories: "Romantic" and "Revolutionary", with the former period including her time spent as Weston's darkroom assistant, office manager and, finally, creative partner. Her later works were the focus of her one-woman retrospective exhibition at the National Library in December 1929, which was advertised as "The First Revolutionary Photographic Exhibition In Mexico". As a result of the anti-communist campaign by the Mexican government, Modotti was exiled from Mexico in 1930. She first spent several months in Berlin, followed by several years in Moscow. Traveling on a restricted visa that mandated her final destination as Italy, Modotti initially stopped in Berlin and from there visited Switzerland. The Italian government made concerted efforts to extradite her as a subversive national, but with the assistance of International Red Aid activists, she evaded detention by the fascist police. She apparently intended to make her way into Italy to join the anti-fascist resistance there. In response to the deteriorating political situation in Germany and her own exhausted resources, however, she followed the advice of Vittorio Vidali and moved to Moscow in 1931. After 1931, Modotti no longer photographed. Reports of later photographs are unsubstantiated. During the next few years she engaged in various missions on behalf of the Workers International Relief organizations as a Comintern agent in Europe. When the Spanish Civil War erupted in 1936, Vidali (then known as "Comandante Carlos") and Modotti (using the pseudonym "Maria") left Moscow for Spain, where they stayed and worked until 1939. She worked with Canadian Dr. Norman Bethune during the disastrous retreat from Málaga in 1937. In 1939, following the collapse of the Republican movement in Spain, Modotti left Spain with Vidali and returned to Mexico under a pseudonym. In 1942, at the age of 45, Modotti died from heart failure while on her way home in a taxi from a dinner at Hannes Meyer's home in Mexico City, under what are viewed by some as suspicious circumstances. After hearing about her death, Diego Rivera suggested that Vidali had orchestrated it. Modotti may have "known too much" about Vidali's activities in Spain, which included a rumoured 400 executions. An autopsy showed that she died of natural causes, namely congestive heart failure. Her grave is located within the vast Panteón de Dolores in Mexico City. Source: Wikipedia
Loretta Lux
Germany
1969
Loretta Lux was born in Dresden, East Germany and is a fine art photographer known for her surreal portraits of young children. She currently lives and works in Monaco. Lux graduated from the Academy of Visual Arts in Munich in the 1990s, and debuted at the Yossi Milo gallery, New York in 2004. The show put both Yossi Milo and Loretta Lux on the map, selling out and setting prices never before seen from a new gallery. In 2005, Lux received the Infinity Award for Art from the International Center of Photography. Her work has since been exhibited extensively abroad, including solo exhibitions in 2006 at the Fotomuseum Den Haag, The Netherlands, and the Sixth Moscow Photobiennale. Her work is included in numerous museums collections worldwide, including the Solomon R. Guggenheim Museum; J.Paul Getty Museum, Los Angeles, San Francisco Museum of Modern Art; Museum of Contemporary Art, Los Angeles; Los Angeles County Museum of Art; Art Institute of Chicago; Israel Museum, Jerusalem; Fotomuseum, den Haag; Museo Nacional Centro de Arte Reina Sofia, Madrid and Musée de l’Elysée, Lausanne, Switzerland, and National Museum of Art, Osaka, Japan. She has had portfolios featured in numerous fine art magazines. The artist executes her compositions using a combination of photography, painting and digital manipulation. Lux's work usually features young children and is influenced by a variety of sources. She originally trained as a painter at Munich Academy of Art, and is influenced by painters such as Agnolo Bronzino, Diego Velázquez, Phillip Otto Runge. Lux also owes a debt to the famous Victorian photographic portraitists of childhood such as Julia Margaret Cameron and Lewis Carroll. Source: Wikipedia Loretta Lux was born in Dresden, Germany, in 1969. In 1989 she left East Germany for Munich, a few months before the fall of the Berlin Wall. From 1990–96, she studied at the Akademie der Bildenden Künste in Munich. Trained as a painter, Lux began taking photographs in 1999. Although Lux first experimented with self-portraits in works like The Hush (1999) and Self-Portrait (2000), she soon transitioned to images of children and adolescents, typically the offspring of friends who she often used as models. Her subjects, with gazes ambiguously empty yet psychologically activated, assume formal poses and appear in calculated garb and hairstyles. Employing photography, painting, and computer manipulation, Lux alters the images, extracting extraneous details, distorting proportions, and setting the children against mediated backgrounds that exist somewhere between Old Master paintings and cheesy studio-portrait backdrops. Lux's earliest works set children against icy blue skies, for example in Troll (2000), Lois (2000), and Isabella (2001). In 2001, while the skies continued to serve as backdrops in some works, Lux began to increasingly stage her images within barren pale pink interiors; such images include Hidden Rooms (2001) and Study of a Girl (2002). In several works including The Book (2003), Lux borrowed poses from Balthus, endowing those works with the rigidity and sense of perversion that characterized the French artist's oeuvre. Lux moved to Ireland in 2004 and increasingly depicted pairs of children rather than the solitary figures that occupied her earlier work. In her images of siblings like The Walk (2004), The Irish Girls (2005), and Hugo and Dylan (2006), the figures are psychologically isolated and physically interact quite gingerly with minimal and half-hearted gestures, perhaps an arm around a shoulder. Lux photographed the twins Sasha and Ruby (2005), girls who again sat for multiple images the artist produced in 2008. In 2007 Lux created her first self-portrait in seven years, this time occupying the pale blue and pink world of the children and bearing their ambiguous, confounding expression. Solo exhibitions of Lux's work have been organized by Stadtmuseum in Muenster (2003), Fotomuseum den Haag in The Hague (2005), Museo de Arte Contemporaneo de Monterrey (2008), and Kulturhuset in Stockholm (2009), among others. Lux's work has also been included in major exhibitions such as Arbeit an der Wirklichkeit, German Contemporary Photography at the National Museum of Modern Art in Tokyo (2005–06), Global Feminisms at the Brooklyn Museum (2007), Family Pictures at the Solomon R. Guggenheim Museum in New York (2007), and the Havana Biennale (2009). In 2005 she received the Infinity Award for Art from The International Center of Photography in New York. Lux lives and works in Monaco. Source: Guggenheim
Stephen Wicks
United States
Stephen Wicks' attraction to photography began during his childhood. He says he was inspired by the photo essays in LIFE Magazine. Each week when a new issue arrived it seemed like the world beyond his home was in his hands and he had feelings for and wanted to meet the people who appeared in the pictures and visit the places he saw on the pages in the magazine. Wicks has always had a deep interest in all forms of communication. He says his attraction to the visual world and belief in the power of images triggered his imagination, cultivated his intuition, awakened within him a natural curiosity and an instinct to questioning everything. These qualities have been the inspiration for Wicks to follow parallel careers as an imagemaker and visual educator. As an artist Stephen Wicks has been using photography, videography, monologues and soundscapes to tell stories about the things he see's, questions and values. His motivation has been to create picture stories, in print and now also on the screen, to share with others what he has experienced, discovered and captured. During his early career Wicks created traditional B&W photo essays with up close and personal photographs made, often while living with his subjects over a long period of time, and returning many years later to see and capture changes in their lives. More recently, Wicks has been making digital color photographs of landscapes, places and objects found in spaces shared by the natural landscape and built environment. Although these photographs are void of people, he believes a human trace is visible in each picture and, with this in mind, he see's his Nature/Culture images as social landscapes. It is precisely the absence of people along with a sense of their presence, as seen in the marks and artifacts left in the environment, he now finds most fascinating. Stephen Wicks is currently developing two presentation/performance/storytelling projects: PICTURE STORIES: a series of live presentations based on thematic video vignettes, photographs and monologues about American people, places, experiences and events; including a dialogue with the audience (in development / launch: September 2019) BEING THERE: his YouTube Channel - a video magazine about American Culture - including picture stories, video journals and commentary on education, art, communication, politics, economy, media (in development / launch: October 2019)
Margaret Bourke-White
United States
1904 | † 1971
Margaret Bourke-White studied at the University of Michigan and then at Cornell University where she first discovered photography in 1927. She started taking pictures of buildings and engines. Henri Luce who created the magazine Fortune was very impressed with her work and decided to hire her as editor-in-chief in 1930. In November 1936 her picture of the Fort Peck dam makes the cover of Life magazine. It was the beginning of a long collaboration (1931-1971) and the real beginning of her career. She traveled to USSR in 1931 and then worked with E. Caldwell on the subject of poverty in the US (1937). She is then a photographer for the US Air Force and travels to Moscow, Germany, India, South Africa, and Korea. At the same time, she works for advertising agencies. At the end of the 50s, she has to stop working because of Parkinson disease.Source: Wikipedia Photography is a very subtle thing. You must let the camera take you by the hand, as it were, and lead you into your subject. -- Margaret Bourke-White Margaret Bourke-White, original name Margaret White, American photographer known for her contributions to photojournalism. Margaret White was the daughter of an engineer-designer in the printing industry. She attended Columbia University (1922–23), the University of Michigan (1923–25), Western Reserve University (now Case Western Reserve University), and Cornell University (A.B., 1927). During this period she took up photography, first as a hobby and then, after leaving Cornell and moving to New York City, on a professional freelance basis. She combined her own last name with her mother’s maiden name (Bourke) to create her hyphenated professional name. Beginning her career in 1927 as an industrial and architectural photographer, she soon gained a reputation for originality, and in 1929 the publisher Henry Luce hired her for his new Fortune magazine. In 1930 Fortune sent Bourke-White to photograph the Krupp Iron Works in Germany, and she continued on her own to photograph the First Five-Year Plan in the Soviet Union. She became one of the first four staff photographers for Life magazine when it began publication in 1936, and her series of photographs of Fort Peck Dam was featured on the cover and as part of the feature story of the first issue. Throughout the 1930s Bourke-White went on assignments to create photo-essays in Germany, the Soviet Union, and the Dust Bowl in the American Midwest. These experiences allowed her to refine the dramatic style she had used in industrial and architectural subjects. These projects also introduced people and social issues as subject matter into her oeuvre, and she developed a compassionate, humanitarian approach to such photos. In 1935 Bourke-White met the Southern novelist Erskine Caldwell, to whom she was married from 1939 to 1942. The couple collaborated on three illustrated books: You Have Seen Their Faces (1937), about Southern sharecroppers; North of the Danube (1939), about life in Czechoslovakia before the Nazi takeover; and Say, Is This the U.S.A. (1941), about the industrialization of the United States. Bourke-White covered World War II for Life and was the first woman photographer attached to the U.S. armed forces. While crossing the Atlantic to North Africa her transport ship was torpedoed and sunk, but Bourke-White survived to cover the bitter daily struggle of the Allied infantrymen in the Italian campaign. She then covered the siege of Moscow and, toward the end of the war, she crossed the Rhine River into Germany with General George Patton’s Third Army troops. Her photographs of the emaciated inmates of concentration camps and of the corpses in gas chambers stunned the world. After World War II, Bourke-White traveled to India to photograph Mahatma Gandhi and record the mass migration caused by the division of the Indian subcontinent into Hindu India and Muslim Pakistan. During the Korean War she worked as a war correspondent and traveled with South Korean troops. Stricken with Parkinson disease in 1952, Bourke-White continued to photograph and write. She retired from Life magazine in 1969.Source: Encyclopaedia Britannica The beauty of the past belongs to the past. -- Margaret Bourke-White
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