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Sid Avery
Sid Avery

Sid Avery

Country: United States
Birth: 1918 | Death: 2002

Sid Avery (October 12, 1918 – July 1, 2002) was an American photographer and director who was best known for capturing the private moments of legendary Hollywood celebrities like Elizabeth Taylor, Rock Hudson, James Dean, Marlon Brando, Humphrey Bogart and Audrey Hepburn as showcased in his book Hollywood at Home.

Avery was born in Akron, Ohio on October 12, 1918. He was only nine months old when they decided to move out to Los Angeles, California, which is where he grew up. Sid Avery received his high school education at the institution of Roosevelt High School. He discovered his love and talent of photography when he was young due to the fact that he was able to work with his uncle, Max Tatch, who was a landscape and architectural photographer. His uncle was able to teach him the skills required to use cameras, film, and darkrooms. After he graduated from high school, Sid Avery worked in a camera store on Sunset Boulevard, Hollywood where he further gained love and inspiration for photography. While working in the shop, he had opportunities to meet many famous photographers. This also encouraged him to take more photography classes. He also gained the experience of being a darkroom assistant.

He served in the Army in World War II. When he returned from the war, he began his work of photographing celebrities. Sid Avery eventually became one of the top advertising photographers in Los Angeles. He was also a director of television commercials. Sid Avery was married to Diana Avery. Together they had three children named Sandra Guttman, Marc Avery, and Ron Avery. Sid Avery also had three grandchildren.

He founded the Hollywood Photographer's Archive (HPA) and which is known today as mptvimages.com in an effort to preserve the work of the early Hollywood photographers. Sid Avery's work was commonly featured in publications such as Life, Look, Colliers and The Saturday Evening Post. There is a collection of his work, Hollywood at Home: A Family Album 1950-1965, that was published by Crown in the year of 1990. He is most famous for his work of photography that captured the home life of famous celebrities at the time. He captured the celebrities in their own element aside from the glamour of fame. Sid Avery died at the age of 83 on July 1, 2002, in Los Angeles, California.

Source: Wikipedia


One of six children, Sid Avery was born in 1918 in Ohio and moved to Los Angeles at a young age. Avery repaired a broken brownie box camera that he had found, and with the tutelage of his architectural photographer uncle he began to learn the basics of the photographic profession. By the time he entered Roosevelt High School, Avery’s talent in photography won him numerous prizes and after graduation he landed a job at Morgan’s Camera store on Sunset Boulevard.

Avery was pursuing various odd photography jobs when World War II intervened. He was drafted into the Army, assigned to the Signal Corps, and selected to receive six months of training at Life magazine in New York before being sent overseas. Avery was stationed in London and was placed in charge of the Army Pictorial Service Laboratory, where all the stills and combat footage that came out of the European Theater of Operations passed through his hands. This included the detailed, highly classified photomontages of the French coast which were produced for the Normandy invasion. In order to handle this special material, Avery was granted an immediate commission by General Eisenhower himself.

Photojournalism publications proliferated during the post-war years, and interest in film stars and their private lives grew to an all time high. During the 1950’s and early 1960’s, Avery photographed screen legends such as Humphrey Bogart, Lauren Bacall, Clark Gable, James Dean, Marlon Brando, James Stewart, and Alfred Hitchcock. His photographic essays appeared in the pages of The Saturday Evening Post, Look, Photoplay, Collier’s, Reader’s Digest, and many others.

Avery’s characteristically low key, unobtrusive manner struck a sympathetic chord with reclusive and difficult personalities like Humphrey Bogart, who generally refused to be photographed. Bogart would eventually allow himself to be photographed by Avery with his pregnant wife Lauren Bacall and his son Stephen at their home.

Sid Avery photographs have been exhibited and have been included in the permanent collections of the Museum of Modern Art in New York and San Francisco, the International Center of Photography in New York, the Smithsonian Institute in Washington, D.C., and the Los Angeles County Museum of Art in California.

Source: Wikipedia


 

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More Great Photographers To Discover

John Divola
United States
1949
John Divola is an American contemporary visual artist born in 1949 in Los Angeles, CA. He received a B.A. from California State University, Northridge in 1971 and later received an M.F.A. from the University of California, Los Angeles in 1974. He has held residencies at many institutions including the California Institute of the Arts. He has held the position of Professor in the art department at the University of California Riverside since 1988. His work has been featured in many solo exhibitions across the United States, Europe, Japan, and Australia. He participated in 1978, 1989, and 2000 Museum of Modern Art group exhibitions and in the 1981 Whitney Biennial. Divola received awards as Individual Artist Fellowship from the National Endowment for the Arts in 1973, 1976, 1979, 1990 and a Guggenheim Fellowship in 1986. He published four books: Continuity, Isolated Houses, Dogs Chasing My Car In The Desert, and Three Acts. In Zuma project, he has described being interested in the relationship between real artworks and representations of them, and the issues of the natural and the artificial. Divola said "I attempted ... to develop a practice in which there could be no distinction between the document and the original." In his series of photographs from 1977, he used deserted houses on Zuma Beach and covered their walls in graffiti. He photographed the ocean from the house's interior through windows and cracks. Divola states: "On initially arriving I would move through the house looking for areas or situations to photograph. If nothing seemed to interest me I would move things around or do some spray painting. The painting was done in much the same way that one might doodle on a piece of paper. At that point, I would return to the camera and explore whatever new potentials existed." These cyclical images skillfully juxtapose romantic skies and sunsets with a seaside structure that, frame by frame, deteriorates into ruin as it is vandalized by the artist and others who eventually set it on fire. Divola's works trace a schematic desire for escape, movement, and transcendence. "My acts, my painting, my photographing, my considering, are part of, not separate from, this process of evolution and change. These photographs are not so much about this process as they are remnants from it. My participation was not so much one of intellectual consideration as one of visceral involvement." Dogs Chasing My Car In The Desert are images of dogs in the desert captured in the midst of running wildly after the car. Emphasizing the grain of the image, these black and white photographs capture a haunting moment in which there is a duality between a sense of absence and presence. The behavior of the dogs suggests a lack of previous stimuli, and loneliness at the same time as an all-consuming reaction to the now, a presence. "It could be viewed as a visceral and kinetic dance. Here we have two vectors and velocities, that of a dog and that of a car and, seeing that a camera will never capture reality and that a dog will never catch a car, evidence of devotion to a hopeless enterprise". In the Dark Star series, dark circles have been painted on the walls of an abandoned house. Creation and destruction are held in a delicate equilibrium, the white rooms of the house, are tattered and derelict. The domestic ruins suggest social collapse, secret renditions of something darkly sinister illuminating our conflicted recent history, updating Zuma and Vandalism for our age of foreclosure. In the As Far As I Can Get project, he made photographs by pushing the self-timer button on his camera. An exposure is made in 10 seconds. John Divola currently lives and works in Riverside, CA. Divola works in photography, describing himself as exploring the landscape by looking for the edge between the abstract and the specific.Source: Wikipedia
Peter Bogaczewicz
Poland/Canada
1974
Peter Bogaczewicz is a Canadian photographer and an architect currently developing projects in the Middle East. He divides his time between the two disciplines, often blurring the line between them, and uses his photography as a commentary on the built environment and the human community, how both are changing at a time of rapid progress and growing global interconnectedness, and the impact this has on the natural environment. There is no clearer reflection of a society's aspirations than through its collective "footprint" on nature; it is in the relationship of the constructed world to the natural world that a crucially revealing conversation takes place. Examining this dialogue captures Peter's imagination and appears as a common thread throughout his work, inviting the questions: How do we relate to the places we inhabit? And what does it reveal about us? Peter has recently had his photographs of Saudi Arabia published as a monograph by Daylight books and is regularly receiving recognition for his work. Kingdom of Sand and Cement Looking from the outside, the Kingdom of Saudi Arabia appears doubly inaccessible: a seemingly endless inhospitable landscape populated by a traditionalist culture distrustful of outsiders. But looking from the inside reveals a subtler view: the culture, as different as it is, struggles with its identity like other cultures do at a time of growing global interdependencies and pressures to progress. What distinguishes Saudi Arabia in its struggle is that this country has had very little time to adapt. Though its abundance of oil wealth has given it an unprecedented advantage, at the same time, it ironically threatens its way of life. "Kingdom of Sand and Cement" explores the particular challenge Saudi Arabia is faced with as the country transitions from the tribal desert culture to an influential world power. It is a profound change, taking its population from mud buildings to the tallest of skyscrapers in less than a century. And while the whole country rapidly transforms from arid landscapes dotted with settlements, that seem to simply grow out of the ground, to imposing modern interventions, cutting, filling, and monumentalizing dominance over nature and the land, Saudi Arabia finds itself precariously balancing at a crossroads of old and new. The population adjusts, straddling both tradition and modernity, while its changing landscape readies it for more to come. The Series documents this relatively unfamiliar place at a time of its unique turning point. By photographically examining its past and present "markings" on nature—that crucial intersection of the built environment with that of the natural environment—the Series brings to light the country's aspirations tensely juxtaposed with its traditionalist past. The contrasts reveal an image of a place much different from our own, yet a place ultimately not so dissimilar to others in its ambition to progress, and susceptible as any to the risks of rapid and often careless transition. More about the book Kingdom of Sand and Cement
Erhan Coral
Helga Paris
Germany
1938
Helga Steffens, daughter of Gertrud Steffens and typesetter Wilhelm Steffens, was born just over a year before the outbreak of the Second World War in Gollnow, a small town then in the north of Germany. In May 1945 she celebrated her seventh birthday, while the war ended in defeat for Germany. Her father and two brothers were still away, but in the meantime frontier changes mandated by the victorious powers and large scale ethnic cleansing forced Helga's mother to flee with her two daughters. They ended up in Zossen, a small town a little to the south of Berlin. There she was raised by a community of mostly women, many of whom worked. She is introduced to photography by her aunts who take many photographs. In Zossen she went to school and successfully passed her School leaving exams in 1956. 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Rena Effendi
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