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Win the First Solo Exhibition of 2026! Submit your best project now. Open Theme
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Lauren Murphy
Lauren Murphy
Lauren Murphy

Lauren Murphy

Country: United KIngdom
Birth: 2000

Lauren is a still life photographer based in South East England, recently graduated from BA Photography at Middlesex University. A lot of her work stems from an interest in perception and how something recognisable or ordinary can be altered and viewed in a completely different way. She experiments with more abstract styles of working and is influenced by both colour and shape.

Statement
"Lockdown has felt very isolating. Being confined to our homes, normally places we know well, has felt increasingly surreal through over-familiarity. I have explored this concept by taking everyday, mundane objects from around the house and using them to construct something more abstract. I have specifically focussed on colour and shape to alter our perception of how they would normally be viewed. This body of work is made up of multiple mini-projects. Each one has used household materials to explore themes such as shape, geology, texture and abstraction." -- Lauren Murphy
 

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Vivian Maier
United States
1926 | † 2009
Vivian Dorothea Maier was an American amateur street photographer, who was born in New York City but grew up in France. After returning to the United States, she worked for about forty years as a nanny in Chicago, IL. During those years, she took about 100,000 photographs, primarily of people and cityscapes in Chicago, although she traveled and photographed worldwide. Her photographs remained unknown and mostly undeveloped until they were discovered by a local Chicago historian and collector, John Maloof, in 2007. Following Maier's death, her work began to receive critical acclaim. Her photographs have been exhibited in the US, England, Germany, Denmark, and Norway, and have appeared in newspapers and magazines in the US, England, Germany, Italy, France and other countries. A book of her photography titled Vivian Maier: Street Photographer was published in 2011. Many of the details of Maier's life are still being uncovered. Initial impressions about her life indicated that she was born in France, but further researching revealed that she was born in New York, the daughter of Maria Jaussaud and Charles Maier, French and Austrian respectively. Vivian moved between the U.S. and France several times during her childhood, although where in France she lived is unknown. Her father seems to have left the family for unknown reasons by 1930. In the census that year, the head of the household was listed as award-winning portrait photographer Jeanne Bertrand, who knew the founder of the Whitney Museum of American Art. In 1951, at 25, Maier moved from France to New York, where she worked for some time in a sweatshop. She made her way to the Chicago area's North Shore in 1956 and became a nanny on and off for about 40 years, staying with one family for 14 of them. She was, in the accounts of the families for whom she worked, very private, spending her days off walking the streets of Chicago and taking photographs, most often with a Rolleiflex camera. John Maloof, curator of Maier's collection of photographs, summarizes the way the children she nannied would later describe her: "She was a Socialist, a Feminist, a movie critic, and a tell-it-like-it-is type of person. She learned English by going to theaters, which she loved. She wore a men's jacket, men's shoes and a large hat most of the time. She was constantly taking pictures, which she didn't show anyone." Between 1959 and 1960, Maier traveled to and photographed in Los Angeles, Manila, Bangkok, Beijing, Egypt, Italy and the American Southwest. The trip was probably financed by the sale of a family farm in Alsace. For a brief period in the 1970s, Maier worked as a nanny for Phil Donahue's children. As she got older, she collected more boxes of belongings, taking them with her to each new post. At one employer's house, she stored 200 boxes of materials. Most were photographs or negatives, but Maier collected other objects, such as newspapers, and sometimes recorded audiotapes of conversations she had with people she photographed. Toward the end of her life, Maier may have been homeless for some time. She lived on Social Security and may have had another source of income, but the children she had taken care of in the early 1950s bought her an apartment in the Rogers Park area of Chicago and paid her bills. In 2008, she slipped on ice and hit her head. She did not fully recover and died in 2009, at 83.Source: Wikipedia Sometime in 1949, while still in France, Maier began making her first photographs with a modest Kodak Brownie– an amateur camera with only one shutter speed, no focus control, and no aperture dial. In 1951, she returned from France alone and purchased a Rolleiflex camera the following year. In 1956, she moved to the North Shore suburbs of Chicago, where a family employed her as a nanny for their three boys. She enjoyed the luxury of a darkroom as well as a private bathroom, enabling her to process prints and develop her own rolls of black and white film. As the children entered adulthood, Maier had to seek other employment, forcing her to abandon developing her own film. Moving from family to family thereafter, her rolls of undeveloped, unprinted work began to collect. It was around this time that Maier decided to switch to color photography. Her subject matter shifted away from people to found objects, newspapers, and graffiti. In the 1980s, financial stress and lack of stability once again put Maier’s processing on hold, and the undeveloped color rolls began to accumulate. Sometime between the late 1990s and the first years of the new millennium, Maier put down her camera and stored her belongings while she tried to stay afloat. She bounced from homelessness to a small studio apartment, which a family she used to work for helped pay the rent. With meager means, the photographs in storage became lost memories until 2007, when they were sold off due to non-payment of rent. In 2008, Maier’s health began to deteriorate after she fell on a patch of ice, forcing her into a nursing home. She never made a full recovery, leaving behind an immense archive of work when she died in 2009.Source: Howard Greenberg Gallery When John Maloof, a real-estate agent, amateur historian, and garage-sale obsessive, acquired a box of photographic materials and personal detritus at an auction in suburban Chicago in 2007, he quickly realized that he had stumbled upon an unknown master of street photography. But despite his vigorous snooping, he could find no record of Vivian Maier, the name scribbled on the scraps of paper that he found among the negatives, prints, and undeveloped rolls of film. He tracked down the rest of the boxes emptied from an abandoned storage garage, amassing a collection of hundreds of thousands of frames shot in New York, Chicago, France, South America, and Asia between the nineteen-fifties and the nineteen-seventies. Two years after he bought the first box, he Googled the name again and, to his surprise, found an obituary announcing that Vivian Maier had died only a few days before. The short text had just enough information for Maloof to deduce that Maier had worked as a nanny in suburban Chicago.Source: The New Yorker
Amy  Heller
United States
Award-winning artist Amy Heller, originally from Washington, DC, lives year-round on Cape Cod in Massachusetts with her husband. Amy earned her B.A. in fine art at Hampshire College in Amherst, MA, and her M.F.A. in photography at George Washington University (GWU) in Washington, DC. She has been an exhibit specialist for Smithsonian Museums and National Gallery of Art, and a photo editor/researcher/curator for U.S. News & World Report, National Geographic, Microsoft, and the Newseum. Her work has been exhibited and collected internationally and this includes: Provincetown Art Association and Museum, Cape Cod Museum of Art, Dimock Gallery at GWU, and many private collections. Statements: Here are statements for three of my portfolios of my lens-based, mixed-media artwork. In every instance I am always experimenting, playing, stretching the boundaries of the medium, and sometimes breaking the rules. Happy accidents occur along the way and I embrace the journey as much as the outcome. Time/Motion Study Multiples I have always loved dance and movement. As a child I was constantly in motion, dancing to the Beatles or pretending to be a ballerina. Even when seemingly at rest I "moved." I would lie on the living room couch, staring up at the cathedral ceiling, dreaming of the world upside-down. As an adult, I still have a fascination with motion and time: I am a child at heart, evidenced by my large collection of wind-up toys. I fell in love with the late 19th century human locomotion photographic experiments of Etienne-Jules Marey, Eadweard Muybridge, and others and started experimenting with the moving film stroboscopy technique of shooting motion. After many "happy accidents" I came up with my own version of Time/Motion studies, using the nude figure as a subject as well as a foil. I love the implied motion, the stopping of time, and the liminal spaces with abstract patterns created by photographic alchemy. I have examined the idea of motion and reality and seeing the unseen: what exists and yet cannot be perceived by the naked eye. Through the use of multiple imagery, the photographs reveal images that display surreal, dreamlike themes and moods, explore time, and produce on a flat surface, multi-dimensional creations in time and space. There are virtually limitless visual possibilities inherent in these techniques. My new series of reimagined Time/Motion Study Multiples combines the old (analog) with the new (digital) spanning three centuries of photographic exploration. The first time I shot the photos with black and white film and printed panoramic images. Now the second time around I am collaging and layering those earlier analog images in the digital world, creating new works of art. I am always experimenting with different ways of making art, and feel like I'm an artist in search of a medium that hasn't been invented yet. Maybe I will invent it?! Cyanotype on Fabric Mannequin Sculptures + Egg Sculptures I have been making cyanotypes for many years and have always loved the idea of mixing this 19th century process with 21st century digital technology and printing on non-traditional/unexpected surfaces such as fabric (cotton, dyed cotton, silk, velvet, etc.). "Still Lives" began as a series of figurative cyanotype photographs on fabric of classical sculpture from museums and art spaces. The sculptures are frozen in time/static, literally "still lives," revealing little else but their forms. The blue of the cyanotype adds to their "cold" stillness. "Still Lives" evolved into a series of three-dimensional, collaged mannequin sculptures, using the figure as a subject as well as a foil. The figures are collaged with cyanotype photographs of miscellaneous objects, and along with the collaged cyanotypes, the mannequins are veritable pin cushions stuck with decorative pins, acupuncture needles, wrapped with rope, etc. They are more narrative, exposed, and cerebral in nature and explore subjects such as astronomy, self-portrait, psychological themes, etc. The mannequins "wear" their stories on the surface, inviting the viewer to experience their own interpretation. Sculptural "Still Lives" morphed into explorations of time, motion, and dreams, first using manual turntables and then motorized turntables. A veritable "back to the future" for me, re-examining earlier themes used in my time/motion studies and combining my love of motion and cyanotypes. The cyanotype egg series is another exploration of my cyanotype sculptures. The eggs are collaged with cyanotype on fabric images of classical sculptures, everyday objects, etc. The egg form suggests renewal and rebirth, and at the same time is a simple, beautiful shape that is universal. LED Mixed-Media Cyanotypes on Silk Currently I have been making LED mixed-media cyanotypes on silk, exploring the theme of light as a metaphor for truth, revelation and understanding. The light reveals the multiple layers of collaged and sandwiched negatives, positives, and cyanotypes on silk, similar to an x-ray. The work is constantly evolving, and my creative process is somewhere between a stream of consciousness and a waking dream. Earlier LED mixed-media cyanotypes were smaller, multi-themed pieces and these newer ones are much larger. I am experimenting with wet cyanotypes in my new series "Sea/Me" using aquatic subject matter including prehistoric looking sea creatures (squid, octopi, skates, jellyfish, etc.), seaweed, and algae. Climate Change is something that is seen and felt firsthand on Cape Cod and is always on my mind. This series illuminates the flora and fauna and brings these often-hidden things to light. It is also a nod to Anna Atkins, and is inspired by fond childhood memories of beachcombing and swimming with my mother in Provincetown, Massachusetts.
Robert Farber
United States
1944
Robert Farber’s style has influenced generations of photographers. His painterly, impressionistic style captures the essence of composition in every genre, including nudes, still life, landscapes and architecture. His ten photo art books have sold over half a million copies. Jacqueline Kennedy Onassis brought Farber into Doubleday for the publication of his book “By The Sea,” which won the Art Director’s Award for color photography. Aside from numerous creative awards, Robert Farber also received the Photographer of the Year from PMA (Photographic Manufacturers Association), ASP International Award from the PPA (Professional Photographers of America) and The American Society of Photographers. This award was given to those who’ve made a significant contribution to the science and art of photography. Some previous recipients of this award include Dr. Edwin Land (inventor of the Polaroid), George Hurrell, and National Geographic. Farber’s work with nudes in fine art as well as in the commercial realm is known and respected. He has lectured for Ogilvy & Mather on the “Nude in Advertising.” ASMP requested to use Farber’s nudes as an examples of the artistic application in support of the National Endowment of Arts, after its backing of the controversial Mapplethorpe/Serrano exhibit. His book, “Farber Nudes,” was also included the Jacqueline Kennedy Onassis estate collection. Farber’s fine-art photographs have been published in virtually every form. Farber has exhibited in galleries and museums world-wide. He’s lectured at the Smithsonian Institute, The George Eastman House, as well as Universities and professional groups throughout the United States, Japan, Australia and Europe. Aside from his fine art photography, Robert Farber’s work encompasses major campaigns for fashion, beauty and advertising, as well as directing for TV and film. A documentary highlighting Farber’s life and career, is in development for PBS.Source: www.farber.com Robert Farber has become renown for his depictions of the female form, although his painterly, impressionistic photographic style captures the essence of composition in many genres. Farber’s unique compositions allow the viewer to see the subject from a different perspective and in his words, “to evoke a feeling of romance. That the viewer wants to be there, be a part of it, get lost in it, whether it is a still life or landscape.” A pioneer in many ways, Robert Farber has been a leading force in the world of photography, particularly in his treatment of the subject of the nude. His work has paved the way for the female form to be shown in fine art, publishing, and advertising in a way that he describes only as “respectfully.” Delighting the viewer with his natural approach and fully embracing the female form with a fine art approach, Farber began introducing nudes in his advertising work in the 1970s. He brings the romance depicted in his fine art photographs to his renowned commercial work that has been celebrated over for their captivatingly composed settings. Robert Farber is a New York City native whose artistic career began with art shows in 1970 just after college. At the start of his career, his most moving memory was when he was forced to leave an art show since photography was not widely accepted as an art form at that time. Persisting with his passion, he was eventually discovered at an Upper East Side art show. Both a publishing company and an advertising agency approached him, allowing his fine art career and fashion photography career to take off simultaneously. Farber also brings his romantic style to landscapes through his Americana series. By forcing the viewer to look at the images in a different way the artist hopes to show the heart and soul of America; a perspective he also applies to his New York Series. He hopes that his unique take on composition and style allow the viewer to experience the excitement, nostalgia, the grit and the elegance of the city. Aside from numerous other creative awards, Robert Farber has received the distinctive Photographer of the Year award from the Photographic Manufacturers Association. He has also received the ASP International Award from the Professional Photographers of America and The American Society of Photographers. Farber has lectured at the Smithsonian Institute, The George Eastman House, as well as universities and professional groups throughout the United States, Japan, Australia and Europe. Jackie Kennedy Onassis recruited Farber during her time working for the publisher Doubleday that resulted in the publication of his notable book By the Sea which would be the first of many others. Recently, Canon presented Farber's work in a solo exhibition at Art Miami in 2013, while a documentary highlighting the artist is currently in development for PBS and will air in September of 2014 chronicling this artist’s amazingly elegant work over the past four decades.Source: Holden Luntz Gallery
Leonard Freed
United States
1929 | † 2006
Leonard Freed was a documentary photojournalist and longtime Magnum member. He was born to Jewish, working-class parents of Eastern European descent. Freed had wanted to be a painter, but began taking photographs in the Netherlands and discovered a new passion. He traveled in Europe and Africa before returning to the United States where he attended the New School and studied with Alexey Brodovitch, the art director of Harper's Bazaar. In 1958 he moved to Amsterdam to photograph its Jewish community. Through the 1960s he continued to work as a freelance photojournalist, traveling widely. He documented such events and subjects as the Civil Rights movement in America (1964–65), the Yom Kippur War in 1973, and the New York City police department (1972–79). His career blossomed during the American civil rights movement, when he traveled the country with Martin Luther King, Jr. in his celebrated march across the US from Alabama to Washington. This journey gave him the opportunity to produce his 1968 book, Black in White America, which brought considerable attention. His work on New York City law enforcement also led to a book, Police Work which was published in 1980. Early in Freed's career, Edward Steichen purchased three photographs from Freed for the collection of the Museum of Modern Art.[ In 1967, Cornell Capa selected Freed as one of five photographers to participate in his "Concerned Photography" exhibition. Freed joined Magnum Photos in 1972. Publications to which Freed contributed over the years included Der Spiegel, Die Zeit, Fortune, Libération, Life, Look, Paris-Match, Stern, and The Sunday Times Magazine of London. In later years, Freed continued shooting photographs in Italy, Turkey, Germany, Lebanon and the U.S. He also shot four films for Japanese, Dutch and Belgian television.Source: Wikipedia Born in Brooklyn, New York, to working-class Jewish parents of Eastern European descent, Leonard Freed first wanted to become a painter. However, he began taking photographs while in the Netherlands in 1953, and discovered that this was where his passion lay. In 1954, after trips through Europe and North Africa, he returned to the United States and studied in Alexei Brodovitch's 'design laboratory'. He moved to Amsterdam in 1958 and photographed the Jewish community there. He pursued this concern in numerous books and films, examining German society and his own Jewish roots; his book on the Jews in Germany was published in 1961, and Made in Germany, about post-war Germany, appeared in 1965. Working as a freelance photographer from 1961 onwards, Freed began to travel widely, photographing blacks in America (1964-65), events in Israel (1967-68), the Yom Kippur War in 1973, and the New York City police department (1972-79). He also shot four films for Japanese, Dutch and Belgian television. Early in Freed's career, Edward Steichen, then Director of Photography at the Museum of Modern Art, bought three of his photographs for the museum. Steichen told Freed that he was one of the three best young photographers he had seen and urged him to remain an amateur, as the other two were now doing commercial photography and their work had become uninteresting. 'Preferably,' he advised, 'be a truck driver.' Freed joined Magnum in 1972. His coverage of the American civil rights movement first made him famous, but he also produced major essays on Poland, Asian immigration in England, North Sea oil development, and Spain after Franco. Photography became Freed's means of exploring societal violence and racial discrimination. Leonard Freed died in Garrison, New York, on 30 November 2006.Source: Steven Kasher Gallery
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