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Clayton Anderson
Clayton Anderson

Clayton Anderson

Country: United States
Birth: 1963

Clayton Anderson is a photographer who lives and works in New York City. In October 2020, Daylight Books released Kicking Sawdust, his book of circus and carnival photographs. Some of his circus work has been shown at the Florida Museum of Photographic Arts (FMoPA) in Tampa, FL. and the SE Center for Photography in Greenville, SC.

Some of his newer work from his Anthropomorphia series was recently shown at Praxis Gallery in Minneapolis, MN. In 2019, the photography department curators at the Metropolitan Museum of Art and the Museum of Modern Art in NYC and the Princeton University Art Museum placed Clayton’s self-published photobook, Before the Fade, into their research and public art libraries.

Clayton has been featured in Art Daily, All About Photo, Musee Magazine, F-Stop Magazine and Shots Magazine.

Source: www.claytonanderson.art


Selected Books on Available on Amazon
Kicking Sawdust
Kicking Sawdust
Clayton Anderson

Websites

www.claytonanderson.art

@claytonanderson79

 

Selected Book

Kicking Sawdust
Kicking Sawdust
Clayton Anderson

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More Great Photographers To Discover

Andreas Feininger
Andreas Feininger
United States
1906 | † 1999
Andreas Bernhard Lyonel Feininger (December 27, 1906 - February 18, 1999) was an American photographer and a writer on photographic technique. He was noted for his dynamic black-and-white scenes of Manhattan and for studies of the structures of natural objects. Feininger was born in Paris, France, the eldest son of Julia Berg, a German Jew, and the American painter and art educator Lyonel Feininger (1871-1956). His paternal grandparents were the German violinist Karl Feininger (1844-1922) and the American singer Elizabeth Feininger, (née Lutz), who was also of German descent. His younger brother was the painter and photographer T. Lux Feininger (1910-2011). In 1908 the Feininger family moved to Berlin, and in 1919 to Weimar, where Lyonel Feininger took up the post of Master of the Printing Workshop at the newly formed Bauhaus art school. Andreas left school at 16, in 1922, to study at the Bauhaus; he graduated as a cabinetmaker in April 1925. After that he studied architecture, initially at the Staatliche Bauschule Weimar (State Architectural College, Weimar) and later at the Staatliche Bauschule Zerbst. (Zerbst is a city in the German state of Saxony-Anhalt, about 20 km from Dessau, where the Bauhaus moved to in 1926.) The Feininger family moved to Dessau with the Bauhaus. In addition to continuing his architectural studies in Zerbst, Andreas developed an interest in photography and was given guidance by neighbour and Bauhaus teacher László Moholy-Nagy. In 1936, he gave up architecture and moved to Sweden, where he focused on photography. In advance of World War II, in 1939, Feininger immigrated to the U.S. where he established himself as a freelance photographer. In 1943 he joined the staff of Life magazine, an association that lasted until 1962. Feininger became famous for his photographs of New York. Other frequent subjects among his works were science and nature, as seen in bones, shells, plants, and minerals in the images of which he often stressed their structure. Rarely did he photograph people or make portraits. Feininger wrote comprehensive manuals about photography, of which the best known is The Complete Photographer. In the introduction to one of Feininger's books of photographs, Ralph Hattersley, the editor of the photography journal Infinity, described him as "one of the great architects who helped create photography as we know it today." In 1966, the American Society of Media Photographers (ASMP) awarded Feininger its highest distinction, the Robert Leavitt Award. In 1991, the International Center of Photography awarded Feininger the Infinity Lifetime Achievement Award. Today, Feininger's photographs are in the permanent collections of the Center for Creative Photography, the Museum of Modern Art, the Metropolitan Museum of Art, the National Gallery of Art, London's Victoria and Albert Museum, and the George Eastman House in Rochester, New York. Source: Wikipedia
Edouard Fraipont
Edouard Fraipont
Brazil
1972
Edouard Fraipont lives and works in Sao Paulo. He graduated in cinema from Fundação Armando Alvares Penteado (FAAP) in 1997, and is now majoring in philosophy at the University of Sao Paulo. His initial training in photography was in documentary photography. Edouard spent a year studying the world of the Aymara, a native ethnic group in the Andes, followed by 4 years of free studies and extra-curricular training in visual arts under the aegis of Eduardo Brandão. Since 1996, Edouard has developed a personal artistic style that combines experimentation in photographic language with the production of pictures and performances. He has had solo exhibitions at Galeria Triângulo (Sao Paulo), FotoArte (Brasilia), Centro Cultural Banco do Brasil (Sao Paulo) and Fundação Joaquim Nabuco, Recife. His work is featured in the Sao Paulo Museum of Art's Coleção Pirelli / MASP de Fotografia, in the Sao Paulo Museum of Modern Art, and in the State Museum of Sao Paulo, among other collections. In 2007 he was awarded a residency by the British Council's Artist Links program, during which he made the series A Period in Britain presented here.
Anastasia Sierra
Anastasia Sierra
United States
Anastasia Sierra is a photographer based in Cambridge, MA. Her work explores the themes of motherhood, womanhood, and the body from a feminist perspective. Sierra’s photographs have been shown in solo and group exhibitions at the Griffin Museum of Photography, Danforth Art Museum, Emerson Contemporary Gallery, Photographic Resource Center, Vermont Center of Photography, Kathryn Schulz Gallery, and Soho Gallery in New York. Her work has been supported by grants and awards from the Cambridge Art Association, Photographic Resource Center and Griffin Museum of Photography. Sierra’s work has been featured in numerous publications, including Lenscratch, Lensculture, Musée Magazine, Artscope Magazine and What Will You Remember. Sierra holds a BA in Linguistics and is currently an MFA candidate at the Massachusetts College of Art and Design.
Barbara De Vries
Barbara De Vries
Netherlands
The Dutch artist Barbara de Vries studied at the Rietveldacademie and the St. Joostacademie graphic art, industrial design and theater design. Although she worked with several famous theatres, Barbara finally got specialised in photography. The atmosphere in her work is a midway between fantasy and reality. Her images are mostly blurred, out of focus, with glimpses of reality. The Dutch curator Maarten Bertheux wrote as follow about her work. ‘Work of Francis Bacon and Marlene Dumas are relevant for the work of Barbara de Vries. Her work contain of digital reworked photographic material printed on Japanese paper. She combines and deforms her images in order to create her layered images. When she uses soft contours it brings in mind an aquarellist way of painting, a style De Vries used frequently before she started to use the computer as a tool in her photographic work. Her background as a stage designer has also influenced her actual work. This experience appears in the theatrical and dramatic setting and in the way she manipulates the light. In the photographic work there can be clear definition of space, but equally she uses an indistinct space that can vary from a sfumato-like space to a space where figures seem to float in. The figures are constructed out of several limbs and elements that are reconstructed in a new way, creating a new figuration. It seems as it is De Vries’ capability to creep under the skin of her model and analyzing the basic psycho logic characteristics’. Barbara de Vries' photography evoke feelings of hope, desire and consolation. Source: Morren Galleries
Svet Jacqueline
Svet Jacqueline
United States
1992
Svet Jacqueline grew up In Baltimore, Maryland. She earned a Bachelor of Science in Photography from the S.I. Newhouse School of Public Communications at Syracuse University in 2014. She moved to Los Angeles, California in 2016 to work on freelance projects with Sony Entertainment, Apple, and other editorial clients. In 2020, she documented the uprising of the Black Lives Matter movement and published her first book, 100 days of Protest, 2021. Last year, she split her time in Los Angeles, Mexico, and Texas documenting migration at the border and the cycle of poverty on Skid Row where her work won first place in the International Photography Awards and NPPA Best of Photojournalism 2022. Her recent efforts focus on the humanitarian impact of displacement in conflict zones and Russia's war on Ukraine. She has published with Göteborgs-Posten, Teen Vogue, The Jewish Times, and HBO. focus on the humanitarian impact of displacement in conflict zones and Russia's war on Ukraine. In her free time, she trains for marathons, cooks, and volunteers with local nonprofits to feed underfunded communities and support public art programs.
Lucien Chauffard
Lucien Chauffard
France
1906 | † 1982
Lucien Chauffard graphic designer, painter and photographer, was hired by the Renault factories, where he worked as a photographer. Then, head of the photo service, Lucien hired in April 1934 his friend Robert Doisneau at the time a beginner, the latter will learn and gain confidence thanks to him, but he will then be fired in 1936 because of repetitive delays. The two friends will collaborate in the 50s, on commercials for Simca, don the logo Hirondelle will be drawn by Lucien. Other encounters will come across the path of the artist, as the filmmaker Maurice Cloche, the airwomen Hélène Boucher and Madeleine Carnoux, the photographer Vigneau and also the sailor Eric Tabarly. However, Lucien Chauffard will remain unknown unlike his friend who will make the career that we know. Michèle Labonde, the former wife of Lucien Chauffard's grandnephew, has recovered the works of the forgotten artist to unveil them to the general public.
Thomas Eakins
Thomas Eakins
United States
1844 | † 1916
Thomas Cowperthwait Eakins (July 25, 1844 – June 25, 1916) was an American realist painter, photographer, sculptor, and fine arts educator. He is widely acknowledged to be one of the most important American artists. For the length of his professional career, from the early 1870s until his health began to fail some 40 years later, Eakins worked exactingly from life, choosing as his subject the people of his hometown of Philadelphia. He painted several hundred portraits, usually of friends, family members, or prominent people in the arts, sciences, medicine, and clergy. Taken en masse, the portraits offer an overview of the intellectual life of contemporary Philadelphia; individually, they are incisive depictions of thinking persons. In addition, Eakins produced a number of large paintings that brought the portrait out of the drawing-room and into the offices, streets, parks, rivers, arenas, and surgical amphitheaters of his city. These active outdoor venues allowed him to paint the subject that most inspired him: the nude or lightly clad figure in motion. In the process, he could model the forms of the body in full sunlight, and create images of deep space utilizing his studies in perspective. Thomas Eakins also took a keen interest in the new technologies of motion photography, a field in which he is now seen as an innovator. No less important in Eakins' life was his work as a teacher. As an instructor, he was a highly influential presence in American art. The difficulties which beset him as an artist seeking to paint the portrait and figure realistically were paralleled and even amplified in his career as an educator, where behavioral and sexual scandals truncated his success and damaged his reputation. Eakins was a controversial figure whose work received little by way of official recognition during his lifetime. Since his death, he has been celebrated by American art historians as "the strongest, most profound realist in the nineteenth and early-twentieth-century American art". Eakins has been credited with having "introduced the camera to the American art studio". During his study abroad, he was exposed to the use of photography by the French realists, though the use of photography was still frowned upon as a shortcut by traditionalists. In the late 1870s, Thomas Eakins was introduced to the photographic motion studies of Eadweard Muybridge, particularly the equine studies, and became interested in using the camera to study sequential movement. In the mid-1880s, Eakins worked briefly alongside Muybridge in the latter's photographic studio at the University of Pennsylvania in Philadelphia. Eakins soon performed his own independent motion studies, also usually involving the nude figure, and even developed his own technique for capturing movement on film. Whereas Muybridge's system relied on a series of cameras triggered to produce a sequence of individual photographs, Eakins preferred to use a single camera to produce a series of exposures superimposed on one negative. Thomas Eakins was more interested in precision measurements on a single image to aid in translating a motion into a painting, while Muybridge preferred separate images that could also be displayed by his primitive movie projector. After Eakins obtained a camera in 1880, several paintings, such as Mending the Net (1881) and Arcadia (1883), are known to have been derived at least in part from his photographs. Some figures appear to be detailed transcriptions and tracings from the photographs by some device like a magic lantern, which Eakins then took pains to cover up with oil paint. Thomas Eakins' methods appear to be meticulously applied, and rather than shortcuts, were likely used in a quest for accuracy and realism. An excellent example of Thomas Eakins' use of this new technology is his painting A May Morning in the Park, which relied heavily on photographic motion studies to depict the true gait of the four horses pulling the coach of patron Fairman Rogers. But in typical fashion, Eakins also employed wax figures and oil sketches to get the final effect he desired. The so-called Naked Series, which began in 1883, were nude photos of students and professional models which were taken to show real human anatomy from several specific angles, and were often hung and displayed for study at the school. Later, less regimented poses were taken indoors and out, of men, women, and children, including his wife. The most provocative, and the only ones combining males and females, were nude photos of Eakins and a female model. Although witnesses and chaperones were usually on site, and the poses were mostly traditional in nature, the sheer quantity of the photos and Eakins' overt display of them may have undermined his standing at the Academy. In all, about eight hundred photographs are now attributed to Eakins and his circle, most of which are figure studies, both clothed and nude, and portraits. No other American artist of his time matched Eakins' interest in photography, nor produced a comparable body of photographic works. Thomas Eakins used photography for his own private ends as well. Aside from nude men, and women, he also photographed nude children. While the photographs of the nude adults are more artistically composed, the younger children and infants are posed less formally. These photographs, that are “charged with sexual overtones,” as Susan Danly and Cheryl Leibold write, are of unidentified children. In the catalog of Eakins' collection at the Pennsylvania Academy of the Fine Arts, photograph number 308 is of an African American child reclining on a couch and posed as Venus. Both Saidiya Hartman and Fred Moten write, respectively, about the photograph, and the child that it arrests. Late in life Eakins did experience some recognition. In 1902 he was made a National Academician. In 1914 the sale of a portrait study of D. Hayes Agnew for The Agnew Clinic to Dr. Albert C. Barnes precipitated much publicity when rumors circulated that the selling price was fifty thousand dollars. In fact, Barnes bought the painting for four thousand dollars. Eakins died on June 25, 1916, at the age of 71 and is buried at The Woodlands, which is located near the University of Pennsylvania in West Philadelphia. In the year after his death, Eakins was honored with a memorial retrospective at the Metropolitan Museum of Art, and in 1917–18 the Pennsylvania Academy followed suit. Susan Macdowell Eakins did much to preserve his reputation, including gifting the Philadelphia Museum of Art with more than fifty of her husband's oil paintings. After her death in 1938, other works were sold off, and eventually another large collection of art and personal material was purchased by Joseph Hirshhorn, and now is part of the Hirshhorn Museum's collection. Since then, Eakins' home in North Philadelphia was put on the National Register of Historic Places list in 1966, and Eakins Oval, across from the Philadelphia Museum of Art on the Benjamin Franklin Parkway, was named for the artist. In 1967 The Biglin Brothers Racing (1872) was reproduced on a United States postage stamp. His work was also part of the painting event in the art competition at the 1932 Summer Olympics. Since the 1990s, Eakins has emerged as a major figure in sexuality studies in art history, for both the homoeroticism of his male nudes and for the complexity of his attitudes toward women. Controversy shaped much of his career as a teacher and as an artist. He insisted on teaching men and women "the same", used nude male models in female classes and vice versa, and was accused of abusing female students. Recent scholarship suggests that these scandals were grounded in more than the "puritanical prudery" of his contemporaries—as had once been assumed—and that Eakins' progressive academic principles may have protected unconscious and dubious agendas. These controversies may have been caused by a combination of factors such as the bohemianism of Eakins and his circle (in which students, for example, sometimes modeled in the nude for each other), the intensity and authority of his teaching style, and Eakins' inclination toward unorthodox or provocative behavior. Eakins was unable to sell many of his works during his lifetime, so when he died in 1916, a large body of artwork passed to his widow, Susan Macdowell Eakins. She carefully preserved it, donating some of the strongest pieces to various museums. When she in turn died in 1938, much of the remaining artistic estate was destroyed or damaged by executors, and the remainders were belatedly salvaged by a former Eakins student.Source: Wikipedia
George Dambier
George Dambier
France
1925 | † 2011
Born in 1925, Georges Dambier first went to work for painter Paul Colin, where he learnt drawing and graphic design. Then he landed a job as assistant to Willy Rizzo, a famous portraitist photographer (Harcourt’s Studio, Paris Match). There, he discovered photography and was taught the fundamentals of this art, especially lighting. Georges Dambier was 20 when the Second World War came to an end, a moment when the social scene in Paris suddenly took off. Nightlife, subdued during the Occupation, exploded. Le Bœuf sur le toit, Le Lido, la Rose Rouge, Le Lorientais, Le Tabou : he frequented cabarets and jazz clubs in Saint Germain des Prés, where famous artists and celebrities organised glittering parties and balls. One night, he managed to take pictures of Rita Hayworth who had come incognito to a famous night club, Le Jimmy’s. He sold the exclusive images to France Dimanche, a daily magazine recently created by Max Corre and Pierre Lazareff, and won himself a job on the magazine as a photo-reporter. In his new post, he was sent to all over the world to cover current events. However, with his predilection for graphic design and aesthetics, his liking for refined mise-en-scene, and at the urging of many friends, such as Capucine, Suzy Parker, Jacques Fath, Bettina, Brigitte Bardot, Jean Barthet, he was lead towards fashion photography. As Georges Dambier built and perfected his craft, he was hired by Helene Lazareff, director of ELLE, the fashion magazine. She encouraged him and gave him his first assignment as a fashion photographer. Georges Dambier did not conform to the standard technique of taking fashion pictures, with models standing emotionless and seemingly indifferent to the camera. Instead, he showed models smiling, laughing and often in action. His models were surrounded by local people in a market place in Marrakech, or in a village in Corsica, or – and above all – in his beloved Paris. Most of all, it was Georges Dambier’s ability to put his subjects at ease (many of them were friends) that helped him create true, intimate and lasting images. With his delicate style, and refined technique, his work revealed a reality of great elegance. As his career blossomed, he became widely known for his ability to capture the essence of feminine chic and glamour in his images. In 1954, Robert Capa asked him to lead a fashion department at the Magnum Photo Agency. Unfortunately, Capa died a few weeks later, while covering the Indochinese war. Meanwhile, Georges Dambier set up his own studio in Paris, Rue de la Bienfaisance. As a freelance photographer, he continued to contribute to ELLE and other magazines: Vogue, Le Jardin des Modes, Marie France…He also collaborated with Françoise Giroud and Christine Collanges at L’Express. Big advertising campaigns (Synergie, Havas, Publicis), and contracts for many brands such as L’Oréal, Carita, Jacques Dessange followed. In addition to his work in advertising, Georges Dambier did portraits for record covers and posters for his great friend, the producer Eddie Barclay and Jacques Canetti. As his reputation grew, so did opportunities to meet and photograph celebrities from different worlds. He captured the faces of the most notable artists of the 60’s: Sacha Distel, Zizi Jeanmaire, Dalida, Jeanne Moreau… His impressive client list included celebrities (Cerdan, Cocteau…), singers (Johnny Hallyday, Sylvie Vartan, Charles Aznavour...), actors (Alain Delon, Françoise Dorléac, Catherine Deneuve…) and many others. In 1964, Georges Dambier launched his own project: a magazine for young people, dedicated to culture and fashion: TWENTY. He hired young artists and photographers: Just Jaeckin, Jean Paul Goude, Philippe Labro, Copi, Bosc and many others who would later become famous in their own right. Twenty lasted two eventful years. In 1976, he created the magazine VSD with his old friend Maurice Siegel. Georges Dambier led the artistic side of the magazine and headed the photographic section. VSD was an instant success. In the late eighties, Georges Dambier retired to a quieter life in the countryside. He died in May, 2011. Source: Peter Fetterman Gallery
Yang Yongliang
Yang Yongliang
China
1980
Born in 1980 in Shanghai, Yang Yongliang graduated from China Academy of Art in 1999, majored in visual communication. He currently works and lives in Shanghai. He started his experiments with contemporary art in 2005, and his practice involved varied media including photography, painting, video and installation. Yang exploits a connection between traditional art and the contemporary, implementing ancient oriental aesthetics and literati beliefs with modern language and digital techniques. His work as an expanding meta-narrative that draws from history, myth and social culture, and plays out in the context of the city and its ever-changing landscapes. He started to learn traditional Chinese art and culture since childhood, the influence of which is seen in the form of his art: a sense of traditional aesthetics can be clearly perceived. In terms of media and content, however, it is brimming with a strong sense of post-modernism. Yang’s work has been exhibited at Moscow Biennale, Ullens Center for Contemporary Art and National Gallery of Victoria among others and is collected by public institutes such as the British Museum and the Metropolitan Museum of Art. Source: Prix Pictet
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