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Nanci Milton
Nanci Milton
Nanci Milton

Nanci Milton

Country: United States
Birth: 1957

Nanci Milton is a primarily self-taught photographic artist. Her experience with the camera, film and image making began at an early age with the gift f an Instamatic from her father for whom photography was his passion though not his profession. Subsequent Christmas gifts of cameras followed, as well as access to his own various cameras. She was smitten.

As the only child of artistic parents, both teachers as well, she was continually exposed to writing, image making, art viewing and inquiring into the creative process. As an only child of older parents, she also was included in many adult events, dinners, lectures, visits with artists of many arenas and backgrounds and absorbed the many layers of inspiration and process they possessed. She found it a gift to be an only child as it allowed her the access to a larger world early on and also left her to her own devices to imagine and make without the comparison or competition with a sibling. Everything was available and potent.

The ''legacy'' of artists can be heavy though, and even as she continued to make images and write, she struggled to find a form that was her own. That form led to a detour into the performing arts, modern dance and theater which were her university studies. Ultimately, these fell short of what she had been immured in all her life, and the turn back o the photographic arts and writing was undeniable. The detour however undeniably informs her work with a sense of narrative and staging, in addition to a conceptual approach that pushes the images beyond the static.

In a world that is in such flux, Milton is attracted to empty, vacated or in some way, disrupted spaces and how our intimately personal or common and archetypal experience layer on and stain that space, be it exterior or interior; she finds a landscape of both body and mind to reveal. There is redemption in that effort and the rescuing of the lost, and in both the symmetry and the chaos found there. Methodology and materials are less important and she utilizes any and all that will support the idea.

Milton has been included in domestic and international exhibits at Praxis gallery, LA Noble Gallery, A Smith Gallery, The 9th Annual Koblenzanalog portfolio and exhibit, and was an Honorable Mention in the Fine Art category for the 17th Julia Margaret Cameron Awards.
 

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Sam Haskins
United Kingdom
1926 | † 2009
Sam Haskins, was a British photographer, born and raised in South Africa. He started his career in Johannesburg and moved to London in 1968. Haskins is best known for his contribution to in-camera image montage, Haskins Posters (1973) and the 1960's figure photography trilogy Five Girls (1962), Cowboy Kate & Other Stories (1964) and November Girl (1967), plus an ode to sub-Saharan tribal Africa African Image (1967). Cowboy Kate & Other Stories was probably the first book to deliberately explore black-and-white photographic grain as a medium for expression and image design. It was highly influential at the time, sold roughly a million copies worldwide and won the Prix Nadar in France in 1964. It continues to influence contemporary photographers, filmmakers, fashion designers, and make-up artists. Cowboy Kate & Other Stories or 'Kate' as the book is often referred to, had its place in photographic history cemented in 2005 when the International Center of Photography in New York included the book in their exhibition The Open Book: A History of the Photographic Book from 1878 to the Present. November Girl contained key image collages which formed the basis of many graphic and surrealist experiments in the 1970s and 1980s. African Imagewas a visual homage to the indigenous people, culture, landscape and wildlife of sub-Saharan Africa. The images represent a lifelong interest in photographing graphically stimulating environments and formally document his passion for the indigenous craft. He broke bones on river rapids and wrote off two Volvo saloon cars on African dirt roads while shooting the book. Despite its international award, this meticulously constructed book, celebrating a love for sub-Saharan Africa, is probably the least known of his major creative projects, but it is coveted by serious collectors of African art and photography. In 1968, Haskins moved to London and ran a studio in Glebe Place just off the King's Road. He worked as an advertising photographer for international consumer brands Asahi Pentax, Bacardi, Cutty Sark whisky, Honda, BMW, Haig whisky, DeBeers, British Airways, Unilever and Zanders, and specialised in the art direction and shooting of calendars, especially for Asahi Pentax in Japan. Although he endorsed Hasselblad for a short period in the late 1960s and early 1970s, his loyalty to the medium format 6x7 camera and lenses from Asahi resulted in a rare long-term association between a camera manufacturer and photographer. From 1970 to 2000, Asahi Optical (later Pentax) produced 30 calendars, of which Haskins shot and art-directed 15 editions including the millennium calendar. No other photographer was invited to contribute more than once. He is still involved with the Pentax Forum Gallery in Tokyo, which hosts his exhibitions. His first contact came in 1967, when Asahi Optical presented him with a 35 mm camera after hearing that he had shot African Image with various competitors' products. In 1972, he produced his first colour book, Haskins Posters. The large-format publication contained pages printed on one side using thick stiff paper and a soft glue perfect binding allowing the pages to be removed and used as posters. Haskins and Alida successfully published the book internationally through their own company, Haskins Press. The book won a gold award at the New York One Show. At the time the best-known image from Haskins Posters, a girl's face superimposed on an apple with a bee near the stem, appeared on the cover or in editorials of almost every major photographic magazine around the world. This image was part of a well-publicised visual and graphic experimentation with the apple theme in the 1970s that for a while resulted in photographic journalists nicknaming him 'Sam the Apple man'. He suffered a stroke on 19 September 2009 the opening day of his exhibition to launch Fashion Etcetera at Milk Gallery in New York, and died at home in Bowral, Australia, nine weeks later.Source: Wikipedia
José Ramón Bas
In 1979 José Ramón Bas was teaching himself photography when he met photographer Florencio García Méndez, who gave him a helping hand. In 1985 he began formal studies at the Escuela de la Imagen y el Diseño (IDEP) in Barcelona, where he was quickly attracted to contemporary forms of expression and the theme of travel memories. In 1989 he moved definitively to Barcelona and in 1997 he won the La Caixa Foundation’s Fotopress Award for young artists. He began working with the Berini Gallery in Barcelona and in 1998 moved into a studio in the Centro de Arte Contemporáneo Piramidón. After joining Galerie VU’ in 2001, he won the Federico Vender Prize in Italy in 2003, followed by the Arena Foundation Prize in 2004. In 2005 he began teaching the Masters in Creative Photography at EFTI in Madrid. He has exhibited in Holland, Boston, Lisbon and elsewhere.Source: www.rencontres-arles.com "He is an incurable traveller. He is a poet; to him it's like breathing. He is unclassifiable and, being in love with spaces and people, he invents objets that preserve the memory of his experiences and his emotions. He is not concerned about building a body of work but rather endeavors to reproduce times spent traveling in Africa, Cuba or Brazil. During his travels, he photographs, in a playful, compulsive way. Then, when he gets back to Barcelona, he looks at his contact sheets and decides to transform the images that he has recorded into objets. He prints them, with little interest for technique, and then he works on them: he may write on the proof, scratch it, or mistreat it, depending on the mood or inspiration of the moment, before setting it in a resin inclusion and dedicating it, between imagery and sculpture, to its status as an objet. For him, each negative is an opening onto infinite possibilities, which he will realize in various formats, from the square to the panoramic, and which are to convey his memory of the travel experience. Then, his parallelepipeds, which are lighter than air, occupy the wall with subtlety and encourage us to dream and be at peace."-- Christian Caujolle, Agence VU’ Galerie Source: Galerie VU
Matteo Bastianelli
Matteo Bastianelli (b. 1985) is a documentary photographer and filmmaker based in the Metropolitan City of Rome, Italy. He is a National Geographic Magazine contributor and a member of Italy's National Order of Journalists. Above all he works on personal projects and commissions related to social, environmental and human rights issues with a keen interest in the themes of memory, identity, inclusion and sustainability. His photographic and film projects have been regularly published and commissioned by Al Jazeera, CNN, Internazionale, The New York Times, National Geographic, Newsweek, The Guardian, Voice of America, Washington Post, among others. Since 2016 he has also been working on commission for NGOs such as Amnesty International, AVSI, Doctors Without Borders/MSF, Human Rights Watch and International Committee of the Red Cross. His projects have been widely shown in group and solo exhibitions and screenings around the world. A selection of Bastianelli’s accolades includes National Geographic Society’s Covid-19 Emergency Fund for Journalists, Emerging Talent Award at Reportage by Getty Images, AP32- American Photography Awards, PDN’s Photo Annual, Canon Young Photographers’ Award, Italian Doc Screenings Development Award for best documentary film and "Vittorio de Seta" prize for the director of the best documentary film at BIF&ST. He spent almost five years working in the former Yugoslavia, where he produced his early series. In 2012 was released his first monograph and documentary film, "The Bosnian Identity". In 2013 he started working on "Souls of Syrians", an ongoing project which stems from the concern to document the personal story of a Syrian youth who fled his country in search of salvation in Europe. In 2018 Bastianelli documented the world’s worst humanitarian disaster caused by the ongoing civil war in Yemen, focusing his attention on the resilience of civilians trapped in a life of violence and disease. His documentary film "Yemen Unveiled" was screened during the 2019 Human Rights Film Festival in Berlin, Germany and has been included in the Official Selection of the Health for All Film Festival 2020, organized by the World Health Organization in Geneva. In recent years, he has been continuing his research work on personal and small stories that, by synecdoche, represent a mosaic of contemporary history: from immigration to climate change, from social inclusion to the metamorphosis of the contemporary landscape. Movies:The Bosnian IdentityMal di Mare
Ruth Orkin
United States
1921 | † 1985
Ruth Orkin was an American photographer, photojournalist, and filmmaker, with ties to New York City and Hollywood. Best known for her photograph An American Girl in Italy (1951), she photographed many celebrities and personalities including Lauren Bacall, Doris Day, Ava Gardner, Tennessee Williams, Marlon Brando, and Alfred Hitchcock. Ruth Orkin was born on September 3, 1921 in Boston, Massachusetts to Mary Ruby and Samuel Orkin. Ruth grew up in Hollywood, due to her mother's career as a silent film actress. In 1931, she received her first camera, a 39-cent Univex, and soon began experimenting by taking photographs of her friends and teachers at school. At the age of 17, she decided to bike across America, beginning in Los Angeles, and ending in New York City for the 1939 World's Fair. She completed the trip in three weeks' time, taking photographs along the way. She briefly attended Los Angeles City College for photojournalism in 1940, prior to becoming the first messenger girl at MGM Studios in 1941, citing a desire to become a cinematographer. She left the position after discovering the union's discriminatory practices that did not allow female members. She joined the Women's Auxiliary Army Corps during World War II, in 1941 in an attempt to gain filmmaking skills, as advertisements promoting the group promised. The attempt was not fruitful, however, and she was discharged in 1943 without any filmmaking training. In 1943, Orkin moved to New York City in pursuit of a career as a freelance photojournalist. She began working as a nightclub photographer and received her first assignment in 1945 from The New York Times to shoot Leonard Bernstein. Shortly after, her freelance career grew as she traveled internationally on assignments and contributed photographs to Life, Look, Ladies' Home Journal, and others. Orkin is credited with breaking into a heavily male field. Orkin's most celebrated image is An American Girl in Italy (1951). The subject of the now-iconic photograph was the 23-year-old Ninalee Craig (known at that time as Jinx Allen). The photograph was part of a series originally titled Don't Be Afraid to Travel Alone. The image depicted Craig as a young woman confidently walking past a group of ogling Italian men in Florence. In recent articles written about the pair, Craig claims that the image was not staged, and was one of many taken throughout the day, aiming to show the fun of traveling alone. In 1952 Orkin married photographer, filmmaker and fellow Photo League member Morris Engel. Orkin and Engel collaborated on two major independent feature films, Little Fugitive which was nominated for an Academy Award in 1953, and Lovers and Lollipops (1955). After the success of the two films, Orkin returned to photography, taking color shots of Central Park as seen through her apartment window. Ruth photographed marathons, parades, concerts, demonstrations, and the beauty of the changing seasons. These photographs were the subject of two widely acclaimed books, A World Through My Window (1978) and More Pictures from My Window (1983). Orkin taught photography at the School of Visual Arts in the late 1970s, and at the International Center of Photography in 1980. After a long struggle with cancer, Orkin passed away in her apartment, surrounded by her wonderful legacy of photographs with the view of Central Park outside her window, on January 16, 1985.Source: Wikipedia Ruth Orkin was an award-winning photojournalist and filmmaker. Orkin was the only child of Mary Ruby, a silent-film actress, and Samuel Orkin, a manufacturer of toy boats called Orkin Craft. She grew up in Hollywood in the heyday of the 1920s and 1930s. At the age of 10, she received her first camera, a 39 cent Univex. She began by photographing her friends and teachers at school. At 17 years old she took a monumental bicycle trip across the United States from Los Angeles to New York City to see the 1939 World’s Fair, and she photographed along the way. Orkin moved to New York in 1943, where she worked as a nightclub photographer and shot baby pictures by day to buy her first professional camera. She worked for all the major magazines in 1940s, and also went to Tanglewood during the summers to shoot rehearsals. She ended up with many of the worlds’ greatest musicians of the time including Leonard Bernstein, Isaac Stern, Aaron Copland, Jascha Heifitz, Serge Koussevitzky and many others. In 1951, LIFE magazine sent her to Israel with the Israeli Philharmonic. Orkin then went to Italy, and it was in Florence where she met Nina Lee Craig, an art student and fellow American, who became the subject of American Girl in Italy. The photograph was part of a series originally titled Don’t Be Afraid to Travel Alone about what they encountered as women traveling alone in Europe after the war.Source: Ruth Orkin Photo Archive Boston-born Ruth Orkin grew up in Los Angeles, and the movie industry and music were both formative influences. She attended Los Angeles City College briefly in 1940 before becoming the first female studio messenger ever hired at Metro-Goldwyn-Mayer in the early 1940s; but with no hope for promotion, she joined the Women's Auxiliary Army Corps, tempted by the promise (empty, as it turned out) that she would be taught cinematography. After completing her service in 1943, she moved to New York and worked as a nightclub photographer. Orkin honed her skills in portraiture by spending the summer of 1946 documenting the Tanglewood Music Festival; later that year, LOOK published her first major photo essay, Jimmy, the Storyteller. She sent the series to Edward Steichen at the Museum of Modern Art in 1947, and he subsequently included her in every group photography show at the museum until his retirement, including the great 1955 exhibition, The Family of Man. Orkin married photographer Morris Engel in 1952, and the couple collaborated on a prize-winning film, Little Fugitive. Their filmmaking endeavors continued through the mid-1950s, and while Orkin continued to photograph, she admitted that still photography "held little interest" after her experience of making a film. Her views of Central Park, taken from her apartment, were published in the 1978 book A World Outside My Window. Orkin's photography is a celebration of fearlessness and vitality. While she accepted specific assignments from The New York Times and various magazines, she also had the freedom to work independently, creating photo essays and photographing famous people with the knowledge that she would be able to sell the resulting work. Like a film director, Orkin created images that appear to be private moments, and lends a Hollywood-style personality to her subjects and landscapes.Source: International Center of Photography
Shinya Arimoto
Arimoto, who was born in Osaka in 1971, currently resides and works in Tokyo. Arimoto, a 1994 graduate of Visual Arts Osaka, won the 35th Taiyo Award in 1998 for his piece "Portrait of Tibet." He started the Totem Pole Photo Gallery in 2008. In 2016, Arimoto collaborated with Zen Foto Gallery to publish "Tokyo Circulation," and in 2017, she was honored with the Photographic Society of Japan's Lifetime Achievement Award and the 26th Tadahiko Hayashi Award. His other works include "TIBET" and "ariphoto selection" (Nos. 1–10, Totem Pole Photo Gallery) (Zen Foto Gallery, 2019). He actively exhibits his work both inside and outside of Japan. In 2017, he held a solo exhibition at Le Plac'Art Photo in Paris, and in 2019, he took part in the group show "Am Rand der Gesellschaft. Barlach, Springer, Arimoto" at Museum Bautzen in Germany. Statement In 1994, while still in my early 20’s and fresh out of photo school I went to India to photograph. Six months into my travels the backpack in which I was keeping my exposed film – over 150 rolls – was stolen. This incident cast a dark shadow over my youth and ultimately signified a turning point in my understanding about photography which continues to this day. Even though I went to India determined to make photographs this event was the trigger for me to realize that essentially I was there sightseeing and made me question why I was even in India in the first place. It made me aware of the ambiguity of my determination (…). Soon after this I went to Nepal. With no set destination I happened to end up in Kathmandu. There, I encountered a Tibetan family on the roadside (…). My relationship with this family grew as we shared meals and our living space. In between mantra carving, I looked after the children when they played. Our time together was short yet it was a time of happiness. As the days passed I picked up bits of their language and began to feel a strong desire to see their homeland with my own eyes (..). In 1996, I set foot in Tibet. I’ll never forget that thrill. Everything that had happened so far – every coincidence, incident, and tribulation, had brought me to this point. (…) Looking back I realize that most of my twenties were spent with Tibet. Having started out as an empty vessel, it was Tibet and my experiences there that made me full.
El Lissitzky
Russia
1890 | † 1941
Lazar Markovich Lissitzky, known as El Lissitzky, was a Russian artist, designer, photographer, typographer, polemicist and architect. He was an important figure of the Russian avant-garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for the Soviet Union. His work greatly influenced the Bauhaus and constructivist movements, and he experimented with production techniques and stylistic devices that would go on to dominate 20th-century graphic design. Lissitzky's entire career was laced with the belief that the artist could be an agent for change, later summarized with his edict, "das zielbewußte Schaffen" (goal-oriented creation). Lissitzky, of Lithuanian Jewish оrigin, began his career illustrating Yiddish children's books in an effort to promote Jewish culture in Russia. When only 15 he started teaching, a duty he would maintain for most of his life. Over the years, he taught in a variety of positions, schools, and artistic media, spreading and exchanging ideas. He took this ethic with him when he worked with Malevich in heading the suprematist art group UNOVIS, when he developed a variant suprematist series of his own, Proun, and further still in 1921, when he took up a job as the Russian cultural ambassador to Weimar Germany, working with and influencing important figures of the Bauhaus and De Stijl movements during his stay. In his remaining years he brought significant innovation and change to typography, exhibition design, photomontage, and book design, producing critically respected works and winning international acclaim for his exhibition design. This continued until his deathbed, where in 1941 he produced one of his last works – a Soviet propaganda poster rallying the people to construct more tanks for the fight against Nazi Germany. In 2014, the heirs of the artist, in collaboration with Van Abbemuseum and leading worldwide scholars on the subject, established the Lissitzky Foundation in order to preserve the artist's legacy and to prepare a catalogue raisonné of the artist's oeuvre.Source: Tate Margarita Tupitsyn included the essays by Ulrich Pohlmann and Mathew Drutt in her book Beyond the Abstract Cabinet (1999). This book was aimed at an audience with an interest in Russian photography and modernism. The essays in this book brought Lissitzky’s work to limelight. The essays mention various aspect of his work. From 1922 to 1925, Lissitzky experimented with photograph collage and photograms. While working on photograms, Lissitzky experimented with photomontage as well. He was able to achieve vibrant compositions using several printing exposures in order to utilize the effects of transparency. These experiments help him in many advertisements he produced starting from 1924 until 1925. Lissitzky was among the first avant-gardists to revive the photogram or cameraless photographic image, combining this technique with experiments in montage to generate fantastic portraits and design proposals. Largely using photography, Lissitzky also rethought the illustrated book as an architectural form, to be tabbed through, unfolded in all directions, and made into a fully three-dimensional object. These many ideas were deployed in the service of artists and arts organizations, as well as, above all, institutions of the Soviet state, on whose behalf Lissitzky was committed to “influencing the human psyche” collectively and in the public realm. He survived the reversals of fortune suffered by so many politically committed artists in the 1930s but had chronically poor health and died of tuberculosis.Source: The Art Institute of Chicago
Thierry Cohen
France
1963
Thierry Cohen was born in Paris in 1963. He began his professional career in 1985 and is seen as one of the pioneers of digital photography. His work has been shown at the Palais de Tokyo, and the Musee de l”Homme in Paris, and in 2008 was an official selection of the Mois de la Photo. Since 2010 he has devoted himself to a single project – “Villes Enteintes” (Darkened Cities) – which depicts the major cities of the world as they would appear at night without light pollution, or in more poetic terms: how they would look if we could see the stars. Cohen’s method is original and precise and harkens back to the methodologies employed by early 19th century photographers like Gustave Le Grey. He photographs the world’s major cities, seeking out views that resonate for him and noting the precise time, angle, and latitude and longitude of his exposure. As the world rotates around its axis the stars that would have been visible above a particular city move to deserts, plains, and other places free of light pollution. By noting the precise latitude and angle of his cityscape, Cohen is able to track the earth’s rotation to places of atmospheric clarity like the Mojave, the Sahara, and the Atacama desert. There he sets up his camera to record what is lost to modern urban dwellers. Compositing the two images, Cohen creates a single new image full of resonance and nuance. The work is both political and spiritual questioning not only what we are doing to the planet but drawing unexpected connections between disparate locations. Equally importantly it asks: what do we miss by obscuring the visibility of stars? As the world's population becomes increasingly urban, there is a disjunction with the natural world which both Cohen and science posit causes both physical and psychological harm. Cities that never sleep are made up of millions of individuals breaking natural cycles of work and repose. Cohen’s photographs attempt to restore our vision, and in beautifully crafted prints and images offer the viewer a possibility - to re-connect us to the infinite energy of the stars.Source: Danziger Gallery
Steeve Luncker
Switzerland
1969
Born in 1969 in Switzerland, Steeve Iuncker lives and works in Geneva. He studied at the Photography School in Vevey and is Agence VU' member since 2000.“Press photographer (he works part-time for a daily newspaper), Steeve Iunker tirelessly questions the role(s) of photography and of the image in the fields of information and documentary today in a radical and political way…[his work] aims to get close to the taboos relating to the body, to death and to the standard social conception of big issues that affect human thought. Either he stays with an Aids patient in the terminal phase, he represents the professional life of an old prostitute, he confronts himself with the crisis in Gaza, he stores images of celebrities adorned with diamonds at Cannes Festival, discovers the backstage area of a fashion show, follows the police while investigating on crimes, or reveals the astounding world of plastic surgery, Steeve Iunker doesn’t chase icons. He shows. In a realistic, free and salutary way. Even if it might seem provocative or shocking. He only wants us to agree to see. To be responsible and clear-sighted.”Christian Caujolle.He has recently finished the first phase of a project dealing with the subject of death. He wishes to expose to Geneva the realities that its police department, University Institute of Legal Medicine and the Murith Funeral Services must face regularly. The second ongoing phase of the project consists of photographing the places and traces behind individual deaths in order to reveal an often unknown reality that is tossed into the realm of fiction by Hollywood movies. Source: Agence VU
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