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Bear Kirkpatrick
Bear Kirkpatrick
Bear Kirkpatrick

Bear Kirkpatrick

Country: United States
Birth: 1965

Bear Kirkpatrick’s work has been exhibited at the Center for Fine Art Photography (Ft.Collins), The Rayko Center (San Francisco), wall-space Gallery (Santa Barbara and Seattle), photo-eye Gallery (Santa Fe), Flowers Gallery (New York), and the PRC Gallery (Boston). His Wallportrait series was recently awarded a solo exhibitions at the Center for Fine Art Photography by Amy Arbus who juried the Portraits 2014 exhibition. His work has been published in Eyemazing (Netherlands), The Opera (Germany), Photo+ (South Korea), and Musee (New York City).
He works with the American artist Robert Wilson as the chief installer of his video portraits in private residences, museums, and galleries around the world.
He lives and works in Portsmouth, NH.
 

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Tod Papageorge
United States
1940
Tod Papageorge is an American photographer whose career began in the New York City street photography movement of the 1960s. He started taking photographs in 1962 as an English literature major at the University of New Hampshire. Between 1979 and 2013 he directed the graduate program in photography at the Yale School of Art, where his students included Philip-Lorca diCorcia, Lois Conner, Abelardo Morell, Susan Lipper, Gregory Crewdson, An-My Le, Anna Gaskell, Steve Giovinco, and Katy Grannan. In 2007, Steidl published Passing through Eden, a collection of photographs Papageorge took over 25 years in Central Park. Also in 2007, Aperture published American Sports, 1970: Or How We Spent the War in Vietnam, containing photographs taken during his 1970 Guggenheim Fellowship.Source: Wikipedia About Passing through Eden Taken between 1969 and 1991, these black and white photographs capture the primeval character of Central Park, a human tragedy and comedy in this particular vision of the garden of Eden. During the 1970s, when Papageorge began to work on this series, Central Park was portrayed as a dangerous place not to be visited after dark. These photographs depict a different view showing innocence, beauty, ugliness, isolation, chaos and humour - the whole scope of human life on view within the park. Papageorge parallels this series with the first four books of Genesis, pulling the disparate images together by presenting the park as a public Eden, his elegy to a lost Elysium. This projected narrative lends the images structure and gravity: the audience can recognise Adam and Eve, Cain and Abel in various guises acting out their elemental roles in our commonplace world. Initially, Papageorge's project was driven less by a fascination with Central Park than by the desire to utilise a particular camera (6 x 9 cm Fujica) that was too cumbersome for the city's streets. He found within the park an intense and palpable realm of bodies, action and objects. Daily photographic excursions alongside Garry Winogrand and Joel Meyerowitz on the streets of New York had honed his abilities to both anticipate and capture great photographic moments within the disorder of the park. Established as an articulate and influential critic and teacher of other's work, Papageorge's own photographs have rarely been in the spotlight. Professor and Director of Graduate Studies in Photography at Yale Art School since 1979, he has taught many of the strongest American photographers of the past three decades, including Abelardo Morell, Gregory Crewdson, Anna Gaskell and Katy Grannan. This re-examination of Papageorge's photography has been prompted by the recent reconsideration of work by his peers -- Winogrand by the ICP, Friedlander by the MOMA and Stephen Shore by the ICP.Source: Michael Hoppen Gallery
René Groebli
Switzerland
1927
René Groebli (born October 9, 1927 in Zurich) is an exhibiting and published Swiss industrial and advertising photographer, expert in dye transfer and colour lithography. He grew up in the Enge district of the city of Zurich, where he attended the Langzeitgymnasium. After two years, he moved to the Oberrealschule, a science-oriented grammar school, but broke off this education after two years to begin an apprenticeship as a photographer with Theo Vonow in Zurich in 1944. When his teacher moved back to Graubünden, Groebli entered the preparatory course of the Zurich School of Applied Arts, attending from the spring of 1945. Subsequently, he enrolled in the renowned professional class for photography under the direction of Hans Finsler and Alfred Willimann until the summer of 1946. Amongst his fellow students were Ernst Scheidegger and Anita Nietz. In September 1946 Groebli began training as a documentary cameraman at Central Film and Gloria Film Zürich, graduating in late 1948 with a diploma, though he did not subsequently practice as a cinematographer. In 1947 he won third prize in a competition run by the monthly magazine Camera with his series Karussell. Freelancing for Victor-N. Cohen agency in Zurich, in 1948 Groebli made his first trip to Paris and in 1949 bought his first Leica. From 1949 Groebli worked as a photojournalist and carried out assignments for the Züri-Woche, and later in Africa and the Middle East for the London agency Black Star. The pictures were published in the magazines Life and Picture Post. His first small folio Magie der Schiene ('Rail magic') comprising 16 photographs (with front and back cover) was also shot in 1949 and self-published later the same year. It captures the ‘magic’ of steam train travel during the late 1940s. Despite being young and relatively unknown, Groebli was able to borrow enough money to finance the high-quality printing. Technically it is a portfolio rather than a book, with pages unbound and laid in loose, inspired by the Man Ray and Paul Éluard publication FACILE (1935) which he purchased on his first trip to Paris in 1948. Photographed with a Rolleiflex 6×6 and a Leica 35mm camera in and around Paris, as well as locations in Switzerland, the often motion-blurred and grainy images convey the energy of steam. An obi-band with German text was produced for the approximately 30 to 40 original preorders, and other copies sold without. He held his first solo exhibition with photographs from the book. He spent three months in Paris where he met Brassaï and Robert Frank and spent a month in London. On October 13, 1951 he and Rita Dürmüller (1923-2013) were married. A second slim picture book Das Auge der Liebe ('The Eye of Love'), self-published in 1954 through his business “Turnus”, was created in collaboration with his wife Rita Groebli. This small book, though respected for its design and photography, caused some controversy, but also brought Groebli attention. It was assembled from shots made on the belated honeymoon that the photographer and his wife Rita took over two weeks in Paris in 1952 and in the following year for a few days to Marseille, though publication of the photographs was not planned in 1953 Groebli sequenced it for a book, introducing a blank page to stand in for daytime in its chronology. In the Swiss Photorundschau, published by the Swiss Photographic Association, the editor Hermann König traded correspondence with a specialist teacher of the School of Applied Arts where the book had been passed around and argued over, the term "love" in the title being considered by students to be too sentimental given the obvious sexual connotations. Where the photographer’s intention was for a romantic effect, the editor admitted that the narrative was sexualized. In the leading periodical Neue Zürcher Zeitunghe, editor Edwin Arnet objected to the emphasis on nudity. Groebli sequenced his photographs to tell the story of a woman meeting a man in a cheap hotel. The last photograph shows the woman's hand with a wedding ring on her ring finger holding an almost finished post-coitus cigarette. In the perception of audiences of the era, the implication was that the woman had to be either an ‘easy woman’, a prostitute, or an unfaithful wife. However the U.S. Camera Annual review of the work in 1955 pronounced it "a tender photo-essay on a photographer’s love for a woman.” After the death of photojournalist Paul Senn in 1953 and the killing of Werner Bischof in Peru in 1954, Kurt Blum, Robert Frank and René Groebli were newly admitted to the Kollegium Schweizerischer Photographen. A major exhibition organized by the 'Kollegium' in 1955 convinced critics that a new "Swiss style" that was indeed moving towards Photography as Expression as the exhibition was titled, and the end of critical (later dubbed 'concerned') photography. However, the association was soon disbanded because of disagreements between Gotthard Schuh and Jakob Tuggener, and Groebli had by then relinquished photojournalism. In the same year, and with four other Swiss photographers, Werner Bischof, Robert Frank, Gotthard Schuh and Sabine Weiss, René Groebli was represented with a picture in the exhibition The Family of Man curated by Edward Steichen for the Museum of Modern Art in New York. His available-light photo shows a tight crowd of excited, dancing teenagers, their movement blurred in the style of Magie der Schiene. Groebli launched his own studio for commercial industrial and advertising photography in 1955 in the newly built residential and studio building in Zurich-Wollishofen. At the end of the 1950s, Groebli also had his home and studio converted and enlarged and in addition to two studios and two black and white labs, a dye transfer workshop with several laboratory workstations was added. In 1963 Groebli founded the limited partnership Groebli + Guler with lithographer Walter Guler, renamed 'Fotolithos' in 1968. The workplace in Zurich-Wollishofen was equipped with the latest and best technical facilities and through the 1960s and early 1970s the business employed a staff of up to twelve, with good profits made from servicing the advertising photography industry. After ten years producing specialist colour photography, dye transfer production and colour lithographs for commercial advertising and industrial photography, in 1965 Groebli published his third photo book Variation through Arthur Niggli Verlag, Teufen. It presented a retrospective of possibilities of Groebli’s colour photography, though with scant mention of the role of his many employees and business partners. In 1971 he issued a second edition Variation 2, with updated information on colour technology including Cibachrome. By the late 1970s, with the more widespread adoption and acceptance of chromogenic methods of colour production less technically demanding and cheaper than dye transfer, Groebli ceased commercial photography and colour production, sold his home and studio and retired, though he still maintained connections with the industry and presented a paper on dye transfer at the 1977 Rencontres d'Arles. Groebli returned to making personal photographic essays in colour and in black and white, in series titled Fantasies, Ireland, The Shell, Burned Trees, N. Y. Visions, New York Melancholia and Nudes. Over the decades of the turn of the century, he worked on his image archive and digitized the most important photographs that he had taken over a career of sixty years. Groebli currently resides in Switzerland.Source: Wikipedia
Brigitte Carnochan
United States
1941
Brigitte Carnochan's photographs are represented nationally and collected globally by museums, corporate and private collectors. She has had solo exhibitions in Latvia, Italy, Chile, and Hong Kong as well as in New York, Houston, Boston, Palo Alto, Los Angeles, Santa Fe, Ketchum, Woodstock, Albuquerque, Carmel and San Francisco. In addition to the publication of three monographs (Bella Figura 2006, Shining Path 2006, Floating World 2012), The German publisher, Edition Galerie Vevais, launched a monograph of her images in 2014 at Paris Photo. For many years she taught workshops and classes through the Extension Program at UC Santa Cruz and Stanford's Continuing Studies Program. She is on the Advisory Councils of Center, in Santa Fe and The Center for Photographic Art in Carmel. Statement: Despite the debates over "honesty" and "truth" in photography, it is an intrinsically subjective art and form of communication. The photographer has chosen, from a huge range of images, certain ones - or pieces - from a certain perspective, with the light at a certain angle and at a unique moment in time. And the "story" in the photograph begins with the photographer's decision of when to click the shutter and isn't completed until each viewer interprets that image in his or her own way. The qualities that have fascinated me and led me to make a particular photograph are usually quite intuitive. I generally don't have a completed concept in my mind when I begin--I move things around, change angles, lighting--until everything seems right. To further complicate issues of "truth," I often add color to a black and white image in order to bring out, most convincingly, the impression it has made on me--and I have no concern about whether the colors are the "real" colors. In documentary photography the same subjective issues apply--but realizing and recording the "right" moment requires quicker reflexes and a different kind of intuition. Sensing a moment coming by keenly observing the scene--and always being ready for that moment--is the excitement in that kind of photography. All of my images begin as straight gelatin silver prints, but in my nudes and floral still lifes, I am often drawn to hand coloring on several counts. First in literature and now in photography, I have been interested in the power of the imagination--how it colors everyday life - creates, in fact, private views of experience, whether revealed in words or in images. Even though most people see the world in color, they do not see everything in the same exact colors. From an optical point of view, the colors we see depend on where we stand in relation to the object, where the sun is on the horizon, what color the walls are, or the tint of our glasses (or contact lenses), and so on. From a psychological point of view--everything depends on whether we are worried, elated, anxious, in love, lonely, distracted, or fully alert. For this reason, I often hand color my work, because the process allows me to interpret the essence of my subject according to my own imagination. Whether it is nudes and flowers or the black and white images in my series from Cuba, Africa, or Mexico, imagination colors--literally and figuratively--not only what I see initially, but what the viewer sees, ultimately. And seeing, of course, is everything in photography: seeing--and light and shadow. Beginning in 2007, I am continuing to paint gelatin silver images, but I am also scanning the first copy in each new painted edition (now limited to 25) and creating small limited editions of archival pigment prints* in three sizes. The level of current technology makes me confident that these digitally printed images will not only render the original painted photograph faithfully, but will, like the original, last over time. Discover Brigitte Carnochan's Interview
Beatrix Jourdan
Beatrix Jourdan (Bea Mészöly) was born in Budapest, attended The Hungarian University of Fine Arts, and is both a freelance graphic designer and photographer. Photography has been exhibited in solo and group shows in Luxembourg, Belgium/Brussels, London, Hungary, Italy, Kuala Lumpur, Senegal/Dakar Argentina and the USA. She is currently based in Dakar, Senegal. "Being a professional graphic designer I worked with photos shot by others, making art catalogues and book covers, designing magazines and advertising. Sometimes when I had not enough photos for creative process, I started to shoot for my work and found myself deeply involved in the process. Fine art photography inherits means of expression like the use of light, composition, shape, line, rhythm, colour, etc. from painting and drawing. But what is most important for me it suggests principle of duality, originality through lack of originality, reflection, illusion, intricacy, which confuses people who want to see in the photo a phenomenon of objectivity, simplicity and straightness – all these I try to keep in my mind and share in my works. I believe that the concept of photography is not only a faithful reproduction of reality, but also a way of showing emotions, human relations, and that it is also a form of communication between a photograph and the viewer. Thus, the camera is only a tool for the technical execution of the art form, and a catalyst for developing and displaying feelings." Interview with Beatrix Jourdan All About Photo: When did you realize you wanted to be a photographer? Beatrix Jourdan: I started working as a graphic designer, and choosing the right photo to work on was not so simple: sometimes I felt upset as it was very difficult to create a "communication-bridge" between the message and the composition that was in my hands. Then I started to take photos on my own: I perfectly knew what was in my mind, and the only thing I could do was taking photos, in order to translate my thoughts into reality. AAP: Where did you study photography? BJ: I was the "teacher of myself", as I began to spend a lot of time in the dark room, where - making a lot of mistakes, obviously! - at the end I understood how to manipulate and develop photos. AAP: Do you have a mentor or role model? BJ: No, I don't. I can admire other photographers' work, but I never wanted to have a mentor. AAP: How long have you been a photographer? BJ: 2005 can be considered the turning point of my professional life, as I abandoned my work as a graphic designer in order to become a photographer. AAP: Do you remember your first shot? What was it? BJ: Uh... what a difficult question! I can't say for sure but my dog could probably be my first subject. AAP: What or who inspires you? BJ: Everything around... The world that surrounds me everlastingly inspires me in my shots. Bodies, houses, situations... there are so many things that can be shot that sometimes I run the risk to lose myself in my own passion... AAP: How could you describe your style? BJ: Honestly, I really do not know. The "subjects" always influence my style... I love to help the observer, guiding his attention on a particular aspect, the same that caught my attention. AAP: Do you spend a lot of time editing your images? For what purpose? BJ: Yes. I always edit my photos. The photos are the way I like the most to begin to "paint", in order to translate into reality what I feel and "need" to show. AAP: What advice would you give a young photographer? BJ: Never try to copy any style from other photographers: just look deep inside and find yourself in the reality you shoot. AAP: Your best memory as a photographer? BJ: Every shot is deeply connected to a person or to a situation... The time I spend with someone always becomes my best memory. AAP: The compliment that touched you most? BJ: Every compliment touches me!! AAP: If you were someone else who would it be? BJ: ...even if I deeply love a photo which is not mine, I never say "I would have shot it". That's because a photo is part of the photographer that takes it. A photo is not only a "clic", it is a powerful mix of technique, feelings, emotions, background and thoughts. I cannot have the same "mix" as another photographer, so when I look at a photo I love, I prefer to feel the love the photographer has put into it. AAP: Anything else you would like to share? BJ: Not very original but: Shoot when you need to shoot, as time never goes back.
Arnaud Gaertner
France
1966
Born in 1966 in Nancy, France. Gaertner moved to Pennsylvania, US at the age of 3-6 (learned arnaud gaertnerto drink milk at school and sing the national anthem, never stopped!). He then spent 5 years in Rio de Janeiro, Brazil from age 10 to 16. Gaertner then travelled all over South America. He moved to Belgium for two years at the age of 16 and spent the next 12 years in in France. He took thousands of photos while traveling in North America, Asia Pacific, Europe, and the Middle East. He has resided in the Bay Area since 2012 with his wife Marine and their four sons. Gaertner is an explorer of California and its wonders.Series “In the middle of nowhere”, 2014In the middle of the Back Rock Desert, Nevada. In that Middle of Nowhere, 70 000 people camp in total autonomy for one week on a 30 million old dried lake, and on the main square, dozens, hundreds of art pieces, static or moving, are there, subject to the weather conditions: extreme heat, wind, dust storm. Most of the wooden art pieces are burned by the end of the week. As we speak all these moments are gone, people have left, art pieces returned into ashes, and I am glad these ephemeral moments are still alive through my photographs. This series is about the Ephemeral nature and Mystical dimension of the American desert.Artist statementBy 16 years of age, I had already visited more than 30 countries and had lived abroad, away from my home country France, for close to10 years in the United States, Brazil and Belgium. This decade opened my eyes to the diversity of the world, seen through its landscapes, people, cultures, sounds and tastes. I love people. I love getting to know others better. I love trying to understand who people are and what it is that makes them who they are. I made my first pictures when my Dad let me borrow his old camera while we were discovering the world, then he bought me a Kodak with Cube Flashes-this was my first camera and I have never stopped taking pictures since then. As an adult, I continue exploring all the continents. Photography keeps me connected to the magic of the planet. During my travels I have taken thousands of photos :f rom nature to cities, from diverse subjects to artists in their studios. This project, “In The Middle of Nowhere”, was born in the Black Rock Desert, Nevada, in September 2014. My son Baptiste had come to me and said “Dad, a friend of mine just came back from a crazy art festival in the desert called Burning Man”. Curious, we researched it and discovered something strange and amazing. For my first time at Burning Man I stayed only 3 days, but I took over 3000 pictures! My camera lens ended up ull of dust, but that probably added to the mystery of my images and the “sense of nowhere” I felt deeply. In the middle of nowhere, under 100 degrees Fahrenheit, cycling on a lake that dried 30 million years ago, 70 000 people live in total autonomy for one week where no money is exchanged, and hundreds of art pieces, static or moving, under the heat, in a dust storm, are admired by visitors in very creative costumes. Everything is burned by the end of the festival in a ritual of true “Ephemeral Art!” I seek to testify for the ephemeral, fleeting nature of these art pieces and unique moments made lasting by the photographic image. I try to capture the place, light, dusty wind that surround this eclectic eccentric happening. For this project I have selected about 30 im- ages out of 3000, helped by my two friends Gino Castoriano and Jules Maeght who are both gallerists. “In The Middle of Nowhere” is about people, places and art—those unique, ephemeral moments I capture through my images and that I want to share with you.
Ryotaro Horiuchi
Ryotaro Horiuchi was born in Tokyo in 1969. When he was a teenager, he started to work at the furniture studio as an assistant. During his time at the studio, he was asked to take photographs of furniture as its records. And that was the first time he felt his intention to focus on a thing in front of his eyes ''Through The Lends''. And that ''intention'' turned him into ''photo-holic'' by realizing the potential of photographs. Since then, he has been working on his works from Osaka University of Arts and while he was in Germany and till now. Now he is working with ''Descendants of Samurai'' and ''Roma Gypsy'' by taking their portraits. To do so, he keeps focusing on ''the identity'' of them and himself. Falling Waters When I faced the waterfall, my eyes were riveted on the falling waters. The waters kept changing and never became the same figure. I saw the vitality in its overwhelming energy. The waters looked so alive that I felt as if I were photo shooting creatures. These are not scenic photos but portraits of waterfalls. The waters kept moving vigorously with a roaring sound, however, I loved the silence behind it. Quiet Existence I have relatives who emigrated to a foreign country under a state-led migration policy during the pre-war period. They live as minorities in the country. Hearing stories about them as I grew up made me fascinated with people who are defined as minorities. When I was staying in Germany, I later learned that the people who had been closed to me were Roma. I had absolutely no knowledge about Roma at that time and their lifestyle looked just so mysterious to me. Since then, I had been drawn to their strong identity and I visited the area where many Romani people live. I met many other ethnic groups of people who live as minorities there. When I faced their lifestyles, I could see their quiet yet strong identity behind them, which strongly resonated with me. It might be impossible for minorities to maintain their culture without keeping their strong identity. What is identity? The question always makes me ask myself what kind of individuality I retain. Discover Descendants of Samurai
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