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Angela Bacon-Kidwell
Angela Bacon-Kidwell
Angela Bacon-Kidwell

Angela Bacon-Kidwell

Country: United States

Angela Bacon-Kidwell is an award winning photographer and visual artist that lives and works in Texas. Angela has a BFA from Midwestern State University, Wichita Falls, Texas, with specialization in painting and photography. Her work emerges from her journey of recovering a sense of self, strength and spirituality through an examination of her identities as daughter, granddaughter, wife, mother and artist. Her photographic work has received numerous awards and honors and has been exhibited and published both nationally and internationally. Recent awards and recognition’s include: nominated for the Santa Fe Prize for Photography in 2011, Finalist for the John Clarence Laughlin Award, First place in the Palm Springs Photo Festival, First Place in the Texas Photographic Society International Competition and 2012 lecture at the Annenberg Space for Photography in Los Angeles.

She is currently represented by Afterimage Gallery, Dallas, Texas, Wallspace Gallery, Santa Barbara, CA and Galerie BMG, Woodstock, NY


Home by Nightfall (2012-2014)

Silence ceased for him in 2011
not a whisper, but a relentless roaring thunder
molding his spirit into mourning

In his misery, a new vaporous malice was brewing
the ringing was a warning
tinnitus and cancer were converging

Every known eradication was pursued
He and I, separated by many miles,
shared a need for solitude
cultivated by lucid country drives

We drove separately through the dark districts of our minds
invariably contemplating what was to come,
a symbiotic transitory landscape emerged
and the thunder soared in 2013

Questions, Answers, Questions, Answers
Questions, Answers, Questions, Answers
Questions, Answers, Questions, Answers
all tedious throbbing answers

How many miles in a life?
What shape is the color grey?
When does an echo become whole?

During the three years of relentless discord,
I created images of these ambiguous queries
emoting, sensing, seeking

There is a truth in "big" questions with small answers
Clarity in the midst of chaos
Hope in the face of despair

Silence returned for him on May 24, 2014
He was my father.

Galleries

Afterimage Gallery

Wallspace Gallery

Galerie BMG

Website

www.angelabaconkidwell.com

 

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More Great Photographers To Discover

Mostafa Nodeh
Mostafa Nodeh
Iran
1980
Mostafa Nodeh (b. 1980) is an Iranian artist and self-taught photographer based in Guilan, on the northern coast of Iran. He is known for his captivating minimalist landscape photographs in black and white, which, inspired by conceptual photography, are strongly rooted in themes, ideas and symbolism. About the Freedom Collection Global Appeal and Interpretative Depth The Freedom collection showcases how the simplest of elements can carry profound meanings. While some may see in his images themes of hope and resilience, others might interpret them as reflections on personal growth or the changing seasons of life. A Celebration of Universal Themes Mostafa Nodeh’s Freedom is a testament to his belief that freedom is a deeply personal and universal experience. The collection invites viewers to reflect on their journeys, embodying resilience and aspiration through serene imagery. Nodeh’s work serves as an invitation to pause, appreciate the quiet elegance of the world, and find strength in simplicity. Nodeh’s photography reminds us that within each image lies an opportunity to find peace and inspiration, celebrating the beauty of life’s most fundamental experiences. Statement Very poetic and existential in nature, Nodeh's works invite us to reflect on the deeper questions in life. What is the meaning of it? How are we spending it? Or to engage with more politically charged questions such as which lives matter? Or who is disposable? All the while they also hold another important message, which perhaps is the root of Nodeh’s minimalism: ''To me minimal photography is an art in the way that artists learn how to omit the extra elements which seem to be very necessary in such a hectic life. I see it as an international language to communicate with the people round the world'' Awarded Photographer of the Week - Week 49
Anna Försterling
Anna Försterling
Germany
1995
Anna Försterling is a German photographer specializing in artistic nude and portrait photography. She was born in 1995 and grew up in Saxony, near Dresden. She successfully completed her training as a photographer from 2014 to 2017 and has been working as an independent photographer in Freiberg (Saxony) since January 2021. Her work is all about minimalism and body shapes. Skin plays an important role for her, as skin is one of the most important and exciting means of expression of character and soul. She also wants to show emotion and soul in her portraits and usually reduces to a presentation in black and white. Anna photographs her work exclusively analog and mostly on black and white film and develops her films herself.
Carl Young
Carl Young
United States
1963
Carl Young is a Fine Art and Street photographer based in Los Angeles, CA. He has a BFA from Temple University and has studied at the International Center of Photography in New York City, and at the Los Angeles Center of Photography. He is currently a member of the Street LA Photo Collective. After a career in New York City creating ad campaigns and directing photo shoots for Fortune 500 companies, he now devotes as much time as possible to exploring and documenting the people and culture of Los Angeles. Carl's work has been included in many juried exhibitions and gallery shows, his work has been published in various photography magazines. Carl counts Gary Winogrand, René Burri, and Martin Parr as some of his strongest Street photography influences. Warehouse District Fire© Carl Young About Warehouse District Fire "This image was taken early on a Saturday morning in downtown Los Angeles as members of a photography collective were gathering when (luckily?) a fire broke out across the street. The storefronts were unoccupied at the time and a rare opportunity arose to document the process these brave firefighters go through from arriving on the scene to rolling up their hoses and leaving."
Jeff Wall
Jeff Wall
Canada
1946
Jeff Wall's artistic technique mixes the fundamentals of photography with influences from other art forms such as painting, film, and literature. This synthesis takes place within a complex framework that he refers to as "cinematography." His wide body of work ranges from classical reporting to sophisticated constructions and montages, which are frequently performed on bigger scales typically associated with painting. Wall, who was born in 1946 in Vancouver, Canada, and still lives there, became interested in photography in the 1960s, a time when Conceptual art was popular. By the mid-1970s, he had incorporated the spirit of experimentation inherent in Conceptualism into his own style of pictorial photography. Wall's photos, created as backlit color transparencies, a method more commonly associated with advertising than fine art photography at the time, made a huge effect when displayed in galleries and museums. They had a critical influence in establishing color as an important part of photographic composition. In his early works, Wall explicitly references other artworks, creating linkages to the history of image creation. "The Destroyed Room" (1978) is inspired by Eugène Delacroix's enormous picture "The Death of Sardanapalus" (1827), which explores themes of violence and sensuality. "Picture for Women" (1979) resembles Édouard Manet's "A Bar at the Folies-Bergère" (1882) while contextualizing the painting's implications within late-'70s cultural politics. These works exhibit Wall's concept of "blatant artifice," which emphasizes the theatricality of both the subject and the production. One important part of Wall's body of work is "near documentary," which are pictures that mimic documentary style but are made in conjunction with the people they include. Wall's method of using nonprofessional models, which captures ordinary moments with complex meanings, is reminiscent of the neorealism of Italian cinema in the 1950s and 1960s. Wall explores formal and dramatic possibilities, delving into the meanings and affects of documentary photography by depicting events that were seen but not captured on camera at the time. Since the mid-1990s, Wall has expanded his artistic repertoire, incorporating traditional black-and-white prints and, more recently, inkjet color prints into his evolving body of work.
Scott Bourne
Scott Bourne
United States
Scott Bourne is an Olympus Visionary and professional wildlife photographer, author and lecturer who specializes in birds. He's been involved with photography for more than four decades and his work has appeared in more than 200 publications. He is a pioneer in the digital photography and online space and was named one of the 30 most influential photographers on the Web by Huffington Post. Scott is also the President of Skylum Software's US and Chinese operations. In addition to being a trainer on lynda.com and ThinkTapLearn, he's led workshops and seminars, taught for or spoken at conferences or events sponsored by Palm Beach Photographic Center, Cooperative Communicators of America, Apple, The National Association of Photoshop Professionals, CreativeLive.com, the National Association of Broadcasters, North American Music Merchants, MacWorld, Washington Professional Photographers Association, WPPI, PartnerCon, PPA, Seattle Art Center, Marketing Essentials International, The Consumer Electronics Show and Olympic Mountain School of Photography. Scott was one of the first photographers ever to receive the designation Apple Certified Professional Trainer (T3) for Apple's Aperture. He also previously held the designation Certified Adobe Photoshop Instructor and Professional Photographers of America's Certified Professional Photographer designation. Scott was recently awarded the designation Signed Master with the Studio Of Masters in China.
Brian Ulrich
Brian Ulrich
United States
1971
Brian Ulrich is an American photographer known for his exploration of consumer culture. Ulrich's work is held many collections including the Art Institute of Chicago and the Cleveland Museum of Art. Photo District News named Ulrich as one of 30 Emerging Photographers (2007). He was awarded a Guggenheim Fellowship (2009). His work has been featured in the New York Times Magazine; Time Magazine; Mother Jones; Artforum; and Harper’s. Aperture and the Cleveland Museum of Art published his first major monograph, Is This Place Great or What (2011). The Anderson Gallery published the catalog Closeout: Retail, Relics and Ephemera (2013).Source: Rhode Island School of Design Ulrich was born in Northport, New York, and lives in Providence, Rhode Island. He received a BFA in photography from University of Akron in Akron, Ohio (1996) and an MFA in photography from Columbia College Chicago (2004). He has taught photography at Columbia College Chicago and Gallery 37, both in Chicago; and at the University of Akron. He is an Associate Professor of Photography at the Rhode Island School of Design. In 2001 in response to a national call for citizens to bolster the American economy through shopping, Ulrich began a project to document consumer culture. This project, Copia, is a series of large-scale photographs of shoppers, retail spaces, and displays of goods. Initially focused on big-box retail establishments and shoppers, the series expanded to include thrift stores, back rooms of retail businesses, art fairs, and most recently empty retail stores and dead malls. Ulrich works with a combination of 4×5 large format and medium format cameras, and also incorporates found objects as sculpture, juxtaposed with his photographs on gallery walls.Source: Wikipedia
Mitch Rouse
Mitch Rouse
United States
1940
Mitch was a transportation entrepreneur in Long Beach, and is now a photographer based out of Cody, Wyoming. Before Mitch shot aerial images, he was an avid self-taught landscape photographer. In the realm of aerial photography, he began with with high tech drones and evolved into flying fixed wing. Unsatisfied with the limitations of these methods, he has now found the sweet spot between the two, by developing a system that incorporates a Bell helicopter with a 150 MP Phase One Industrial camera, inside a Shot Over gimbal, mounted to its nose. Mitch most enjoys shooting abstract land patterns and beautiful farmlands throughout the western states. He is also interested in industrial sites including agriculture, transportation, shipping, ports, solar power, wind power, oil and gas. His current projects include Los Angeles - Long Beach Harbor, piers of California, highway interchanges, oil and gas fields in the Central Valley of California, agriculture in the Central Valley of California, and agriculture in the Palouse region Washington, Oregon and Idaho. Top Views of The Palouse Symmetrical farmscapes and the asymmetrical patterns of natural landscapes have always been intriguing to Mitch Rouse, a photographer based out of Cody, Wyoming. Over the last four years, his passion for landscape photography and his deep desire to capture a unique perspective, evolved into taking to the skies with the right technology to capture those exclusive scenes from above. The Palouse in SE Washington is one of his favourite places to explore. Due to its geological heritage, the rolling hills of grasses are an endless sea. Farmland is scattered over this peculiar dune-like landscape, which formed sometime during the last several ice ages, when glacial silt was blown across the region forming dunes called "loess". The farmers who settled on this land had to develop methods of successful harvesting, where to avoid the steep slopes becoming hazardous to their tractors and combines, they would plough along the contours of the hills, this led to the use of special self-levelling harvesters that can cut crops safely and efficiently by constantly adjusting to the different gradients of the slopes. As you can imagine, the lines and patterns that these farming techniques produce, combined with the already picturesque landscape, are captivating from the air. These aerial photographs of The Palouse captured by Mitch, resemble topographical maps where the colour contrasts, line patterns and contour shapes have become a distinctive form of art. Two seasons in The Palouse are equally magnificent in their colours and textures. Mitch enjoys capturing both the vibrant green silky grass seas of Springtime, and the golden brown rough textures of the Harvest. The most appealing thing about photographing The Palouse is this combination of classic features of farmland, spread across this canvas of ‘dunes', resulting in truly mesmerising endless lines in both linear, and in curved patterns, with the play of the light across those textures and gradients, creating shadows and variations in the colour spectrums of the greens and yellows or of the browns and the golds. The aerial perspective gives these abstract art forms a boldness that cannot be fully appreciated from the ground. Mitch's favourite lens to use is a 35mm. This is due to its versatility with 100mp resolution, he can crop in with fantastic detail, or leave it at a wide angle. We think you'll agree that these resulting shots are really stunning and showcase this truly individual area of American geography.
James Fee
James Fee
United States
1949 | † 2006
James Fee was an American photographer best known for his photographs of abandoned factories and lonely highways. He was born in the town of Knoxville, Iowa. Fee drove from Iowa to California after graduating from high school and settled in San Francisco. He married Sharon Kitzman in San Francisco. Fee has also lived in New York City and Los Angeles. A Graflex Norita 66 with extension tubes, tele-extenders, and mid-century telephoto lenses was used for much of Fee's earlier personal work. The camera and equipment were stolen in the early 1990s while he was working on his "Photographs of Americana" series. Fee discovered that it was difficult to replace the camera and began experimenting with the Russian-made Kieve 90 with lens embellishments. Fee appreciated the irony of finishing the series with a Russian camera. Because of Fee's approach to photography, museum curators gave his exhibitions titles like "American Noir" and "The Weight of Time." His photographs can be found in the permanent collections of the San Diego Museum of Photographic Arts, the William Benton Museum of Art, and the Getty Museum. Fee once worked with sculptor George Herms, who shared his love of the Beat Generation. Fee later taught photography at the Art Center College of Design in Pasadena, California, from 1994 to 2003. He began teaching at Otis College of Art and Design in Los Angeles in 1993. Fee photographed images he thought represented declining cultural icons in the United States, such as crumbling drive-in movie theaters and rusted, abandoned cars. During World War II, Fee's father, Russell James Fee, served in the United States Navy as a medical corpsman attached to the Marine Corps. During a tense battle on Peleliu Island in 1944, he captured images of his fellow sailors and Marines as well as the aftermath of battles. Russell Fee passed away in 1972. In 1998, James Fee visited Peleliu Island and photographed remnants of World War II battles, such as rusted and overgrown tanks, roads, and the tip of a sunken Japanese fighter plane. He attempted to photograph the same scenes that his father had captured more than 50 years before. Fee created an exhibit called the "Peleliu Project" in which he artistically combined his own photographs with images taken by his father. The exhibition toured the United States and was first shown at the Craig Krull Gallery in Santa Monica in 2001 before being permanently housed at the San Diego Museum of Photographic Arts. James Fee is survived by his wife of 30 years, Elena Stoyanov (NJ), and Illya Eric Isaac Fee (CA), his son from his first marriage. Fee was found dead in Beverly Hills, California. Hepatitis C and liver cancer were the causes of his death. At the time of his father's death, Illya Fee was by his side.
Jared Ragland
Jared Ragland
United States
1977
Jared Ragland is a fine art and documentary photographer and former White House photo editor. He currently teaches and coordinates exhibitions and community programs in the Department of Art and Art History at the University of Alabama at Birmingham and is at work on a long-term documentary on methamphetamine users living in northeast Alabama. He is the photo editor of National Geographic Books' "The President's Photographer: Fifty Years Inside the Oval Office," and has worked on assignment for NGOs in the Balkans, the former Soviet Bloc, East Africa and Haiti. His photographic work is rooted in his lifelong exposure to the landscapes, people, aesthetics, and storytelling traditions of the American South, and his work has been exhibited internationally and featured by The Oxford American, The New York Times, and TIME Magazine. Jared is an alumni of LaGrange College and a 2003 graduate of Tulane University with an MFA in Photography. He resides in his hometown of Birmingham, Alabama. Statement: The rise in use of methamphetamine across the United States over the last decade has led to increased cultural anxiety about the drug and those who use it, while the general perception of the meth-head is perpetuated by popular television programs and pervasive anti-meth campaigns. These limited representations typically paint one-dimensional, demonized characters whose chronic drug use is epitomized by obsessiveness, paranoia, and monstrous physical side effects. But while there are certainly deleterious consequences to meth use and stereotypes often ring too true, existing cultural narratives too often fall short of more complex, individually considered realities. Photographed over 18 months in collaboration with University of Alabama at Birmingham sociologist Heith Copes, Ph.D., GOOD BAD PEOPLE documents the tumultuous lives of meth users from Sand Mountain, a sandstone plateau in northeast Alabama infamous for extreme poverty, poultry processing plants, Pentecostal snake-handlers, and meth production. The images simultaneously reinforce and undermine assumptions of what it means to be a methamphetamine user and present an intimate look into the lives of those who struggle amidst drug use and diminished social status.
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