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Daniel Grant
Daniel Grant
Daniel Grant

Daniel Grant

Country: United States

The images I produce tell a story of the experiences that I have had the opportunity to be a part of. My formative years were spent traveling through the United States, Mexico and Europe, where culture, art and the natural environment made a lasting impression. I searched for the best way to be expressive and to create my own unique form of storytelling. My voice was found through the novel and unique views of the toy cameras: ‘Holga’ and ‘Diana.’ these cameras were first produced in the 1960’s as children’s toys. Today they have a cult following with photographers, not because of their perfection, but for their lack of precision, control and focus. By taking away the technical aspect of picture making, a sincere representation of the subject matter and vision of the photographer becomes evident.

Daniel grant is a landscape architect and fine art photographer residing in San Francisco, California.

Website

www.danielgrantphotography.com

 

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S. Gayle Stevens
S. Gayle Stevens
United States
S. Gayle Stevens has worked in antiquarian photographic processes for over fifteen years. Her chosen medium is wet plate collodion for its fluidity and individuality. She exhibits extensively across the United States, United Kingdom, the Netherlands and China. Ms. Stevens received an MFA from the School of the Art Institute of Chicago in 1999. She is an educator, speaker, juror, curator and an active member of the photographic community. Named one of the Critical Mass Top Fifty Photographers for 2010, she received second place in the Lens Culture International Exposure Awards in 2011 and was named a finalist for the Clarence John Laughlin Award in 2012. Her work has been featured in Fraction, Square, Shots, Diffusion, B + W Photography, South by Southeast and Fuzion magazines and in the recently published book Inventing Reality, New Orleans Visionary Photography. North Light Press published a book of Stevens’ work, Calligraphy, in their 11 + 1 Signature series. Christopher James will feature her work in the third edition of The Book of Alternative Photographic Processes. Stevens’ work is widely collected and is part of the permanent collection of the Ogden Museum of Southern Art, the Rockford Museum of Art and the Center for Fine Art Photography among others. A member of the Posse photo collective, she divides her time shooting in Pass Christian, Mississippi and Downers Grove, Illinois, where she resides. Stevens is represented by Tilt Gallery.
Gertrude Käsebier
Gertrude Käsebier
United States
1852 | † 1934
Gertrude Käsebier was an American photographer. She was well-known for her images of motherhood, portraits of Native Americans, and promotion of photography as a career for women. Käsebier was born Gertrude Stanton on May 18, 1852, in Fort Des Moines (now Des Moines, Iowa). Her mother was Muncy Boone Stanton and her father was John W. Stanton. He brought a sawmill to Golden, Colorado, at the start of the Pike's Peak Gold Rush in 1859, and he profited from the building boom that followed. Stanton, then eight years old, traveled to Colorado with her mother and younger brother to join her father. That same year, her father was elected as the first mayor of Golden, Colorado Territory's capital at the time. After her father died unexpectedly in 1864, the family relocated to Brooklyn, New York, where her mother, Muncy Boone Stanton, opened a boarding house to support the family. Stanton lived in Bethlehem, Pennsylvania, with her maternal grandmother from 1866 to 1870, and she attended the Bethlehem Female Seminary (later called Moravian College). Little else is known about her childhood. She married twenty-eight-year-old Eduard Käsebier, a financially secure and socially well-placed businessman in Brooklyn, on her twenty-second birthday in 1874. Frederick William, Gertrude Elizabeth, and Hermine Mathilde were the couple's three children. In 1884, they relocated to a farm in New Durham, New Jersey, in search of a healthier environment for their children to grow up in. Flying Hawk, American Indian, c. 1900, U.S. Flying Hawk, American Indian, c. 1900, U.S. Library of Congress © Gertrude Käsebier Gertrude Käsebier later wrote that she was unhappy for the majority of her marriage. She stated, "If my husband has gone to Heaven, I want to go to Hell. He was terrible... Nothing was ever good enough for him." Divorce was considered scandalous at the time, so the couple remained married while living separate lives after 1880. This unhappy situation later inspired one of her most strikingly titled photographs, Yoked and Muzzled – Marriage (c. 1915), which depicts two constrained oxen. Despite their differences, her husband financially supported her when she began art school at the age of 37, at a time when most women of her generation were well-established in their social positions. Käsebier never explained why she chose to study art, but she did so wholeheartedly. Over her husband's objections, she relocated the family to Brooklyn in 1889 to attend the newly established Pratt Institute of Art and Design full-time. Arthur Wesley Dow, a highly influential artist and art educator, was one of her teachers there. He later assisted in advancing her career by writing about it and introducing her to other photographers and patrons. The key to artistic photography is to work out your own thoughts, by yourselves. Imitation leads to certain disaster. New ideas are always antagonized. Do not mind that. If a thing is good it will survive. -- Gertrude Käsebier Gertrude Käsebier studied the theories of Friedrich Fröbel, a nineteenth-century scholar whose ideas about learning, play, and education inspired the creation of the first kindergarten. Käsebier was greatly influenced by his ideas about the importance of motherhood in child development, and many of her later photographs emphasized the bond between mother and child. The Arts and Crafts movement also had an impact on her. She studied drawing and painting in school, but she quickly became obsessed with photography. Käsebier, like many other art students at the time, decided to travel to Europe to further her education. She began 1894 by studying the chemistry of photography in Germany, where she was also able to leave her daughters with her in-laws in Wiesbaden. She spent the rest of the year in France, studying with American painter Frank DuMond. Gertrude Käsebier returned to Brooklyn in 1895. She decided to become a professional photographer in part because her husband had become quite ill and her family's finances were strained. She worked as an assistant to Brooklyn portrait photographer Samuel H. Lifshey for a year, where she learned how to run a studio and expanded her knowledge of printing techniques. Clearly, by this point, she had a thorough understanding of photography. Only one year later, she exhibited 150 photographs at the Boston Camera Club, a massive number for a single artist at the time. The same photographs were shown at the Pratt Institute in February 1897. The success of these exhibitions led to another in 1897 at the Photographic Society of Philadelphia. She also gave a talk about her work and encouraged other women to pursue photography as a career, saying, "I strongly advise women with artistic tastes to pursue a career in the underserved field of modern photography. It appears to be uniquely suited to them, and the few who have entered it have found rewarding and profitable success." In 1898, Käsebier watched Buffalo Bill's Wild West troupe parade past her Fifth Avenue studio in New York City, toward Madison Square Garden. Her memories of affection and respect for the Lakota people inspired her to send a letter to William "Buffalo Bill" Cody requesting permission to photograph the members of the Sioux tribe traveling with the show in her studio. Cody and Käsebier were similar in their abiding respect for Native American culture and maintained friendships with the Sioux. Cody quickly approved Käsebier's request and she began her project on Sunday morning, April 14, 1898. Käsebier's project was purely artistic and her images were not made for commercial purposes. They never were used in Buffalo Bill's Wild West program booklets or promotional posters. Käsebier took classic photographs of the Sioux while they were relaxed. Chief Iron Tail and Chief Flying Hawk were among Käsebier's most challenging and revealing portraits. Käsebier's photographs are preserved at the National Museum of American History's Photographic History Collection at the Smithsonian Institution. Red Horn Bull, a Sioux Indian from Buffalo Bill’s Wild West Show, c. 1900, U.S.Library of Congress © Gertrude Käsebier Käsebier's session with Iron Tail was her only recorded story: "Preparing for their visit to Käsebier's photography studio, the Sioux at Buffalo Bill's Wild West Camp met to distribute their finest clothing and accessories to those chosen to be photographed." Käsebier admired their efforts, but desired to, in her own words, photograph a "real raw Indian, the kind I used to see when I was a child", referring to her early years in Colorado and on the Great Plains. Käsebier selected one Indian, Iron Tail, to approach for a photograph without regalia. "He did not object. The resulting photograph was exactly what Käsebier had envisioned: a relaxed, intimate, quiet, and beautiful portrait of the man, devoid of decoration and finery, presenting himself to her and the camera without barriers." Several days later, Chief Iron Tail was given the photograph and he immediately tore it up, stating that it was too dark. Käsebier photographed him again, this time in his full regalia. Iron Tail was an international celebrity. He appeared with his fine regalia as the lead with Buffalo Bill at the Avenue des Champs-Élysées in Paris, France, and the Colosseum of Rome. Iron Tail was a superb showman and disliked the photograph of him relaxed, but Käsebier chose it as the frontispiece for an article in the 1901 Everybody's Magazine. Käsebier believed all the portraits were a "revelation of Indian character", showing the strength and individual character of the Native Americans in "new phases for the Sioux". In her photograph of Chief Flying Hawk, his glare is the most startling image among those portraits by Käsebier, quite contrary to the others who were shown as relaxed, smiling, or making a "noble pose". Flying Hawk was a combatant in nearly all of the fights with United States troops during the Great Sioux War of 1876. He fought along with his cousin Crazy Horse and his brothers, Kicking Bear and Black Fox II, in the Battle of the Little Big Horn in 1876. He was present at the death of Crazy Horse in 1877 and the Wounded Knee Massacre of 1890. In 1898, when the portrait was taken, Flying Hawk was new to show business and he was unable to hide his anger and frustration about having to imitate battle scenes from the Great Plains Wars for Buffalo Bill's Wild West in order to escape the constraints and poverty of the Indian reservation. Soon, Flying Hawk learned to appreciate the benefits of a Show Indian with Buffalo Bill's Wild West. Flying Hawk regularly circulated show grounds in full regalia and sold his "cast card" picture postcards for a penny to promote the show and to supplement his meager income. After the death of Iron Tail on May 28, 1916, Flying Hawk was chosen as his successor by all of the braves of Buffalo Bill's Wild West and he led the gala processions as the head Chief of the Indians. I am now a mother and a grandmother, and I do not recall that I have ever ignored the claims of the nomadic button and the ceaseless call for sympathy, and the greatest demand on time and patience. My children and their children have been my closest thought, but from the first days of dawning individuality, I have longed unceasingly to make pictures of people... to make likenesses that are biographies, to bring out in each photograph the essential temperament that is called, soul, humanity. -- Gertrude Käsebier Over the next decade, she took dozens of photographs of the Indians in the show. Some of those photographs become her most famous images. Unlike Edward Curtis, a photographer who was her contemporary, Käsebier focused more on the expression and individuality of the person than their costumes and customs. While Curtis is known to have added elements to his photographs to emphasize his personal vision, Käsebier did the opposite, sometimes removing genuine ceremonial articles from a sitter to concentrate on the face or stature of the person. In July 1899, Alfred Stieglitz published five of Käsebier's photographs in Camera Notes, declaring her "beyond dispute, the leading artistic portrait photographer of the day". Her rapid rise to fame was noted by photographer and critic Joseph Keiley, who wrote "a year ago Käsebier's name was practically unknown in the photographic world... Today that names stands first and unrivaled...". That same year her print of The Manger sold for $100, the most ever paid for a photograph at that time. In 1900, Käsebier continued to gather accolades and professional praise. In the catalog for the Newark (Ohio) Photography Salon, she was called "the foremost professional photographer in the United States". In recognition of her artistic accomplishments and her stature, later that year, Käsebier was one of the first two women elected to Britain's Linked Ring (the other was British pictorialist Carine Cadby). The next year, Charles H. Caffin published his landmark book Photography as a Fine Art and devoted an entire chapter to the work of Käsebier ("Gertrude Käsebier and the Artistic Commercial Portrait"). Due to demand for her artistic opinions in Europe, Käsebier spent most of the year in Britain and France visiting with F. Holland Day and Edward Steichen. Alfred Stieglitz, c. 1902, U.S.Library of Congress © Gertrude Käsebier In 1902, Stieglitz included Käsebier as a founding member of the Photo-Secession. The following year, Stieglitz published six of her images in the first issue of Camera Work. They were accompanied by highly complementary articles by Charles Caffin and Frances Benjamin Johnston. In 1905 six more of her images were published in Camera Work, and the following year, Stieglitz presented an exhibition of Käsebier photographs (along with those of Clarence H. White) at his Little Galleries of the Photo-Secession. The strain of balancing her professional life with her personal one began to take a toll on Käsebier at this time. The stress was exacerbated by her husband's decision to move to Oceanside, Long Island, which had the effect of distancing her from the New York artistic center. In response, she returned to Europe where, through connections provided by Steichen, she was able to photograph the reclusive Auguste Rodin. When Käsebier returned to New York an unexpected conflict with Stieglitz developed. Käsebier's strong interest in the commercial side of photography, driven by her need to support her husband and family, was directly at odds with Stieglitz's idealistic and antimaterialistic nature. The more Käsebier enjoyed commercial success, the more Stieglitz felt she was going against what he felt a true artist should emulate. In May 1906, Käsebier joined the Professional Photographers of New York, a newly formed organization that Stieglitz saw as standing for everything he disliked: commercialism and the selling of photographs commercially rather than for love of the art. After this, he began distancing himself from Käsebier. Their relationship never regained its previous status of mutual artistic admiration. Eduard Käsebier died in 1910, finally leaving his wife free to pursue her interests as she saw fit. She continued to follow a separate course from that of Stieglitz and helped to establish the Women's Professional Photographers Association of America. In turn, Stieglitz began to publicly speak against her contemporary work, although he still thought enough of her earlier images to include 22 of them in the landmark exhibition of pictorialists at the Albright-Knox Art Gallery later that year. The next year, Käsebier was shocked by a highly critical attack made by her former admirer, Joseph T. Keiley, that was published in Stieglitz's Camera Work. Why Keiley suddenly changed his opinion of her is unknown, but Käsebier suspected that Stieglitz had put him up to it. Part of Käsebier's alienation from Stieglitz was due to his stubborn resistance to the idea of gaining financial success from artistic photography. If he felt a buyer truly appreciated the art, he often sold original prints by Käsebier and others at far less than their market value and, when he did sell prints, he took many months before paying the photographer of the work. After several years of protesting these practices, in 1912, Käsebier became the first member to resign from the Photo-Secession. In 1916, Käsebier helped Clarence H. White found the group Pictorial Photographers of America, which was seen by Stieglitz as a direct challenge to his artistic leadership. By this time, however, Stieglitz's tactics had offended many of his former friends, including White and Robert Demachy, and a year later, he was forced to disband the Photo-Secession. During this time, many young women starting out in photography sought out Käsebier, both for her photographic artistry and for inspiration as an independent woman. Among those who were inspired by Käsebier and who went on to have successful careers of their own were Clara Sipprell, Consuelo Kanaga, Laura Gilpin, Florence Maynard, and Imogen Cunningham. Throughout the late 1910s and most of the 1920s, Käsebier continued to expand her portrait business, taking photographs of many important people of the time, including Robert Henri, John Sloan, William Glackens, Arthur B. Davies, Mabel Dodge, and Stanford White. In 1924, her daughter, Hermine Turner, joined her in her portrait business. In 1929, Käsebier gave up photography altogether and liquidated the contents of her studio. That same year, she was given a major solo exhibition at the Brooklyn Institute of Arts and Sciences. Käsebier died on October 12, 1934, at the home of her daughter, Hermine Turner. A major collection of her work is held by the University of Delaware. In 1979 Käsebier was inducted into the International Photography Hall of Fame and Museum.Source: Wikipedia
Graeme Williams
Graeme Williams
South Africa
1961
I grew up in the whites-only suburbs of Cape Town, South Africa during the apartheid era when South African law decreed that 92% of the population were regulated to the status of second-class citizens. My interest in photography began at the age of twelve, but I soon realized that a Kodak Instamatic was never going to produce the results that I wanted. I worked for three years in a bookshop and eventually bought myself a Fujica ST701. It was a real thing of beauty; a single reflex camera with a basic zoom lens, that provided me with the means to control how light formed itself onto the surface of the silver halide film. Sunsets and silhouettes held my attention for a few months, but I had already begun to explore the complex tradition of photographic expression. Life Magazine was for me, at that time, the Holy Grail. Over the years, my enthusiasm for exploring the photographic medium has never diminished. My photographic momentum was temporarily diverted after school by parental pressure to obtain a 'proper' qualification. In my final school year, I was both the Dux scholar as well as a first-team sportsman, which resulted in me being offered a De Beers bursary to study Geology and Statistics at the University of Cape Town. After graduating, I broke the news to my unnerved parents that I was giving up this career path and instead of becoming a property photographer at the local newspaper. In the hierarchy of photographic jobs, this is very close to the bottom. My immediate aim was to gain access to unlimited amounts of film and the time to work on my own projects. In 1987 I began photographing a conscientious objector and medical doctor, Ivan Toms, who refused to comply with the apartheid government's military service requirements. He was sentenced to 21 months in prison. The essay highlighted the absurdity of the political system. Renowned photographer, David Goldblatt, took an interest in this work and this interaction led to a three-decade relationship in which he became both a mentor and a friend. The rights to my essay on Ivan Toms were bought by Life magazine the following year. Much of my work during this period was motivated by the desire to expose the social inequalities and racial divisions within my country. I eventually joined the strongly anti-apartheid collective, Afrapix, and later became a founding member and manager of the documentary collective, South Photographs. In 1989, the beginning of the end of apartheid was evident. I was eager to situate myself in a position that would afford me the best opportunities to witness the transition to democracy. I joined Reuters News Agency as a permanent stringer and for the next five years, I became immersed in the events, both violent and momentous, that led up to the inauguration of Nelson Mandela as president in 1994. Many of my photographs from this period have taken on a life of their own. The image of Nelson Mandela walking out of prison with his wife, Winnie, has been exhibited and published worldwide. In 2008, as Barack Obama fought John McCain for the presidency, Newsweek magazine ran a story asking each candidate to choose an image that best personified their worldview. Obama's team chose an image that I photographed in Thokoza township in 1991. Last year the same photograph became central in a high-profile image-appropriation dispute between me and New York artist, Hank Willis Thomas. There was a massive groundswell of support from colleagues and media from around the world. An amicable settlement was reached. Since 1994 I have concentrated on producing personalized and contemporary bodies of work that reflect this complex country and the continent as a whole. These essays have been shown in solo exhibitions in New York, London, Paris, Cape Town, and Johannesburg as well as numerous photo festivals around the world. (Including China, Singapore, Brazil, Cambodia, France, and the USA). I have been privileged to have been included in major international exhibitions showcasing contemporary South African photography; including Figures and Fictions at London's Victoria and Albert Museum, Apartheid and After at Huis Marseille in Amsterdam, Earth Matters at the Smithsonian in New York, The Rise and Fall of Apartheid at the ICP in New York and Being There, at the Louis Vuitton Foundation in Paris. Awards include the CAP Prize for Contemporary African Photography (Basel) in 2013 and the Ernest Cole Award (South Africa) in the same year. I have continued working on commissioned assignments and traveling to over fifty countries. My photographs have appeared on the cover of Time magazine twice, and have been published in The New York Times Magazine, National Geographic, Newsweek, Stern, and many others. Whilst working on my long-term projects, I try to bear in mind how the work will be exhibited and published. So, therefore, during the planning and photographing stages, I attempt to create a broad context for my essays, that includes a general look and feel while creating the space for each image to convey its individual complexity. This need to develop a dual awareness in my personal work has benefitted me from a long-term interest in designing and producing photobooks. I have created over 20 publications, some of them winning awards and many being shortlisted in dummy book competitions. During the past five years, I have felt a need to shift my attention from South Africa to the American social, political, and physical landscape. Some of my motivations for this change in direction have been outlined within the 'Plan' document. In 2016 I was granted a residency in the US by the Ampersand Foundation, giving me an opportunity to develop a body of work that interrogated the social strata within the greater community of Harrisburg, Pennsylvania. I designed and produced a book called, Diverging Dreamlines that included, portraits, urban landscapes as well as multi-image, digital, illustrations. The publication was chosen as "best of the show" in the Annual Photobook Exhibition at the Griffin Museum of Photography in Winchester, Massachusetts. The work was also included in the Unmasked exhibition at Axis Gallery, New York in 2017. Earlier this year (2019) I co-presented a paper, Over Time, at the International Psychoanalytical Association (IPA) Congress held in London. Four of my personal essays were incorporated into the presentation, allowing a psychoanalytical exploration into the parallels between this photographic record and South Africa's dynamics and process of change. I have participated in various mentorship programs, supporting students from South African photographic institutions: Tierney Fellowship winners from the University of the Witwatersrand (2018/2019) and the Market Photo Workshop (2015/2016). As well as candidates from the Photographer incubator Program in 2016. Learn more about Graeme Williams on videos: Victoria and Albert Museum Photography and Democracy South African Studios Dwell in Possibility opening Check out Graeme Williams's interview about his latest project America Revisited
Rodney Smith
Rodney Smith
United States
1947 | † 2016
Rodney Smith was a New York-based fashion and portrait photographer. Smith primarily photographed with a 35mm Leica M4 before he transitioned to a 120/6x6 (medium format) Hasselblad with an 80mm lens. He preferred natural light to illuminate his subjects, but occasionally used continuous lighting. Smith shot predominantly in black and white, until 2002, when he first began to experiment with color film. His work is commonly referred to as classic, minimalistic, and whimsical. Rodney Smith was born December 24, 1947 in Manhattan, New York. His father, Sanford Smith, was president of fashion industry giant. Smith recalls, "A sense of style, a sense of proportion and a sense of beauty and a sense of grace – all of those things were very important in my upbringing." After he studied English Literature and Religious Studies at University of Virginia in 1970, Smith went for his graduate degree in Theology at Yale University in 1973. Smith said in an interview with Kodak, "I absolutely knew I wanted to be a photographer, but I didn't feel that studying in an art school or a photography department full time was the way to address the issues that were interesting to me – so I sort of entwined the two." While at Yale, he also studied under photographer, Walker Evans. In 1976 Mr. Smith spent 100 days photographing the people of the Holy Land, in Jerusalem. From the 88 Rolls of film shot, Smith ended up compiling two portfolios, which later became his first book: In the Land of the Light: Israel, a Portrait of Its People (1983). Published by Houghton Mifflin Company in Israel. After returning from Jerusalem, Smith spent a short time as an adjunct professor of photography at Yale University. As Smith continued his career into the nineties he slowly shifted from corporate executives to fashion photography. "My feelings about photography are exactly the same today as when I was 20. That is, I have a love/hate relationship with making pictures." Looking at pictures is one thing, he qualifies, "But making pictures – making pictures for me is hard, hard work." Rodney Smith's work has been featured in The Wall Street Journal to Martha Stewart, from Time to Bloomingdales. In addition to his work as a photographer, Smith lectured and gave workshops. Rodney Smith lived and worked in New York City, with his wife, Leslie Smolan, and daughter, Savannah, and son Jonah Smith. His wife, Leslie, is co-founder of graphic design and branding firm, Carbone Smolan Agency. He is currently represented by a number of galleries both in the US and internationally; acte2galerie of Paris, France, The PhotoGallery AB of Halmstad, Sweden, FOST Gallery of Singapore, Fahey Klein Gallery of Los Angeles, California, Galerie Greenwich of Greenwich, Connecticut, Galerie Sono of Norwalk, Connecticut, Gilman Contemporary of Ketchum, Idaho, and Staley-Wise Gallery of New York, New York. In the past 25 years, Smith received 50+ awards including First Prize for his book The End from International Photography Awards (IPA). He has also received several Communication Arts and Photo District News (PDN) awards. Smith died in his sleep on December 5, 2016 at the age of 68.Source: Wikipedia
Nan Goldin
Nan Goldin
United States
1953
Nancy "Nan" Goldin is an American photographer. As a teenager in Boston in the 1960s, then in New York starting in the 1970s, Nan Goldin has taken intensely personal, spontaneous, sexual, and transgressive photographs of her family, friends, and lovers. In 1979 Nan Goldin presented her first slideshow in a New York nightclub, and her richly colored, snapshotlike photographs were soon heralded as a groundbreaking contribution to fine art photography. The Ballad of Sexual Dependency—the name she gave her ever-evolving show—eventually grew into a forty-five-minute multimedia presentation of more than 900 photographs, accompanied by a musical soundtrack. Goldin first exhibited at Matthew Marks Gallery in 1992. Her work has been the subject of two major touring retrospectives: one organized in 1996 by the Whitney Museum of American Art and another, in 2001, by the Centre Pompidou, Paris, and Whitechapel Art Gallery, London. Recent exhibitions include the slide and video presentation Sisters, Saints & Sybils at La Chapelle de la Salpêtrière, Paris, and her contributions to the 40th Les Rencontres d'Arles in 2009. Goldin was admitted to the French Legion of Honor in 2006 and received the Hasselblad Foundation International Award in 2007. The Ballad of Sexual Dependency was most recently presented live in Turbine Hall at Tate Modern, London, in 2008, and the slideshow was installed in the exhibition Here is Every. Four Decades of Contemporary Art at the Museum of Modern Art New York, September 2008 to March 2009. Her Scopophilia exhibition is currently part of Patrice Chéreau's special program at the Louvre. Goldin lives and works in Paris and New York.Source: www.matthewmarks.com For me it is not a detachment to take a picture. It’s a way of touching somebody—it’s a caress.... I think that you can actually give people access to their own soul. -- Nan Goldin Nancy Goldin is an American photographer and activist. Her work often explores LGBT subcultures, moments of intimacy, the HIV/AIDS crisis, and the opioid epidemic. Her most notable work is The Ballad of Sexual Dependency (1986), a slide show, that documents the post-Stonewall gay subculture and Goldin's family and friends. She is a founding member of the advocacy group P.A.I.N. (Prescription Addiction Intervention Now). Goldin's first solo show, held in Boston in 1973, was based on her photographic journeys among the city's gay and transgender communities, to which she had been introduced by her friend David Armstrong. While living in downtown Boston at age 18, Goldin "fell in with the drag queens," living with them and photographing them. Among her work from this period is Ivy wearing a fall, Boston (1973). Unlike some photographers who were interested in psychoanalyzing or exposing the queens, Goldin admired and respected their sexuality. Goldin said, "My desire was to show them as a third gender, as another sexual option, a gender option. And to show them with a lot of respect and love, to kind of glorify them because I really admire people who can recreate themselves and manifest their fantasies publicly. I think it's brave". Goldin admitted to being romantically in love with a queen during this period of her life in a Q&A with Bomb "I remember going through a psychology book trying to find something about it when I was nineteen. There was one little chapter about it in an abnormal psych book that made it sound so ... I don't know what they ascribed it to, but it was so bizarre. And that's where I was at that time in my life. I lived with them; it was my whole focus. Everything I did – that's who I was all the time. And that's who I wanted to be". Goldin describes her life as being completely immersed in the queens'. However, upon attending the School of the Museum of Fine Arts in Boston, when her professors told her to go back and photograph queens again, Goldin admitted her work was not the same as when she had lived with them. Goldin graduated from the School of the Museum of Fine Arts in 1977/1978, where she had worked mostly with Cibachrome prints. Her work from this period is associated with the Boston School of Photography. Following graduation, Goldin moved to New York City. She began documenting the post-punk new-wave music scene, along with the city's vibrant, post-Stonewall gay subculture of the late 1970s and early 1980s. She was drawn especially to the hard-drug subculture of the Bowery neighborhood; these photographs, taken between 1979 and 1986, form her slideshow The Ballad of Sexual Dependency—a title taken from a song in Bertolt Brecht's Threepenny Opera. Later published as a book with help from Marvin Heiferman, Mark Holborn, and Suzanne Fletcher, these snapshot aesthetic images depict drug use, violent, aggressive couples and autobiographical moments. In her foreword to the book she describes it as a "diary [she] lets people read" of people she referred to as her "tribe". Part of Ballad was driven by the need to remember her extended family. Photography was a way for her to hold onto her friends, she hoped. The photographs show a transition through Goldin's travels and her life. Most of her Ballad subjects were dead by the 1990s, lost either to drug overdose or AIDS; this tally included close friends and often-photographed subjects Greer Lankton and Cookie Mueller. In 2003, The New York Times nodded to the work's impact, explaining Goldin had "forged a genre, with photography as influential as any in the last twenty years." In addition to Ballad, she combined her Bowery pictures in two other series: I'll Be Your Mirror (from a song by The Velvet Underground) and All By Myself. Goldin's work is most often presented in the form of a slideshow, and has been shown at film festivals; her most famous being a 45-minute show in which 800 pictures are displayed. The main themes of her early pictures are love, gender, domesticity, and sexuality. She has affectionately documented women looking in mirrors, girls in bathrooms and barrooms, drag queens, sexual acts, and the culture of obsession and dependency. The images are viewed like a private journal made public. In the book Auto-Focus, her photographs are described as a way to "learn the stories and intimate details of those closest to her". It speaks of her uncompromising manner and style when photographing acts such as drug use, sex, violence, arguments, and traveling. It references one of Goldin's notable photographs "Nan One Month After Being Battered, 1984" as an iconic image which she uses to reclaim her identity and her life. Goldin's work since 1995 has included a wide array of subject matter: collaborative book projects with Japanese photographer Nobuyoshi Araki; New York City skylines; uncanny landscapes (notably of people in water); her lover, Siobhan; and babies, parenthood and family life. In 2000, her hand was injured and she currently retains less ability to turn it than in the past. In 2006, her exhibition, Chasing a Ghost, opened in New York. It was the first installation by her to include moving pictures, a full narrative score, and voiceover, and included the three-screen slide and video presentation Sisters, Saints, & Sybils. The work involved her sister Barbara's suicide and how she coped through the production of numerous images and narratives. Her works are developing more and more into cinemaesque features, exemplifying her gravitation towards working with films. After some time, her photos moved from portrayals of dangerous youthful abandonment to scenes of parenthood and family life in progressively worldwide settings. Source: Wikipedia
Bob Richardson
Bob Richardson
United States
1928 | † 2005
Robert George Richardson was an American fashion photographer. He was born in Long Island, New York, to an Irish Catholic family. Originally a graphic designer in New York City, Bob Richardson did not pick up a camera until age 35. His rise to fashion fame was swift, although not without some battle on his part: "I wanted to put reality in my photographs. Sex, drugs and rock 'n' roll. That's what was happening. And I was going to help make it happen. Boy they did not want that in America. Some of those editors were still wearing white gloves to couture." Richardson developed a reputation for being very difficult to work with. He brought his personal life, which was tumultuous, into his art. He battled with bouts of schizophrenia throughout his life. After making it to the top of the often catty and vicious world of fashion, getting paid up to $15,000 for a single image, he succumbed to his illness and ended up homeless on the streets of San Francisco. In 1989, an art historian researching fashion photography tracked Richardson down living in a flophouse, opening the door to Richardson's reestablishing contact with his son and eventually returning to New York City, where with the help of Richard Avedon and Steven Meisel, he was able to obtain teaching positions at International Center of Photography and the School of Visual Arts. Richardson restarted his career in his sixties, once again working for such magazines as Italian Vogue and British GQ. He was the father of photographer Terry Richardson and Margaret "Meg" Richardson (9/30/1957-5/8/2015).Source: Wikipedia Bob Richardson, a fashion photographer of the 1960's and 70's who transmitted the excitements and regrets of a generation of free spirits before disappearing into a shadow land of mental illness and homelessness, died on Dec. 5 at his home in Manhattan. He was 77. He died of natural causes, said his son, Terry. Robert George Richardson, born to Irish-Catholic parents on Long Island, was attracted to the messy, tempestuous, desolating quality of human relations. He was one of the first photographers to recognize that these emotions were not outside the world of 60's fashion but were in fact vital to it. In a 16-page spread in French Vogue in 1967, he evoked the sex idyll, the gloom and the sudden all-obliterating passions of two lovers on a Greek island. In one shot, the model Donna Mitchell is seen crying; in another she lies on a rocky shore, her face turned away, with her nude lover in the water before her. Mr. Richardson's pictures were radical because, more than showing youthful fashion in a liberated way, they sought to expose the life dramas that were then consuming young people. "Which were not about being applauded as you made your entrance to the opera," said Joan Juliet Buck, the writer and fashion editor, who first met Mr. Richardson in 1969 and later introduced him to her friend Anjelica Huston, with whom he had an intense four-year relationship. "They were about crying in your room, feeling lonely, hoping for sex." To photographers like Bruce Weber, Steven Meisel and Peter Lindbergh, Mr. Richardson was a pathfinder. As Mr. Weber said, describing his influence: "There's no textbook, no award, but there is this Bob Richardson school of photography. And it's an anti school. He was the first guy who said it was O.K. to underexpose the film, to not show the clothes." Mr. Weber added: "So many photographers when I first started out idolized Bob. He was sort of an underground figure." In a 1995 profile in The New Yorker, when Bob Richardson had resurfaced after more than a decade of drifting around Southern California and living in cheap motels or at times on the beach, he told the writer Ingrid Sischy: "I wanted to put reality in my photographs. Sex, drugs, and rock 'n' roll -- that's what was happening. And I was going to help make it happen. Boy, they did not want that in America. Some of those editors were still wearing white gloves to couture." Bob Richardson was as overbearing and opinionated as he was seductive and handsome. Terry Richardson said his father's schizophrenia was diagnosed in the 1960's. Years of drug and alcohol abuse added to his instability and increasing rootlessness, especially in the 80's, when he had mostly cut off ties with his family. Terry Richardson, also a photographer, said he first helped get his father off the streets in 1984, and by then he had been homeless for two years. "He had lost everything," his son said. After growing up in Rockville Centre, N.Y., Mr. Richardson studied art at the Parsons School of Design and Pratt Institute without graduating. His first marriage, to Barbara Mead, produced a daughter, Margaret, but soon collapsed; according to The New Yorker article, Mr. Richardson did not maintain contact with them. (Terry Richardson said he had not seen his half-sister in a decade and did not know her whereabouts. There are no other immediate survivors.) By the early 60's, Bob Richardson was taking fashion photographs and had resolved, he told Ms. Sischy, to "photograph my kind of woman." Harper's Bazaar gave him his first commission in 1963, and the magazine's art directors, Ruth Ansel and Bea Feitler, seemed especially attuned to his loose, unencumbered style. Around this time, he married an actress named Norma Kessler (from whom he was later divorced), and Terry, their only child, was born in 1965. Norma served as the assistant for the Greek island shoot two years later. "It was just my mom, Dad and me with a bag of clothes," Terry said. "They just went off together and did these pictures." By 1970, Richardson was deeply involved with Ms. Huston, who was 18 when they met, and together they would produce some of the most wistful portraits of the era. Certainly no photographer ever made Ms. Huston look more beautiful. Terry Richardson said the two last saw each other at an airport in 1973, when they went their separate ways. With much of Mr. Richardson's original work lost or buried in magazine archives, a number of individuals, including Mr. Meisel and the art historian Martin Harrison, tried to help restore at least his reputation as an groundbreaking photographer. And in the 90's he received some new assignments from magazines like Italian Vogue. But Mr. Richardson could be hardest on the people who loved him. "It was his way or the highway," his son said. Early this year, Bob Richardson, who had been living in Los Angeles, decided to return to New York, driving across the country in an old Mercedes with his dog, Mick, and taking pictures. He had a publishing deal to produce his first monograph, with Greybull, but through some orneriness, it fell through. Terry Richardson said he would do the book, which includes an autobiography. And in deference to his father's wishes, it will not have any color pictures: "My dad always said, 'I see the world in black and white.' "Source: The New York Times
Cyrille Druart
Cyrille Druart
France
Born in the 80s in Paris, Photographer and Designer Cyrille Druart has a singular aesthetic in creating black and white images. He has always been interested in Art and graduated in Interior Design at the ESAG-Penninghen in Paris, in 2004. His love for urban areas and Architecture has led him to travel and wander through large cities around the world searching for images. Loneliness is also at the center of his images because paradoxically in the heart of urban life. His goal is not only to freeze time, but to take off fragments of reality to create individual images, made of a substance of their own. Cyrille Druart teaches at ESAG-Penninghen (Graphic Arts and Interior Design School) in Paris, from 2009 to 2011.
Denis Karasev
Denis Karasev
Russian Federation
1981
Denis Karasev is a photographer born in 1981 in the USSR. He runs a design agency and is involved in theatre lighting design. His work includes architecture, street and art photography. Since 2019 he has been making ZINes, shooting series and projects. He is interested in exploring the constantly changing world and capturing it in the present moment as is - for himself and for history. Owns a Siberian cat. Awards, Shows and Mentions - Travel 2018 Smithsonian Institution Magazine, USA - Finalist of the Brussels Street Photography Festival 2018 - Finalist of the London Street Photography Festival 2019 - Honorable Mention in the 2019 International Photography Awards (Architecture) - Urban Photo Awards 2020 finalist (Spaces) - Photo Union 2022 (Russia), Architecture ('SVO Project')
Laurent De Gebhardt
Laurent De Gebhardt
France
1969
My childhood and adolescence were nourished by painting galleries and museums. Portrait and nude were my preference. After my studies, I crossed the Sahara and moved to the African bush for 2 years as a teacher then moved to Reunion Island where I began to make photo reports for NGOs. For a few years now, I have developed personal projects in artistic residency, mainly oriented towards the intimate and the portrait. My inner universe is imbued with a quest for an "original state" prior to any injury. The face is very often a revealing which does not deceive of this interior state and this quest specific to each one. Fascinated by the energy given off by the expression of a face, my work tries to draw closer with portraits to the reading of these inner states, perhaps to find my own way. Taxidermus Taxidermus is a series produced with the staff of the St-Denis Natural History Museum (Reunion Island). I wanted to play with the same characteristic codes of the first photos of the 19th century. The characters created posed with studied seriousness, in classic postures based on carefully chosen elements: armchair, desk, mirror, easel... Adventure and travel stories nourished my imagination from childhood and I found behind the scenes of the museum an atmosphere suitable for reviving these stories. I installed lights to recreate these chiaroscuro from the Flemish school and with the assistance of a team I dressed and styled these characters using authentic period costumes. I also found period objects in local associations and my hairdressing assistant studied period hairstyles to reproduce them as closely as possible
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