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Maren Elize Klemp
Maren Elize Klemp
Maren Elize Klemp

Maren Elize Klemp

Country: Norway

"I grew up in a small town outside of Oslo, and started photography when I was a teenager. My father bought me my first camera when I was seventeen, and I immediately knew that I wanted to become a photographer. Writing was one of my passions in this period of my life, but I also was searching for a way to express myself visually. I had no talent for either painting and drawing, so photography naturally became the right medium for me.

Unfortunately I dropped out of high school, but was lucky enough to be offered an internship as a photographer in the local newspaper. I learned a lot during this period, but I quickly discovered that I was most drawn to the field of fine art photography rather than photo journalism.

After about six moths in the newspaper I started to study fine art photography under professor Robert Meyer at Robert Meyer Kunsthøgskole in Oslo, and I have been a fine art photographer ever since.

In 2014 I traveled to Charleston, South Carolina to work on my first book together with photographer and professor, Jose' Escobar. He discovered my work on Flickr, and asked if I wanted to collaborate on a book project. The book is called 'Between Intervals' and is a visual representation of conditions people suffering from mental illness can experience. My work has also been shown both in solo and group exhibitions in Oslo, Norway."

Website

www.marenklempart.com

 

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More Great Photographers To Discover

Arnaud Gaertner
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.
Vivian Maier
Vivian Maier
United States
1926 | † 2009
Vivian Dorothea Maier was an American amateur street photographer, who was born in New York City but grew up in France. After returning to the United States, she worked for about forty years as a nanny in Chicago, IL. During those years, she took about 100,000 photographs, primarily of people and cityscapes in Chicago, although she traveled and photographed worldwide. Her photographs remained unknown and mostly undeveloped until they were discovered by a local Chicago historian and collector, John Maloof, in 2007. Following Maier's death, her work began to receive critical acclaim. Her photographs have been exhibited in the US, England, Germany, Denmark, and Norway, and have appeared in newspapers and magazines in the US, England, Germany, Italy, France and other countries. A book of her photography titled Vivian Maier: Street Photographer was published in 2011. Many of the details of Maier's life are still being uncovered. Initial impressions about her life indicated that she was born in France, but further researching revealed that she was born in New York, the daughter of Maria Jaussaud and Charles Maier, French and Austrian respectively. Vivian moved between the U.S. and France several times during her childhood, although where in France she lived is unknown. Her father seems to have left the family for unknown reasons by 1930. In the census that year, the head of the household was listed as award-winning portrait photographer Jeanne Bertrand, who knew the founder of the Whitney Museum of American Art. In 1951, at 25, Maier moved from France to New York, where she worked for some time in a sweatshop. She made her way to the Chicago area's North Shore in 1956 and became a nanny on and off for about 40 years, staying with one family for 14 of them. She was, in the accounts of the families for whom she worked, very private, spending her days off walking the streets of Chicago and taking photographs, most often with a Rolleiflex camera. John Maloof, curator of Maier's collection of photographs, summarizes the way the children she nannied would later describe her: "She was a Socialist, a Feminist, a movie critic, and a tell-it-like-it-is type of person. She learned English by going to theaters, which she loved. She wore a men's jacket, men's shoes and a large hat most of the time. She was constantly taking pictures, which she didn't show anyone." Between 1959 and 1960, Maier traveled to and photographed in Los Angeles, Manila, Bangkok, Beijing, Egypt, Italy and the American Southwest. The trip was probably financed by the sale of a family farm in Alsace. For a brief period in the 1970s, Maier worked as a nanny for Phil Donahue's children. As she got older, she collected more boxes of belongings, taking them with her to each new post. At one employer's house, she stored 200 boxes of materials. Most were photographs or negatives, but Maier collected other objects, such as newspapers, and sometimes recorded audiotapes of conversations she had with people she photographed. Toward the end of her life, Maier may have been homeless for some time. She lived on Social Security and may have had another source of income, but the children she had taken care of in the early 1950s bought her an apartment in the Rogers Park area of Chicago and paid her bills. In 2008, she slipped on ice and hit her head. She did not fully recover and died in 2009, at 83.Source: Wikipedia Sometime in 1949, while still in France, Maier began making her first photographs with a modest Kodak Brownie– an amateur camera with only one shutter speed, no focus control, and no aperture dial. In 1951, she returned from France alone and purchased a Rolleiflex camera the following year. In 1956, she moved to the North Shore suburbs of Chicago, where a family employed her as a nanny for their three boys. She enjoyed the luxury of a darkroom as well as a private bathroom, enabling her to process prints and develop her own rolls of black and white film. As the children entered adulthood, Maier had to seek other employment, forcing her to abandon developing her own film. Moving from family to family thereafter, her rolls of undeveloped, unprinted work began to collect. It was around this time that Maier decided to switch to color photography. Her subject matter shifted away from people to found objects, newspapers, and graffiti. In the 1980s, financial stress and lack of stability once again put Maier’s processing on hold, and the undeveloped color rolls began to accumulate. Sometime between the late 1990s and the first years of the new millennium, Maier put down her camera and stored her belongings while she tried to stay afloat. She bounced from homelessness to a small studio apartment, which a family she used to work for helped pay the rent. With meager means, the photographs in storage became lost memories until 2007, when they were sold off due to non-payment of rent. In 2008, Maier’s health began to deteriorate after she fell on a patch of ice, forcing her into a nursing home. She never made a full recovery, leaving behind an immense archive of work when she died in 2009.Source: Howard Greenberg Gallery When John Maloof, a real-estate agent, amateur historian, and garage-sale obsessive, acquired a box of photographic materials and personal detritus at an auction in suburban Chicago in 2007, he quickly realized that he had stumbled upon an unknown master of street photography. But despite his vigorous snooping, he could find no record of Vivian Maier, the name scribbled on the scraps of paper that he found among the negatives, prints, and undeveloped rolls of film. He tracked down the rest of the boxes emptied from an abandoned storage garage, amassing a collection of hundreds of thousands of frames shot in New York, Chicago, France, South America, and Asia between the nineteen-fifties and the nineteen-seventies. Two years after he bought the first box, he Googled the name again and, to his surprise, found an obituary announcing that Vivian Maier had died only a few days before. The short text had just enough information for Maloof to deduce that Maier had worked as a nanny in suburban Chicago.Source: The New Yorker
Nicola Ducati
Nicola Ducati
Italy
1973
My name is Nicola Ducati I am an Italian photographer, travel and portrait photography is my expressive medium. With my pictures I want to tell stories that create empathy between the viewer and the subject with elegance and authenticity. I was born in a small town among the Italian Alps. I have always lived in a beautiful place that has made me grow and appreciate nature, animals, quiet places and respect for what surrounds us, I think this way of living in the countryside has greatly influenced my photographic sensitivity. I approached the world of photography by chance. As a child, I used to play with an old camera found who knows where, a shabby but fascinating object that soon became a passion. Later, my curiosity led me to experiment with many different genres, from the first landscape, travel photography, and finally the travel portrait. Today I especially like photography, which tells stories but also lets you imagine them, which excites and suggests reflections. A narrating photography. What I like I photograph only what I like and what fascinates me, I am a curious person and i try to find what in the world unites us not what divides us, I mean that I try to bring out those traits of humanity that make us all connected. An exercise to accept with empathy the entropy of our world. My photography is not conceptual, it represents what I see, what I feel important, what excites me or moves me. I love when the emotion and the story hidden inside a picture reaches the observer. I entrust my work and aesthetics photography to the task of telling and giving the observer inspiration and sense of belonging. Photography that responds to this, is a successful one.
Yusuf Sevinçli
Yusuf Sevinçli
Turkey
1980
Sevinçli’s images are highly personal, subjective and dreamlike, in which place and time are uncertain, redolent instead of a deeply felt vision of the world. His fleeting images of everyday life have an air of timelessness about them. Aesthetically and formally they manifest Sevinçli’s respect and deep engagement with the history of photography. Yusuf Sevinçli earned a bachelor’s degree in communications at Marmara University (Istanbul) in 2003, and attended a Masterclass dedicated to documentary photography in Sweden in 2005. From that moment on, he started building his own work through different series which include Good Dog (2012), Marseille (2014), Walking (2015) and exhibited in several solo and group shows in Le Botanique (Brussels, Belgium), Galerie Les Filles du Calvaire (Paris, France), Arter (Istanbul, Turkey), Angkor Festival (Angkor, Cambodia), Istanbul Modern (Istanbul, Turkey), Gallery Boavista (Lisbon, Portugal), Atelier de Visu (Marseille, France), Elipsis Gallery (Istanbul, Turkey), Rencontres d’Arles (Arles, France). One of his latest series ‘Dérive’ has been presented in several places in France, such as La Filature in Mulhouse, Le Château d’Eau in Toulouse, L’Atelier, Nantes as well as in Moscow during the city’s Biennal of Photography in 2016. He lives and works in Istanbul. Published books; Good Dog (Filigranes Editions, 2012), Marseille (le bec en l’air, 2014), Walking (Filigranes Editions, 2015), PUT (Fail Books, 2017). Source: Galerist Discover Oculus
Sebastien Tixier
Sebastien Tixier
France
1980
Born in 1980 in a small town in central France, Sebastien Tixier now lives and works in Paris, France. Trained as an engineer, the shy fascination that he had during childhood for his father’s camera finally takes over in 2007 when he starts as an independent photographer. Half in the studio, half in the fields, his work goes all the way from the dark corners of staged photographs to documentaries about the questions of our time. His photographs have been awarded by various prices and exhibited in festival or galleries across Europe. Allanngorpoq his latest work to date, synthetizes one year and a half of preparation (documenting, making contacts, and learning the language) and immersion in Greenland. This photo report combines rigorous framing and aesthetics with a documentary work, capturing the evolutions of both a changing territory and its people. The book from this work has been published on December 2014 and is prefaced by Stéphane Victor.
Clark et Pougnaud
Clark et Pougnaud
France
Clark and Pougnaud born in 1963 and 1962 respectively were both raised in France. Clark comes from a line of photographers. He started as his father’s asistant before opening his own studio in the 80’s. Pougnaud was strongly influenced by her grandmothers, both painters, and her mother who comes from the theatre world. In the late 90’s they became partners and worked in duo. Clark is taking pictures and Pougnaud is building sets in which the models will take place. Clark’s north american roots and the 5 years period Pougnaud spent in the US, naturally had an effect upon their work. In 2000 they received an award for their first serie of photographs as a tribute to Edward Hopper’s paintings, which was followed by an exhibition at the Maison Europeenne de la Photographie in Paris. In 2006 they received the HSBC ‘s award for photography. They live and work in Paris. They «make» approximately 10 pictures per year. «slow art» is their response to the speed process to which the human being is confronted today. Their pictures are shown in artfairs worldwide by galleries.Source: www.clarkpougnaud.com
Vassi Koutsaftis
Vassi Koutsaftis
Greece
1952
Vassi Koutsaftis has explored the globe for over 30 years, specializing in travel photography – of the extreme kind, especially in the mountainous regions of Himalayan, the Karakoram, Hindu Kush and other very remote areas of Asia. Born in 1952 in Athens, Greece and crossed the world’s oceans working on cruise ships and freighters. That was just the beginning for he continued to examine our planet traveling to remote areas on his own, then from the air, when he went on to study aeronautics and became a pilot in the U.S. He leads treks and exploratory tours in Afghanistan, Mongolia, Tibet, Nepal, Pakistan, Iran, Bhutan, Burma, Turkey and India, and he contributes essential research to unusual and remote itineraries for Geographic Expeditions one of the best and most respected expedition companies in the US. Vassi’s photographs have been published in a number of magazines including Geo (European edition), Photografos, USA Today, Asia Week, National Geographic Traveler, and Marin Magazine. He serves as Conde Nast’s Tibet expert and is well known for his compelling images of the Dalai Lama. His photographic and travel expertise has been instrumental in scouting for films including productions by CBS, PDI and Dreamworks and a number of independent filmmakers. Vassi’s work is included in the collections of U.C. Berkeley’s Blum Center, Steve Wynn Casinos, Stanford University’s Center for Buddhist Studies. Vassi has exhibited his work widely in a number of galleries in the United States and Overseas including The Hellenic American Union in Athens, Greece and enjoys giving presentations of his photographs while sharing stories of extensive travels around the world.
Sylwia Makris
Sylwia Makris
Poland
1973
There is a spark within everything. A living light in the eyes of a person, a memory that flares up, the glow of a passion that was never declared. A face always tells more than it knows, wich is why photography is never a mere reproduction of what is. A good photo tells what was, why might have been or what is waiting painfully beneath the surface. Sylwia Makris has been in pursuit of these sparks since she first held a camera. Her quest produces images that may delight or disturb but always move the beholder. She photographs people. People who are strong or delicate, broken or dynamic. She photographs faces of our time-and in doing so gives a face to our time. Nakedness is the most natural state. And in our day the most intrusive and common-every-where naked bodies are used to tempt, advertise and sell. Nakedness can only say as much as it is allowed to say. Sylwia Makris respects the nude body as part of a story that must be told. As part of a story that tels of people, nakedness regains its original magic, its archaic power and its complexity of expression in Makris' photos. Until the viewer sometimes feels more naked than the model in the image. Sylwia Makris was born in 1973 in Gdynia, Poland. She worked as a sculptor before finding her way to photography in 2007. Today she lives in Munich as freelance photographer.
Ray K. Metzker
Ray K. Metzker
United States
1931 | † 2014
Ray K. Metzker (10 September 1931 – 9 October 2014) was an American photographer known chiefly for his bold, experimental B&W cityscapes and for his large "composites", assemblages of printed film strips and single frames. His work is held in various major public collections and is the subject of eight monographs. He received awards from the John Simon Guggenheim Memorial Foundation, National Endowment for the Arts and Royal Photographic Society. Metzker was born in Milwaukee and lived in Philadelphia from the 1960s until his death. He was married to the photographer Ruth Thorne-Thomsen. He was a student of Harry Callahan and Aaron Siskind at the Institute of Design in Chicago. He taught for many years at the Philadelphia College of Art and also taught at the University of New Mexico. After graduate studies at the Institute of Design in Chicago, Metzker travelled extensively throughout Europe in 1960-61, where he had two epiphanies: that "light" would be his primary subject, and that he would seek synthesis and complexity over simplicity. Metzker often said the artist begins his explorations by embracing what he doesn't know.Source: Wikipedia After a career that spanned five decades and saw him pioneer a new and singular visual idiom, Ray K. Metzker has been recognized as one of the great masters of American photography. Characterized by composites, multiple-exposures, solarization, the superimposition of negatives, and the juxtaposition of images, Metzker’s work pushed the boundaries of what seemed formally possible in black and white photography. Metzker enrolled at the Institute of Design, Chicago in 1956, a school which at that time was being referred to as the New Bauhaus, where he studied with fellow modernist photographers Harry Callahan and Aaron Siskind. After obtaining a master’s degree from the Institute in 1959, Metzker’s work began to garner increasing attention and critical regard, first and foremost from Edward Steichen, who, at that time, was the curator of photography at the Museum of Modern Art, New York. Metzker’s first solo show would happen at the Museum of Modern Art in 1967. Retrospectives of his work were organized in 1978 by the International Center of Photography in New York and in 1984 by the Museum of Fine Arts in Houston, a show which then traveled to the San Francisco Museum of Modern Art, the Art Institute of Chicago, the Philadelphia Museum of Art, the High Museum of Art, Atlanta, the International Museum of Photography, Rochester, and the National Museum of American Art, Washington, DC. In 2011 a major career retrospective of Metzker’s work was organized by the Nelson-Atkins Museum of Art in Kansas City, which traveled to the The J. Paul Getty Museum in Los Angeles and the Henry Art Museum in Seattle. Ray K. Metzker died in October of 2014, at 83 years of age, in the city of Philadelphia.Source: Howard Greenberg Gallery Metzker has dedicated his career to exploring the formal potentials of black-and-white photography, but they are not his exclusive concern. "When you look at the multiples, you are aware of patterning and so forth," he says, "but there is still identifiable subject matter; frequently there are people there; there is a rhythm to those people." Metzker's 1959 thesis project, My Camera and I in the Loop, takes downtown Chicago as its subject, but renders it in experiments that tell more about photography than they do about the city. The pictures from this project were exhibited at the Art Institute of Chicago (1959-1960), and included in the issue of Aperture devoted to the students and professors of the Institute of Design at the Illinois Institute of Technology in Chicago (1961). Ray Metzker's images question the nature of the photograph and photographic "reality." Through cropping, multiple imagery, and other formal inventions, his work explores options for transforming the vocabulary of the photograph. Untitled from 1969 illustrates the simple method of manipulating objective information through juxtaposition: two distinct women on the beach enter into a yin-yang relationship of line and gesture. The photograph is part of a series of pictures made from 1968 to 1975 of beach-goers in New Jersey. "The more fashion conscious probably go to other beaches, but what Atlantic City has – and what attracted me to it – is diversity," Metzker said. Of the content of the pictures and his working method, Metzker added, "What appears in the pictures was the subject's decision, not mine. I took what they presented – delicate moments – unadorned and unglamorous, yet tender and exquisite." Metzker used a 1975 National Endowment for the Arts fellowship to pull the series together as Sand Creatures, later published as a book in 1979. There are no diptychs in the book, though the woman in sunglasses at the bottom of Untitled (1969) is included as a solo picture. In a July 1992 letter, Metzker wrote the following about two untitled Sand Creatures pictures from 1969: "The photograph of the double image is from the series entitled Couplets and predates the single image by a number of years. Both pictures were made at beaches along the New Jersey coast: the couplet at Atlantic City, the single frame at Cape May. With both, my camera was an Olympus half-frame, a small amateurish piece of equipment that let me move about freely. The choice of the camera was essential to the development of the series."Source: Museum of Contemporary Photography
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