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Jim Ferguson
Jim Ferguson
Jim Ferguson

Jim Ferguson

Country: United States
Birth: 1954

Recently I "remerged" back into the fine art photography world, but this is my second round of showing and selling work. Years back I received a BFA from San Francisco Art Institute and MFA from the School of the Art Institute of Chicago. After getting my BFA, I started contacting galleries. I was successful from the very start with three galleries representing my work and acquisitions by major museums and numerous private collections.

In the fall of 2017 I re-emerged into the fine art world full time, introducing my work again to galleries and museums. Since "reemerging" I’ve had a number of successes. I was in an exhibition at Catherine Edelman Gallery and am represented in their Chicago Project. I’ve been included in exhibitions curated by April Watson, Elizabeth Houston, Douglas Beasley and Robert Klein. I’ve also had a One Person exhibition at Workspace Gallery, and was selected for the Top 200 in Critical Mass 2018.

Wide Range Statement
Traveling through the Southwest for the first time I was photographically hot. My imagery gelled into the beginning of a body of work. This first trip was truly life changing. The Southwest appealed to me so much that I moved to Albuquerque. It served as home base for travels in the West; thus beginning my Wide Range series.

I call this series Wide Range because of the open range nature of the American West and the wide variety of subjects I choose to photograph. Man's isolated impacts on the environment stood out more in the broad expanses of the landscape. I sought not to highlight the negative impacts but to utilize the man-made objects to create my images. The juxtaposition of these man-made objects vs. dramatic backgrounds allowed me to visually compact space into layered unity. This series began the visual journey I've traveled with my photography.

Unfamiliar Places Statement
Unfamiliar Places is a body of autobiographical memories that have been altered by the passage of time rather than by a proactive chemical or digital process. The images were stored on undeveloped film for 20 years, resulting in the degradation of the "latent" image. This work reflect the serendipity that is unique to working with the analogue process and highlights its inherent materiality. The unique process of the degradation of the film over 20 years mirror the historical content of the images.

The images are a result of my photographic journey, the degradation of the emulsion in the negatives and the layering of history with the film wrapper's film numbers and dots. They were taken in France Mexico and the U.S.

Over the past two decades I continued to photograph, standing guard against the instinct for gratification and instead allowing the pictures to rest peacefully in a dark place. It is now thrilling to finally see that the choice to wait offers its rewards: here are the both subtle diminishments and vital revelations in the aging process. Time has left marks on these images just as the events of a life do.

Website

www.jimfphoto.com

 

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Josef Koudelka
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Josef Koudelka was born in 1938 in Boskovice, Moravia. He began photographing his family and the surroundings with a 6 x 6 Bakelite camera. He studied at the Czech Technical University in Prague (CVUT) between 1956 and 1961, receiving a Degree in Engineering in 1961. He staged his first photographic exhibition the same year. Later he worked as an aeronautical engineer in Prague and Bratislava. He began taking commissions from theatre magazines, and regularly photographed stage productions at Prague's Theatre Behind the Gate on a Rolleiflex camera. In 1967, Koudelka decided to give up his career in engineering for full-time work as a photographer. He had returned from a project photographing gypsies in Romania just two days before the Soviet invasion, in August 1968. He witnessed and recorded the military forces of the Warsaw Pact as they invaded Prague and crushed the Czech reforms. Koudelka's negatives were smuggled out of Prague into the hands of the Magnum agency, and published anonymously in The Sunday Times Magazine under the initials P. P. (Prague Photographer) for fear of reprisal to him and his family. His pictures of the events became dramatic international symbols. In 1969 the "anonymous Czech photographer" was awarded the Overseas Press Club's Robert Capa Gold Medal for photographs requiring exceptional courage. With Magnum to recommend him to the British authorities, Koudelka applied for a three-month working visa and fled to England in 1970, where he applied for political asylum and stayed for more than a decade. In 1971 he joined Magnum Photos. A nomad at heart, he continued to wander around Europe with his camera and little else. Throughout the 1970s and 1980s, Koudelka sustained his work through numerous grants and awards, and continued to exhibit and publish major projects like Gypsies (1975) and Exiles (1988). Since 1986, he has worked with a panoramic camera and issued a compilation of these photographs in his book Chaos in 1999. Koudelka has had more than a dozen books of his work published, including most recently in 2006 the retrospective volume Koudelka. Koudelka has won awards such as the Prix Nadar (1978), a Grand Prix National de la Photographie (1989), a Grand Prix Cartier-Bresson (1991), and the Hasselblad Foundation International Award in Photography (1992). Significant exhibitions of his work have been held at the Museum of Modern Art and the International Center of Photography, New York; the Hayward Gallery, London; the Stedelijk Museum of Modern Art, Amsterdam; and the Palais de Tokyo, Paris. He and his work received support and acknowledgment from his friend the French photographer, Henri Cartier-Bresson. He was also supported by the Czech art historian Anna Farova. In 1987 Koudelka became a French citizen, and was able to return to Czechoslovakia for the first time in 1991. He then produced Black Triangle, documenting his country's wasted landscape. Koudelka resides in France and Prague and is continuing his work documenting the European landscape. He has two daughters and a son. Source: Wikipedia
Leonard Misonne
Leonard Misonne
Belgium
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Leonard Misonne (1870-1943) was a Belgian photographer. Misonne was born on July 1, 1870, in Gilly, Belgium, his lifelong home. Misonne was the seventh son of Louis Misonne, lawyer and industrialist, and Adele Pirmez. He studied mining engineering at the Catholic University of Louvain, but never worked as an engineer. Still a student, he became interested in music, painting and from 1891, in photography which he started to work on exclusively from 1896. Misonne made several trips to Switzerland, Germany and France. He made himself known with his retouched lighting effects. "The subject is nothing, light is everything," he said. Misonne was known for his sense of creating an atmosphere, but his approach is labeled from an artistic point of view as conservative and sentimental. His blurred effects, like the impressionist's approach, earned him the nickname of the "Corot of photography". Misonne first worked mainly with the process of photography obtained from a suspension of silver bromide in gelatin that he learned in 1910 in Paris from the famous photographer Constant Puyo. Then he became an internationally renowned leader in Pictorialism and a well-known figure in avant-garde circles. Most of his shots were taken in Belgium and the Netherlands; they are mainly landscapes, sometimes scenes of beaches and views of Ghent and Antwerp. Misonne suffered from a severe form of asthma and died from it in 1943, in Gilly, Belgium.Source: Wikipedia Misonne said, “The sky is the key to the landscape.” This philosophy is clear in many of Misonne’s images, often filled with billowing clouds, early morning fog, or rays of sunlight. The artist excelled at capturing his subjects in dramatic, directional light, illuminating figures from behind, which resulted in a halo effect. Favoring stormy weather conditions, Misonne often found his subjects navigating the streets under umbrellas or braced against the gusts of a winter blizzard. Misonne’s mastery of the various printing processes that he used is evidenced by the fine balance between what has been photographically captured and what has been manipulated by the artist’s hand in each print. To perfect this balance, Misonne created his own process, called mediobrome, combining bromide and oil printing. The artist’s monochromatic prints in both warm and cool tones convey a strong sense of place and time, as well as a sense of nostalgia for his familiar homeland. Whether the subject is a city street or a pastoral landscape, the perfect light carefully captured by Misonne creates a serene and comforting scene reminiscent of a dreamscape.Source: The Eye of Photography
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