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Final Chance to Win a Solo Exhibition this April! Deadline: March 18, 2025
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Raul Arantes
Raul Arantes
Raul Arantes

Raul Arantes

Country: Brezil

Born in São Paulo, Brazil, Raul Arantes is a multidisciplinary creative director, photographer and filmmaker, currently based in Singapore. His experience spans over 18+ years working in Brazil, the UK, mainland China and Hong Kong. He holds a Master's degree in Visual Effects, but he has worked in different areas for a wide range of agencies, businesses and clients. His wide experience allowed him to develop a number of interdisciplinary projects and stories in Ukraine, Iran and Hong Kong.
 

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Jacques Henri Lartigue
France
1894 | † 1986
Jacques Henri Lartigue is 69 years old in 1963 when he first presents a selection of his many photographs taken throughout his life in New York’s MoMa. That same year there is a photo spread of his work in the famous Life Magazine issue which commemorates the death of John Fitzgerald Kennedy, and which is publicized worldwide. To his great surprise, Lartigue becomes, overnight, one of the renowned photographers of the twentieth century. Jacques learns about photography from his father as early as the year 1900. Henri Lartigue rewards Jacques’s enthusiasm by buying him his first camera when he is 8 years old. Thus begins the endless coverage of his childhood, including automobile outings, family holidays and especially his older brother Maurice’s (nicknamed Zissou) inventions. Both brothers are fascinated by cars, aviation, and all sports with increasing popularity at the time. Jacques’s camera freezes each moment. As an adult he continues to attend sporting events and to take part in elite sports such as skiing, skating, tennis and golf. However, ever mindful of the passage of time, photography is not quite enough to capture his childhood memories. A snapshot cannot encompass all there is to say and to remember. He thus begins keeping a journal and will continue to do so his whole life. Furthermore, as if to engage in a more renowned activity, he takes up drawing and painting. In 1915 he briefly attends the Julian Academy and thus painting becomes and remains his main professional activity. From 1922 on he exhibits his work in shows in Paris and in the south of France. In the meantime, in 1919, Jacques marries Madeleine Messager, the daughter of the composer André Messager, and their son Dani is born in 1921. Jacques and Madeleine get a divorce in 1931. He revels in high society and luxury until the beginning of the 1930’s until the decline of the Lartigue fortune forces him to search for other sources of income. He refuses however to take on a steady job and thus lose his freedom, and so he scarcely gets by with his painting during the 30’s and 40’s. In the beginning of the 1950’s and not in accordance with the legend in which he is a complete unknown, his work as a photographer is noticed. He nevertheless continues to paint. He embarks on a cargo ship to Los Angeles in 1962 with his third wife Florette. In a roundabout way, they stop on the East Coast and meet Charles Rado of the Rapho Agency who in turn contacts John Szwarkoski, MoMa’s photography department young curator. There is all-around enthusiasm. The first retrospective of his work is held in Paris’ “Musée des Arts Décoratifs” in 1975. One year earlier, Lartigue was commissioned by the President of France Valéry Giscard d’Estaing to shoot an official portrait photograph. In 1979 the Donation Agreement is signed and Lartigue becomes the first living French photographer to donate his work to the nation. He authorizes the Association des Amis de Jacques Henri Lartigue to preserve and promote the fund. In 1980, his dream of having his own museum comes true with the Grand Palais’ exhibit “Bonjour Monsieur Lartigue”. He continued his work as a photographer, painter and writer until his death in Nice on September 12th 1986. He was 92 years old. He left us with more than 100 000 snapshots, 7 000 pages of diary, 1 500 paintings. Source: Jacques-Henri Lartigue Donation
Berenice Abbott
United States
1898 | † 1991
Berenice Abbott was an American photographer best known for her portraits of between-the-wars 20th-century cultural figures, New York City photographs of architecture and urban design of the 1930s, and science interpretation in the 1940s to 1960s. Abbott was born in Springfield, Ohio, and brought up in Ohio by her divorced mother, née Lillian Alice Bunn (m. Charles E. Abbott in Chillicothe OH, 1886). She attended Ohio State University for two semesters but left in early 1918 when her professor was dismissed because he was a German teaching an English class. She moved to New York City, where she studied sculpture and painting. In 1921 she traveled to Paris and studied sculpture with Emile Bourdelle. While in Paris, she became an assistant to Man Ray, who wanted someone with no previous knowledge of photography. Abbott took revealing portraits of Ray's fellow artists. Abbott was part of the straight photography movement, which stressed the importance of photographs being unmanipulated in both subject matter and developing processes. She also disliked the work of pictorialists who had become popular during a substantial span of her career, leaving her work without support from this school of photographers. Most of Abbott's work was influenced by what she described as her unhappy and lonely childhood. This gave her the strength and determination to follow her dreams. Throughout her career, Abbott's photography was very much a reflection of the rise in the development of technology and society. Her works documented and extolled the New York landscape. This was guided by her belief that a modern-day invention such as the camera deserved to document the 20th century. The film Berenice Abbott: A View of the 20th Century, which showed 200 of her black and white photographs, suggests that she was a "proud proto-feminist"; someone who was ahead of her time in feminist theory. Before the film was completed she questioned, "The world doesn't like independent women, why, I don't know, but I don't care." She identified publicly as a lesbian and lived with her partner, art critic Elizabeth McCausland, for 30 years. Berenice Abbott's life and work are the subject of the 2017 novel The Realist: A Novel of Berenice Abbott, by Sarah Coleman.Source: Wikipedia Let us first say what photography is not. A photograph is not a painting, a poem, a symphony, a dance. It is not just a pretty picture, not an exercise in contortionist techniques and sheer print quality. It is or should be a significant document, a penetrating statement, which can be described in a very simple term—selectivity. -- Berenice Abbott Berenice Abbott was born and raised in Ohio where she endured an erratic family life. In 1918, after two semesters at Ohio State University, she left to join friends associated with the Provincetown Players, in Greenwich Village. There she met Djuna Barnes, Kenneth Burke, Elsa von Freytag-Loringhoven, Edna St. Vincent Millay, Little Review editors Margaret Anderson and Jane Heap, and other influential modernists. From 1919-1921, while studying sculpture, Abbott supported herself as an artist's model, posing for photographers Nikolas Muray and Man Ray. She also met Marcel Duchamp, and participated in Dadaist publications. Abbott moved to Paris in 1921, where she continued to study sculpture (and in Berlin), and to support herself by modeling. During 1923-1926, she worked as Man Ray's darkroom assistant (he had also relocated to Paris) and tried portrait photography at his suggestion. Abbott's first solo exhibition, in 1926, launched her career. In 1928 she rescued and began to promote Eugène Atget's photographic work, calling his thirty years of Parisian streetscapes and related studies "realism unadorned." In 1929 Abbott took a new artistic direction to tackle the scope (if not the scale) of Atget's achievement in New York City. During 1929-38, she photographed urban material culture and the built environment of New York, documenting the old before it was torn down and recording new construction. From 1934-58, she also taught photography at the New School. During 1935-39, Abbott worked as a "supervisor" for the Federal Art Project to create Changing New York (her free-lance work and New School teaching commitment made her ineligible for unemployment relief) . From 1939-60, Abbott photographed scientific subjects, concluding with her notable illustrations for the MIT-originated Physical Sciences Study Committee's revolutionary high school physics course. In 1954, she photographed along the length of US 1; the work never found a publisher. In 1968, Abbott sold the Atget archive to the Museum of Modern Art in New York, and moved permanently to her home in central Maine (bought in 1956 and restored over several decades) . 1970 saw Abbott's first major retrospective exhibition, at the Museum of Modern Art. Her first retrospective portfolio appeared in 1976, and she received the International Center of Photography's Lifetime Achievement Award in 1989. She died at home in Monson, Maine in December 1991.Source: New York Public Library I took to photography like a duck to water. I never wanted to do anything else. Excitement about the subject is the voltage which pushes me over the mountain of drudgery necessary to produce the final photograph. -- Berenice Abbott In 1929, Abbott returned to the United States, where she embarked on her best-known body of work--a documentation of New York City for which she developed her famous bird's-eye and worm's-eye points of view. She worked on the project independently through the early years of the Depression, and in 1935, secured funding from the Federal Art Project (a part of the Works Progress Administration). Her pictures were published as Changing New York (1939), which was both critically and commercially successful; it remains a classic text for historians of photography. One of Abbott's later final projects was an illustration of a scientific phenomenon, produced in the 1950s in collaboration with the Physical Sciences Study Committee based at the Massachusetts Institute of Technology. Although not as well known as her New York work, these pictures are exquisite examples of her acumen for technical experimentation and her natural instinct for combining factual photographic detail with stunning artistic accomplishment. With their clear visual demonstration of abstract scientific principles, the photographs were chosen to illustrate physics textbooks of the 1950s and 1960s.Source: International Center of Photography
Peter Bogaczewicz
Poland/Canada
1974
Peter Bogaczewicz is a Canadian photographer and an architect currently developing projects in the Middle East. He divides his time between the two disciplines, often blurring the line between them, and uses his photography as a commentary on the built environment and the human community, how both are changing at a time of rapid progress and growing global interconnectedness, and the impact this has on the natural environment. There is no clearer reflection of a society's aspirations than through its collective "footprint" on nature; it is in the relationship of the constructed world to the natural world that a crucially revealing conversation takes place. Examining this dialogue captures Peter's imagination and appears as a common thread throughout his work, inviting the questions: How do we relate to the places we inhabit? And what does it reveal about us? Peter has recently had his photographs of Saudi Arabia published as a monograph by Daylight books and is regularly receiving recognition for his work. Kingdom of Sand and Cement Looking from the outside, the Kingdom of Saudi Arabia appears doubly inaccessible: a seemingly endless inhospitable landscape populated by a traditionalist culture distrustful of outsiders. But looking from the inside reveals a subtler view: the culture, as different as it is, struggles with its identity like other cultures do at a time of growing global interdependencies and pressures to progress. What distinguishes Saudi Arabia in its struggle is that this country has had very little time to adapt. Though its abundance of oil wealth has given it an unprecedented advantage, at the same time, it ironically threatens its way of life. "Kingdom of Sand and Cement" explores the particular challenge Saudi Arabia is faced with as the country transitions from the tribal desert culture to an influential world power. It is a profound change, taking its population from mud buildings to the tallest of skyscrapers in less than a century. And while the whole country rapidly transforms from arid landscapes dotted with settlements, that seem to simply grow out of the ground, to imposing modern interventions, cutting, filling, and monumentalizing dominance over nature and the land, Saudi Arabia finds itself precariously balancing at a crossroads of old and new. The population adjusts, straddling both tradition and modernity, while its changing landscape readies it for more to come. The Series documents this relatively unfamiliar place at a time of its unique turning point. By photographically examining its past and present "markings" on nature—that crucial intersection of the built environment with that of the natural environment—the Series brings to light the country's aspirations tensely juxtaposed with its traditionalist past. The contrasts reveal an image of a place much different from our own, yet a place ultimately not so dissimilar to others in its ambition to progress, and susceptible as any to the risks of rapid and often careless transition. More about the book Kingdom of Sand and Cement
Josephine Sacabo
United States
1944
Artist Statement: "I believe in Art as a means of transcendence and connection. My images are simply what I’ve made from what I have been given. I hope they have done justice to their sources and that they will, for a moment, ‘stay the shadows of contentment too short lived.’” Sacabo divides her time between New Orleans and Mexico. Both places inform her work, resulting in imagery that is as dreamlike, surreal, and romantic as the places that she calls home. Born in Laredo, Texas, in 1944, she was educated at Bard College in New York. Prior to coming to New Orleans, Sacabo lived and worked extensively in France and England. Her earlier work was in the photo-journalistic tradition and influenced by Robert Frank, Josef Koudelka, and Henri Cartier-Bresson. She now works in a very subjective, introspective style, using poetry as the genesis for her work. Her many portfolios are visual manifestations of the written word, and she lists poets as her most important influences, including Rilke, Baudelaire, Pedro Salinas, Vincente Huiobro, and Juan Rulfo, Mallarmé, and Sor Juana Ines de la Cruz. Her images transfer the viewer into a world of constructed beauty. During her 36 year career her work has been featured in over 40 gallery and museum exhibitions in the U.S., Europe and Mexico. She has been the recipient of multiple awards and is included in the permanent collections of the George Eastman House, the International Center of Photography, the Metropolitan Museum of Art and la Bibliothèque Nationale, Paris, France. Source: josephinesacabo.com
Sergey Prokudin-Gorsky
Russia
1863 | † 1944
Sergey Mikhaylovich Prokudin-Gorsky (Russian, August 30, 1863 Russian Empire – September 27, 1944) was a Russian chemist and photographer. He is best known for his pioneering work in color photography of early 20th-century Russia.Prokudin-Gorsky was born in the ancestral estate of Funikova Gora, in what is now Kirzhachsky District, Vladimir Oblast. His parents were of the Russian nobility, and the family had a long military history. They moved to Saint Petersburg, where Prokudin-Gorsky enrolled in Saint Petersburg State Institute of Technology to study chemistry under Dmitri Mendeleev. He also studied music and painting at the Imperial Academy of Arts. In 1890, Prokudin-Gorsky married Anna Aleksandrovna Lavrova, and later the couple had two sons, Mikhail and Dmitri, and a daughter, Ekaterina. Anna was the daughter of the Russian industrialist Aleksandr Stepanovich Lavrov, an active member in the Imperial Russian Technical Society (IRTS). Prokudin-Gorsky subsequently became the director of the executive board of Lavrov's metal works near Saint Petersburg and remained so until the October Revolution. He also joined Russia's oldest photographic society, the photography section of the IRTS, presenting papers and lecturing on the science of photography. In 1901, he established a photography studio and laboratory in Saint Petersburg. In 1902, he traveled to Berlin and spent six weeks studying color sensitization and three-color photography with photochemistry professor Adolf Miethe, the most advanced practitioner in Germany at that time. Throughout the years, Prokudin-Gorsky's photographic work, publications and slide shows to other scientists and photographers in Russia, Germany and France earned him praise, and in 1906 he was elected the president of the IRTS photography section and editor of Russia's main photography journal, the Fotograf-Liubitel. Lithograph print of Leo Tolstoy in front of Prokudin-Gorsky's camera in Yasnaya Polyana, 1908. Perhaps Prokudin-Gorsky's best-known work during his lifetime was his color portrait of Leo Tolstoy,[6] which was reproduced in various publications, on postcards, and as larger prints for framing. The fame from this photo and his earlier photos of Russia's nature and monuments earned him invitations to show his work to the Russian Grand Duke Michael Alexandrovich and Dowager Empress Maria Feodorovna in 1908, and to Tsar Nicholas II and his family in 1909. The Tsar enjoyed the demonstration, and, with his blessing, Prokudin-Gorsky got the permission and funding to document Russia in color.[8] In the course of ten years, he was to make a collection of 10,000 photos. Prokudin-Gorsky considered the project his life's work and continued his photographic journeys through Russia until after the October Revolution. He was appointed to a new professorship under the new regime, but he left the country in August 1918. He still pursued scientific work in color photography, published papers in English photography journals and, together with his colleague S. O. Maksimovich, obtained patents in Germany, England, France and Italy.In 1920, Prokudin-Gorsky remarried and had a daughter with his assistant Maria Fedorovna née Schedrimo. The family finally settled in Paris in 1922, reuniting with his first wife and children. Prokudin-Gorsky set up a photo studio there together with his three adult children, naming it after his fourth child, Elka. In the 1930s, the elderly Prokudin-Gorsky continued with lectures showing his photographs of Russia to young Russians in France, but stopped commercial work and left the studio to his children, who named it Gorsky Frères. He died at Paris on September 27, 1944, and is buried in the Sainte-Geneviève-des-Bois Russian Cemetery.Documentary of the Russian EmpireAround 1905, Prokudin-Gorsky envisioned and formulated a plan to use the emerging technological advances that had been made in color photography to document the Russian Empire systematically. Through such an ambitious project, his ultimate goal was to educate the schoolchildren of Russia with his "optical color projections" of the vast and diverse history, culture, and modernization of the empire. Outfitted with a specially equipped railroad-car darkroom provided by Tsar Nicholas II and in possession of two permits that granted him access to restricted areas and cooperation from the empire's bureaucracy, Prokudin-Gorsky documented the Russian Empire around 1909 through 1915. He conducted many illustrated lectures of his work. His photographs offer a vivid portrait of a lost world—the Russian Empire on the eve of World War I and the coming Russian Revolution. His subjects ranged from the medieval churches and monasteries of old Russia, to the railroads and factories of an emerging industrial power, to the daily life and work of Russia's diverse population. It has been estimated from Prokudin-Gorsky's personal inventory that before leaving Russia, he had about 3500 negatives. Upon leaving the country and exporting all his photographic material, about half of the photos were confiscated by Russian authorities for containing material that seemed to be strategically sensitive for war-time Russia. According to Prokudin-Gorsky's notes, the photos left behind were not of interest to the general public. Some of Prokudin-Gorsky's negatives were given away, and some he hid on his departure. Outside the Library of Congress collection, none has yet been found.By Prokudin-Gorsky's death, the tsar and his family had long since been executed during the Russian Revolution, and Communist rule had been established over what was once the Russian Empire. The surviving boxes of photo albums and fragile glass plates the negatives were recorded on were finally stored in the basement of a Parisian apartment building, and the family was worried about them getting damaged. The United States Library of Congress purchased the material from Prokudin-Gorsky's heirs in 1948 for $3500–$5000 on the initiative of a researcher inquiring into their whereabouts. The library counted 1902 negatives and 710 album prints without corresponding negatives in the collection.(Source: en.wikipedia.org)
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