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Beth Moon
Beth Moon
Beth Moon

Beth Moon

Country: United States
Birth: 1956

San Francisco Bay Area artist, Beth Moon, has gained international recognition for her large-scale, richly toned platinum prints. Since 1999, Moon’s work has appeared in more than sixty solo and group exhibitions in the United States, Italy, England, France, Israel, Brazil, Dubai, Singapore, and Canada. Her work is held in numerous public and private collections, including the Museum of Fine Arts, Houston, the Museum of Photographic Arts in San Diego, and the Fox Talbot Museum in Wiltshire, England.

In 2013, Between Earth and Sky, the first monograph of her work, was published by Charta Art Books of Milan. In 2014, Abbeville Press published, Ancient Trees: Portraits of Time, with a third book to follow that same year from Galerie Vevais, La Lange Verte. Moon studied fine art at the University of Wisconsin before moving to England where she experimented with alternative photographic processes and learned to make platinum prints.

Source: www.vervegallery.com


Beth Moon was born in Neenah, Wisconsin and studied fine art at the University of Wisconsin. Classes in painting, life drawing, sculpture, and design would set the groundwork for her work in photography, which was to come years later. Moving to England, a country with a love for all things arboreal, gave her a fresh look at a land that boasts the largest concentration of ancient trees. Inspired by these trees she decided to make a series of their portraits. Unhappy with the photographic tonality and stability of ink-jet printing, she started to experiment with alternative printing processes, learning platinum/palladium printing, an ideal process for her vision. She concentrated on mastering this printing technique, doing all of her own printing.

“By using the longest lasting photographic process, I hope to speak about survival, not only of man and nature’s but to photography’s survival as well. For each print I mix ground platinum and palladium metals, making a tincture that is hand-coated onto heavy watercolor paper and exposed to light. There are many steps involved in creating the final print and these are as important to me as the capturing of the image," said Moon. A platinum print can last for centuries, drawing on the common theme of time and survival, pairing photographic subject and process.

Source: www.josephsaxton.com

Selected Books on Available on Amazon
Beth Moon: Baobab
Beth Moon: Baobab
Beth Moon
Beth Moon: Literary Chickens
Beth Moon: Literary Chickens
Beth Moon
Beth Moon: Ancient Skies, Ancient Trees
Beth Moon: Ancient Skies, Ancient Trees
Beth Moon, Clark Strand
Ancient Trees: Portraits of Time
Ancient Trees: Portraits of Time
Beth Moon
Beth Moon: Between Earth and Sky
Beth Moon: Between Earth and Sky
Steven Brown, Brooks Jensen, Beth Moon

Galleries

Verve Gallery of Photography

Corden Potts Gallery

PH Neutro Fotografia Fine-Art

Website

bethmoon.com

 

Beth Moon's Video

Selected Books

Beth Moon: Baobab
Beth Moon: Baobab
Beth Moon
Beth Moon: Literary Chickens
Beth Moon: Literary Chickens
Beth Moon
Ancient Trees: Portraits of Time
Ancient Trees: Portraits of Time
Beth Moon
Beth Moon: Between Earth and Sky
Beth Moon: Between Earth and Sky
Steven Brown, Brooks Jensen, Beth Moon

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More Great Photographers To Discover

Philipp Bolthausen
Philipp Bolthausen
United States
Akzidenz currently living and working between Paris and New York. His education focused around art and communication studies in Paris and New York, where he lived and worked for many years before returning to Paris. He presently works as an art director for some of the mosthigh-end luxury brands worldwide.This background has a rooted presence in his work - in that he is less interested in the representational qualities of the photograph, focusing more on the exploration of the fringes of each terrain. This focus stems from the will to not use photography as a traditional means of representation of reality but creating a platform for discourse and thought. In order to achieve this dais, he tries to invent his own visual language, using multi-exposures, superposition, juxtaposition and ‘sequentiality’ to interpret, rewrite and therefore, relate to manufactured experiences which are being created on a daily basis by mass media.In short his photography can be summed into Objects, which create an intrinsic world of their own, or in his own words: “My works aren’t pictures of something, but objects about something.”Akzidenz purposefully chooses to use the 20th century medium of film allowing him to see, and therefore place the present into perspective. The choice of black & white and grain become the signifiers that depict and foster the equivalence of life and shape within his work. The single ‘effects’ of contemporary post-processing are not important to his work, to the point that he refuses to use such ‘effects’ - anything beyond the traditional workflow of the darkroom is prohibited in his work.
Larry Clark
Larry Clark
United States
1943
Lawrence Donald Clark (born January 19, 1943) is an American film director, photographer, writer and film producer who is best known for his controversial teen film Kids (1995) and his photography book Tulsa (1971). His work focuses primarily on youth who casually engage in illegal drug use, underage sex, and violence, and who are part of a specific subculture, such as surfing, punk rock, or skateboarding. Larry Clark was born in Tulsa, Oklahoma. He learned photography at an early age. His mother was an itinerant baby photographer, and he was enlisted in the family business from the age of 13. His father was a traveling sales manager for the Reader Service Bureau, selling books and magazines door-to-door, and was rarely home. In 1959, Clark began injecting amphetamines with his friends. He attended the Layton School of Art in Milwaukee, Wisconsin, where he studied under Walter Sheffer and Gerhard Bakker. In 1964, he moved to New York City to freelance, but was drafted within two months into the United States Army. From 1964 to 1965, he served in the Vietnam War in a unit that supplied ammunition to units fighting in the north. His experiences there led him to publish the 1971 book Tulsa, a photo documentary illustrating his young friends' drug use in black and white. Routinely carrying a camera, from 1963 to 1971 Clark produced pictures of his drug-shooting coterie that have been described by critics as "exposing the reality of American suburban life at the fringe and ... shattering long-held mythical conventions that drugs and violence were an experience solely indicative of the urban landscape." His follow-up was Teenage Lust (1983), an "autobiography" of his teen past through the images of others. It included his family photos, more teenage drug use, graphic pictures of teenage sexual activity, and young male hustlers in Times Square, New York City. Clark constructed a photographic essay titled The Perfect Childhood that examined the effect of media in youth culture. His photographs are part of public collections at several art museums including the Whitney Museum of Art, Museum of Photographic Arts, and the Museum of Fine Arts, Boston. In 1993, Clark directed Chris Isaak's music video Solitary Man. This experience developed into an interest in film direction. After publishing other photographic collections, Clark met Harmony Korine in New York City and asked Korine to write the screenplay for his first feature film Kids, which was released to controversy and mixed critical reception in 1995. Clark continued directing, filming a handful of additional independent feature films in the several years after this. In 2001, Clark shot three features Bully, Ken Park, and Teenage Caveman over a span of nine months. As of 2017, they are his last films to feature professional actors. Ken Park is a more sexually and violently graphic film than Kids, including a scene of auto-erotic asphyxiation and ejaculation by an emotionally rattled high-school boy (portrayed by James Ransone, then in his early 20s). As of 2015, it has not been widely released or distributed in the United States. In 2002, Clark spent several hours in a police cell after punching and trying to strangle Hamish McAlpine, the head of Metro Tartan, the UK distributor for Clark's film Ken Park. According to McAlpine, who was left with a broken nose, the incident arose from an argument about Israel and the Middle East, and he claims that he did not provoke Clark. In a 2016 interview, Clark discussed his lifelong struggle with drug abuse, although stating he maintained total sobriety while filmmaking. He confessed that the only exception made to his practice of abstinence while filming was Marfa Girl. Clark explained that while filming that movie he used opiates for pain due to double knee replacement surgery. In 2015, Clark collaborated alongside notable skateboard and clothing brand, Supreme, to celebrate the 20th anniversary of Kids with a collection of decks, T-shirts, and sweatshirts that feature stills from the iconic film. The collection was released on May 21, 2015 in Supreme's New York, Los Angeles, and London locations and on May 23 in their Japan location.Source: Wikipedia Larry Clark, born in Tulsa, worked in his family's commercial photographic portrait business before studying photography with Walter Sheffer at the Layton School of Art in Milwaukee, Wisconsin from 1961 to 1963. He served in the military during the Vietnam War and has been a freelance photographer based in New York since 1966. During the 1960s, Clark documented the culture of drug use and illicit activity of his friends in Tulsa, and his photographs from those years were published as Tulsa (1971). Considered shocking for its graphic portrayal of the intimate details of its subjects' risky lives, the book launched Clark's career. After Tulsa, he produced Teenage Lust (1983), a series of photographs depicting adolescent sexuality, Larry Clark (1992), and The Perfect Childhood (1993). His work has been included in group and solo exhibitions since the early 1970s, and he was the recipient of a National Endowment for the Arts Photographers' Fellowship in 1973 and a Creative Arts Public Service photographers' grant in 1980. Clark has also produced films; Kids (1994), based on his experiences with New York City teenagers and their culture of drugs, alcohol, and sex, and Another Day in Paradise (1999). Larry Clark's photographs in Tulsa are unflinching portrayals of difficult and often unsightly circumstances viewed through a participant's eyes. Their first-hand intensity recollects the work of Danny Lyon and Bruce Davidson, but Clark's raw voyeurism and insistent exposure of detail results in a somberness that differentiates his work from that of others in the early 1970s. His recent photography addresses similar subjects, but with the distance of an observer, and a more prominent formal sensibility.Source: International Center of Photography
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Claudine De Fay
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I'm a french artist and poet who lives between Paris and Normandy. Here, you will find landscapes, dreamy illustrations and creative portraits. My work is a bridge between imaginary and reality, poetry and memory, and ask about the intimate of our human condition. I’m inspired by Nature, Literature and more particularly by Poetry. Recently, I worked on creations of illustrations from my photos and edit using iphone and ipad. Since 3 years, I expose regularly my work as with the National Library of Minsk (Belarus) during the exhibition "Parallels between Paris and Minsk", in the Castle of Condé (France) and more recently in the Perche (France) with Arnaud Cassegrain for our editorial collaboration of the book "The Fragments of the Perche". Each time, the press spoke of an original and mesmerizing work.
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Martín Chambi
Peru
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Martín Chambi Jiménez was a Peruvian photographer, originally from southern Peru. He was one of the first major Indigenous Latin American photographers. Recognized for the profound historic and ethnic documentary value of his photographs, he was a prolific portrait photographer in the towns and countryside of the Peruvian Andes. As well as being the leading portrait photographer in Cuzco, Chambi made many landscape photographs, which he sold mainly in the form of postcards, a format he pioneered in Peru. In 1979, New York's Museum of Modern Art held a Chambi retrospective, which later traveled to various locations and inspired other international expositions of his work. Martín Chambi was born into a Quechua-speaking peasant family in one of the poorest regions of Peru, at the end of the nineteenth century. When his father went to work in a Carabaya Province gold mine on a small tributary of the River Inambari, Martin went along. 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Chambi traveled to Chile to exhibit some of his artworks and used his artistic skills to allow the audience to understand how the photographer prioritized the Indigenous outcome that relates to the Peruvians and the Chileans. There were some arguments that the two countries disagreed with each other when involving the differences of race, indigeneity, and civilization. The photographer managed to redevelop the process through his artwork, letting the viewers and art critics to understand these types of political issues that concern the Chileans and the Peruvians. The Peruvians were able to accept Indigenous people from various countries, but the Chileans did not accept them because of the 'pacification' campaigns of the late 19th century. The Mapuche leaders discuss educational benefits; however, they were dealing with some problems with governmental authorities that involves Chile and Peru. Chambi was determined to debunk racial stereotypes, but often up reinforcing them. El Sol, La Nacion, and other news critics prioritize the photographer's artwork because it would enable them to discuss national boundaries and open up ideological debate. Eighty-eight images by Peruvian photographer Martin Chambi have been added to the archives of the famous Instituto Moreira Salles (IMS) in Brazil. It gives the public an opportunity to discover one of the first major, indigenous Latin American photographers. Face Andina features nearly 90 photographs and 23 postcards of studio portraits and the urban and rural landscapes of Cuzco, Arequipa and Puno.Source: Wikipedia
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Dominik Schulze
Germany
1993
Dominik Schulze is a 29 year old enthusiastic amateur photographer from Dresden, Germany. He has been shooting street photography for about seven years, but prefers to call it capturing unposed moments in our daily urban environment. Besides strong light/shadow situations, the integration of people into architecture, he also likes to experiment with abstract perspectives on everyday things. To get new impressions of street life, he likes to travel and combine this with his photography. Photographers such as Thomas Leuthard, Alex Webb, Siegfried Hansen and Josef Koudelka have particularly influenced his style. Currently, a Pixel 4a is his main camera.
Michal Cala
Michal Cala
Poland
1948
Michal Cala was born in Toruń, Poland in 1948 and studied aircraft construction in Warsaw at the University of Technology in the early 1970's. From 1974 to 1983 he worked as an engineer in various companies in Silesia, and began photographing in the area. In 1977, he moved to Tychy in Upper Silesia, where he co-founded the photographers' association KRON and become a member of the ZPAF – the Union of Polish Art Photographers. Relatively unknown outside of his native country, his work is in several museum collections in Poland; in the Silesian Museum of Katowice, the Silesian Library in Katowice, the Upper Silesian Museum in Bytom, the Coal Mining Museum in Zabrze as well as local government building in Duisburg in the Ruhr (Germany) and various private collections. His work has received much acclaim and won numerus awards; among which are the Grand Prix at the Polish Landscape Biennale in Kielce twice, 1979 and 1983 and won the first prise at the Pilsner International Photo Awards in the Industrial category in 2007. His work from Galicia series and the Paysages de Pologne exhibition was shown in France in 1980's. The Silesia exhibition was shown widely in Katowice (1984, 2002, 2008), Krakow (1986, 2006), Warsaw (1986, 2009), in Enschede, the Netherlands, (2012), at the Photo Biennale Mannheim – Ludwigshafen – Heidelberg (2007) and part of group project at the Noorderlicht Photo Festival in the Netherlands (2008). In 2007 he was classified as one of most important Polish photographers in last century and participated in the group exhibition Polish Photography in XX Century (Warsaw, Poland and Vilnius, Lithuania). In the same year, Cala's photography was featured in British Journal of Photography and Foto8 magazine. Publications on his work include The Anthology of Polish Photography 1839 – 1989, The Masters of Polish Landscape and The Polish Photography in the 20th Century. His past exhibition Metropolis on Silesian urban landscapes was held at the Silesian Museum in Katowice in 2013 and a solo show Silesia and Galicia in the Museum of History of Photography in 2016 in Krakow (Poland). His photo book based on the same series was recently selected in the Open Submission at Belfast and Athens Photo Festivals respectively (2017). The latest solo exhibition at MMX Gallery; SILESIA 1975-1985, was the first time his work has been shown in UK.MMX Gallery about the exhibition Silesia 1975-1985 Michal Cala is regarded as one of the most important Polish photographers of the last century. Cala started taking pictures in his youth and has been working professionally as a photographer for nearly 40 years. Silesia is an industrial district in Poland which at the time of 1970's and early 1980's was experiencing its peak of development and activity. Although providing massive employment for the area, the environmental issues were ignored. Stepping off the train, Cala encountered the other-worldly landscape for the first time and decided this is what he wanted to make of photographic record of. Fascinated by the subject matter, he devoted himself to photographing the Silesian landscape between 1975 – 1992, which resulted in the series entitled Silesia (Śląsk in Polish). Cala's photography took on various influences ranging from surrealism, which inspired a movement in Poland called "fotografia kreacyjna" (creative photography), and the realism of British New Wave cinema of the late 1950's and early 1960's. Poland's isolation during the Cold War made it very difficult for photographers to obtain artistic publications. However, some Czech and Polish magazines were publishing Western photographers work such as Edward Weston, Bill Brandt, Robert Frank and Diane Arbus who acted as a window for inspiration. Cala was influenced by landscape, reportage and social documentary photography, which he always portrayed in his personally stylised images. In Poland, political and material conditions were harsh under Soviet influence. Using a basic 35mm Exa 500 camera, he managed to produce images of such a lyrical beauty only to be emphasised again with a dark graphic printing style, to further enhance his vision of the sometimes-apocalyptic looking landscape before him. A single house surrounded by huge cooling towers, majestic slagheaps, lonely figures microscopic when compared to the massive scale of industrial surroundings are subtle metaphors of living in a communist reality. The majority of photographs in the exhibition are vintage silver gelatin prints, made by Cala at the time they were taken.Source: MMX Gallery
Andrea Kunstle
Andrea Kunstle
Germany
1968
"I was trained 3 years to become a photographer and afterwards I studied to become a "photo engineer". With all the knowledge of technology, I thought it would be easy to work as a photographer. But of course was not. Today I do live mainly in Berlin, work as a city guide or in a bicycle store, give workshops and in the spare time I work on my Art." Statement: Life is always full of surprises and in order not to miss them I worked on giving free rein to my creativity. I know how difficult is to keep going with your creativity, so I dicided to travel with my bicycle. Always 4 months during the winter times or even some longer trips. Getting out of my comfort zone gets me at least closer to what we call "Reality". But also just a little closer. The greatest challenge, but also the greatest satisfaction, is working with people. Meeting them, seeing them and then showing them in my pictures is what really drives me." www.kuenstle.de www.streetpepper.de www.jokeair.com @kuenstlephotography
Cedric Delsaux
Cedric Delsaux
France
1974
Cédric Delsaux was born in 1974. For almost 20 years, his oeuvre has sought to deconstruct our conventional view of the relationship between reality and photography. His aim is for the medium of photography to no longer directly express Reality, but rather the Fiction through which it is perceived. First known for his work as an advertising photographer, he has since made a name for himself through his personal long-term photo series. His first, Here To Stay/Nous resterons sur terre, was published in 2008 in France, and by Monacelli Press (Random House) in the US the following year. This series takes us on a subjective tour of symbolic places in our (post)modern world; these places are at once beautiful and ugly, conventional and crazy. His second, Dark Lens, was published in France in 2011 by Éditions Xavier Barral, distributed in the US by D.A.P., and translated into Japanese through publisher X-Knowledge. George Lucas wrote the foreword to the book. Dark Lens places characters from the Star Wars saga into real-world settings—like Dubai, Lille or the banlieue of Paris—and reveals the extent to which our perception of a city passes through the filter of fiction. In his next series, Échelle 1, he asked random passers-by to stand on a white wooden base, instantly transforming them into 1:1 scale figurines. For his 2014 book, Zone de repli, published by Éditions Xavier Barral, he spent three years reexploring an infamous news story, revisiting the haunts of a notorious imposter-murderer. The series he made with "France Territoire Liquide", a group co-founded with three other photographers, featured in an exhibition at the Bibliothèque nationale de France in 2017 (Paysages français: Une aventure photographique) and in a collected volume published by Éditions du Seuil ("Fiction&Cie" collection). Welcome to the Dark Corporation. It all began over 14 years ago with Dark Lens, Delsaux's initial series combining everyday places with the universe of Star Wars. Hailed an international success (...), it was honored by the Master himself, George Lucas.* After taking a break, Cédric Delsaux now reawakens the fantasy with this new opus, irreversibly breaking down the boundaries between Reality and Fiction... While the vehicles and characters of the famous Star Wars saga still haunt the real-world places he shoots—like Paris, Dubai, Marseilles, and Abu Dhabi—, this time Delsaux has worked with a full team (designer, 3D graphic artists, retouchers) to further tear back the veil between true and false, to the point that we begin to wonder if even the slightest frontier still remains. What was originally a simple confrontation between Reality and Science Fiction is finished; now the World and the "Dark Corporation" become one. It is as if the characters of the series have now permanently settled on Earth, bringing with them their ancient powers. These new residents have acquired their own vehicles, which are inspired by the Hollywood saga but recreated in the style of earthlings, borrowing design and techniques from the world that came before, the one that belonged to humankind... With this approach Cédric Delsaux combines two opposing states, reality and fantasy, as if to suggest that one can no longer be perceived without the other. The present of his photographs is no longer in the indicative, but is modified using some unknown conjugation to produce a sort of present of the conditional, distorting Roland Barthe's formula "this has been" into a puzzling "and if this was". Delsaux also uses his sets to suggest a looming, insidious threat. Each piece of land he captures depicts the latent conflict between human beings and the technology they have created... And he has an original way of exploiting the modern myth that is Star Wars to summon up all the anxieties and ambitions of a generation abandoned at the edge of the gaping chasm left by the disappearance of the Grand Narratives. Designer Vincent Gravière
Marjorie Salvaterra
Marjorie Salvaterra
United States
Marjorie Salvaterra’s images reveal “a fine line between sanity and insanity,” according to Virginia Heckart, Associate Curator of Photography at The Getty Center. Salvaterra’s exhibitions include: Rencontres d’Arles, Arles, France; Clark-Oshin Gallery, Los Angeles, Solo Exhibit, 2011; MOPLA Opening Night Solo Exhibit - 2011, Los Angeles; "Fuck Pretty" - Robert Berman Gallery, Los Angeles, 2011, “Classic Camera Show,” Rayko Photo Center, San Francisco; “Contrast LA,” at A&I Gallery, Los Angeles; “Alternative Photography,” at Julia Dean Gallery, Los Angeles; and the “Human + Being” show at The Center for Fine Art Photography in Fort Collins, Colorado. Her work was included in the George Eastman House Museum auction at Sotheby’s, New York and she was runner-up for the 2009 and 2010 Berenice Abbott Prize for Emerging Photographers. Marjorie's great achievement is as a wife and mother of two. She makes her home in Los Angeles, California.
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