Evan Anderman

Evan Anderman

Evan Anderman

Evan Anderman

Country: United States
Birth: 1964

Evan Anderman is a fine art photographer based in Denver who is best known for his aerial images of Colorado's Eastern Plains, and other less-traveled landscapes across the American West. His work is held in the Denver Art Museum collection and has been exhibited at institutions nationally and internationally, including the DongGang International Photo Festival/South Korea, Mt Rokko International Photo Festival/Japan, The Midwest Center for Photography, The Dairy Center for the Arts, The Arvada Center, American Mountaineering Center, Denver International Airport, Carmen Wiedenhoeft Gallery, The Colorado State Capitol, Robischon Gallery, Lamont Gallery, Buttonwood Art Space, and in his own gallery in Denver's Santa Fe Arts District. In November 2013, Anderman was honored for his unique environmental photography with the inaugural Photo District News (PDN) Duggal Image Maker Award. Prior to becoming a full-time photographer, Anderman spent decades working as a geologist, and holds a Master's and a PhD in Geological Engineering from the Colorado School of Mines and a BS in Geological Engineering from Princeton University.

Anderman's work aims to challenge our understanding of the relationship between human development and the natural world by documenting the way we use the land. "As a geologist, when I fly over the high plains of eastern Colorado, I look at the overlapping layers and how the land has been modified by a combination of processes, both natural and manmade," he writes on his website, EvanAnderman.com. "The lowest layer, the land itself, has been created over literally millions of years and forms the foundation. Draped on top of that is what mankind has imposed in various ways; activities and structure that are collectively called 'progress.' While my main interest is the subtle beauty of the landscape itself, I also like to tease out what man has done with that land, and make the viewer wonder what is going on and why. The images are fundamentally aesthetic, but leave you questioning the subject matter."

Website

www.evananderman.com

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Alfred Stieglitz

Alfred Stieglitz

United States
1864 | † 1946

Through his activities as a photographer, critic, dealer, and theorist, Alfred Stieglitz had a decisive influence on the development of modern art in America during the early twentieth century. Born in 1864 in New Jersey, Stieglitz moved with his family to Manhattan in 1871 and to Germany in 1881. Enrolled in 1882 as a student of mechanical engineering in the Technische Hochschule (technical high school) in Berlin, he was first exposed to photography when he took a photochemistry course in 1883. From then on he was involved with photography, first as a technical and scientific challenge, later as an artistic one. Returning with his family to America in 1890, he became a member of and advocate for the school of pictorial photography in which photography was considered to be a legitimate form of artistic expression. In 1896 he joined the Camera Club in New York and managed and edited Camera Notes, its quarterly journal. Leaving the club six years later, Stieglitz established the Photo-Secession group in 1902 and the influential periodical Camera Work in 1903. In 1905, to provide exhibition space for the group, he founded the first of his three New York galleries, The Little Galleries of the Photo-Secession, which came to be known as Gallery 291. In 1907 he began to exhibit the work of other artists, both European and American, making the gallery a fulcrum of modernism. As a gallery director, Stieglitz provided emotional and intellectual sustenance to young modernists, both photographers and artists. His Gallery 291 became a locus for the exchange of critical opinions and theoretical and philosophical views in the arts, while his periodical Camera Work became a forum for the introduction of new aesthetic theories by American and European artists, critics, and writers. After Stieglitz closed Gallery 291 in 1917, he photographed extensively, and in 1922 he began his series of cloud photographs, which represented the culmination of his theories on modernism and photography. In 1924 Stieglitz married Georgia O'Keeffe, with whom he had shared spiritual and intellectual companionship since 1916. In December of 1925 he opened the Intimate Gallery; a month later Duncan Phillips purchased his first works from Stieglitz’s gallery, paintings by Dove, Marin, and O'Keeffe. In 1929 Stieglitz opened a gallery called An American Place, which he was to operate until his death. During the thirties, Stieglitz photographed less, stopping altogether in 1937 due to failing health. He died in 1946, in New York. The Collection contains nineteen gelatin-silver photographs of clouds by Stieglitz.Source: The Phillips Collection My photographs are a picture of the chaos in the world, and of my relationship to that chaos. My prints show the world’s constant upsetting of man’s equilibrium, and his eternal battle to reestablish it. -- Alfred Stieglitz In early June 1918, O'Keeffe moved to New York from Texas after Stieglitz promised he would provide her with a quiet studio where she could paint. Within a month he took the first of many nude photographs of her at his family's apartment while his wife Emmy was away, but she returned while their session was still in progress. She had suspected something was going on between the two for a while, and told him to stop seeing her or get out. Stieglitz left and immediately found a place in the city where he and O'Keeffe could live together. They slept separately for more than two weeks, but by the end of July they were in the same bed together. Once he was out of their apartment Emmy had a change of heart. Due to the legal delays caused by Emmy and her brothers, it would be six more years before the divorce was finalized. During this period Stieglitz and O'Keeffe continued to live together, although she would go off on her own from time to time to create art. Stieglitz used their times apart to concentrate on his photography and promotion of modern art. O'Keeffe was the muse Stieglitz had always wanted. He photographed O'Keeffe obsessively between 1918 and 1925 in what was the most prolific period in his entire life. During this period he produced more than 350 mounted prints of O'Keeffe that portrayed a wide range of her character, moods and beauty. He shot many close-up studies of parts of her body, especially her hands either isolated by themselves or near her face or hair. O'Keeffe biographer Roxanna Robinson states that her "personality was crucial to these photographs; it was this, as much as her body, that Stieglitz was recording." In 1920, Stieglitz was invited by Mitchell Kennerly of the Anderson Galleries in New York to put together a major exhibition of his photographs. In early 1921, he hung the first one-man exhibit of his photographs since 1913. Of the 146 prints he put on view, only 17 had been seen before. Forty-six were of O'Keeffe, including many nudes, but she was not identified as the model on any of the prints. In 1922, Stieglitz organized a large show of John Marin's paintings and etching at the Anderson Galleries, followed by a huge auction of nearly two hundred paintings by more than forty American artists, including O'Keeffe. Energized by this activity, he began one of his most creative and unusual undertakings – photographing a series of cloud studies simply for their form and beauty. He said: "I wanted to photograph clouds to find out what I had learned in forty years about photography. Through clouds to put down my philosophy of life – to show that (the success of) my photographs (was) not due to subject matter – not to special trees or faces, or interiors, to special privileges – clouds were there for everyone…" By late summer he had created a series he called "Music – A Sequence of Ten Cloud Photographs". Over the next twelve years he would take hundreds of photographs of clouds without any reference points of location or direction. These are generally recognized as the first intentionally abstract photographs, and they remain some of his most powerful photographs. He would come refer to these photographs as Equivalents. Stieglitz's mother Hedwig died in November 1922, and as he did with his father he buried his grief in his work. He spent time with Paul Strand and his new wife Rebecca (Beck), reviewed the work of another newcomer named Edward Weston and began organizing a new show of O'Keeffe's work. Her show opened in early 1923, and Stieglitz spent much of the spring marketing her work. Eventually, twenty of her paintings sold for more than $3,000. In the summer, O'Keeffe once again took off for the seclusion of the Southwest, and for a while Stieglitz was alone with Beck Strand at Lake George. He took a series of nude photos of her, and soon he became infatuated with her. They had a brief physical affair before O'Keeffe returned in the fall. O'Keeffe could tell what had happened, but since she did not see Stieglitz's new lover as a serious threat to their relationship she let things pass. Six years later she would have her own affair with Beck Strand in New Mexico. In 1924, Stieglitz's divorce was finally approved by a judge, and within four months he and O'Keeffe married in a small, private ceremony at Marin's house. They went home without a reception or honeymoon. O'Keeffe said later that they married in order to help soothe the troubles of Stieglitz's daughter Kitty, who at that time was being treated in a sanatorium for depression and hallucinations. For the rest of their lives together, their relationship was, as biographer Benita Eisler characterized it, "a collusion ... a system of deals and trade-offs, tacitly agreed to and carried out, for the most part, without the exchange of a word. Preferring avoidance to confrontation on most issues, O'Keeffe was the principal agent of collusion in their union." In the coming years O'Keeffe would spend much of her time painting in New Mexico, while Stieglitz rarely left New York except for summers at his father's family estate in Lake George in the Adirondacks, his favorite vacation place. O'Keeffe later said "Stieglitz was a hypochondriac and couldn't be more than 50 miles from a doctor." The great geniuses are those who have kept their childlike spirit and have added to it breadth of vision and experience. -- Alfred Stieglitz At the end of 1924, Stieglitz donated 27 photographs to the Boston Museum of Fine Arts. It was the first time a major museum included photographs in its permanent collection. In the same year he was awarded the Royal Photographic Society's Progress Medal for advancing photography and received an Honorary Fellowship of the Society. In 1925, Stieglitz was invited by the Anderson Galleries to put together one of the largest exhibitions of American art, entitled Alfred Stieglitz Presents Seven Americans: 159 Paintings, Photographs, and Things, Recent and Never Before Publicly Shown by Arthur G. Dove, Marsden Hartley, John Marin, Charles Demuth, Paul Strand, Georgia O'Keeffe and Alfred Stieglitz. Only one small painting by O'Keeffe was sold during the three-week exhibit. Soon after, Stieglitz was offered the continued use of one of the rooms at the Anderson Galleries, which he used for a series of exhibitions by some of the same artists in the Seven Americans show. In December 1925, he opened his new gallery, The Intimate Gallery, which he nicknamed The Room because of its small size. Over the next four years, he put together sixteen shows of works by Marin, Dove, Hartley, O'Keeffe and Strand, along with individual exhibits by Gaston Lachaise, Oscar Bluemner and Francis Picabia. During this time, Stieglitz cultivated a relationship with influential new art collector Duncan Phillips, who purchased several works through The Intimate Gallery. In 1927, Stieglitz became infatuated with the 22-year-old Dorothy Norman, who was then volunteering at the gallery, and they fell in love. Norman was married and had a child, but she came to the gallery almost every day. O'Keeffe accepted an offer by Mabel Dodge to go to New Mexico for the summer. Stieglitz took advantage of her time away to begin photographing Norman, and he began teaching her the technical aspects of printing as well. When Norman had a second child, she was absent from the gallery for about two months before returning on a regular basis. Within a short time, they became lovers, but even after their physical affair diminished a few years later, they continued to work together whenever O'Keeffe was not around until Stieglitz died in 1946. In early 1929, Stieglitz was told that the building that housed The Room would be torn down later in the year. After a final show of Demuth's work in May, he retreated to Lake George for the summer, exhausted and depressed. The Strands raised nearly sixteen thousand dollars for a new gallery for Stieglitz, who reacted harshly, saying it was time for "young ones" to do some of the work he had been shouldering for so many years. Although Stieglitz eventually apologized and accepted their generosity, the incident marked the beginning of the end of their long and close relationship. In the late fall, Stieglitz returned to New York. On December 15, two weeks before his sixty-fifth birthday, he opened An American Place, the largest gallery he had ever managed. It had the first darkroom he had ever had in the city. Previously, he had borrowed other darkrooms or worked only when he was at Lake George. He continued showing group or individual shows of his friends Marin, Demuth, Hartley, Dove and Strand for the next sixteen years. O'Keeffe received at least one major exhibition each year. He fiercely controlled access to her works and incessantly promoted her even when critics gave her less than favorable reviews. Often during this time, they would only see each other during the summer, when it was too hot in her New Mexico home, but they wrote to each other almost weekly with the fervor of soul mates. In 1932, Stieglitz mounted a forty-year retrospective of 127 of his works at The Place. He included all of his most famous photographs, but he also purposely chose to include recent photos of O'Keeffe, who, because of her years in the Southwest sun, looked older than her forty-five years, in comparison to Stieglitz's portraits of his young lover Norman. It was one of the few times he acted spitefully to O'Keeffe in public, and it might have been as a result of their increasingly intense arguments in private about his control over her art. Later that year, he mounted a show of O'Keeffe's works next to some amateurish paintings on glass by Becky Strand. He did not publish a catalog of the show, which the Strands took as an insult. Paul Strand never forgave Stieglitz for that. He said, "The day I walked into the Photo-Secession 291 [sic] in 1907 was a great moment in my life… but the day I walked out of An American Place in 1932 was not less good. It was fresh air and personal liberation from something that had become, for me at least, second-rate, corrupt and meaningless." In 1936, Stieglitz returned briefly to his photographic roots by mounting one of the first exhibitions of photos by Ansel Adams in New York City. The show was successful and David McAlpin bought eight Adams photos. He also put on one of the first shows of Eliot Porter's work two years later. Stieglitz, considered the "godfather of modern photography", encouraged Todd Webb to develop his own style and immerse himself in the medium. The next year, the Cleveland Museum of Art mounted the first major exhibition of Stieglitz's work outside of his own galleries. In the course of making sure that each print was perfect, he worked himself into exhaustion. O'Keeffe spent most of that year in New Mexico. In early 1938, Stieglitz suffered a serious heart attack, one of six coronary or angina attacks that would strike him over the next eight years, each of which left him increasingly weakened. During his absences, Dorothy Norman managed the gallery. O'Keeffe remained in her Southwest home from spring to fall of this period. In the summer of 1946, Stieglitz suffered a fatal stroke and went into a coma. O'Keeffe returned to New York and found Dorothy Norman was in his hospital room. She left and O'Keeffe was with him when he died. According to his wishes, a simple funeral was attended by twenty of his closest friends and family members. Stieglitz was cremated, and, with his niece Elizabeth Davidson, O'Keeffe took his ashes to Lake George and "put him where he could hear the water." The day after the funeral, O'Keeffe took control of An American Place.Source: Wikipedia Image:All images © Library of Congress, Prints & Photographs Division, The Alfred Stieglitz Collection, Gift of Georgia O'Keeffe

William Heick

United States
1916 | † 2012

William Heick (October 6, 1916 – September 13, 2012) was a San Francisco-based photographer and filmmaker. He is best known for his ethnographic photographs and documentary films of North American Indian cultures. W.R. Heick served as producer-director and chief cinematographer for the Anthropology Department of the University of California, Berkeley on their National Science Foundation supported American Indian Film Project. His photographs capture the life and culture of Native Americans from the Kwakiutl, Kashaya Pomo, Hupa, Navajo, Blackfoot and Sioux. He filmed a number of award winning films in this series along with the documentaries Pomo Shaman and Sucking Doctor, a Pomo doctoring ceremony considered by anthropologists to be one of the most complete and outstanding films of an aboriginal ceremony made to date. William Heick's career in photography began as a naval intelligence photographer during World War Two in the Pacific. After the war he studied photography at California School of Fine Arts (now the San Francisco Art Institute) under such notable teachers as Ansel Adams and Minor White. He became lifelong friends with Imogen Cunningham and Dorothea Lange and regards these two photographers as the primary influences on his photographic work. William Heick filmed two documentaries about Pacific Northwest Indian tribes, Blunden Harbour (1951) and Dances of the Kwakiutl (1951). W.R. Heick worked through most of the 1950s and 1960s as producer-director, assistant historian and cinematographer for the worldwide engineering firm of Bechtel Corporation. While with Bechtel he wrote and filmed documentaries of their major projects with special emphasis on ethnic and social consideration in remote areas of the Arctic, South America, Africa, Greenland, Europe, The Middle East, Australia, Indonesia and the islands of New Guinea and Bougainville. From 1956 to 1964 Heick was involved with C. Cameron Macauley in the American Indian Film Project, a project to document Native American cultures through film and sound recordings, working closely with Alfred Kroeber and Samuel Barrett. William Heick produced two documentaries for the Quakers. Beauty for Ashes documents the Quaker's project to rebuild 40 churches that had been burned by nightriders during Mississippi's racial strife in the turbulent 1960s. Voyage of the Phoenix documents the controversial voyage of the yacht Phoenix, which sailed through the American battle fleet during the Vietnam War to deliver medical supplies to North Vietnam when the bombing of that beleaguered country was at its peak. In the late 1960s and early 1970s W.R. Heick served as cinematographer on three feature films, all for the director/artist Fredric Hobbs: Troika (1969, co-directed by Gordon Mueller), Alabama's Ghost (1973), and The Godmonster of Indian Flat (1973). During the mid-1970s, working as an independent producer with Gordon Mueller, W.R. Heick produced the Indonesian Dance Series. This series, funded with grants from Caltex Pacific Indonesia and Pertamina, documents fourteen traditional dance performances from the islands of Java, Bali, Sumatra and Kalimantan. W.R. Heick's later films include The Other China, a four-part mini-series filmed on location in Taiwan in 1988 documenting the social and cultural fabric of Taiwan. His fine art photography has been exhibited at the San Francisco Museum of Modern Art, the California Palace of the Legion of Honor, the de Young Museum, the Seattle Museum of Art, the Henry Gallery (University of Washington), the Phoebe A. Hearst Museum of Anthropology, and the University Art Gallery (Cal State at Chico) among others. His photographs have been selected for the permanent collections of the Museum of Modern Art, New York, the Smithsonian Institution, the High Museum of Art, Atlanta, the Santa Barbara Museum of Art, and the Monterey Peninsula Museum of Art. In a published Art Scene review Monterey landscape artist and art critic Rick Deregon wrote: "The special qualities of W.R. Heick's images come from the simple relationship between the photographer and subject. With no agenda other than to capture the decisive inspirational moment and to illustrate the human parade Mr. Heick's work transcends straight journalism and aspires to an art of nobility and compassion."Source: Wikipedia William Heick was born October 6th, 1916. Spanning seven decades, Heick's career in photography and filmmaking has covered locations all over the world. Heick grew up in Kentucky and attended the University of Cincinnati. He married Jeanne Ridge in 1942, and served as a naval intelligence photographer in the Pacific during World War II. After the war, he continued his education at San Francisco State University. He also attended the California School of Fine Arts (now known as the San Francisco Art Institute), where he studied photography, painting, and sculpture under distinguished instructors such as Ansel Adams and Minor White. It was during this period that he met and made lifelong friends with photographers Imogen Cunningham and Dorothea Lange, both of whom he regards as primary influences on his photographic work. His fine art photography has been exhibited in institutions such as San Francisco Museum of Modern Art, DeYoung Museum, and Seattle Museum of Art, among many others. He has produced over 200 films and thousands of photographs. At the age of 94, when asked to sum up his prolific career, he simply stated, "it sure beats working!"Source: Peter Fetterman Gallery

Barbara Hazen

United States
1958

Barbara Hazen’s work explores the internal self and the intersection of memory and the family scrapbook, with an emphasis on cyanotype and platinum palladium processes. Her most recent work uses flowers as a metaphor to observe beauty in the beginning and ending of life. She received a BS from UCSB and later attended the California Culinary Academy. After a career as pastry chef, Hazen returned to her photographic practice. Her work has been featured in numerous publications and exhibited in both group and solo exhibits including Center for Photographic Art, ASmith Gallery, HLiiC Gallery, The Plaxall Gallery, CordenPotts Gallery, The Image Flow, SoHo Photo Gallery, Sorensen Gallery, LightBox Gallery, and Focus Gallery.

Felice Beato

Italy / United Kingdom
1832 | † 1909

Felice Beato, also known as Felix Beato, was an Italian–British photographer. He was one of the first people to take photographs in East Asia and one of the first war photographers. He is noted for his genre works, portraits, and views and panoramas of the architecture and landscapes of Asia and the Mediterranean region. Beato's travels gave him the opportunity to create images of countries, people, and events that were unfamiliar and remote to most people in Europe and North America. His work provides images of such events like the Indian Rebellion of 1857 and the Second Opium War, and represents the first substantial body of photojournalism. He influenced other photographers, and his influence in Japan, where he taught and worked with numerous other photographers and artists, was particularly deep and lasting. A death certificate discovered in 2009 shows that Beato was born in Venice in 1832 and died on 29 January 1909 in Florence. The death certificate also indicates that he was a British subject and a bachelor. It is likely that early in his life Beato and his family moved to Corfu, at the time part of the British protectorate of the Ionian Islands, and so Beato was a British subject. Because of the existence of a number of photographs signed "Felice Antonio Beato" and "Felice A. Beato", it was long assumed that there was one photographer who somehow photographed at the same time in places as distant as Egypt and Japan. In 1983 it was shown by Chantal Edel that "Felice Antonio Beato" represented two brothers, Felice Beato and Antonio Beato, who sometimes worked together, sharing a signature. The confusion arising from the signatures continues to cause problems in identifying which of the two photographers was the creator of a given image. Photographs of the 19th century often now show the limitations of the technology used, yet Beato managed to successfully work within and even transcend those limitations. He predominantly produced albumen silver prints from wet collodion glass-plate negatives. Beato pioneered and refined the techniques of hand-coloring photographs and making panoramas. He may have started hand-coloring photographs at the suggestion of Wirgman, or he may have seen the hand-colored photographs made by partners Charles Parker and William Parke Andrew. Whatever the inspiration, Beato's colored landscapes are delicate and naturalistic and his colored portraits, more strongly colored than the landscapes, are appraised as excellent. As well as providing views in color, Beato worked to represent very large subjects in a way that gave a sense of their vastness. Throughout his career, Beato's work is marked by spectacular panoramas, which he produced by carefully making several contiguous exposures of a scene and then joining the resulting prints together, thereby re-creating the expansive view. The complete version of his panorama of Pehtang comprises seven photographs joined together almost seamlessly for a total length of more than 2 meters (6 1/2 ft). Although Beato was previously believed to have died in Rangoon or Mandalay in 1905 or 1906, his death certificate, discovered in 2009, indicates that he died on 29 January 1909 in Florence, Italy.Source: Wikipedia In a peripatetic career that spanned five decades, the photographer Felice Beato (1832–1909) covered a wide swath of East Asia. Following in the wake of Britain's vast colonial empire, he was among the primary photographers to provide images of newly opened countries such as India, China, Japan, Korea, and Burma. A pioneer war photographer, Beato recorded several conflicts: the Crimean War in 1855–56, the aftermath of the Indian Mutiny in 1858–59, the Second Opium War in 1860, and the American expedition to Korea in 1871. His photographs of battlefields, the first to show images of the dead, provided a new direction for that genre. Catering to a Western audience, Beato produced an exceptionally diverse oeuvre: topographical and architectural views, including panoramas, as well as portraits and costume studies of the countries he visited or in which he resided. From Beato's series on domestic Japanese society, the full-length portrait shown here depicts the traditional armored costume of the samurai, the soldier of noble class who served the powerful rulers of Japan. Beato spent more than 20 years in Japan (1863–84), his longest residency in one country and the most prolific period of his career. There he witnessed one of the most turbulent eras in Japan's history, known as the Bakumatsu period (1853–68), when the Tokuga shogunate gave way to the Meiji reign. During his time in Japan, Beato employed the wet-collodion method, which reduced the length of exposure to seconds rather than minutes. The use of photography began to spread in Japan in the mid-1850s, and Beato's work rapidly achieved success as he offered the first hand-colored photographs and photographic albums in the country. Despite restrictions on foreigners' travel, Beato developed a remarkable and rare visual record of Japan. This photograph depicts the monumental sculpture of the Dai Bouts (Great Buddha), which had been the centerpiece of a temple that was destroyed by a typhoon. It was an important attraction at Kamakura, and Beato was the first Westerner to photograph it. He posed himself in the scene, sitting on the stairs, while local men climbed the statue. Beato left Japan in 1884, but his photographs continued to circulate with the successive sales of his negatives to different studios.Source: The J. Paul Getty Museum

Gregory Colbert

Gregory Colbert

Canada
1960

Gregory Colbert (born 1960 in Toronto) is a Canadian film-maker and photographer best known as the creator of Ashes and Snow, an exhibition of photographic artworks and films housed in the Nomadic Museum. Colbert sees himself as an apprentice to nature. His works are collaborations between humans and other species that express the poetic sensibilities and imaginations of human and animals. His images offer an inclusive non-hierarchical vision of the natural world, one that depicts an interdependence and symmetry between humanity and the rest of life. In describing his vision, Colbert has said, "I would define what I do as storytelling... what’s interesting is to have an expression in an orchestra—and I’m just one musician in the orchestra. Unfortunately, as a species we’ve turned our back to the orchestra. I’m all about opening up the orchestra, not just to other humans, but to other species." Colbert began his career in Paris in 1983 making documentary films on social issues. Film-making led to fine arts photography. Colbert's first exhibition, Timewaves, opened in 1992 at the Museum of Elysée in Switzerland to wide critical acclaim. For the next ten years, Colbert did not publicly exhibit his art or show any films. Instead, he traveled to such places as Antarctica, India, Egypt, Burma, Tonga, Australia, Malaysia, Sri Lanka, Namibia, Kenya, Tanzania, Thailand, China, the Arctic, the Azores, and Borneo. Elephants, whales, manatees, sacred ibis, cranes, eagles, gyrfalcons, Rhinoceros Hornbills, cheetahs, leopards, African wild dogs (Lycaon pictus), caracals, baboons, eland, meerkats, gibbons, orangutans, penguins, pandas, polar bears, lions, giant Pacific manta rays, and saltwater crocodiles are among the animals he has filmed and photographed. Human collaborators include San bushmen, Tsaatan, Lisu, Massai, Chong, Kazakhs, and people from other indigenous tribes around the world. Colbert, who calls animals "nature's living masterpieces," photographs and films both wild animals and those that have been habituated to human contact in their native environments. The images record what he saw through the lens of his camera without the use of digital collaging.Source: Wikipedia Photographer/filmmaker Gregory Colbert is the creator of the exhibition Ashes and Snow, an immersive experience of nature that combines photographic artworks, films, and soundscapes, housed in a purpose-built traveling structure called the Nomadic Museum. To date, Ashes and Snow has attracted over 10 million visitors, making it the most attended exhibition by any living artist in history. Colbert was born in Toronto, Canada, in 1960. He began his career in Paris in 1983 making documentary films on social issues. His first exhibition, Timewaves, opened to wide critical acclaim in 1992 at the Museum of Elysée in Switzerland. For the next ten years, Colbert went off the grid and did not publicly share his art or show any films. He began traveling the world to photograph and film wondrous interactions between animals and humans. After ten years passed, Colbert returned to present Ashes and Snow at the Arsenale in Venice, Italy, in 2002. With his debut, Photo magazine declared, "A new master is born." The New York Times, in an article by Alan Riding, stated, "The power of the images comes less from their formal beauty than from the way they envelop the viewer in their mood... They are simply windows to a world in which silence and patience govern time." Ashes and Snow has been described as "extraordinary" by the Economist, and "distinctive... monumental in every sense" by the Wall Street Journal. Stern magazine described the photographs as "fascinating," and Vanity Fair named Gregory Colbert in its "Best of the Best."Source: gregorycolbert.com

Désirée Dolron

Désirée Dolron

Netherlands
1963

Désirée Dolron is a Dutch photographer and filmmaker. Her oeuvre ranges from documentary photography and still lifes to portraiture and film.Throughout her career, Dolron has been investigating themes such as the passing of time, the relation between finite and transcendent and the complexity and impermanence of the human condition. Dolron was awarded the 1996 Laureate Prix de Rome (Amsterdam, NL). Her work is represented in numerous international public and private collections including the Solomon R. Guggenheim Museum in New York, Collection H&F in Barcelona, Museo Nacional Centro de Arte Reina Sofia in Madrid, Gemeentemuseum in The Hague, Stedelijk Museum in Amsterdam, la Collection Neuflize Vie in Paris and the Victoria and Albert Museum in London. Désirée Dolron lives and works in Amsterdam. Source: desireedolron.com The meticulous attention to production details characterizes her body of work, and elements such as sound (or its absence –silence) are often used as important tools of narration, helping the viewer to enter into the conceptual depth of Dolron’s works. Both moving and still images are composed by the artist and manage to recreate a reality that is a-temporal, undefined yet extremely present. Desirée Dolron (1963 Haarlem, NL) was awarded the 1996 Laureate Prix de Rome (Amsterdam, NL), and her work is part of major international collections such as the Solomon R. Guggenheim Museum in New York (US), the Museo Nacional Centro de Arte Reina Sofía in Madrid (SP), the Stedelijk Museum in Amsterdam (NL), and the Victoria and Albert Museum, London (UK). Source: GRIMM Gallery

Ernie Luppi

United States
1954

San Francisco native Ernie Luppi became involved with photography in 1973 when he started using his mother's Instamatic 126 camera that he and his brothers had given to her as a Christmas gift the previous year. During this time, Ernie was attending the City College of San Francisco and decided to switch his major to photography. The CCSF Photography Department offered one of the finest programs in the area and it helped Ernie unearth the creativity within him. To this day, Ernie is an avid black and white film and darkroom enthusiast. In 1975, Ernie graduated from CCSF with an Associate of Science degree in Photography and has spent the past 39 years in retail photography sales, first working at Adolph Gasser, Inc. for 23 years, followed by 16 years at Keeble and Shuchat in their respective film and darkroom supply departments. Ernie's photographic vision is varied. It ranges from travel, portraiture, street, and the urban landscape. Ernie has often quoted, “I am a jack of all trades and a master of none,” but really he is just curious about everything that he sees through his camera lens. An association with RayKo Photo Center was established in June of 1992 when Ernie had a solo exhibition of photographs, all of them gelatin silver prints, that he had taken during trips to Italy in 1981 and 1991. For the past decade, with the guidance of gallery director Ann Jastrab, Ernie has been a member of RayKo's Photographers Marketplace. Ernie's images have also been selected for RayKo exhibitions such as the documentary show "With Our Own Eyes", "The Perimeter of the World: Contemporary Travel Photography", as well as several Plastic Camera Show exhibits. He continues to photograph daily and can usually be found in his darkroom.

Monia Merlo

Italy
1970

She was born in Bassano del Grappa, Italy, 1970. After finishing her studies in Venice, she teamed her work as an architect with her passion for Photography, making it her main expression medium. Monia currently works as a freelance photographer, her work is focused on fashion, including prestigious collaborations with famous brands. Her photos find inspiration in literature, poetry and her most inner feelings. They are means of creation, research and development of a work which undergoes a constant evolution, as well as being a way to represent, through fragile feminine bodies, the artist's search of herself.Source: www.moniamerlophotographer.com All the work of Italian photographer Monia Merlo is a feast for the eye: magical lighting, vulnerable intensely pale female bodies in a silent floral dreamscape. Sensuous and physical, yet innocent. Mystical femininity which verges on the sacred. It’s so beautiful you could almost drown in it. A view shared by many, since she has now collaborated with a number of prestigious fashion labels. Her work has been published in various international magazines including Italian Vogue, and has been displayed in leading galleries such as Art + Commerce in New York and Sakura Gallery in Paris. This is all the more remarkable when you consider that Monia only started working as a photographer 5 years ago. Monia’s work focuses on fashion and flowers. She uses only natural light, bringing out the contours and detail more beautifully and making her photographs resemble paintings. She finds her inspiration in literature, poetry and the idealised femininity of the Pre-Raphaelite movement. A period which is currently enjoying increasing popularity amongst the creative elite and trendsetters. She likes to use romantic flowers in delicate colours with an air of vulnerability, such as blossom, fragile roses and daisies.Source: The Green Gallery

Raymond Meeks

United States
1963

Raymond Meeks (Ohio, 1963) has been recognized for his books and pictures centered on memory and place, the way in which a landscape can shape an individual and, in the abstract, how a place possesses you in its absence. In 2014, a mid-career retrospective of his books - Where Objects Fall Away - was organized by Light Work in Syracuse, NY. The exhibition featured more than twenty books, including self-published works and numerous volumes from a variety of publishers. His books are less a box for storing unexamined experience, than a field or vertical plane for examining interior co-existences, as life moves in circles and moments and events-often years apart-unravel and overlap, informing new meanings. Raymond Meeks lives and works in New York's Hudson Valley. His work is represented in the collections of the National Gallery of Art, Washington D.C., Bibliothèque Nationale de France, France, and the George Eastman House, with recent solo exhibitions at Casemore Kirkeby in San Francisco and Wouter van Leeuwen in Amsterdam. His 2018 book Halfstory Halflife (chose commune) was a finalist for the Paris Photo/Aperture Photobook of the Year Award. Ciprian Honey Cathedral was published by MACK in Autumn of 2020. Raymond Meeks is a 2020 recipient of a Guggenheim Fellowship in Photography. Source: www.raymondmeeks.com

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