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Angela Bacon-Kidwell
Angela Bacon-Kidwell
Angela Bacon-Kidwell

Angela Bacon-Kidwell

Country: United States

Angela Bacon-Kidwell is an award winning photographer and visual artist that lives and works in Texas. Angela has a BFA from Midwestern State University, Wichita Falls, Texas, with specialization in painting and photography. Her work emerges from her journey of recovering a sense of self, strength and spirituality through an examination of her identities as daughter, granddaughter, wife, mother and artist. Her photographic work has received numerous awards and honors and has been exhibited and published both nationally and internationally. Recent awards and recognition’s include: nominated for the Santa Fe Prize for Photography in 2011, Finalist for the John Clarence Laughlin Award, First place in the Palm Springs Photo Festival, First Place in the Texas Photographic Society International Competition and 2012 lecture at the Annenberg Space for Photography in Los Angeles.

She is currently represented by Afterimage Gallery, Dallas, Texas, Wallspace Gallery, Santa Barbara, CA and Galerie BMG, Woodstock, NY


Home by Nightfall (2012-2014)

Silence ceased for him in 2011
not a whisper, but a relentless roaring thunder
molding his spirit into mourning

In his misery, a new vaporous malice was brewing
the ringing was a warning
tinnitus and cancer were converging

Every known eradication was pursued
He and I, separated by many miles,
shared a need for solitude
cultivated by lucid country drives

We drove separately through the dark districts of our minds
invariably contemplating what was to come,
a symbiotic transitory landscape emerged
and the thunder soared in 2013

Questions, Answers, Questions, Answers
Questions, Answers, Questions, Answers
Questions, Answers, Questions, Answers
all tedious throbbing answers

How many miles in a life?
What shape is the color grey?
When does an echo become whole?

During the three years of relentless discord,
I created images of these ambiguous queries
emoting, sensing, seeking

There is a truth in "big" questions with small answers
Clarity in the midst of chaos
Hope in the face of despair

Silence returned for him on May 24, 2014
He was my father.
 

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Tatiana Wills
United States
1969
Tatiana Wills is an artist photographing creatives, highlighting the personality behind the artistic practice. Over the course of her multifaceted career, Wills ran the photo department at a notable entertainment agency in Los Angeles. While spearheading guerrilla marketing campaigns, her longing to be a part of a burgeoning art community was reignited, and she embarked on a personal project about the outsider art scene of the early aughts. She has photographed the likes of Shepard Fairey, Mister Cartoon, Gabrielle Bell, David Choe, Saber One, and Molly Crabapple. Other series in her vast repertoire include notable dancers and choreographers Kyle Abraham, Lucinda Childs, Jacob Jonas, and Michaela Taylor, along with a multitude of dance artists, all of which is inspired through a lifetime of documenting her daughter, Lily, and witnessing her journey to become a professional ballerina. Her photography book, Heroes & Villains: Portraits of Contemporary Artists, with Roman Cho, is a collection of portraits featuring more than 100 of the most iconic figures in the contemporary creative world. Her work has appeared in numerous major magazines, including GQ, Time, Juxtapoz, Nylon, IdN, LALA Magazine, on the silver screen in Banksy's street art documentary, Exit Through the Gift Shop, and on street banners in New York City and throughout Europe. She has exhibited in several galleries winning several awards along the way. She currently lives and works in Los Angeles, California. Statement To look at another person with intention is to engage in a moment of pure vulnerability. Especially now. There is so much available to us that shapes how we present and form ourselves for others that much of what constitutes us is also based on performance. My work is about looking past these performances and arriving at a kind of unvarnished selfhood. Portraiture has a long and complex history with representation, but, no matter its form, it is also uncompromising in its commitment to exploring what makes us us. Our appearances and our gestures, how we occupy space in the world. It is a way of looking not only at ourselves but viewing each other as well, a nexus between private and public, interior and exterior, approachability and distance. As someone deeply invested in and inspired by other artists in various fields, my current project has led to photographing creatives whose work often takes precedence over their own being. This project has culminated in my exploration of dancers, who, by the very nature of their field, are usually looked upon solely for the dexterity of their bodies and the ways in which those bodies can perform. My work pares them back, peeling away the performative qualities that usually define them, to arrive at that moment of vulnerability where they are free to be themselves in a new limelight. Exclusive Interview with Tatiana Wills
Jaromír Funke
Czech Republic
1896 | † 1945
Jaromír Funke (1896–1945) was a Modernist photographer and a leading figure in Czech photography during the 1920s and 30s. He was born in Skute? to a wealthy family. He studied medicine, law, and philosophy at the Charles University in Prague and the University of Bratislava but did not graduate and instead turned to photography. Funke was recognized for his play of “photographic games” with mirrors, lights, and insignificant objects, such as plates, bottles, or glasses, to create unique works. His still life’s created abstract forms and played with shadows looking similar to photograms. His work was thought to be logical, original and expressive in nature. A typical feature of Funke’s work would be the "dynamic diagonal." By the 1920s, Funke had become an amateur photographer and began to experiment with constructivism, surrealism, poeticism, and expressionism. He created unconventional works as a form of “pure” photography instead of the traditional reminiscing of other mediums such as painting or sculpture. During his photography profession, Funke published editorials and critiques about photography. By 1922, Funke had become a skilled freelance photographer and two years later he, Josef Sudek and Adolf Schneeberger created the Czech Photographic Society. From 1931-1935, Funke headed the photography department at the School of Arts and Crafts in Bratislava. Soon after, Funke taught at the School of Graphic Art in Prague until 1944. Alongside Ladislav Sutha, the director of the previous school, Funke published Fotografie vidí povrch in 1935. While travelling, Funke became interested in politically engaged photography. Bad living was created during the time period of 1930-1931 and was a photographic series that dealt with the issues of poverty. Funke later became an editor of the journal Fotografický obzor (Photographic Horizons) for several years. He published a number of works including Od fotogrameuk emoci which is understood to be his manifesto. As travelling was limited during World War 2 in 1939, Funke photographed close to home in Louny, Prague and sometimes Kolin. On March 22, 1945 in Kolin, Funke required an immediate operation for intestine damage but the procedure could not be executed as it was during an air raid alarm and he died.Source: Wikipedia Jaromír Funke (1896–1945) studied medicine, law and philosophy at Charles University in Prague but did not graduate. Instead he concentrated on becoming a professional freelance photographer. By 1922 he was a leader of the young opposition movement in photography and a founder of the Czech Society of Photography (1924) whose mission was to create photography that would fulfil new social functions. In his work Funke managed to combine some of the leading trends in modernist European photography, uniting constructivism and functionalism with surrealism and social commentary, with traditional Czech aesthetics. His interest in modernist ideas led him to make clearly focused studies of simple objects. As the decade progressed, he turned to the production of carefully arranged still lifes emphasizing abstract form and the play of light and shadow. During this time he also produced several important series of photographs, including two inspired by the images of Eugène Atget: Reflexy (Reflections, 1929) and as trvá (Time Persists, 1930-34). Funke was also influential as a teacher, first at the School of Arts and Crafts, Bratislava (1931-34/35), which followed a Bauhaus-inspired curriculum, and then at the State School of Graphic Arts, Prague (1935-44). While in Bratislava, he became interested in social documentary photography and joined the leftist group Sociofoto, which was concerned with recording the living conditions of the poor. Throughout his career Funke published articles and critical reviews dealing with photography. From 1939-41 he worked with Josef Ehm to edit the magazine Fotografik obzor (Photographic Horizon).Source: Howard Greenberg Gallery
Ruth Orkin
United States
1921 | † 1985
Ruth Orkin was an American photographer, photojournalist, and filmmaker, with ties to New York City and Hollywood. Best known for her photograph An American Girl in Italy (1951), she photographed many celebrities and personalities including Lauren Bacall, Doris Day, Ava Gardner, Tennessee Williams, Marlon Brando, and Alfred Hitchcock. Ruth Orkin was born on September 3, 1921 in Boston, Massachusetts to Mary Ruby and Samuel Orkin. Ruth grew up in Hollywood, due to her mother's career as a silent film actress. In 1931, she received her first camera, a 39-cent Univex, and soon began experimenting by taking photographs of her friends and teachers at school. At the age of 17, she decided to bike across America, beginning in Los Angeles, and ending in New York City for the 1939 World's Fair. She completed the trip in three weeks' time, taking photographs along the way. She briefly attended Los Angeles City College for photojournalism in 1940, prior to becoming the first messenger girl at MGM Studios in 1941, citing a desire to become a cinematographer. She left the position after discovering the union's discriminatory practices that did not allow female members. She joined the Women's Auxiliary Army Corps during World War II, in 1941 in an attempt to gain filmmaking skills, as advertisements promoting the group promised. The attempt was not fruitful, however, and she was discharged in 1943 without any filmmaking training. In 1943, Orkin moved to New York City in pursuit of a career as a freelance photojournalist. She began working as a nightclub photographer and received her first assignment in 1945 from The New York Times to shoot Leonard Bernstein. Shortly after, her freelance career grew as she traveled internationally on assignments and contributed photographs to Life, Look, Ladies' Home Journal, and others. Orkin is credited with breaking into a heavily male field. Orkin's most celebrated image is An American Girl in Italy (1951). The subject of the now-iconic photograph was the 23-year-old Ninalee Craig (known at that time as Jinx Allen). The photograph was part of a series originally titled Don't Be Afraid to Travel Alone. The image depicted Craig as a young woman confidently walking past a group of ogling Italian men in Florence. In recent articles written about the pair, Craig claims that the image was not staged, and was one of many taken throughout the day, aiming to show the fun of traveling alone. In 1952 Orkin married photographer, filmmaker and fellow Photo League member Morris Engel. Orkin and Engel collaborated on two major independent feature films, Little Fugitive which was nominated for an Academy Award in 1953, and Lovers and Lollipops (1955). After the success of the two films, Orkin returned to photography, taking color shots of Central Park as seen through her apartment window. Ruth photographed marathons, parades, concerts, demonstrations, and the beauty of the changing seasons. These photographs were the subject of two widely acclaimed books, A World Through My Window (1978) and More Pictures from My Window (1983). Orkin taught photography at the School of Visual Arts in the late 1970s, and at the International Center of Photography in 1980. After a long struggle with cancer, Orkin passed away in her apartment, surrounded by her wonderful legacy of photographs with the view of Central Park outside her window, on January 16, 1985.Source: Wikipedia Ruth Orkin was an award-winning photojournalist and filmmaker. Orkin was the only child of Mary Ruby, a silent-film actress, and Samuel Orkin, a manufacturer of toy boats called Orkin Craft. She grew up in Hollywood in the heyday of the 1920s and 1930s. At the age of 10, she received her first camera, a 39 cent Univex. She began by photographing her friends and teachers at school. At 17 years old she took a monumental bicycle trip across the United States from Los Angeles to New York City to see the 1939 World’s Fair, and she photographed along the way. Orkin moved to New York in 1943, where she worked as a nightclub photographer and shot baby pictures by day to buy her first professional camera. She worked for all the major magazines in 1940s, and also went to Tanglewood during the summers to shoot rehearsals. She ended up with many of the worlds’ greatest musicians of the time including Leonard Bernstein, Isaac Stern, Aaron Copland, Jascha Heifitz, Serge Koussevitzky and many others. In 1951, LIFE magazine sent her to Israel with the Israeli Philharmonic. Orkin then went to Italy, and it was in Florence where she met Nina Lee Craig, an art student and fellow American, who became the subject of American Girl in Italy. The photograph was part of a series originally titled Don’t Be Afraid to Travel Alone about what they encountered as women traveling alone in Europe after the war.Source: Ruth Orkin Photo Archive Boston-born Ruth Orkin grew up in Los Angeles, and the movie industry and music were both formative influences. She attended Los Angeles City College briefly in 1940 before becoming the first female studio messenger ever hired at Metro-Goldwyn-Mayer in the early 1940s; but with no hope for promotion, she joined the Women's Auxiliary Army Corps, tempted by the promise (empty, as it turned out) that she would be taught cinematography. After completing her service in 1943, she moved to New York and worked as a nightclub photographer. Orkin honed her skills in portraiture by spending the summer of 1946 documenting the Tanglewood Music Festival; later that year, LOOK published her first major photo essay, Jimmy, the Storyteller. She sent the series to Edward Steichen at the Museum of Modern Art in 1947, and he subsequently included her in every group photography show at the museum until his retirement, including the great 1955 exhibition, The Family of Man. Orkin married photographer Morris Engel in 1952, and the couple collaborated on a prize-winning film, Little Fugitive. Their filmmaking endeavors continued through the mid-1950s, and while Orkin continued to photograph, she admitted that still photography "held little interest" after her experience of making a film. Her views of Central Park, taken from her apartment, were published in the 1978 book A World Outside My Window. Orkin's photography is a celebration of fearlessness and vitality. While she accepted specific assignments from The New York Times and various magazines, she also had the freedom to work independently, creating photo essays and photographing famous people with the knowledge that she would be able to sell the resulting work. Like a film director, Orkin created images that appear to be private moments, and lends a Hollywood-style personality to her subjects and landscapes.Source: International Center of Photography
Terry O’Neill
United Kingdom
1938 | † 2019
Terence Patrick O'Neill CBE (30 July 1938 – 16 November 2019) was a British photographer, known for documenting the fashions, styles, and celebrities of the 1960s. O'Neill's photographs capture his subjects candidly or in unconventional settings. His work has been featured in numerous exhibitions. O'Neill was awarded an honorary fellowship of the Royal Photographic Society in 2004 and the society's Centenary Medal in 2011. His work is held in the collection of the National Portrait Gallery, London. O'Neill was born to Irish parents in Romford, East London, and began his career working in a photographic unit for an airline at London's Heathrow Airport. During this time, he photographed a sleeping figure in a waiting area who, by happenstance, was revealed to be Home Secretary Rab Butler. O'Neill thereafter found further employment on Fleet Street with The Daily Sketch in 1959. His first professional job was to photograph Laurence Olivier. During the 1960s, in addition to photographing contemporary celebrities such as Judy Garland, the Beatles and the Rolling Stones, he also photographed members of the British royal family and prominent politicians, showing a more human side to these subjects than had usually been portrayed. O'Neill's photographs of Elton John are among his best known. A selection of them appeared in the 2008 book Eltonography. Also considered among his most famous images are a series of American actress Faye Dunaway (his girlfriend at the time) at dawn on 29 March 1977, lounging next to the swimming pool at the Beverly Hills Hotel the morning after winning the Academy Award for Best Actress for Network, with several newspapers scattered around her and her Oscar statuette prominently shown on a table beside her breakfast tray. The series was photographed in both colour and black and white. O'Neill was credited (as Terrence O'Neill) as an executive producer of the film Mommie Dearest (1981). His only other film credit was for still photography for the opera film Aria (1987). O'Neill was married to the actress Vera Day for 13 years; they had two children together, Keegan Alexander and Sarah Jane. He had a long-term relationship with Faye Dunaway; they were married for four years in the 1980s and had a son, Liam. In 2003, he was quoted in the U.S. tabloid magazine Star as saying Liam was adopted and not their biological son, contrary to Dunaway's public assertions. In 2001 O'Neill married Laraine Ashton, a former model agency executive. O'Neill underwent a triple bypass and, in 2006, an operation for bowel cancer. He died on 16 November 2019 at his home in London from prostate cancer, at the age of 81.Source: Wikipedia Terry O’Neill, British Photographer, gained renown documenting the fashions, styles, and celebrities of the 1960s. O’Neill’s photographs display his knack for capturing his subjects candidly or in unconventional settings. His intimate chronicling of the Swinging Sixties, thanks to friendships with the Beatles and Rolling Stones, made him a household name. Terry O’Neill’s career as a photographer began at the age of 22 and he was soon freelancing for some of the most famous magazines. His coveted work hangs in national galleries and private collections worldwide. Terry has produced covers for Time, Newsweek, Stern, Paris Match, The Sunday Times Magazine, Vanity Fair and many others over the course of his six-decade career. Since Terry first picked up a camera in 1958, he has photographed presidents, prime ministers, rock stars, Oscar winners and the British Royal Family. His work has delivered iconic movie posters, album covers and fashion plates for the world’s top designers. Terry O’Neill has chronicled the lives of emerging rock stars and icons of the 60s including David Bowie, Elton John, The Who, Eric Clapton, Chuck Berry and many others. He photographed The Beatles and The Rolling Stones when they were struggling young bands and worked closely with Frank Sinatra for over 30 years, being granted access to the legend back stage and in private. Former husband to legendary actress Faye Dunaway, his photograph of her in Beverley Hills, the morning after she won her Best Actress Oscar for Network, has been nominated as the most iconic Hollywood shot of all time. His photographs of Brigitte Bardot, Jean Shrimpton and Audrey Hepburn capture the charisma of these superstars at the peak of their careers.Source: Mouche Gallery
Hossein Fardinfard
Netherlands-based Iranian documentary photographer Hossein Fardinfard (born 1985) took an unconventional path to his profession. After majoring in cartography, geomorphology, and IT, ultimately he discovered his aptitude for visual storytelling at the age of 30. Fardinfard came to see photography as a means for observing society more intimately, and for knowing himself more deeply in turn. He has thus come to specialize in photography that explores social observation, human rights, and identity. "I like storytelling not only as a process of documenting but also as a means for exerting a constructive influence on society, something like what Lewis Hine, the pioneer of photojournalism, did in his era in the USA. My relationships with photography subjects enhance my understanding of concepts like human rights. To understand this keyword, I need to know people first. Through knowing them, my spiritual investment in human rights has grown remarkably." In the second phase of Fardinfard's artistic life -- at the Royal Academy of Art in The Hague -- he had the chance to reflect more intently on the meaning and philosophies of photography and the pictorial arts. This experience also equipped him with principles of psychology and sociology that he readily applied to his photographic gaze. "It's more thrilling when I can find a scientific explanation of the social behaviors and interactions I'm capturing. I believe we can talk about Human Rights in scientific terms. There should be a point where the hard and soft sciences meet. I try to connect them and then visualize that point."
Maciej Dakowicz
Poland
1976
Maciej Dakowicz is a Polish street photographer, photojournalist, gallerist and educator based in Poland. He studied computer science in Poland (2000). He lived in Cardiff, Wales, between 2004 and 2012, where he worked and studied for his PhD at the University of Glamorgan (now the University of South Wales) where he also worked. He left work at the university in 2009 and completed his PhD in 2010. In 2010 he set up and ran Third Floor Gallery along with Joni Karanka and Bartosz Nowicki. He left Cardiff for London, and since 2013 has been based in Mumbai, photographing in Tunisia, Yemen, India and Bangladesh. Dakowicz is best known for his series of photographs of Cardiff nightlife titled Cardiff after Dark, also the name of his later book. Photographed over four years, photographs from the series have featured in magazines and been exhibited in galleries. Individual images from the series have also been used out of context and with misleading captions by the British tabloid media to support a single narrative about alcoholic excess. This tabloid practice has been criticized; for example, Jonathan Jones wrote in The Guardian that "Humour is the most obvious thing about his pictures, and their attraction lies in the way they balance grotesque abandon with poised, coolly beautiful lighting." Sean O'Hagan said in The Guardian that "it is not all outrageousness and vulgarity: Dakowicz also catches the sense of camaraderie and celebration in Cardiff on a Saturday night. He has an outsider's eye for telling detail, a way of showing us, in often brilliantly dramatic fashion and with a degree of gleeful humour, what is right under our noses." In March 2013 Dakowicz became a member of the In-Public street photography collective. His book Sonepur Mela (2021) contains photographs taken at Sonepur Cattle Fair in India between 2010 and 2017. Currently he is mainly occupied with teaching his popular street photography workshops in Asia and Eastern Europe.Source: Wikipedia
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AAP Magazine #39 Shadows
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