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Jack Delano
Jack Delano
Jack Delano

Jack Delano

Country: United States
Birth: 1914 | Death: 1997

Jack Delano (August 1, 1914 – August 12, 1997) was an American photographer for the Farm Security Administration (FSA) and a composer noted for his use of Puerto Rican folk material. Delano was born as Jacob Ovcharov in Voroshilovka village, Podolie Governorate, near Vinnytsia, Russian Empire and moved, with his parents and younger brother, to the United States in 1923. The family arrived at New York on July 5, 1923 on the boat SS Homeric. Between 1924 and 1932 he studied graphic arts/photography and music (viola and composition) at the Settlement Music School and solfeggio with a professor from the Curtis Institute in Philadelphia, Pennsylvania.

After being awarded an art scholarship for his talents, he attended the Pennsylvania Academy of the Fine Arts (PAFA) where, from 1928 until 1932, he studied illustration and continued his musical training. While there, Delano was awarded the Cresson Traveling Scholarship, on which he chose to travel to Europe, where he bought a camera that got him interested in photography.

After graduating from the PAFA, Delano proposed a photographic project to the Federal Art Project: a study of mining conditions in the Schuylkill County, Pennsylvania anthracite coal area. Delano sent sample pictures to Roy Stryker and applied for a job at the Farm Security Administration Photography program FSA. Through the help of Edwin Rosskam and Marion Post Wolcott, Stryker offered Delano a job at $2,300/year. As a condition of the job, Delano had to have his own car and driver's license, both of which he acquired before moving to Washington, D.C.

Before working at the FSA, Delano had done his own processing and developing but did neither at the FSA. Other photographers working for the FSA include Walker Evans, Dorothea Lange, and Gordon Parks. In 1943 FSA was eliminated as "budget waste" and subsumed into the Office of War Information (OWI).

He travelled to Puerto Rico in 1941 as a part of the FSA project. This trip had such a profound influence on him that he settled there permanently in 1946. Between 1943 and 1946 he served in the U.S. Army Air Forces.

With his wife Irene (a second cousin to fellow photographer Ben Shahn) he worked in the Community Division of the Department of Public Education producing films, for many of which Delano composed the score. Delano also directed Los Peloteros, a Puerto Rican film about poor rural kids and their love for baseball. The film remains a classic in Puerto Rican cinema.

Jack Delano's musical compositions included works of every type: orchestral (many composed for the Puerto Rico Symphony Orchestra), ballets (composed for Ballet Infantil de Gilda Navarra and Ballets de San Juan), chamber, choral (including Pétalo de rosa, a commission for Coro de Niños de San Juan) and solo vocal. His vocal music often showcases Puerto Rican poetry, especially the words of friend and collaborator Tomás Blanco. Blanco, Délano and his wife Irene collaborated on children's books. The most prominent of these remains a classic in Puerto Rican literature: The Child's Gift: A Twelfth Night Tale by Tomás Blanco, with illustrations by Irene Delano and incidental music (written on the margins) by Jack Delano.

His score for the film "Desde las nubes" demonstrates an early use of electronic techniques. Most of his works composed after he moved to Puerto Rico are notable for using folk material in a classical form.

Source: Wikipedia

 

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Anita Caracotchian was born in Ermont in Seine-et-Oise to a wealthy Armenian family. She spent her childhood being educated at home by different tutors and travelling with her family, gradually developing a passion for books and the sea. After moving to Paris, she concentrated on writing poems and the art of book binding. Her work got the attention of celebrities and she won different awards and prizes for her creativity in London, Paris, New York and Brussels. In 1927, she married a diplomat, Marcel Conti, and started traveling around the world, exploring the seas, documenting and reporting what she saw and experimented. Spending time on the fishing boats for days and even months on certain occasions gave her a deeper understanding of the problematic faced by the fishermen. In between the two world war, she developed the technique of fishing maps apart from the already used navigational charts. For two years, from one vessel to another, she observed the French fishermen along the coast and Saharan Africa discovering fish species unknown in France. She published many scientific reports on the negative effects of industrial fishing and the different problems related to fishing practices. From 1943 and approximately for 10 years, she studied in the Mauritian islands, Senegal, Guinea and Ivory Coast, the nature of the seabed, different fish species and their nutritional values in regards of protein deficiency for the local populations. Gradually, she developed better preservation techniques, fishing methods and installed artificial dens for further studies. She even founded an experimental fishery for sharks. She became more and more conscientious of the misuse of natural resources by the fishing industry and the major waste that could be prevented. In 1971 she published L’Ocean, Les Betes et L’Homme, to denounce the disaster that men create and its effects on the oceans. Through many conferences and forums and for the rest of her life, she advocated for the betterment of the marine world. She died on 25 December 1997 in Douarnenez.Source: Wikipedia Born in 1899, Anita Conti was recruited in 1935 by French Fisheries Authorities to conduct scientific experiments at sea and to assess fish resources. In 1941 she embarked on a trawler bound for Western Africa and spent the next ten years exploring the mangrove swamps between Senegal and the Ivory Coast, observing and assessing the techniques of traditional fishermen, meeting with local elders, establishing new fisheries... The hair-raising account of her attempts at catching the "Giants of the warm seas", such as sawfish and sharks, bears witness to her intrepid nature. Yet one can also feel her strong desire to contribute to a worthwhile cause. Exploring the swamps is not seen as an unilateral exploitation of African resources by Europeans : it is a genuine attempt at sharing knowledge. Source: aflit.arts.uwa.edu.au Born just before the 20th century started, Anita Conti represents a piece from the past. During her teenage years, she developed a passion for books and sea and started photography in 1914. Indeed, for almost a hundred years, she has been gathering more than 40,000 photographies. Anita was what we can call today an engaged pioneer. Recruited by French Fisheries Authorities to conduct scientific experiments at sea and to assess fish resources, she was the first french female oceanographer. In 1939, she's been the first woman to embark in the service of the National French Navy, and, thus, became the first woman to work on a military ship in wartime. In charge of developing a new technique for fishing maps, she embarked on a trawler bound for western Africa in 1941. During 10 years, she explored the West African coasts, from the Mauritian islands to Senegal and from Guinea to Ivory Coast. She insured a resupply program for the population and the French army. Her goal was to save population from hunger and find nutritional solutions in regards of their protein deficiency. During a decade, she travelled the world, explored the seas, documented and scientifically reported the negative effects of industrial fishing. "To be able to exploit the sea, you must enter into the sea" she used to say. Her African experience helped her to denounce the impacts of plundering the oceans and the major waste of marine resources. "Seas are under threat" she claimed. She tried to find fishing methods like fish farming to avoid overfishing.Source: Panthalassa
Lesia Maruschak
Canada
1961
Lesia Maruschak is a Canadian artist of Ukrainian descent. She holds a MA from the University of Saskatchewan, and a MBA from the University of Ottawa. She studied Fine Art in the US and Romania. Maruschak creates narrative-specific installations that include static and moving images and hard and soft sculptural elements. They explore the histories of colonized peoples and their manifestations of geopolitical shifts. These organic systems pivot on historic atrocities, creating immersive spaces facilitating audience engagement. This offering explores how the spaces between and within us—lived experience, memory, and perception—are mediated and reverberate. Her series often include intricate and highly coveted limited edition art books, fine art photographs and touring exhibitions. Maruschak current project Poems of Our Children explores the plight of children impacted trauma funded by the Canada Council of the Arts. She is also currently completing two books concerning Canada’s first world war internment operations funded by the Canada First World War Internment Recognition Endowment Council. Select Collections The National Art Library, Victoria and Albert Museum Thomas Watson Library at the Metropolitan Museum of Art Maison Européenne de la Photographie Boston Athenaeum City of Ottawa Art Collection David M. Rubenstein Rare Book & Manuscript Library at Duke University Green Library-Special Collections at Stanford University Rare Books & Special Collections at the Library of Congress Butler Library-Special Collections at Columbia University About Project MARIA Project MARIA memorializes the millions of victims of the 1932-33 genocide-famine in Soviet Ukraine. It functions as a mobile multimedia installation and includes artwork, film, and performance, inspired by a single vernacular photograph of a young girl, Maria F., who survived the Holodomor and currently resides in Canada. Holodomor refers to the genocide manufactured by Stalin and the Politburo in Soviet Ukraine during 1932-1933. Despite an estimated death toll of over four million by forced starvation the Holodomor, remains largely ignored in the context of global genocides. Project MARIA has been shortlisted for numerous awards and won over 13 including 12th Pollux Award Human Rights and Segregation (2018), Director’s Choice CENTER Review Santa Fe (2019), Landskrona Foto (2020), 16th Julia Margaret Cameron Segregation and Human Rights (2021), and FORMAT22 Director’s Review (2022). Its exhibition record includes 11 solo and more than 15 group exhibitions, in seven countries (2018-2023). Project MARIA recognized by the National Holodomor Genocide Museum, Kyiv, as the most important exhibition on the Holodomor premiered there in 2020. Its multi-city tour of Ukraine which included the LVIV History Museum and the Henryk Siemiradzki Art Gallery, Karazin University, Kharkiv, was interrupted by Russia’s aggression. The tour will recommence this Fall at the Vinnytsia Regional Museum. Other international solo exhibitions include Musée Ukraina Museum, Saskatoon; Turchin Centre for the Visual Arts, Boone; Objectif Femmes, Paris; and the Embassy of Ukraine in the Kingdom of Sweden, Stockholm.
Andreas Franke
Andreas Franke is in the business for more than twenty years. For Luerzer‘s Archive he is among the 200 Best Photographers. He worked for great brands like Ben&Jerry's, Coca-Cola, Ford, General Electric, Gillette, Heineken, Nike, Visa or Wrigley‘s. His still lifes and his surreal effects are famous. In his pictures every little detail is planned precisely. There is no space left for fortuity. Andreas Franke is a traveler. He travels through the world and between the worlds. His job frequently leads him to several countries on several continents. So does his passion the scuba diving. In his pictures Franke crosses the borderlines between fantasy and real life.With his project “The Sinking World“ Andreas Franke brings a strange, forgotten underwater world back to life and stages realms of an unprecedented kind.The pictures engender extreme polarities: the soft, secretive underwater emptiness of sleeping shipwrecks is paired with real, authentic sceneries full of liveliness and vigor, thus creating a new world, equally bizarre and irresistibly entangling. The resting giants at the bottom of the sea do not only form fascinating and unique backgrounds for Andreas Franke’s sceneries. They also constitute the best exhibition sites imaginable. These spectacular underwater galleries make divers fall under their spell and display the work of the ocean itself. During the weeks and months under water the ocean bequeaths impressive, peerless traces to the pictures. It adorns them with a certain, peculiar patina, endowing them with the countenance of bizarre evanescence and transfiguring them into rare beauties.
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