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Sudabe Vatanparast
Sudabe Vatanparast
Sudabe Vatanparast

Sudabe Vatanparast

Country: Iran
Birth: 1983

Sudabe Vatanparast is an Iranian famale photographer who was born in 1983 in Tehran. Sudabe is a graduate photography.
Social concerns centered on the problems of women in iranian society are evident in Sudabe projects.
Sudabe considers herself a freelance photographer whose photos are inspired by the nightmares, problems and experiences of her life and that of her community.
Her first solo exhibition was held in 2015.
In addition to holding exhibitions in prestigious galleries in Iran, Garibaldi Gallery in Modica, Italy and Bioçkecmac Gallery in Turkey have also hosted his works separately and as a group.
Sudabe has been praised many times at various festivals under the auspices of the World Photography Federation (FIAP) and has been one of the top members of these festivals. Her latest solo exhibition is a reflection of the fear, insecurity and anxiety of Iranian women in the home environment, which has been welcomed by critics and activists in this field.
 

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August Sander
Germany
1876 | † 1964
August Sander was a German portrait and documentary photographer. Sander's first book Face of our Time (German: Antlitz der Zeit) was published in 1929. Sander has been described as "the most important German portrait photographer of the early twentieth century." Sander was born in Herdorf, the son of a carpenter working in the mining industry. While working at a local mine, Sander first learned about photography by assisting a photographer who was working for a mining company. With financial support from his uncle, he bought photographic equipment and set up his own darkroom. He spent his military service (1897-99) as a photographer's assistant and the next years wandering across Germany. In 1901, he started working for a photo studio in Linz, Austria, eventually becoming a partner (1902), and then its sole proprietor (1904). He left Linz at the end of 1909 and set up a new studio in Cologne. In 1911, Sander began with the first series of portraits for his work People of the 20th Century. In the early 1920s, he came in contact with the Group of Progressive Artists (Kölner Progressive) in Cologne, a group as Wieland Schmied put it, "sought to combine constructivism and objectivity, geometry and object, the general and the particular, avant-garde conviction and political engagement, and which perhaps approximated most to the forward looking of New Objectivity [...] ". In 1927, Sander and writer Ludwig Mathar travelled through Sardinia for three months, where he took around 500 photographs. However, a planned book detailing his travels was not completed. Pure photography allows us to create portraits which render their subjects with absolute truth, truth both physical and psychological. That is the principal which provided my starting point, once I had said to myself that if we can create portraits of subjects that are true, we thereby in effect create a mirror of the times in which those subjects live. -- August Sander Sander's Face of our Time was published in 1929. It contains a selection of 60 portraits from his series People of the 20th Century. Under the Nazi regime, his work and personal life were greatly constrained. His son Erich, who was a member of the left-wing Socialist Workers' Party (SAP), was arrested in 1934 and sentenced to 10 years in prison, where he died in 1944, shortly before the end of his sentence. Sander's book Face of our Time was seized in 1936 and the photographic plates were destroyed. Around 1942, during World War II, he left Cologne and moved to a rural area, allowing him to save most of his negatives. His studio was destroyed in a 1944 bombing raid. Sander died in Cologne in 1964. His work includes landscape, nature, architecture, and street photography, but he is best known for his portraits, as exemplified by his series People of the 20th Century. In this series, he aims to show a cross-section of society during the Weimar Republic. The series is divided into seven sections: The Farmer, The Skilled Tradesman, Woman, Classes and Professions, The Artists, The City, and The Last People (homeless persons, veterans, etc.). By 1945, Sander's archive included over 40,000 images. In 2002, the August Sander Archive and scholar Susanne Lange published a seven-volume collection comprising some 650 of Sander's photographs, August Sander: People of the 20th Century. In 2008, the Mercury crater Sander was named after him.Source: Wikipedia I never made a person look bad. They do that themselves. The portrait is your mirror. -- August Sander
Mona Singh
Gurgaon, (India) based street/ travel photographer. Capturing emotions is one of the key ingredients in Mona Singh’s work. She firmly believes in making photographs that she resonates with. Even though it is the emotions of her subjects that she is documenting, she finds a reflection of herself in them. Her love for the unexpected and candid moments gives her the ability to find visual order within the chaos of the world and an unparalleled creative vision. She loves to creatively capture the weird and wonderful fleeting moments as they unfold in front of her eyes. She beautifully fuses emotions and art to tell stories through her pictures. Photography for her has been a life-transforming experience. Photography is the love of her life and traveling is like blood in her veins. She loves waking up to new horizons, making new friends and exploring the world. About Silent Colors "Who doesn't like colors? Well, we all do... but these women are considered a curse and have lost the joy and privilege of having colors in their lives. These are the widows of Vrindavan, the abandoned and forgotten souls in one of the holiest cities of India. Thousands of them have made this city their home and the place is known as 'The city of widows'. Sitting cross-legged in a dingy room with a noisy fan, plaster peeling off the walls, watching her favorite Bengali serial on an old T.V. set, Purba (name changed) greeted me by saying 'Radhe Radhe', the only popular way to greet in Vrindavan. She left her family in Bengal and came to the Widows Ashram in Vrindavan after her husband’s death. Many others like her in the room have either been abandoned by their families or have decided to stay away from the societal pressures and people ostracizing them. Breaking the age-old rigid Indian tradition, these widows celebrate Holi, the vibrant festival of colors at the ancient Gopinath temple. Soaked in colors, they throw rose and marigold flower petals at each other and dance with joy. It is a blissful experience for all. It is mesmerizing to see such a sight. Their white saris turn bright and colorful. It is like getting revived in the most tender way."
Man Ray
United States
1890 | † 1976
Man Ray (born Emmanuel Radnitzky) was an American visual artist who spent most of his career in Paris. He was a significant contributor to the Dada and Surrealist movements, although his ties to each were informal. He produced major works in a variety of media but considered himself a painter above all. He was best known for his pioneering photography, and was a renowned fashion and portrait photographer. He is also noted for his work with photograms, which he called "rayographs" in reference to himself. During his career, Man Ray allowed few details of his early life or family background to be known to the public. He even refused to acknowledge that he ever had a name other than Man Ray. Man Ray's birth name was Emmanuel Radnitzky. He was born in South Philadelphia, Pennsylvania, on August 27, 1890. He was the eldest child of Russian Jewish immigrants Melach "Max" Radnitzky, a tailor, and Manya "Minnie" Radnitzky (née Lourie or Luria). He had a brother, Sam, and two sisters, Dorothy "Dora" and Essie (or Elsie), the youngest born in 1897 shortly after they settled at 372 Debevoise St. in the Williamsburg neighborhood of Brooklyn, New York. In early 1912, the Radnitzky family changed their surname to Ray. Man Ray's brother chose the surname in reaction to the ethnic discrimination and antisemitism prevalent at the time. Emmanuel, who was called "Manny" as a nickname, changed his first name to Man and gradually began to use Man Ray as his name. I photograph what I do not wish to paint and I paint what I cannot photograph. -- Man Ray Man Ray's father worked in a garment factory and ran a small tailoring business out of the family home. He enlisted his children to assist him from an early age. Man Ray's mother enjoyed designing the family's clothes and inventing patchwork items from scraps of fabric. Man Ray wished to disassociate himself from his family background, but their tailoring left an enduring mark on his art. Mannequins, flat irons, sewing machines, needles, pins, threads, swatches of fabric, and other items related to tailoring appear in almost every medium of his work. Art historians have noted similarities between Ray's collage and painting techniques and styles used for tailoring. His education at Brooklyn's Boys' High School from 1904 to 1909 provided him with solid grounding in drafting and other basic art techniques. While he attended school, he educated himself with frequent visits to the local art museums, where he studied the works of the Old Masters. After his graduation, Ray was offered a scholarship to study architecture but chose to pursue a career as an artist. Man Ray's parents were disappointed by their son's decision to pursue art, but they agreed to rearrange the family's modest living quarters so that Ray's room could be his studio. The artist remained in the family home over the next four years. During this time, he worked steadily towards becoming a professional painter. Man Ray earned money as a commercial artist and was a technical illustrator at several Manhattan companies. The surviving examples of his work from this period indicate that he attempted mostly paintings and drawings in 19th-century styles. He was already an avid admirer of contemporary avant-garde art, such as the European modernists he saw at Alfred Stieglitz's "291" gallery and works by the Ashcan School. However, with a few exceptions, he was not yet able to integrate these trends into his own work. The art classes he sporadically attended, including stints at the National Academy of Design and the Art Students League, were of little apparent benefit to him. When he enrolled in the Ferrer School in the autumn of 1912, he began a period of intense and rapid artistic development. While living in New York City, Man Ray was influenced by the avant-garde practices of European contemporary artists he was introduced to at the 1913 Armory Show and in visits to Alfred Stieglitz's "291" art gallery. His early paintings display facets of cubism. After befriending Marcel Duchamp, who was interested in showing movement in static paintings, his works began to depict movement of the figures. An example is the repetitive positions of the dancer's skirts in The Rope Dancer Accompanies Herself with Her Shadows (1916). In 1915, Man Ray had his first solo show of paintings and drawings after he had taken up residence at an art colony in Grantwood, New Jersey, across the Hudson River from New York City. His first proto-Dada object, an assemblage titled Self-Portrait, was exhibited the following year. He produced his first significant photographs in 1918, after initially picking up the camera to document his own artwork. Man Ray abandoned conventional painting to involve himself with Dada, a radical anti-art movement. He published two Dadaist periodicals, and each only had one issue, The Ridgefield Gazook (1915) and TNT (1919), the latter co-edited by Adolf Wolff and Mitchell Dawson. He started making objects and developed unique mechanical and photographic methods of making images. For the 1918 version of Rope Dancer, he combined a spray-gun technique with a pen drawing. Like Duchamp, he worked with readymade—ordinary objects that are selected and modified. His Gift readymade (1921) is a flatiron with metal tacks attached to the bottom, and Enigma of Isidore Ducasse is an unseen object (a sewing machine) wrapped in cloth and tied with cord. Aerograph (1919), another work from this period, was done with airbrush on glass. In 1920, Man Ray helped Duchamp make the Rotary Glass Plates, one of the earliest examples of kinetic art. It was composed of glass plates turned by a motor. That same year, Man Ray, Katherine Dreier, and Duchamp founded the Société Anonyme, an itinerant collection that was the first museum of modern art in the U.S. In 1941 the collection was donated to Yale University Art Gallery. Man Ray teamed up with Duchamp to publish one issue of New York Dada in 1920. For Man Ray, Dada's experimentation was no match for the wild and chaotic streets of New York. He wrote that "Dada cannot live in New York. All New York is dada, and will not tolerate a rival." In 1913, Man Ray met his first wife, the Belgian poet Adon Lacroix (Donna Lecoeur) (1887–1975), in New York. They married in 1914, separated in 1919, and formally divorced in 1937. In July 1921, Man Ray went to live and work in Paris, France. He soon settled in the Montparnasse quarter favored by many artists. His accidental rediscovery of the cameraless photogram, which he called "rayographs", resulted in mysterious images hailed by Tristan Tzara as "pure Dada creations". Shortly after arriving in Paris, he met and fell in love with Kiki de Montparnasse (Alice Prin), an artists' model and celebrated character in Paris bohemian circles. Kiki was Man Ray's companion for most of the 1920s. She became the subject of some of his most famous photographic images, and starred in his experimental films Le Retour à la Raison and L'Étoile de mer. In 1929, he began a love affair with the Surrealist photographer Lee Miller. She also was his photographic assistant and together, they reinvented the photographic technique of solarization. Miller left him in 1932. From late 1934 until August 1940, Man Ray was in a relationship with Adrienne Fidelin. She was a Guadeloupean dancer and model and she appears in many of his photographs. When Ray fled the Nazi occupation in France, Adrienne chose to stay behind to care for her family. Unlike the artist's other significant muses, until 2022, Fidelin had largely been written out of his life story. Man Ray was a pioneering photographer in Paris for two decades between the wars. Significant members of the art world, such as Pablo Picasso, Tristan Tzara, James Joyce, Gertrude Stein, Jean Cocteau, Salvador Dalí, Peggy Guggenheim, Bridget Bate Tichenor, Luisa Casati, and Antonin Artaud, posed for his camera. Man Ray's international fame as a portrait photographer is reflected in a series of photographs of Maharajah Yashwant Rao Holkar II and his wife Sanyogita Devi from their visit to Europe in 1927. In the winter of 1933, surrealist artist Méret Oppenheim, known for her fur-covered teacup, posed nude for Man Ray in a well-known series of photographs depicting her standing next to a printing press. His practice of photographing African objects in the Paris collections of Paul Guillaume and Charles Ratton and others led to several iconic photographs, including Noire et blanche. As Man Ray scholar Wendy A. Grossman has illustrated, "no one was more influential in translating the vogue for African art into a Modernist photographic aesthetic than Man Ray." Man Ray was represented in the first Surrealist exhibition with Jean Arp, Max Ernst, André Masson, Joan Miró, and Pablo Picasso at the Galerie Pierre in Paris in 1925. Important works from this time were a metronome with an eye, originally titled Object to Be Destroyed, and the Violon d'Ingres, a stunning photograph of Kiki de Montparnasse, styled after the painter/musician Ingres. Violon d'Ingres is a popular example of how Man Ray could juxtapose disparate elements in his photography to generate meaning. Man Ray directed a number of influential avant-garde short films, known as Cinéma Pur. He directed Le Retour à la Raison (2 mins, 1923); Emak-Bakia (16 mins, 1926); L'Étoile de Mer (15 mins, 1928); and Les Mystères du Château de Dé (27 mins, 1929). Man Ray also assisted Marcel Duchamp with the cinematography of his film Anemic Cinema (1926), and Ray personally manned the camera on Fernand Léger's Ballet Mécanique (1924). In René Clair's film Entr'acte (1924), Man Ray appeared in a brief scene playing chess with Duchamp. Duchamp, Man Ray, and Francis Picabia were all friends and collaborators, connected by their experimental, entertaining, and innovative art. The Second World War forced Man Ray to return from Paris to the United States. He lived in Los Angeles from 1940 to 1951 where he focused his creative energy on painting. A few days after arriving in Los Angeles, he met Juliet Browner, a first-generation American of Romanian-Jewish lineage. She was a trained dancer who studied dance with Martha Graham, and an experienced artists' model. They married in 1946 in a double wedding with their friends Max Ernst and Dorothea Tanning. In 1948 Ray had a solo exhibition at the Copley Galleries in Beverly Hills, which brought together a wide array of work and featured his newly painted canvases of the Shakespearean Equations series. Man Ray returned to Paris in 1951, and settled with Juliet into a studio at 2 bis rue Férou near the Luxembourg Gardens in St. Germain-des-Prés, where he continued his creative practice across mediums. During the last quarter century of his life, he returned to a number of his iconic earlier works, recreating them in new form. He also directed the production of limited-edition replicas of several of his objects, working first with Marcel Zerbib and later Arturo Schwarz. In 1963, he published his autobiography, Self-Portrait (republished in 1999). Ray continued to work on new paintings, photographs, collages and art objects till his death. Retrieved August 19, 2022. He died in Paris on November 18, 1976, from a lung infection. He was interred in the Cimetière du Montparnasse in Paris. His epitaph reads "Unconcerned, but not indifferent". When Juliet died in 1991, she was interred in the same tomb. Her epitaph reads "Together again". Juliet organized a trust for Ray's work and donated much of his work to museums. Her plans to restore the studio as a public museum proved too expensive; such was the structure's disrepair. Most of the contents were stored at the Centre Pompidou.Source: Wikipedia Speaking of nudes, I have always had a great fondness for this subject, both in my paintings and in my photos, and I must admit, not for purely artistic reasons. -- Man Ray “I have finally freed myself from the sticky medium of paint, and am working directly with light itself.” So enthused Man Ray in 1922, shortly after his first experiments with camera-less photography. He remains well known for these images, commonly called photograms but which he dubbed "rayographs" in a punning combination of his own name and the word “photograph.” Man Ray’s artistic beginnings came some years earlier, in the Dada movement. Shaped by the trauma of World War I and the emergence of a modern media culture—epitomized by advancements in communication technologies like radio and cinema—Dada artists shared a profound disillusionment with traditional modes of art making and often turned instead to experimentations with chance and spontaneity. In The Rope Dancer Accompanies Herself with Her Shadows, Man Ray based the large, color-block composition on the random arrangement of scraps of colored paper scattered on the floor. The painting evinces a number of interests that the artist would carry into his photographic work: negative space and shadows; the partial surrender of compositional decisions to accident; and, in its precise, hard-edged application of unmodulated color, the removal of traces of the artist’s hand. In 1922, six months after he arrived in Paris from New York, Man Ray made his first rayographs. To make them, he placed objects, materials, and sometimes parts of his own or a model's body onto a sheet of photosensitized paper and exposed them to light, creating negative images. This process was not new—camera-less photographic images had been produced since the 1830s—and his experimentation with it roughly coincided with similar trials by Lázló Moholy-Nagy. But in his photograms, Man Ray embraced the possibilities for irrational combinations and chance arrangements of objects, emphasizing the abstraction of images made in this way. He published a selection of these rayographs—including one centered around a comb, another containing a spiral of cut paper, and a third with an architect’s French curve template on its side—in a portfolio titled Champs délicieux in December 1922, with an introduction written by the Dada leader Tristan Tzara. In 1923, with his film Le Retour à la raison (Return to Reason), he extended the rayograph technique to moving images. Around the same time, Man Ray’s experiments with photography carried him to the center of the emergent Surrealist movement in Paris. Led by André Breton, Surrealism sought to reveal the uncanny coursing beneath familiar appearances in daily life. Man Ray proved well suited to this in works like Anatomies, in which, through framing and angled light, he transformed a woman’s neck into an unfamiliar, phallic form. He contributed photographs to the three major Surrealist journals throughout the 1920s and 1930s, and also constructed Surrealist objects like Gift, in which he altered a domestic tool (an iron) into an instrument of potential violence, and Indestructible Object (or Object to Be Destroyed), a metronome with a photograph of an eye affixed to its swinging arm, which was destroyed and remade several times.Source: The Museum of Modern Art
Charles Muir Lovell
United States
1952
Born in Chicago, Charles Muir Lovell lives and works in New Orleans. He holds an MFA in photography from Central Washington University and a BS in photography from East Texas State University. He began photographing as a young man traveling throughout Europe and South America. He continued his photography practice during his over 20 years as a museum director and curator, a career that took him from the Pacific Northwest to the Southwest and Deep South, everywhere finding distinctive cultures and photography subjects. Lovell has long been passionate about photographing people within their cultures. Upon moving to New Orleans in 2008, he began documenting the city's second line parades, social aid and pleasure clubs, and brass bands, capturing and preserving for posterity a unique and vibrant part of Louisiana's rich cultural heritage. An earlier series based on religious processions in Mexico, El Favor de los Santos, was a Rockefeller Foundation–supported international traveling exhibition and resulted in a book published in 1999 by the University of New Mexico Press, Art and Faith in Mexico. Lovell's photographs have been exhibited nationally and internationally, are found in several permanent collections, including the New Orleans Museum of Art and the Historic New Orleans Collection, and can be seen at www.charleslovell.com and on Instagram @charleslovellart. He received the 2020 Michael P. Smith Documentary Photographer of the Year Award from the Louisiana Endowment for the Humanities. Lovell has also developed a series of photographs called Language of the Streets he began while an artist-in-residence at the Emily Harvey Foundation in Venice, Italy, in 2006–2007. He returned to Venice for a second residency in 2015 and was scheduled to return in 2021 until coronavirus shut everything down. He has continued this series in Naples, Paris, Mexico City, New York and New Orleans. Statement "As a young man, I traveled through Europe and Latin America with my Nikon, living as one of the family with friends in the countries I visited. My travels hugely influenced my work, opening my eyes to how other people lived. As a visual artist, I gravitated toward photographing people within their cultures, trying to capture on film something true about their lives. College and grad school took me to small-town Texas (Commerce) and Washington (Ellensburg), and a long museum career took me to the Pacific Northwest (Tacoma), Southwest (Yuma, Ariz.; Las Cruces and Taos, N.M.) and Deep South (Greenville and Greensboro, N.C., and New Orleans); everywhere I found distinctive cultures and compelling photography subjects. While living in New Mexico, I traveled in Mexico photographing Holy Week religious processions, foreshadowing my current and most significant photographic project: documenting and preserving New Orleans' unique second line parade culture. Upon moving to New Orleans, I became fascinated by the pageantry and celebratory nature of the city's African American cultural tradition of second line parades. I was captivated by their visual richness, their ritual and history, and how they express a vibrant cultural and artistic heritage, intensely alive yet intimately connected to the past. The massive amount of industry that the social aid and pleasure clubs invest in creating their magnificent costumes, decorations, baskets, umbrellas and banners-truly a labor of love-blew me away. Documenting these visually stunning parades quickly became a passion-and a commitment. For more than 10 years, I've followed the weekly parades, taking tens of thousands of color photographs. I've formed friendly relationships with members of the social aid and pleasure clubs that stage the parades, allowing me behind-the-scenes access, resulting in distinctive photographs. My color photographs vividly capture the paraders and brass bands in their elaborate custom-designed, hand-sewn costumes, and the dancing parade followers, revealing the festive mood of these sacred moments of cultural celebration, and preserving them for posterity. I take great care to portray these spirited-and spiritual-ceremonial moments honestly, sensitively and respectfully. In the 20th century other American photographers-notably Ralston Crawford, Lee Friedlander and Michael P. Smith - also documented this cultural tradition, but in black and white. My use of color lets me capture not just the atmosphere of the parades but also their incredible vividness. Formerly I used traditional photographic techniques, but now I embrace new digital methods, bringing to the subject a fresh approach for the 21st century. Taken as a whole, my photographs capture the rich cultural history of second-line parades, a significant artistic and ceremonial tradition deeply rooted in New Orleans' African American culture and unparalleled elsewhere in the United States. I hope that my photographs will increase awareness of the importance of preserving second-line parade culture and contribute to the understanding of Louisiana and its culture, which has sometimes suffered from scholarly neglect and seemingly insurmountable cultural and economic challenges. Another photographic series I have pursued over the years is Language of the Streets, which began taking shape in 2007 during an artist residency at the Emily Harvey Foundation in Venice, Italy. After working in large-format silver gelatin and color photography for over 20 years, I began exploring digital photography using a small-format digital camera. Upon my return to New Mexico, I learned digital printing and exhibited my Venice work at a solo exhibition at the Taos Center for the Arts in 2008. My residency in Venice was extremely influential in the work I began doing after moving to New Orleans in 2008. I began using a medium-format digital camera to make higher-resolution color photographs. Since 2009, I have fully transitioned to a digital practice. I make my own prints on an Epson inkjet printer and work with professional printers on larger works. From the experience of taking street photographs in Venice, I continued my series Language of the Streets in New Orleans, as well as in Naples, the Amalfi Coast, Paris, Mexico City and New York City. In 2015, I was invited back to the Emily Harvey Foundation, where I designed and presented an accordion artist's book, or leporello, featuring the Venice series of photos. Off the Street: New Orleans and Venice, part of the Language of the Streets series, investigates similarities and differences between the two cities, which share a striking mixture of high and low, old and new, closeness to and dependence upon water, a vital tourism sector, a proliferation of graffiti and outdoor art alongside unparalleled historic architecture. My street photographs from the two cities explore back streets not seen by tourists frequenting commercial settings like the French Quarter or Plaza San Marco. I strive to capture the texture of the cities' largely unseen back streets. Both cities also have world-renowned contemporary art competitions: the Venice Biennale and the triennial Prospect New Orleans. Works from my Venice series were exhibited alongside photographs from Mexico City in 2016 at the Contemporary Art Center, New Orleans, in Experiments in Anarchitecture, curated by Andrea Andersson, and in 2017, works from the Venice series were included in Project 387, curated by Berty Skuber at the Archivio Emily Harvey in Venice. " -- Charles Muir Lovell
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