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Mona Kuhn
Mona Kuhn by Mona Kuhn
Mona Kuhn
Mona Kuhn

Mona Kuhn

Country: Brazil
Birth: 1969

Acclaimed for her contemporary depictions, Kuhn is considered a leading artist in the world of figurative discourse. Throughout a career spanning more than twenty years, the underlying theme of her work is her reflection on humanity's longing for spiritual connection and solidarity. As she solidified her photographic style, Kuhn created a notable approach to the nude by developing friendships with her subjects, and employing a range of playful visual strategies that use natural light and minimalist settings to evoke a sublime sense of comfort between the human figure and its environment. Her work is natural, restful, and a reinterpretation of the nude in the canon of contemporary art.

For the past two decades, the Los-Angeles based artist's works have been shown steadily, revealing an astonishing consistency in technique, of subject and of purpose. In 2001, Kuhn's photographs were first seen by an influential audience during the exhibition at Charles Cowles Gallery in Chelsea, New York. Kuhn's distinct aesthetic has propelled her as one of the most collectible contemporary art photographers-her work is in private and public collections worldwide and she is represented by galleries across the United States, Europe and Asia.

Kuhn was born in São Paulo, Brazil, in 1969, of German descent. In 1989, Kuhn moved to the US and earned her BA from The Ohio State University, before furthering her studies at the San Francisco Art Institute. She is currently an independent scholar at The Getty Research Institute in Los Angeles. Occasionally, Mona teaches at UCLA and the Art Center College of Design in Pasadena.

Mona Kuhn's first monograph, Photographs, was debuted by Steidl in 2004; followed by Evidence (2007), Native (2010), Bordeaux Series (2011), Private (2014), and She Disappeared into Complete Silence (2018/19). In addition, Kuhn's monograph titled Bushes and Succulents has been published by Stanley/Barker Editions, with a debut at Jeu de Paume in Paris, in 2019. A stunning career retrospective of Mona Kuhn's Works has been published by Thames & Hudson, Spring 2021. Kuhn's forthcoming publication Kings Road, will be published and released by Steid this Spring 2022.

Mona Kuhn's work is in private and public collections worldwide, including The J. Paul Getty Museum, Los Angeles County Museum of Art, The Hammer Museum, Perez Art Museum Miami, Museum of Fine Arts, Houston, and the Kiyosato Museum in Japan. Kuhn's work has been exhibited at The Louvre Museum and Le Bal in Paris; The Whitechapel Gallery and Royal Academy of Arts in London; Musée de l'Elysée in Switzerland; Leopold Museum in Vienna Austria, The Polygon Gallery in Vancouver Canada, Taipei Fine Arts Museum in Taiwan and Australian Centre for Photography. Mona Kuhn lives and works in Los Angeles.



I'm most comfortable representing the nude as minimal and timeless. I like to cherish the body as a source of inspiration, as a platform for metaphors, for intimacy and complexities of human nature. It is my way of investigating the deepest questions about life.

-- Mona Kuhn



Articles

Selected Works at Galeri XII Paris
Paradise Lost at Jackson Fine Art
Works at Galeri XII Los Angeles
Between Modernism and Surrealism at Edwynn Houk Gallery
 

Mona Kuhn's Video

Selected Books

Inspiring Portfolios

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More Great Photographers To Discover

Hana Peskova
Czech Republic
1967
Hanka Peskova - passionate self-taught photographer whose journey began at the renowned Skola Kreativni Fotografie in Prague. In 2021, she was honored with the prestigious International Title of Excellence FIAP (EFIAP) by the FIAP (Artiste de la Fédération Internationale de l'Art Photographique), a testament to her artistic prowess and dedication to the craft. Nestled in the picturesque town of Cesky Krumlov, Czech Republic, she has turned the globe into her canvas, capturing the ephemeral beauty and indescribable energy of moments and people. Her work transcends the mere act of memory preservation to unveil the essence of life itself, through the eye of her camera. As a freelance photographer, her lens has intimately explored the vibrancy of street and documentary photography for years. With a focus on the tapestry of social life, her work dives deep into the heart of ordinary life, cultural narratives, and contemporary issues. She possesses a unique attraction to the narratives of old, the allure of isolated places, and the stories of people living beyond the limelight. Her photography is not just a window to the world but an invitation to view it through her unique perspective. Capturing not only the bustling life on the streets and the untouched facets of nature, she also ventures into the realm of creative photography. Each frame is a story, a whisper of the past or a shout of the present, always aiming to evoke emotion and provoke thought. Exclusive Interview with Hana Hana Peskova AAP Magazine AAP Magazine 38 Women
Mark Power
United Kingdom
1959
Mark Power is a British photographer. He is a member of Magnum Photos and Professor of Photography in The Faculty of Arts and Architecture at the University of Brighton. Power has been awarded the Terence Donovan Award and an Honorary Fellowship from the Royal Photographic Society. Power was born in Harpenden, England, in 1959. He studied Fine Art at Brighton Polytechnic (1978–1981), and then travelled extensively, discovering a love for photography along the way. Upon his return, he worked as a freelance for several UK publications and charities. Power happened to be in Berlin on 9 November 1989 and photographed the fall of the Berlin Wall. He later published the photographs in the book Die Mauer ist Weg! (2014). Between 1992 and 1996, he embarked on The Shipping Forecast — a project that involved travelling to and photographing all 31 areas covered by the Shipping Forecast broadcast on BBC Radio 4. This project was published as a book and was a touring exhibition across the UK and France. He used a Volkswagen campervan as his mode of transport for the project, echoing the late Tony Ray-Jones, whose work has similarities in style and meaning to Power's. Between 1997 and 2000, Power was commissioned to document the Millennium Dome in London, a project that resulted in another touring exhibition and the accompanying book, Superstructure. Around this time his technical methods changed and he began to use colour film and a large format camera. This was followed by The Treasury Project, published in 2002, which recorded the renovation of the UK government's treasury building on Whitehall, London. In 2003, he undertook another personal project, using the London A–Z map as inspiration. The work, titled 26 Different Endings, is a collection of images examining the areas on the outer boundaries of the map. The project was exhibited at the Centre of Visual Art at the University of Brighton, and was published as a book in 2007. Between 1988 and 2002 Power was a member of Network Photographers. In 2002 he became a nominee of Magnum Photos, an associate in 2005 and a full member in 2007. Between 1992 and 2004 he was Senior Lecturer in Photography at the University of Brighton, becoming Professor of Photography in 2004, until the present. From 2004, he spent five years working on The Sound of Two Songs, on Poland's first five years as a member of the European Union. Between 2006 and 2010 Mark Power collaborated with poet Daniel Cockrill to document the rise in English nationalism. The pair undertook a series of road trips around England, culminating in the book Destroying the Laboratory for the Sake of the Experiment. In 2011 he undertook a commission from Multistory to make work that explored the social landscape of the Black Country through photography and film. He made urban landscapes; a series of photographs of elegant footwear; and a series of short films made in beauty salons, tattoo parlours and nightclubs. In 2014 Power began a self-publishing imprint, Globtik Books, with the publication of his book Die Mauer ist Weg!. Power primarily uses a digital medium format view camera, after he worked with large format film for many years. More recently he diversified into short film making.Source: Wikipedia As a child, Mark Power discovered his father's home-made enlarger in the family attic, a contraption consisting of an upturned flowerpot, a domestic light bulb and a simple camera lens. His interest in photography probably began at this moment, though he later went to art college to study life-drawing and painting instead. After graduating, he travelled for two years around South-East Asia and Australia. To support himself Power tried a number jobs (he was an English teacher, a television actor and a fish farm attendant in Hong Kong; he painted cinema murals in Bangkok; produced large numbers of identical paintings for others to sell as their own in the Australian outback (very questionable, this one!) and ended up running the camera department of a large chemist in Bankstown, in the Western Suburbs of Sydney). While travelling Power began to realise he enjoyed using a camera more than a pencil and decided to 'become a photographer' on his return to England, two years later, in 1983.Source: www.markpower.co.uk
Georgi Zelma
Russia
1906 | † 1984
Georgi Zelma (1906-1984) is best known for his photographs of Central Asia in the 1920s, of major industrial projects in the early days of the Soviet Union, and of World War II (especially the Battle of Stalingrad). Zelma was a major contributor to the Constructivist photography movement through the 1920s and 30s, working alongside such masters as Aleksandr Rodchenko, El Lissitzky and Boris Ignatovich.Source: Nailya Alexander Gallery Georgi Zelma was born in Tashkent in 1906. The family moved to Moscow in 1921 and Zelma eventually found work at the Proletkino film studios. Later he joined the Russfoto Agency and from 1924 to 1927 was their correspondent in Uzbekistan, Afghanistan, Iran and Central Asia. A large number of his photographs appeared in Pravda. Zelma served in the Red Army (1927-29) before working briefly in Tashkent. In 1930 Zelma joined Souizfoto Agency and his assignments included taking photographs of collective farms and military exercises. His pictures often appeared in the propaganda magazine, USSR in Construction. During the Second World War Zelma worked for Izvestia and took photographs in Moldova, Odessa and the Ukraine. He also covered the battle of Stalingrad. Source: Spartacus Educational Born in Tashkent, Uzbekistan, in 1906, Georgii Anatolevich Zelma moved to Moscow with his family in 1921, where he began taking pictures with an old 9 x 12 Kodak camera. His first experiences as a photographer took place at the Proletkino film studios and during theater repetitions for the magazine Teatr. He soon joined the Russfoto agency. From 1924 to 1927, he returned to his homeland as a correspondent for Uzbekistan, Afghanistan, Iran and Central Asia in order to document Islamic culture being reformed by Soviet socialist reconstruction. This work was published in Pravda Vostoka. In 1927, Zelma was enlisted in the ranks of the Red Army, serving in Moscow. After the demobilization in 1929, he returned to Tashkent and worked briefly for the Uzbek cinema chronicles. In Moscow, he entered the team of Soiuzfoto and received a Leica. Through the 1930s, he was sent on assignment to the mines and factories in the Donbass region, to Collective Farms in Tula province and to the Soviet Military maneuvers in the Black Sea region. He worked with Roman Karmen on the stories The USSR from the Air and Ten Years of the Soviet Socialist Republic of Iakutia, which were published in the propaganda magazine “USSR in Construction”. For this magazine he also collaborated with Max Alpert and Aleksandr Rodchenko. During World War II, he was a correspondent for Isvestiia stationed at the front-line campaigns in Moldova, Odessa, and Ukraine. His most memorable photographs are of the Battle of Stalingrad, where he spent the severe winter of 1942-43. After the war, Zelma worked for the magazine Ogonek and from 1962 for the Novosti press agency. He died in 1984. Source: Lumiere Gallery
Hidetoshi Ogata
Hidetoshi Ogata, born in Osaka, Japan in 1987, is a Japanese photographer. After taking an MSc in Biochemistry, he visited many places around the world to photograph landscapes. His fascination with traditional Japanese fire festivals began when he was 26 and photographed the annual Yassai Hossai fire festival at his birthplace Osaka. Since then, he has travelled around Japan photographing traditional local lore about fire preserved from the past, as part of his ongoing, long-term project, "In Awe of Fire". Ogata has also been working on wild macaques and regularly visits places like Nagano prefecture, Awaji island in Hyogo, and Shodoshima island in Kagawa. He was the 13th Smithsonian Photo Contest Natural World Winner and the National Geographic Travel Photographer of the Year 2018 People's Choice nomination. His work has been recognized in various photography competitions, including the LOOK SMITHSONIAN exhibition in Shanghai, and has appeared in magazines, TV programs and Web pages throughout the world such as the Washington Post, NY Daily News, the Daily Mail, CBS, Beijing TV and TV Tokyo. Awards: International Photography Awards (IPA) 2015 Honorable Mention The 13th Smithsonian Photo Contest, Natural World Category, 1st Prize Winner International Photography Awards (IPA) 2016 Honorable Mention Outdoor Photographer of the Year 2017 Shortlist National Geographic Travel Photographer of the Year 2018 Nature People's Choice nomination Media: The Washington Post, USA TODAY, NY Daily News, The Daily Mirror, The Daily Mail, The Daily Telegraph, El País, CBS News, National Geographic, National Geographic Travel Publications: Garuda Indonesia Colours December 2017 Outdoor Photographer of the Year Portfolio III TV: BTV, Sichuan Satellite TV, TV Tokyo Photo Exhibition: LOOK SMITHSONIAN Seoul, LOOK SMITHSONIAN Shanghai
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Morris Engel (April 8, 1918 - March 5, 2005) was an American photographer, cinematographer and filmmaker best known for making the first American film "independent" of Hollywood studios, Little Fugitive (1953), in collaboration with his wife, photographer Ruth Orkin, and their friend, writer Raymond Abrashkin. Engel was a pioneer in the use of hand-held cameras and nonprofessional actors in his films, cameras that he helped design, and his naturalistic films influenced future prominent independent and French New Wave filmmakers. A lifelong New Yorker, Morris Engel was born in Brooklyn in 1918. After joining the Photo League in 1936, Engel had his first exhibition in 1939, at the New School for Social Research. He worked briefly as a photographer for the Leftist newspaper PM before joining the United States Navy as a combat photographer from 1941 to 1946 in World War II. After the war, he returned to New York where he again was an active Photo League member, teaching workshop classes and serving as co-chair of a project group focusing on postwar labor issues. In 1953, Engel, along with his girlfriend, fellow photographer Ruth Orkin, and his former colleague at PM, Raymond Abrashkin, made the feature film Little Fugitive for $30,000, shooting the film on location in Coney Island with a hand-held 35 millimeter camera Engel had designed himself. This camera was compact and lightweight so it would be unobtrusive shooting in public. As such, it did not allow simultaneous sound recording; the sound was dubbed later. The film, one of the first successful American "independent films" earned them an Academy Award nomination for Best Writing, Motion Picture Story and a Silver Lion at the Venice Film Festival. The film told the story of a seven-year-old boy, played by Richie Andrusco, who runs away from home and spends the day at Coney Island. Andrusco never appeared in another film, and the other performers were mainly nonprofessional. Though their first film was a critical success, Engel and Orkin, who had since married, had a hard time finding funding for their next film, Lovers and Lollipops, which was completed in 1956. The film was about a widowed mother dating an old friend, and how her young daughter complicates their budding relationship. Like the first one, Lovers and Lollipops was filmed with a hand-held compact 35 mm camera, with sound dubbed in post-production. This was followed two years later by the more adult-centered Weddings and Babies, a film about an aspiring photographer than is often seen as autobiographical. This was Engel's first film to have live sound recorded at the time of filming, and is historically the first 35 mm fiction film made with a portable camera equipped for synchronized sound. In 1961, Engel directed three television commercials, including an award-winning one for Oreo cookies. The other two were for Ivory soap and Fab detergent. A half-hour short film The Dog Lover was made the following year, a comedy about a shop merchant whose life is turned upside down by the stray dog his kid brings home. He made a fourth feature in 1968 called I Need a Ride to California, which followed a group of young hippies in Greenwich Village. Post-production was shelved until 1972 when it was finally completed, but for unknown reasons, it was never released during his lifetime. It finally received its premiere in October 2019 at New York's Museum of Modern Art (MoMA); it was first released on home video in March 2021. In the 1980s, Engel began taking panoramic photographs on the streets of New York City. Engel and Ruth Orkin remained married until Orkin's death in 1985. In the 1990s, he returned to filmmaking, this time working on video. He completed two feature-length documentaries: A Little Bit Pregnant in 1994 and Camellia in 1998, each revolving around a different child in the Hartman family. First, in A Little Bit Pregnant Engel focused on the 8-year-old Leon's reactions, anxiety and wonderment to the impending birth of his baby sister Camellia. For the second film, two years later, Engel returned to the same family, who gave him a year of access to the now 2-year-old daughter Camellia, capturing her daily life and routines, and her relationships with her family and others. Both films were shown in private screenings, but never had a public release due likely to the Hartman family presumably holding the rights. Engel died of cancer in 2005.Source: Wikipedia Morris Engel was born in Brooklyn to immigrant parents from Lithuania. An early interest in photography led him to enroll in a class at New York’s Photo League, a group dedicated to raising social consciousness through modern photography. Some of the most influential photographers of the time were associated with the Photo League; Engel worked closely with Aaron Siskind on the project Harlem Document from 1936-40 and later assisted Paul Strand in filming Native Land. Like many Photo League photographers, Engel documented life in New York City, producing and exhibiting photo essays on Coney Island, the Lower East Side and Harlem. In 1939 he had his first exhibition at New York’s New School. In 1940 he joined the staff of the newspaper PM, but he left the publication one year later to sign on with the U.S. Navy as a member of a combat photo unit. He participated in the D-Day invasion of Normandy. In 1951 Engel momentarily quit still photography to pursue a career in filmmaking. He made a series of low-budget films with a custom 35 mm camera. His first feature film, Little Fugitive (made with his wife, the renowned photographer Ruth Orkin), earned an Academy Award nomination in 1953 for Best Original Screenplay and was screened in more than 5,000 theaters across the United States. Engel’s photographs are widely exhibited and found in the collections of the International Center of Photography (New York), the Museum of the City of New York, the Museum of Modern Art (New York) and the National Portrait Gallery (Washington, D.C.). His films continue to be screened at venues such as the Whitney Museum of Art (New York), the Brooklyn Museum and the American Museum of the Moving Image (New York).Source: American Photography Archives Group
Cornell Capa
United States
1918 | † 2008
Cornell Capa (born Kornél Friedmann; April 10, 1918 – May 23, 2008) was a Hungarian American photographer, member of Magnum Photos, photo curator, and the younger brother of photo-journalist and war photographer Robert Capa. Graduating from Imre Madách Gymnasium in Budapest, he initially intended to study medicine, but instead joined his brother in Paris to pursue photography. Cornell was an ambitious photo enthusiast who founded the International Center of Photography in New York in 1974 with help from Micha Bar-Am after a stint of working for both Life magazine and Magnum Photos. Born as Kornél Friedmann in Budapest, he moved, aged 18, to Paris to work with his elder brother Robert Capa, a photo-journalist. In 1937, Cornell Capa moved to New York City to work in the Life magazine darkroom.[4] After serving in the U.S. Air Force, Capa became a Life staff photographer in 1946. The many covers that Capa shot for the magazine included portraits of television personality Jack Paar, painter Grandma Moses, and Clark Gable. In 1953 he visited Venezuela to make a photo-report of Caracas, on this trip he had the opportunity to photograph the artist Armando Reverón. In May 1954, his brother Robert Capa was killed by a landmine, while covering the final years of the First Indochina War. Cornell Capa joined Magnum Photos, the photo agency co-founded by Robert, the same year. For Magnum, Cornell Capa covered the Soviet Union, Israeli Six-Day War, and American politicians. Beginning in 1967, Capa mounted a series of exhibits and books entitled The Concerned Photographer. The exhibits led to his establishment in 1974 of the International Center of Photography in New York City. Capa served for many years as the director of the Center. Capa has published several collections of his photographs including JFK for President, a series of photographs of the 1960 presidential campaign that he took for Life magazine. Capa also produced a book documenting the first 100 days of the Kennedy presidency, with fellow Magnum photographers including Henri Cartier-Bresson and Elliott Erwitt. Capa died in New York City on May 23, 2008, of natural causes at the age of 90.Source: Wikipedia Cornell Capa (originally Cornell Friedmann) was born in Budapest and moved to Paris in 1936 to join his brother, Robert, who had escaped from the increasingly anti-Semitic climate of Hungary in 1930. Although he had intended to study medicine, Cornell was drawn to photography through his brother and began making prints for him, as well as for Henri Cartier-Bresson and Chim (David Seymour). This experience encouraged him to become a professional photojournalist, and in 1937 he moved to New York to pursue a career. After he had worked in the darkrooms of the Pix agency and LIFE for a few years, his first photo story was published in Picture Post in 1939. During World War II, Capa worked for the US Army Air Corps Photo-Intelligence Unit and the Army Air Corps's public relations department. In 1946, he became a staff photographer at LIFE, based mainly in the American Midwest, and covered some three hundred assignments over the next three years. He was the magazine's resident photographer in England for two years, after which he returned to the United States, to produced some of his most well-known photo essays, on subjects such as Adlai Stevenson's presidential campaign and the education of mentally retarded children. Upon Robert's death in 1954, Capa left LIFE to continue his borther's work at Magnum, the international cooperative photography agency co-founded in 1947 by Robert, Henri Cartier-Bresson, Chim (David Seymour), and George Rodger. Over the next twenty years, Capa photographed many important stories for Magnum, including the activities of the Perón government in Argentina; the Democratic National Conventions of 1956, 1960 and 1968; and John F. Kennedy's first hundred days in office. Capa's photographic production slowed in the mid-1970s as he devoted himself more to the care and promotion of other photographers' work through his International Fund for Concerned Photography. In 1964, he organized the exhibition The Concerned Photographer, which led to the establishment of the International Center of Photography, an organization dedicated to the support of photography as a means of communication and creative expression, and to the preservation of photographic archives as a vital component of twentieth-century history. Capa received ICP's Lifetime Achievement Award in 1995. Capa served as ICP's Director Emeritus until his death in 2008.Source: International Center of Photography In Mr. Capa’s nearly 30 years as a photojournalist, the professional code to which he steadfastly adhered is best summed up by the title of his 1968 book “The Concerned Photographer.” He used the phrase often to describe any photographer who was passionately dedicated to doing work that contributed to the understanding and well-being of humanity and who produced “images in which genuine human feeling predominates over commercial cynicism or disinterested formalism.” The subjects of greatest interest to Capa as a photographer were politics and social justice. He covered both presidential campaigns of Adlai Stevenson in the 1950s and also became a good friend of Stevenson. He covered John F. Kennedy’s successful presidential run in 1960, and then spearheaded a project in which he and nine fellow Magnum photographers documented the young president’s first hundred days, resulting in the book “Let Us Begin: The First One Hundred Days of the Kennedy Administration.” (He got to know the Kennedys well; Jacqueline Kennedy Onassis would become one of the first trustees of the I.C.P.) In Argentina, Mr. Capa documented the increasingly repressive tactics of the Peron regime and then the revolution that overthrew it. In Israel, he covered the 1967 Six Day-War. The vast number of picture essays he produced on assignment ranged in subject from Christian missionaries in the jungles of Latin America to the Russian Orthodox Church in Soviet Russia during the cold war, the elite Queen’s Guards in England and the education of mentally retarded children in New England. His work conformed to all the visual hallmarks of Life magazine photography: clear subject matter, strong composition, bold graphic impact and at times even a touch of wit. In his 1959 essay about the Ford Motor Company, for example, one picture presents a bird’s-eye view of 7,000 engineers lined up in rows behind the first compact car all of them were involved in developing: a single Ford Falcon. “I am not an artist, and I never intended to be one,” he wrote in the 1992 book Cornell Capa: Photographs. “I hope I have made some good photographs, but what I really hope is that I have done some good photo stories with memorable images that make a point, and, perhaps, even make a difference.”Source: The New-York Times
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AAP Magazine #55 Women
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