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George Hoyningen-Huene
George Hoyningen-Huene

George Hoyningen-Huene

Country: United States/France
Birth: 1900 | Death: 1968

Baron George Hoyningen-Huene was a seminal fashion photographer of the 1920s and 1930s. He was born in Russia to Baltic German and American parents and spent his working life in France, England, and the United States.

Born in Saint Petersburg, Russia, on September 4, 1900, Hoyningen-Huene was the only son of Baron Barthold Theodor Hermann (Theodorevitch) von Hoyningen-Huene (1859-1942), a Baltic nobleman, military officer, and lord of Navesti manor (near Võhma), and his wife, Emily Anne "Nan" Lothrop (1860-1927), a daughter of George Van Ness Lothrop, an American minister to Russia. (The couple was married in Detroit, Michigan, in 1888.) He had two sisters. Helen (died 1976) became a fashion designer in France and the United States, using the name Helen de Huene. Elizabeth (1891-1973), also known as Betty, also became a fashion designer (using the name Mme. Yteb in the 1920s and 1930s) and married, first, Baron Wrangel, and, second, Lt. Col. Charles Norman Buzzard, a British Army officer.

During the Russian Revolution, the Hoyningen-Huenes fled to first London, and later Paris. By 1925 George had already worked his way up to chief of photography of the French Vogue. In 1931 he met Horst, the future photographer, who became his lover and frequent model and traveled to England with him that winter. While there, they visited photographer Cecil Beaton, who was working for the British edition of Vogue. In 1931, Horst began his association with Vogue, publishing his first photograph in the French edition of Vogue in November of that year.

In 1935 Hoyningen-Huene moved to New York City where he did most of his work for Harper's Bazaar. He published two art books on Greece and Egypt before relocating to Hollywood, where he earned his wedge by shooting glamorous portraits for the film industry. Hoyningen-Huene worked in huge studios and with whatever lighting worked best. Beyond fashion, he was a master portraitist as well from Hollywood stars to other celebrities. He also worked in Hollywood in various capacities in the film industry, working closely with George Cukor, notably as a special visual and color consultant for the 1954 Judy Garland movie A Star Is Born. He served a similar role for the 1957 film Les Girls, which starred Kay Kendall and Mitzi Gaynor, the Sophia Loren film Heller in Pink Tights, and The Chapman Report.

In 1952 his cousin Baron Ernst Lyssardt von Hoyningen-Huene, whom he had adopted, married Nancy Oakes, the daughter of the gold mining tycoon Sir Harry Oakes. That union lasted until 1956 and produced one son Baron Alexander von Hoyningen-Huene, also known as Sasha. He died at 68 years of age in Los Angeles.

Source: Wikipedia

 

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William M. Burke is an American photographer and educator known for his 20 years of documentary photography in Vietnam and neighboring countries, detailing the effects of war. Bill Burke was born in 1943 in Derby, Connecticut. In 1966, he received a B.A. degree in Art History from Middlebury College. He continued studies at Rhode Island School of Design (RISD), and received a B.F.A degree in 1968 and a MFA degree in 1970, while studying with photographer Harry Callahan. In 1971, he started teaching at the School of the Museum of Fine Arts in Boston. In 1978, he became a Guggenheim fellow in photography. His work is included in many public collections including the Smithsonian American Art Museum, San Francisco Museum of Modern Art, Princeton University Art Museum, Museum of Modern Art, Museum of Fine Arts, Boston, among others.Source: Wikipedia Since 1971 he has taught at the School of the Museum of Fine Arts in Boston. While he has contributed to the Christian Science Monitor and published his work in Fortune and Esquire, Burke prefers to present personal travelogue images in series in books and exhibitions. His monographs include They Shall Cast Out Demons (1983), Bill Burke Portraits (1987), I Want to Take Picture (1987), and Mine Fields (1994). He has exhibited alone and in groups at ICP and elsewhere. Bill Burke, who failed his draft physical, was spared the experience of many of his contemporaries who fought in the Vietnam War. Since the 1970s he has photographed his travels through Asia not to document military atrocities, but to record his personal reactions. His work reflects a fascination with historical events and sites, yet his interest is broader than the topical documentation of photojournalism. The independent spirit of works such as Robert Frank's The Americans (1959) informs Burke's approach to his subjects: he recognizes his outsider status, and the black-and-white photographs of his many trips to Cambodia are as much about the personal impact and experience of being a witness as they are about the cultures he visits. This visitor status is important: Burke makes no pretense trying to develop a photo essay with political overtones, in the tradition of American documentary photography of the 1930s.Source: International Center of Photography
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He cites the mosaics in a church in Ravenna as one of his influences and is also a self-proclaimed student of Buster Keaton. He decided to become an artist after seeing the works of the Postmodernists Cindy Sherman and Jeff Koons. Muniz, like both of these artists, reworks popular imagery in his work. Muniz says that he does not believe in originals, but rather believes in individuality. Muniz works to re-purpose themes and showcase them in a different light for the viewer. Muniz is best known for recreating famous imagery from art history and pop culture with unexpected, everyday objects, and photographing them. For example, Muniz's Action Photo, After Hans Namuth (From Pictures of Chocolate), a Cibachrome print, is a Bosco Chocolate Syrup recreation of one of Hans Namuth's photographs of Jackson Pollock in his studio. The monumental series Pictures of Cars (after Ruscha) is his social commentary of the car culture of Los Angeles utilizing Ed Ruscha's 60's Pop masterpieces rendered from car ephemera. Muniz often works on a large scale and then he destroys the originals of his work and only the photo of his work remains. Muniz has spoken of wanting to make "color pictures that talked about color and also talked about the practical simplification of such impossible concepts." He also has an interest in making pictures that "reveal their process and material structure," and describes himself as having been "a willing bystander in the middle of the shootout between structuralist and post-structuralist critique." Muniz says that when he takes photographs, he intuitively searches for "a vantage point that would make the picture identical to the ones in my head before I’d made the works," so that his photographs match those mental images. He sees photography as having "freed painting from its responsibility to depict the world as fact." In Muniz's earthworks series, Pictures of Earthworks, show a strong resemblance to the 1970s Earthworks movement. However, unlike the Earthworks movement, that were influenced by ancient cultures, Muniz's series shows distinct human impact on nature. In addition to sculpting, Muniz experiments with drawing and photography, which is seen in the series Sugar Children, featured in the Museum of Modern Art's New Photography 13 show, alongside Rineke Dijikstra, An-My Le, and Kunié Sugiura, in 1997. In Sugar Children, Muniz photographed the families that worked on sugar plantations on the Caribbean island of St. Kitts. Beginning with Polaroids of several of the children of plantation workers, Muniz "drew" the images by sprinkling sugar on black paper and rephotographed these compositions. This series was met with criticism, where scholars have pointed out that he photographs of subjects continuing to live in poverty and yet can make upwards of 5 figures on these works at auction. After his Pictures in Garbage series, Muniz donated the profits, close to $50,000, from the Marat (Sebastiao) to the workers collective after it was auctioned in the UK. He also tries to make art more accessible through the use of common materials, because of his belief that the art world should not be just for the elite. Muniz stated in the documentary Waste Land, "I'm at this point in my career where I'm trying to step away from the realm of fine arts because I think it's a very exclusive, very restrictive place to be. What I want to be able to do is to change the lives of people with the same materials they deal with every day."Source: Wikipedia Originally trained as a sculptor, Muniz’s work began to take on its mature form with The Best of LIFE; he drew from memory pictures of Life magazine photographs included in the coffee table book The Best of Life after losing the book in a move. He then photographed his drawings and kept only the photographs, thereby establishing his signature working style. Muniz subsequently applied this methodology to works in the art history canon, reproducing Leonardo da Vinci’s Mona Lisa as well as iconic photographs of Marlon Brando and Marilyn Monroe using chocolate syrup and replicating a Donald Judd sculpture by using dust taken from the Whitney Museum’s halls and galleries. To make the series Pictures of Garbage, Muniz spent two years working with garbage pickers at Jardim Gramacho, an open-air dump site near Rio. He photographed several of the pickers as subjects of classical portraits, with the background details supplied by the garbage they scavenged. This effort was captured in the documentary Waste Land, which was nominated for an Academy Award. Muniz’s photographs are in many collections, including the Metropolitan Museum of Art; the Museum of Modern Art; the Tate Gallery; and the Victoria and Albert Museum.Source: International Center of Photography
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