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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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Marco Panzetti
Marco Panzetti (Italy, 1981) is a freelance documentary photographer, multimedia journalist and visual artist. His work focuses on contemporary issues related to social injustice, migration and collective identity. He successfully carried out projects in Europe, Latin America and Asia, frequently in collaboration or on assignment for nonprofit organizations and media outlets. His long-term body of work on the European migrant crisis, 'The Idea of Europe' (2015 – present) received international recognition including an Honorable Mention at the 2017 Lange-Taylor Prize and the first prize in the video category at the 2017 Migration Media Award. 'The Idea of Europe' is a long-term documentary work on the human impact of the European refugee crisis. Fleeing from conflicts, humanitarian crisis and economical distress in their countries of origin, and escaping the slavery practices commonly reported in Libya, since early 2015 more than 10,000 people lost their lives in the Mediterranean trying to reach Europe, and about 3 million people applied for asylum in EU countries. This huge influx highlighted the limits and unfairness of border control policies and asylum systems still anchored to the post-WWII treaties, and caused a major discussion among the public opinion. Can Europe still indulge in considering itself the cradle of human rights? With this question as motivation and common thread, 'The Idea of Europe' follows the migrants' journey from the desperate Mediterranean crossing to the asylum request in Italy. This project encompasses work from 'In Between', a project done in 2016-2017 from a rescue vessel in the Mediterranean to report on the humanitarian tragedy unfolding in international waters, 'We are not going back', a project work done in 2015-2016 from the disembarking port of Lampedusa and at the Italian border town of Ventimiglia where I documented the migrants' encounter with the resurging (physical, ideological and bureaucratic) walls of Europe, and 'Life after Hell', a project done in 2017 from various reception centres across Italy where I portrayed the daily lives of those waiting for a decision on their asylum request, which could take up to two years.
Madhur Dhingra
I was born an only child to my parents, in Delhi, into a family torn apart by the aftermath of the India-Pakistan partition. Hailing from a affluent background in Pakistan my family was now struggling for survival in the walled city of Delhi totally penniless. Imbedded with deep insecurities and freshly bearing the scars of partition my family was now setting up trade in the walled city dealing in fabric. It is relevant for me to mention this background for these very insecurities I too inherited from my family and they remain with me till date even with the changed times and lifestyle. Things improved gradually financially, with the trade flourishing and much because of the sheer hard work of my grandfather, father& chachas(father's brothers).We settled in Delhi at the start as big joint family. I have grown up hearing tales of how we had started life selling fabric on the pavements of the walled city where we now own several properties. My father could never get over those scars of partition. I too was repeatedly made to realize that ( for better or for worse) even though I was born much later in Delhi. At the age of five I was put to school at St.Xavier's High School, Raj Niwas Marg, Delhi. That period was to become the most memorable part of my life. I remember enjoying that period thoroughly. I was always an above average student with a lot of love for extracurricular activities. In school I would love going hiking, camping, swimming & cycling with the boy scouts. From the very start I was naughty and mischievous and was a regular in getting in and out of trouble. After school I went to the Delhi University and took up English Hons as my subject. But nowhere was it in my mind to take up studies serious. Restless from the start I wanted to travel the world. I now join the Merchant Navy at the age of seventeen ,as a deck cadet leaving college in the first year itself. I loved this new experience and was good at learning navigation. Very soon I was promoted to become the navigating officer. For the first year I never came back home at all. I was fulfilling my desire to see the world thoroughly meeting different types of people and experiencing different kinds of cultures . Once while travelling in the city of Jeddah near Mecca during Ramadan I was amazed to see gold slabs and coins being sold on the pavements of the city. On the loudspeaker I then heard the azaan (prayer call) and to my utter astonishment I saw people leave all this gold unattended and enter the nearby mazjid for prayer. Such was the strictness of the prevailing law of the land that anybody caught stealing would have his hand chopped off. Nobody dared to steal. Now quite a different experience was when my ship first entered Thailand. To my utter surprise I saw hoards of women entering my ship. Their numbers must have been no less than a hundred odd. I was on duty and I objected to their entry and was immediately informed by my senior officer to back off as they were entering with the permission of the captain. These were prostitutes who stayed on my ship till the time it stayed there. Nobody was questioning the morality or the ethics. It was gala time for all officers, crew, and the Captain. This was the way of life for most sailors . One horrific incident I remember was when our Burmese radio officer died on the ship due to a liver problem. As we were still some days away from the next port,his body was put in the deep freezer of the ship, the same place where all vegetables and other eatables were stored. Life was going on as if nothing had happened and everybody was eating and drinking as any other day. In a ship life all relationships and friendships are very temporary and the moment a person gets off the ship all these are left behind and forgotten. My bag of experiences was filling up fast. The restlessness and void was again setting in fast. I was getting bored again after about five years of sailing. The novelty had worn off and my inherent nature and upbringing was not that of a sailor in any way .I finally decided to say quits and joined the family business which was waiting for me to return. My dad was overjoyed at this decision of mine. I had no problem settling into this environment as it just happened to be in my blood. I now decide to get married too. I get married and soon after become a father of two adorable children. My age at that period would have been early twenty or so. Time flew by fast earning bread and butter for my family. Nothing was more important than bringing up the kids properly and with a lot of love, something which I was deprived of badly during my childhood days. But now again the same restlessness and void was setting in. I was in a dilemma, now trying out new ways to end this emptiness . I initially tried my hands at learning sculpture at Triveni Kala Sangam Mandi House, but I soon realized that medium was not meant for me. Destiny seemed to have other plans for me and it was during this period that I was gifted a SLR by someone, a Ricoh 500 as I now try to remember. The camera body had a dial with some numbers and also some numbers on the lens of which I had no clue. There were photography classes also being held in Triveni Kala Sangam and I joined these classes with sculpture classes I was already doing. It was here I met my photography teacher and now a lifelong friend Satyasri Ukil for the first time. The Basic course was about learning the techniques of Black & White photography. Satyasri was a dedicated, honest & straightforward teacher. His likes and dislikes purely dealt with the merits of the image and not with the person who had shot the image. I was learning fast with my association with Satyasri at Triveni where he was teaching then . A few of us guys(now renowned photographers), formed a sort of a team under the guidance of Ukil (as we address Satyasri,till date).We were shooting developing and printing the whole day long. Photography was now no longer a hobby but a frenzy. I soon set up my own darkroom in my house and would develop and print negatives all night long. I now start trekking again now with a new SLR in hand going to high altitudes and to very difficult locales. I remember showing my first serious work to Ukil and found him overjoyed. Soon my ambitions grew and I start shooting product for the advertising agencies. My first breakthrough as I clearly remember had come from the agency 0& M whose creative head then was Benoy Mitra, who was one day present at the colour lab called "MultiColour in Jhandewalan, when my portfolio prints were coming out of the lab. He saw my work and quietly handed over his card asking me to see him in the agency. I was overjoyed. This was breakthrough I needed desperately. 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The prayer gong would echo inside the main hall and seep deep inside my soul. I have always equated light with God and have believed that the darkness of the human soul will ultimately come alive with the play of Light (God) on it. My next visit was to Banaras. Here I found people visiting the Ghats in very colorful attires. A activity on these ancient Ghats like the Dashashwamedh Ghat would start very early in the morning. People from all over India visit Banaras to perform various religious rituals, right from the birth of a child to the cremation of the dead and also later to perform rites for their safe and comfortable passage after death. The quality of light that I found in Banaras was very warm & golden and I wouldn't hesitate a moment to call it heavenly. Now a special reference to the Manikarnika Ghat " the ghat of the dead" is needed. 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These so called ascetics only stormed the streets during the Khumb. Neither do they live in the remoteness of the Himalayas leading a renounced life, but on the contrary live in air conditioned lavishly furnished akharas in Hardwar itself. They were a weird sight. ( I have shown some photographs of them in my Black & White section). Here I saw them fight pitched battles with the police before the procession. DOWNRIGHT CRIMINALS TO THE VERY CORE, MOST OF THEM. On the day of the procession I got up early in the morning and positioned myself on roof top of a house near the Niranjani Akhara.This was very early in the morning and I was testing the auto focusing of my telephoto 300mm Canon lens when I saw a group of nagas in the akhara compound. I was taken aback when I saw one Naga fiddling with the genitals of the other Naga, "AND I TOOK THE SHOT".(later to appear on the first page of THE INDIAN EXPRESS). There were hutments built for sadhus by the kumbh authorities across the river bed. I would visit those and sit with some real sanyasis and listen to their discourses and hear them sing bhajans. This was a very nice and peaceful experience. The Kumbh ended and my exhibition date also was drawing near. The IIC Gallery wanted to see the final prints that I had decided to display. Nowhere in my final selection were those beautiful landscapes to be seen. Their place had been taken by naked sadhus with Trishuls and burning ghats & corpses. The Gallery management told me in no uncertain terms that they will not allow the show to go on unless these pictures were withdrawn. My dilemma was that my photo essay "Where Man Meets God'" was a story of a man's passage of life, his wanderings, his search for God. This essay was incomplete without these pictures. I told the management that I will show my work as it is and will not remove any picture from the list. Much courage to take this right stand was coming from Satyasri Ukil who stood by me all this while withstanding this massive ONSLOUGHT . IIC Management banned my exhibition. It was during this period that me and Satyasri Ukil were introduced to Suneet Chopra a reputed Art Critic. He later introduced us to Siddharth Tagore, a gallery owner at Art Consult Hauz Khas Village. Siddharth Tagore offered to hold my preview party at his gallery inviting respected artists like B.C.Sanyal, Jatin Das and many other artists of repute. The preview was a major success with all these stalwarts in their respective art fields giving their nod to my exhibition. Mr.Khushwant Singh the famous and a very respected writer too came up with an article on me in his column "Malice Towards One And All .Now IIC started shifting its stance and a compromise was reached. "That the images will be allowed to display but only facing towards the Gallery wall, whoever who wanted to see them could do so at his own discretion". Almost everybody saw those images.. Many reputed people visited the exhibition, some of them I mention in my TESTIMONIAL column. Eight major newspapers wrote elaborately on this exhibition. There was a TV interview also held by a channel also. The exhibition was a huge success on the whole. I am now planning another exhibition with a different theme and gearing up to hold another show in Milan. Life for me as a photographer continues...
John Coplans
United Kingdom
1920 | † 2003
John Rivers Coplans was a British artist, art writer, curator, and museum director. His father was Joseph Moses Coplans, a medical doctor and a man of many scientific and artistic talents. His father left England for Johannesburg while John was an infant. At the age of two, John was brought to his father in South Africa; from 1924-1927 the family was in flux between London and South Africa, settling in a seaside Cape Town suburb until 1930. Despite the instability of his early home life, Coplans developed an enormous admiration for his father, who took him to galleries at weekends and instilled within him a love for exploration, experimentation, and a fascination with the world. In 1937, John Coplans returned to England from South Africa. When eighteen, he was commissioned into the Royal Air Force as an Acting Pilot Officer. Due to his hearing being affected by a rugby match, two years later, he volunteered for the army. His childhood experience living in Africa led to his appointment to the King’s African Rifles in East Africa. He was active as a platoon commander (primarily in Ethiopia) until 1943, after which his unit was deployed to Burma. In 1945 Coplans returned to civilian life and decided to become an artist. After being demobilised, Coplans settled in London, rooming at the Abbey Art Centre; he wanted to become an artist. The British government was giving grants to veterans of the war, and he received one such grant to study art. He tried both Goldsmiths and Chelsea College of the Arts, but found that art school did not suit him. He painted part-time for clients including Cecil Beaton, Basil Deardon whilst running his business John Rivers Limited which specialised in interior decorating. In the mid-1950s, Coplans began attending lectures by Lawrence Alloway at the Institute of Contemporary Arts. Here he was introduced to the budding Pop Art movement, which he would become deeply involved in as both critic and curator. His experience viewing exhibitions such as the Hard-Edged Painting exhibition (ICA, 1959) and New American Painting (The Tate, 1959) helped to solidify his growing passion for not just Pop Art, but American art as well. During this period he struggled as a young artist to find his artistic voice, and developed an abstract painting practice which reflected trends of tachism and Abstract Expressionism pioneered by Americans Jackson Pollock and Willem de Kooning. Coplans would later refer to this early painting work as "derivative"; these paintings were shown in exhibitions at the Royal Society of British Artists (1950) and later at the New Vision Center. In 1960, Coplans sold all of his belongings and moved to the United States, initially settling in San Francisco and taking a position at UC Berkeley as a visiting assistant design professor. Here he met gallerist Phil Leider, the future editor of ArtForum. Leider connected Coplans to John Irwin, who wanted to start a magazine. Coplans convinced Irwin that the West Coast needed an art publication: one that gave voice to art that was important, but had not yet received critical attention. He further suggested that it should be published in square format so that both vertical and horizontal images would be viewed equally, thus giving birth to ArtForum's iconic shape—and to the successful foundation of ArtForum itself. Coplans was a regular writer for the magazine. His perspective on art writing was anti-elitist, using popular appeal and excitement over new work to “stimulate debate and awareness” especially for West Coast artists. Finding himself conflicted between his painting and writing careers, he chose the latter and devoted the next twenty years of his life to the magazine, as well as curatorial pursuits and a career as a museum director. It was not until 1981, at the age of 62, that he returned to his career as an artist.Source: Wikipedia John Coplans had a career in reverse. He was 60 by the time he established himself as a photographer, having already had a long and active life as a curator, editor, writer, artist and decorator. A pioneer of selfportraiture, he took large format black-and-white close-ups of his bare body that sent ripples of shock, recognition and frequent praise through the international art world. A major element in the fascination was an obsession with one of our few remaining taboos: the process of ageing and physical decrepitude. And with the anonymity of identity: in Coplans' words, "To remove all references to my current identity, I leave out my head." The blow-ups of sagging flesh, creased folds, odd protuberances and body hair of an old man become the documentary tale of the decline of Everyman. After a brief spell teaching at the University of California, Berkeley, in 1962 Coplans co-founded Artforum magazine and, for the next two decades, his career was to be as artistically various as it was financially precarious. Artforum was intended to combat the anti-intellectualism Coplans felt he had encountered at Berkeley, and the notion that there was nothing to be said about art, since you either made it or looked at it. His whole background was in stimulating debate and awareness, at a popular rather than an elite level. Inevitably, as he later explained, "The thing was how to get the eastern establishment to read about west coast art". Within five years, the magazine was relocated to Manhattan, with Coplans acting as west coast editor. As a museum curator, he enjoyed similarly shifting fortunes. His first project was a pop art exhibition at the Oakland art museum, and, in 1963, he became director of the university gallery at Irvine, organising an important show by Frank Stella. From 1967 to 1971, he transferred to the Pasadena art museum. Alongside established artists like Roy Lichtenstein, Andy Warhol and Donald Judd, he gave Robert Irwin, Richard Serra and James Turrell their first shows. In 1971, Coplans moved to New York to became editor of Artforum, and, in 1975, published his own version of events leading to the bankruptcy and takeover of the Pasadena art museum, “Diary Of A Disaster.” During his seven years at the helm, Artforum increasingly jettisoned the militant formalism with which it had been identified, and became a platform for the catholicity of Coplans' artistic tastes, including19th-century photography and contemporary European abstract art. In 1978, the publisher gave Coplans the choice of buying the magazine or quitting. Not being in a position to do the former, he became director of the Akron art museum in Ohio, where, again, he combined curatorial work with launching a new magazine, appropriately named Dialogue. He also published books on photographers, ranging from Weegee to Brancusi, and started his own photographic experiments. By 1980, Coplans was back in New York, and the following year had his first solo show at the Daniel Wolf Gallery. At last, he had found not only the medium but also the subject of his artistic expression. He called his works auto-portraits, and, created by means of a live-feedback video camera with an automatic shutter, they honed in on the physical landscapes of the body with all the sculptural focus - but without the distortions of the lens - of Bill Brandt's Perspective Of Nudes (1961). This was to become Coplans' constant subject matter. In 1986, he had his first show of self-portraits at the Pace/MacGill Gallery, New York. Sandra Phillips, the long-time photography curator at the San Francisco Museum of Modern Art, immediately saw the importance of the work. His first major museum exhibition followed at SF MoMA in 1988, and the exhibition traveled on to the Museum of Modern Art in New York that same year. The work was rapidly acquired and shown by the The J. Paul Getty Museum, the Museum of Modern Art in New York, and the Whitney Museum of Art; in 1997 (the same year he remarried), a major retrospective was staged MoMA PS1 Contemporary Art Centre in Queens. He published books of the work, principally the anonymous-sounding A Body, Body Parts and A Self-Portrait, and finally Provocations, which includes his photo-essays and criticism. Coplans has a daughter, Barbara, and a son, Joseph; he has two granddaughters. He was married four times. His fourth wife, photographer Amanda Means, is the Trustee for the John Coplans Trust in Beacon, New York. John Coplans was born June 20, 1920 in London and died on August 21, 2003 in New York.Source: The John Coplans Trust
Warren Agee
United States
1966
Warren Agee, born 1966 in Buffalo, NY, USA, is a fine art photographer whose practice explores his connection with the natural world. After attempting many different creative careers including drawing, architecture, jewelry-making and the fiber arts, Warren accidentally discovered photography in the mid 1990s while making color transparencies of his jewelry to submit to juried art fairs. He soon pointed his camera to everything growing in his yard and never looked back. He fully embraced digital technologies in the early 2000s. He works primarily in monochrome. "Unless it is the focal point of an image, I find color tends to distract from form and content. My photographer's eye primarily sees structure, composition, and texture." His work has been exhibited in various galleries including Middlebury, VT. and Minneapolis, MN, as well as receiving honorable mentions in the 2021 Monovisions Awards. He currently resides in Petaluma, CA, USA. Statement The slopes of Mt. Tamalpais ("Mt. Tam"), which rises over 2500 feet above Marin County just north of San Francisco, consists of a vast and varied landscape of rolling grasslands, meadows, canyons, lakes, waterfalls, and redwood forests. Marine fog rolls in off the Pacific coast and supplies moisture year-round, creating what seems to be a tropical rainforest complete with moss-covered oaks and boulders. It is an unlikely setting for a region located a mere 20 miles from a bustling city. The average age of the redwoods on Mt. Tam is 600-800 years, a mind-boggling number to consider as you stand underneath them. These images attempt to portray the otherworld quality of Mt. Tamalpais., where one half-expects fairies and trolls to greet you as you hike along the trails.
Inge Morath
Austria/United States
1923 | † 2002
Inge Morath, the daughter of a scientist, was born in Austria on 27th May 1923. The family moved to Nazi Germany and as a teenager she was sent to the force labour camp at Tempelhof for refusing to join the Hitler Youth. Morath graduated from Berlin University in 1944. After the Second World War she worked as an interpreter for the United States Information Service before joining the RWR radio network. Morath also contributed articles to the literary magazine Der Optimist. In 1950 Morath moved to France where she worked with the Austrian photographers Ernst Haas and Erich Lessing. This involved writing text captions for the two photographers. The following year she found work as a photojournalist with Picture Post, a magazine based in London. Morath's first book was, Fiesta In Pamplona (1954). After the publication of an photo essay on French worker priests by Morath in 1955 Robert Capa invited her to join the Magnum Photos agency. Other books by Morath included Venice Observed (1956), Bring Forth The Children (1960), Tunisia (1961) and From Persia to Iran (1961). Morath married Arthur Miller in 1962 and together they published the book In Russia (1969). This was followed by My Sister Life (1973) with poems by Boris Pasternak, In the Country (1977), Chinese Encounters (1979), Salesman in Beijing (1984), Portraits (1987), Shaking the Dust of Ages (1998), an autobiography, Life As A Photographer (1999), Masquerade (2000) and Border Spaces; Last Journey (2002). Inge Morath died of lymphatic cancer on 30th January 2002. Source: Spartacus Educational Morath's achievements during her first decade of work as a photographer are significant. Along with Eve Arnold, she was among the first women members of Magnum Photos, which remains to this day a predominantly male organization. Many critics have written of the playful surrealism that characterizes Morath's work from this period. Morath attributed this to the long conversations she had with Cartier-Bresson during their travels in Europe and the United States. Morath's work was motivated by a fundamental humanism, shaped as much by her experience of war as by its lingering shadow over post-war Europe. In Morath's mature work, she documents the endurance of the human spirit under situations of extreme duress, as well as its manifestations of ecstasy and joy. After relocating to the United States, during the 1960s and 1970s Morath worked closer to home, raising a family with Miller and working with him on several projects. Their first collaboration was the book In Russia (1969), which, together with Chinese Encounters (1979), described their travels and meetings in the Soviet Union and the People's Republic of China. In the Country, published in 1977, was an intimate look at their immediate surroundings. For both Miller, who had lived much of his life in New York City, and Morath, who had come to the US from Europe, the Connecticut countryside offered a fresh encounter with America. Reflecting on the importance of Morath's linguistic gifts, Miller wrote that "travel with her was a privilege because [alone] I would never been able to penetrate that way." In their travels Morath translated for Miller, while his literary work was the entrée for Morath to encounter an international artistic elite. The Austrian photographer Kurt Kaindl, her long-time colleague, noted that "their cooperation develop[ed] without outward pressure and is solely motivated by their common interest in the people and the respective cultural sphere, a situation that corresponds to Inge Morath's working style, since she generally feels inhibited by assignments." Morath sought out, befriended, and photographed artists and writers. During the 1950s she photographed artists for Robert Delpire's magazine L'Oeil, including Jean Arp and Alberto Giacometti. She met the artist Saul Steinberg in 1958. When she went to his home to make a portrait, Steinberg came to the door wearing a mask which he had fashioned from a paper bag. Over a period of several years, they collaborated on a series of portraits, inviting individuals and groups of people to pose for Morath wearing Steinberg's masks. Another long-term project was Morath's documentation of many of the most important productions of Arthur Miller's plays. Some of Morath's signal achievements are in portraiture, including posed images of celebrities as well as fleeting images of anonymous passersby. Her pictures of Boris Pasternak's home, Pushkin's library, Chekhov's house, Mao Zedong's bedroom, as well as artists' studios and cemetery memorials, are permeated with the spirit of invisible people still present. The writer Philip Roth, whom Morath photographed in 1965, described her as "the most engaging, sprightly, seemingly harmless voyeur I know. If you're one of her subjects, you hardly know your guard is down and your secret recorded until it's too late. She is a tender intruder with an invisible camera." As the scope of her projects grew, Morath prepared extensively by studying the language, art, and literature of a country to encounter its culture fully. Although photography was the primary means through which Morath found expression, it was but one of her skills. In addition to the many languages in which she was fluent, Morath was also a prolific diary and letter-writer; her dual gift for words and pictures made her unusual among her colleagues. Morath wrote extensively, and often amusingly, about her photographic subjects. Although she rarely published these texts during her lifetime, posthumous publications have focused upon this aspect of her work. They have brought together her photographs with journal writings, caption notes, and other archival materials relating to her various projects. During the 1980s and 1990s, Morath continued to pursue both assignments and independent projects. The film Copyright by Inge Morath was made by German filmmaker Sabine Eckhard in 1992, and was one of several films selected for a presentation of Magnum Films at the Berlin International Film Festival in 2007. Eckhard filmed Morath at home and in her studio, and in New York and Paris with her colleagues, including Cartier-Bresson, Elliott Erwitt and others. In 2002, working with film director Regina Strassegger, Morath fulfilled a long-held wish to revisit the lands of her ancestors, along the borderlands of Styria and Slovenia. This mountainous region, once part of the Austro-Hungarian Empire, had become the faultline between two conflicting ideologies after World War II and until 1991, when attempts at rapprochement led to conflict on both sides of the border. The book Last Journey (2002), and Strasseger's film Grenz Räume (Border Space, 2002), document Morath's visits to her homeland during the final years of her life.Source: Wikipedia
Deborah Bay
United States
Deborah Bay is a Houston artist who specializes in constructed studio photography. She has exhibited most recently at Photo London Digital 2020, Foto Relevance (Houston), Texas Contemporary 2018 and 2019 and Photoville Brooklyn. Her work is in the collection of the Museum of Fine Arts Houston, Center for Creative Photography at the University of Arizona in Tucson and Dorsky Museum of Art at State University of New York at New Paltz. LensCulture and the Griffin Museum of Photography highlighted images from her Traveling Light series in on-line features earlier this year, and the British Journal of Photography has published her work on its cover. Her work was recognized in the Texas National 2018, and she was a finalist for Artadia Houston 2015. An active member of the Houston arts community, she has served on the board of the Houston Center for Photography and its Advisory Council. She holds graduate and undergraduate degrees from The University of Texas at Austin. Statement: My work explores the beauty of light and color. It builds on a studio practice that has focused for the past 15 years on constructed, macro photography. The images in the work presented here bring together an eclectic set of influences, ranging from geometric constructivism to color field. After collecting an assortment of prisms and lenses, I became interested in capturing how light and color interact with optical materials - seeming to bounce nonchalantly across surfaces, yet strictly bound by the laws of physics. Lenses and prisms were layered and stacked at angles to capture light wrapping around form. Chromatic geometries emerged from the planes and lines of color created using film gels. In my practice the camera often is a tool for highlighting details of physical phenomena that are overlooked or not easily observed. Particularly intriguing is the mystery created by the juxtaposition of scale - making close-up images of small objects and showing them as prints at many times their actual size. The images were produced in-camera and follow in the lineage of experimental studies exploring the most elemental components of photographic processes: light and lenses.
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