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Jill Greenberg
Jill Greenberg

Jill Greenberg

Country: United States
Birth: 1967

Jill Greenberg is an American photographer and Pop artist. She was born in Montreal, Quebec, Canada, and grew up in a suburb of Detroit, Michigan. Greenberg began photography when she was 9 years old. According to a 1998 New York Times article, Greenberg's mother was a computer programmer and her father was a doctor. Greenberg took classes at Cranbrook Academy of Art and the Detroit Institute of Arts. In 1984, she attended the Photography Summer Session held by Parsons School of Design in Paris. In 1985, she won a Traub Memorial Scholarship Travel Fund from Andover High School in Bloomfield Hills, Michigan. In 1988, Greenberg completed coursework on Semiotics in Media with Mary Ann Doane at Brown University. In 1989, she graduated with honors from the Rhode Island School of Design with a BFA in Photography.

She is known for her portraits and fine art work that often features anthropomorphized animals that have been digitally manipulated with painterly effects. Her photography of animals is regarded for its capability to show a wide range of expressions and feelings that are comparable to that of a seasoned actor or actress. Some of the primates she has captured on film are actually celebrated in their own right, having been featured in different TV shows or movies. She is also highly recognized for her distinct, and stylized photography of celebrities including well-known performers such as Gwen Stefani, Arnold Schwarzenegger and Clint Eastwood. She is also known for inserting her own strong opinions into her work. In reference to her work, Greenberg states "They're portraits and they're personal but there's a little twist going on. An edge."

In 1992, Greenberg began working for Sassy magazine, doing commercial photography while working on getting her artistic career off the ground.

Greenberg is known for celebrity portraits, using painterly effects that are drawn using computer technology.

2011's Glass Ceiling series involved shooting underwater, using scuba gear. She hired professional synchronized swimmers and photographed them in a pool in Culver City. The Glass Ceiling series was featured as a billboard installation in Los Angeles, on the northwest corner of Sunset Boulevard at Fairfax (viewable while driving east).

In October 2012, Greenberg published a book of photographs called Horse that features images of horses. Greenberg built photo studios within horse rings to take the photographs. The shooting took place in Los Angeles in an area called Walker's Basin and also in Vancouver at Danny Virtue's ranch, a man who supplies horses to the film industry. In January 2014, Greenberg had an exhibition in Canada of images from Horse

In August 2008, The Atlantic asked her to photograph John McCain for the magazine's October 2008 cover. Greenberg said they didn't have enough money to pay her so she gave them a license to use one of her photos for the cover (while she retained ownership of the photo) for free, for one-time use. Greenberg decided to make some personal images of the pictures. "I really didn't want there to be another Republican in the White House, so I decided to put my McCain pictures out on voting day." Saying she saw the work as political cartoons. "I thought it was the Artist Jill Greenberg appropriating the work of the Commercial Photographer Jill Greenberg."

Greenberg's End Times, a series of photographs featuring toddlers, was the subject of controversy in 2006 (April 22 – July 8). The work featured stylized hyper-real closeups of children's faces contorted by various emotional distresses. The pieces were titled to reflect Greenberg's frustration with both the Bush administration and Christian Fundamentalism in the United States. The children were either professionally hired or were the children of friends (and included her daughter). All were accompanied by their parents, who assisted in getting the children to cry. The series resulted in active, often heated online discussion and news coverage, and resulted in hate mail which continued for several years. The images, meanwhile, have been imitated and used without permission for unrelated campaigns.

Source: Wikipedia


 

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Tina Sturzenegger
Switzerland
1980
Tina Sturzenegger is a Swiss photographer specializing in food, still life, and visual storytelling. Her artistic practice explores the aesthetics of food and its cultural, social, and emotional significance. Two elements drive her fascination with this subject: the striking visual appeal of food in all its forms and its role in shaping societal structures. Influenced by the bold aesthetics of the 1970s and 80s, Tina blends elements of design, fashion, and nostalgia to create immersive, almost cinematic tableaus where food becomes both subject and symbol. By pushing boundaries and defying conventions, her work challenges perceptions, evoking a dialogue between indulgence and restraint, artifice and authenticity—always with a sense of playfulness woven throughout. After completing a business administration degree, Tina taught herself photography and high-end image retouching. Her work has been exhibited at the MIA Photo Fair in Milan, the Tokyo International Photo Awards, and Galerie Joseph in Paris, among others. She has collaborated with renowned national and international clients, including Denner AG, Farner Consulting, Nestlé Switzerland AG, UBS (Switzerland) AG, Michel Reybier Hospitality. Tina is represented in the DACH region by the Zurich-based agency Visualeyes Artists and has been a jury member of the Art Directors Club in Zurich since 2020. More about her work can be found at tinasturzenegger.com. About Series: Melt down This series delves into the complex relationship between food and society. It explores how our bodies become canvases for judgment, shaped by evolving dietary trends and societal norms. The work is a satirical examination of the pressures and contradictions surrounding modern consumption habits. The images are intentionally exaggerated, turning familiar items into provocative symbols. A blow dryer melts butter, evoking the artificial manipulation of natural elements. Heart-shaped lollipops adhered to legs highlight the clash between indulgence and imposed ideals of beauty. Mice leaping over a sandwich transform a simple meal into a staged battlefield of perceived nutritional good and evil. Through this visual narrative, the series critiques the demonization of carbohydrates, sugar, alcohol, and gluten. By presenting these dietary culprits in absurd scenarios, it challenges viewers to question societal obsessions with purity and perfection in food choices. The playful yet pointed approach invites reflection on the broader cultural and personal implications of what we consume. I styled, photographed and edited it. Awarded Photographer of the Week - Week 13
Ray K. Metzker
United States
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Ray K. Metzker (10 September 1931 – 9 October 2014) was an American photographer known chiefly for his bold, experimental B&W cityscapes and for his large "composites", assemblages of printed film strips and single frames. His work is held in various major public collections and is the subject of eight monographs. He received awards from the John Simon Guggenheim Memorial Foundation, National Endowment for the Arts and Royal Photographic Society. Metzker was born in Milwaukee and lived in Philadelphia from the 1960s until his death. He was married to the photographer Ruth Thorne-Thomsen. He was a student of Harry Callahan and Aaron Siskind at the Institute of Design in Chicago. He taught for many years at the Philadelphia College of Art and also taught at the University of New Mexico. After graduate studies at the Institute of Design in Chicago, Metzker travelled extensively throughout Europe in 1960-61, where he had two epiphanies: that "light" would be his primary subject, and that he would seek synthesis and complexity over simplicity. Metzker often said the artist begins his explorations by embracing what he doesn't know.Source: Wikipedia After a career that spanned five decades and saw him pioneer a new and singular visual idiom, Ray K. Metzker has been recognized as one of the great masters of American photography. Characterized by composites, multiple-exposures, solarization, the superimposition of negatives, and the juxtaposition of images, Metzker’s work pushed the boundaries of what seemed formally possible in black and white photography. Metzker enrolled at the Institute of Design, Chicago in 1956, a school which at that time was being referred to as the New Bauhaus, where he studied with fellow modernist photographers Harry Callahan and Aaron Siskind. After obtaining a master’s degree from the Institute in 1959, Metzker’s work began to garner increasing attention and critical regard, first and foremost from Edward Steichen, who, at that time, was the curator of photography at the Museum of Modern Art, New York. Metzker’s first solo show would happen at the Museum of Modern Art in 1967. Retrospectives of his work were organized in 1978 by the International Center of Photography in New York and in 1984 by the Museum of Fine Arts in Houston, a show which then traveled to the San Francisco Museum of Modern Art, the Art Institute of Chicago, the Philadelphia Museum of Art, the High Museum of Art, Atlanta, the International Museum of Photography, Rochester, and the National Museum of American Art, Washington, DC. In 2011 a major career retrospective of Metzker’s work was organized by the Nelson-Atkins Museum of Art in Kansas City, which traveled to the The J. Paul Getty Museum in Los Angeles and the Henry Art Museum in Seattle. Ray K. Metzker died in October of 2014, at 83 years of age, in the city of Philadelphia.Source: Howard Greenberg Gallery Metzker has dedicated his career to exploring the formal potentials of black-and-white photography, but they are not his exclusive concern. "When you look at the multiples, you are aware of patterning and so forth," he says, "but there is still identifiable subject matter; frequently there are people there; there is a rhythm to those people." Metzker's 1959 thesis project, My Camera and I in the Loop, takes downtown Chicago as its subject, but renders it in experiments that tell more about photography than they do about the city. The pictures from this project were exhibited at the Art Institute of Chicago (1959-1960), and included in the issue of Aperture devoted to the students and professors of the Institute of Design at the Illinois Institute of Technology in Chicago (1961). Ray Metzker's images question the nature of the photograph and photographic "reality." Through cropping, multiple imagery, and other formal inventions, his work explores options for transforming the vocabulary of the photograph. Untitled from 1969 illustrates the simple method of manipulating objective information through juxtaposition: two distinct women on the beach enter into a yin-yang relationship of line and gesture. The photograph is part of a series of pictures made from 1968 to 1975 of beach-goers in New Jersey. "The more fashion conscious probably go to other beaches, but what Atlantic City has – and what attracted me to it – is diversity," Metzker said. Of the content of the pictures and his working method, Metzker added, "What appears in the pictures was the subject's decision, not mine. I took what they presented – delicate moments – unadorned and unglamorous, yet tender and exquisite." Metzker used a 1975 National Endowment for the Arts fellowship to pull the series together as Sand Creatures, later published as a book in 1979. There are no diptychs in the book, though the woman in sunglasses at the bottom of Untitled (1969) is included as a solo picture. In a July 1992 letter, Metzker wrote the following about two untitled Sand Creatures pictures from 1969: "The photograph of the double image is from the series entitled Couplets and predates the single image by a number of years. Both pictures were made at beaches along the New Jersey coast: the couplet at Atlantic City, the single frame at Cape May. With both, my camera was an Olympus half-frame, a small amateurish piece of equipment that let me move about freely. The choice of the camera was essential to the development of the series."Source: Museum of Contemporary Photography
Noémie Goudal
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Noémie Goudal's practice involves the construction of ambitious staged, illusionistic interventions within the landscape, documented using film and photography. Her oeuvre expands photography across its standard parameters, into immersive installations and performances, underpinned by rigorous research examining the intersection of ecology and anthropology and the limitations of theoretical conceptions of the natural world. Goudal's latest work unravels an artistic dialogue with the field of paleoclimatology, analysing climate and geology from the vantage point of "deep time" to acquire an understanding of our planet's trajectory. Goudal's work creates an intellectual bridge between our experience of "real time" and deep time, measured in millions of years, exposing the geographies of the earth as we know them to be mere momentary states in a cycle of continuous flux. Noémie Goudal (b.1984) graduated from the Royal College of Art (UK) in 2010 with an MA in Photography. She is currently shortlisted for the Prix Marcel Duchamp 2024. Solo exhibitions include Mostyn, Llandudno, UK (2024); FRAC Auvergne, Clermont-Ferrand, France (2024); ANIMA, Tate Modern, London, UK; Venice Theatre Biennale, Venice, Italy and Centre Pompidou, Paris, France (2023); Post Atlantica, Les Rencontres d'Arles, Arles, France (2022); ANIMA, Festival d'Avignon, Avignon, France (2022); Décantations, La Vitrine, Frac Île-de-France, Paris, France (2022); Post Atlantica, Le Grand Café Centre d'Art Contemporain, Saint-Nazaire, France (2021); Echos toujours plus sourds, Musée Delacroix, Paris, France (2021); Observatorium, Kunstverein Hildesheim, Hildesheim, Germany (2019); Telluris, Ballarat International Foto Biennale, Ballarat, Australia (2019); Telluris, Musée des Beaux-Arts Le Locle, Le Locle, Switzerland (2019); Stations, The Finnish Museum of Photography, Helsinki, Finland (2018); Southern Light Stations, The Photographer's Gallery, London, UK (2016); The Geometrical Determination of the Sunrise, FOAM Museum, Amsterdam, Netherlands (2015). Selected group exhibitions include Second Nature: Photography at the Age of the Anthropocene, Nasher Museum, Durham, NC, USA (2024-2026); Un Manifeste du regard sur la Nouvelle Aquitaine, Frac Nouvelle-Aquitaine La MÉCA, Bordeaux, France (2024); New Worlds: Women to Watch 2024, National Museum of Women in the Arts, Washington, USA (2024); PHOTO 24, Melbourne Photo Biennale, Melbourne, Australia (2024); Bella Vista, Centre d'Art Contemporain, Sant-Nazaire, France (2021); Accelerate Your Escape: Gary Hume Explores the Hiscox Collection, Whitechapel Gallery, London, UK (2020); Inner Space, Lisbon Architecture Triennale, National Museum of Contemporary Art, Lisbon, Portugal (2019); MELTDOWN: A Visualization of Climate Change, Horniman Museum, London, UK (2019). Goudal's work is held in public collections including Centre Pompidou, Paris, France; David Roberts Art Foundation, London, UK; FOAM Museum, Amsterdam, The Netherlands; Fotomuseum Winterthur, Winterthur, Switzerland; High Museum of Art, Atlanta, USA; Kadist Art Foundation, Paris, France; Kiran Nadar Museum of Art, New Delhi, India, the Victoria & Albert Museum, London, UK and The New Art Gallery Walsall, Walsall, UK. Noémie Goudal lives and works in Paris.
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