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Sabine Weiss
Self portrait 1954
Sabine Weiss
Sabine Weiss

Sabine Weiss

Country: Switzerland
Birth: 1924 | Death: 2021

Sabine Weiss was born in Switzerland in 1924. In 1942, she wonders what she will do with her life, and decides that she should become a photographer because it is what she loves to do. She is the daughter of a mother who showed her art galleries and Roman churches at a very young age, and of a researcher chemist father who loved to see her print her little photos with the resources available at the time.

From 1942 until 1945 she was an apprentice at Boissonnas in Geneva, house of a dynasty of photographers that celebrated its 80th birthday.

In 1945 Sabine Weiss moved to a studio in Geneva, but in 1946 she decided to leave the city of her childhood to live in Paris. She knew there was no turning back. She asked Willy Maywald to become her assistant. In 1949, she met the painter Hugh Weiss and realized right away that she would spend her life with him. Sabine Weiss left Maywald, where she mastered her craft and started a long career, experimenting fashion, photojournalism, advertising and everything else she was asked to do.

During her free time, she liked to immortalize the depths of man in all simplicity. Her photographs moved Edward Steichen when preparing his major exhibition "The Family of Man" therefore he decided to present three of her images.

In recent years, Sabine Weiss has dedicated her time to exhibitions that showcase the humanist side of her work because it meant a lot to her.

Key dates
1924 July 23rd Birth at Gingolph in Switzerland, Naturalized French in 1995.
1942-45 Apprentice at Boissonas in Geneva
1945 Swiss diploma of photography
1946 Settles permanently in Paris
1946-50 Assistant of Willy Maywald
1950 Weds the American artist Hugh Weiss
1951 Works for several advertising agencies
1952-61 Contract with Vogue Magazine (Fashion and Assignments)
1952 Enters the Agency Rapho
1952 Free-lance for major magazines in the USA and in Europe like Paris Match, Life, Time, Newsweek, Town And Country, Fortune, Holiday, European Travel And Life, Esquire... covering countries in Europe, Africa, North America and Asia.

Most recent exhibitions:
2014 Vannes, Festival de la Photo de Mer "Portugal, 1954"
2014 Zürich, Photobastei, Rétrospective
2014 Genève, Galerie Patrick Cramer, Portraits d’artistes (Giacometti et Miro)
2014 Salon de la Photo, Paris, Porte de Versailles, rétrospective « Chère Sabine » (Tribute to the photographer's 90th birthday)

Decorations
1987 Chevalier des Arts et des Lettres (Knight of Arts and Letters)
1999 Officier des Arts et des Lettres (Officer of the Ordre des Arts et des Lettres)
2010 Ordre national du Mérite (French National Order of Merit)

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More Great Photographers To Discover

Ming Smith
United States
1973
Ming Smith is an American photographer. She was the first African-American female photographer whose work was acquired by the Museum of Modern Art in New York City. Smith was born in Detroit, Michigan, and raised in Columbus, Ohio. After graduating from Howard University in 1973, she moved to New York City, where she found work modeling. While in New York she met photographer Anthony Barboza, who was an early influence. Smith's approach to photography has included in-camera techniques such as playing with focus, darkroom techniques like double exposure, collage techniques and paint on prints. Her work is less engaged with documentation of events than with expression of experience. It has been described as surreal and ethereal, as the New York Times observed: "Her work, personal and expressive, draws from a number of artistic sources, preeminently surrealism. She has employed a range of surrealist techniques: photographing her subjects from oblique angles, shooting out of focus or through such atmospheric effects as fog and shadow, playing on unusual juxtapositions, even altering or painting over prints." Smith's early work was composed of photos that were shot quickly to produce elaborate scenes, and due to this process many of her photos have double dates. She has used the technique of hand-tinting in some of her work, notably her Transcendence series. Ming Smith has photographed many important black cultural figures during her career, including Alvin Ailey and Nina Simone. In 1973 Smith was featured in the first volume of the Black Photographers Annual, a publication closely affiliated with the Black Arts Movement of the 1960s and early 1970s. Smith had her first exhibition at Cinandre, a hairdressing salon, in 1973 as well. At Cinandre, she met Grace Jones, whom she photographed wearing a black and white tutu on occasion. Smith recalls that she and Jones would talk about surviving as black artists. Smith reflects on the memories by saying: "We came out of Jim Crow. And so just coming to New York and trying to be a model or anything was new." Two years later (1975), Smith became the first female member of the Harlem-based photography collective Kamoinge, under director Roy DeCarava. The Kamoinge Workshop was founded in New York in 1963 to support the work of black photographers in a field then dominated by white men. The collective, which still exists today, has undertaken a range of initiatives, including exhibitions, lectures, workshops, and the publishing of portfolios for distribution to museums. Smith participated with Kamoinge in three groups shows in New York and Guyana. Smith dropped off a portfolio at the Museum of Modern Art (MOMA), where the receptionist mistook her for a messenger. When she returned, she was taken into the curator's office. Susan Kismaric named a price for Smith's work, which Smith declined due to the price not paying off her bills. Kismaric asked Smith to reconsider, which she eventually did. Shortly after, she became the first Black woman photographer to be included in the collections of the Museum of Modern Art (MOMA) in New York City. In addition to the MOMA, Smith's art has been featured at the Schomburg Center for Research in Black Culture and the Smithsonian Anacostia Museum & Center for African American History and Culture in Washington, D.C. Smith has twice exhibited at the Bellevue Hospital Centre in Morristown, New Jersey, through their Art in the Atrium exhibitions. The first was in 1995, for Cultural Images: Sweet Potato Pie, an exhibit curated by Russell A. Murray. In 2008 she contributed as part of the exhibition New York City: In Focus, part of Creative Destinations 2008 Exhibition of African American Art. Smith's photographs are included in the 2004 Ntozake Shange book The Sweet Breath of Life: A Poetic Narrative of the African-American Family and Life. In 2010, her work was included in MOMA's exhibition Pictures by Women: A History of Modern Photography. This exhibition recontextualized Smith's work alongside that of Diane Arbus and marked a growing interest in Smith's work. Organized by curator Roxana Marcoci, it was curated by Sarah Meister through the Department of Photography. In 2017, a major survey exhibition of Smith's work was held at the Steven Kasher Gallery in New York. The exhibition featured 75 vintage black-and-white prints that represented Smith's career. Smith has collaborated with filmmaker Arthur Jafa in the Serpentine Sackler Gallery's 2017 show, Arthur Jafa: A Series of Utterly Improbable, yet Extraordinary Renditions (Featuring Ming Smith, Frida Orupabo and Missylanyus). That same year, she was featured in the Tate Modern group exhibition Soul of a Nation: Art in the Age of Black Power, curated by Mark Godfrey and Zoé Whitley. The show received international acclaim before traveling to Crystal Bridges Museum of American Art, The Brooklyn Museum, The Broad, the de Young Museum of San Francisco and the Museum of Fine Arts, Houston. Since then, Smith's work was featured in solo presentations by Jenkins Johnson Gallery both at Frieze New York and Frieze Masters in 2019, the former of which receiving the Frieze Stand Prize. In 2020, Ming's work will be included in the group exhibition Working Together: Louis Draper and the Kamoinge Workshop at the Virginia Museum of Fine Arts in Richmond, VA. From there, the exhibition will travel to The J. Paul Getty Museum in Los Angeles, CA, and the Whitney Museum of American Art, New York, NY.[19] Smith's work is in museum collections including the National Gallery of Art, Whitney Museum of American Art, Brooklyn Museum of Art, Philadelphia Museum of Art, Detroit Institute of Arts, Virginia Museum of Fine Arts, and the Schomburg Center for Research in Black Culture. Some of Smith's work displayed in the Museum of Modern Art depicts motherhood in Harlem. These photos are taken using a documentary style way of photographing these subjects. Ming Smith lives and works in New York City.Source: Wikipedia Ming Smith is known for her informal, in-action portraits of black cultural figures, from Alvin Ailey to Nina Simone and a wide range of jazz musicians. Ming’s career emerged formally with the publication of the Black Photographer’s Annual in 1973. She was an early member of the Kamoinge Workshop, an association of several generations of black photographers. Ming has traveled extensively, showing her viewers a cosmopolitan world filled with famous landmarks and extraordinary landscapes. People continue to be her most treasured subjects. This is most apparent in her series depicting African American life. Ming’s early style was to shoot fast and produce complicated and elaborate images in the developing and post-printing processes, so that many of her pictures carry double dates. She experimented with hand-tinting in My Father’s Tears, San Miguel de Allende, Mexico (1977/1979). Ming continues to expand the role of photography with her exploration of image and paint in the more recent, large-scale Transcendence series. Ming’s place in photography’s 175-year history was recognized by her inclusion in the Museum of Modern Art’s groundbreaking exhibition Pictures by Women: A History of Modern Photography in 2010. Ming Smith's photography is held in collections in the Museum of Modern Art, New York; the Schomburg Center for Research in Black Culture, New York; the Smithsonian Anacostia Museum & Center for African American History and Culture, Washington, DC and the AT&T Corporation.Source: Steven Kasher Gallery
Miho Kajioka
Japan
1973
Miho Kajioka was born February 21st, 1973 in Japan and studied at Concordia University and the San Francisco Art institute in the 1990s. Kajioka's artistic practice is in principal snapshot based; she carries her camera everywhere and intuitively takes photos of whatever she finds interesting. These collected images serve as the basic material for her work in the darkroom where she creates her poetic and suggestive image-objects through elaborate, alternative printing methods. Kajioka regards herself more as a painter/drawer than as a photographer. She feels that photographic techniques help her to create works that fully express her artistic vision. Her images evoke a sense of mystery in her constant search for beauty. The focused, creative and respectful way in which she uses the medium of photography to create her works seems to fit in the tradition of Japanese art that is characterized by the specifically Japanese sense of beauty: wabi sabi. Wabi has been described as 'serene attention to simple things' and sabi as 'beauty acquired through the patina of time'. The artist regards herself as a maker of objects rather than a maker of photographs, using moments of her everday life as both inspiration and material. Source: Peter Fetterman Gallery Miho Kajioka (b. 1973, Japan, lives in Kyoto) studied fine art in the United States and Canada and started her career as a journalist in her native country Japan. It was after the 2011 earthquake and tsunami that Kajioka was reconnected to her photographic art. Two months after the disaster, while reporting in the coastal city of Kamaishi, where over 800 people died, she found roses blooming beside a blasted building. That mixture of grace and ruin made her think of a Japanese poem: In the spring, cherry blossoms, In the summer the cuckoo, In autumn the moon, and in Winter the snow, clear, cold. Written by the Zen monk Dogen, the poem describes the fleeting, fragile beauty of the changing seasons. The roses Kajioka saw in Kamaishi bloomed simply because it was spring. That beautiful and uncomplicated statement, made by roses in the midst of ruin, impressed her, and returned her to photography. The photos presented, span Kajioka's adulthood, including pictures she took while living abroad, as well as scenes she captured in Japan after the disaster. The little pictures of a flower, or a running boy, are scenes from daily life, as it is. These fragments of her life, from various periods and against changing backdrops, are not so different from each other, and the differences that remain aren't important. Happiness, sadness, beauty and tragedy only exist in our minds. Things are just as they are. Since 2013 Kajioka's work has been exhibited in France, the Netherlands, Colombia, the United Kingdom, Italy, Germany and Spain. Source: IBASHO Exhibitions 2020 tanzaku, The Photographers' Gallery Print Sales (February 7 to March 22) 2019 time travel (duo exhibition with Rens Horn), de ketelfactory, Schiedam, the Netherlands (September 28 to December 22) And, where did the peacocks go?, International Photo Festival InCadaqués, Cadaqués, Spain (September 20 to 29) And, where did the peacocks go?, Kunstenfestival Watou, Watou, Belgium (June 29 to September 1) 2018 (all solo) So it goes, IBASHO Gallery, Antwerp, Belgium (September 9 to November 4, 2018) So it goes, Caroline O'Breen Gallery, Amsterdam, Netherland (September 8 to October 13, 2018) Half a dozen, Residency Program, Lisbon, Portugal (May 24 to August 31, 2018) Unfinished spaces, The Photographers' Gallery, Print Sales, London, UK (Feb 23 to April 14) 2017 And, where did the peacocks go?, Corden Potts Gallery, San Francisco, US (March 23 to April 29) 2016 And, where did the peacocks go?, Galerie VU', Paris, France (June 8 to September 2 – Solo) Et, où les paons sont-ils allés?, Festival La Gacilly Photo, France (June 3 to September 30) Grace and Ruin, SeeLevel Gallery, Amsterdam, Netherland And, where did the peacocks go?, Central Colombo Americano, Bogota, Colombia 2015 Renaissance Photography Prize, Getty Images Gallery, London, UK (Group) And, did the peacocks go?, ARTBO, Bogota, Colombia (Solo) And, where did the peacocks go?, Twenty 14 Contemporary, Milan, Italy (Solo) UNREAL, M2 Gallery, Sydney, Australia (Group) 2014 LAYERS, Microprisma, Rome, Italy (Solo) as it is, Fotografika Galerie, Gland, Switzerland (Solo) Balade(s) Parcours Photographique, Galerie Le Neuf, Lodève, France (Group) Boutographies, Montpellier, France (Group) Catching tails, Linke, Milan, (Group) 2013 As It is, Centro Italiano della Fotografia d'Autore, Bibbiena, Italy (Group) Reality and Emotion, Valid Foto BCN Gallery, Barcelona (Group) Galleries IBASHO, Antwerp, Belgium The Photographers' Gallery, Print Sales, London, United Kingdom Galerie Caroline o'Breen, Amsterdam, the Netherlands Ira Stehmann Fine Art, Munich, Germany Bildhalle, Zürich, Swizterland Polka Galerie, Paris, France Twenty14 Contemporary, Milan, Italy Peter Fetterman Gallery, Santa Monica, United States
Ruth Lauer Manenti
United States
Ruth Lauer Manenti received an MFA from The Yale School of Art in painting and drawing in 1994. In 2012, she was given a large format camera and taught herself how to use it. Gradually she accomplished what she was striving for in drawing and painting, through photography. Her mother was also an artist who left behind a legacy of unknown work. Part of Ruth's determination as an artist is to reward her mother for her efforts and to create a continuum. She was awarded a NYFA grant in photography in 2016 and had a solo exhibition at The Center for Photography in Woodstock, NY in 2020. Her book Alms is currently on view on an online exhibition at The Griffin Museum of Photography. Her recent book of photographs entitled Since Seeing You, is a visual diary of the woods behind her house as experienced during Lockdown. The pictures give pause, to process the sorrow of the time, rather than as an escape or erasure. Since breaking her neck in a car crash at the age of twenty, Ruth has developed a spiritual life and practice that has propelled much of her photographic work. She lives in the Catskill Mountains in NY. Shard: This ongoing series of photos called Shard was made over the last 4 years during which time I was wanting to see whether I could place objects on a table as arrangements for unspoken emotions. In 2017-18 I was unwell. It wasn't mental illness but the line between that and trauma was sometimes hard to find. I stayed indoors and at home as much as possible. I spent a lot of time watching daylight enter through the windows in different ways according to the clouds, seasons and weather. The windows are old, and the glass is wavy so that the sun rays come in as ripples. I was interested in using objects as symbols of fragility. I found that the work of making the pictures, and the safe cocoon that I had created between myself and the table, was informed by a kind of benevolent force that accompanied me through my suffering. In some traditions it is believed that when the heart breaks an entrance for Spirit is created. It's a way that trauma or defeat can become a portal; so much so that sometimes people have a nostalgia for the times in their life when they have suffered most. More recently I have been thinking about the process of repairing things rather than throwing them away. I wonder if appreciating something damaged, torn, or saved, even if no longer usable, could have an implied nonliteral meaning for getting through the past year, 2020, gracefully, despite so much loss and depression. I think there is a beauty in the effort of putting one's life back together after experiencing brokenness and I have tried through still life to communicate that.
Jim Goldberg
United States
1953
Jim Goldberg (born 1953) is an American artist and photographer, whose work reflects long-term, in-depth collaborations with neglected, ignored, or otherwise outside-the-mainstream populations. Among the many awards Goldberg has received are three National Endowment of the Arts Fellowships in Photography, a Guggenheim Fellowship, the Henri Cartier-Bresson Award, and the Deutsche Börse Photography Prize. His works have been exhibited, published, and collected internationally. Goldberg is Professor Emeritus at the California College of the Arts, and has been a member of the Magnum Photos agency since 2002. He currently lives and works in the greater Bay Area. Goldberg is best known for his photography books, multi-media exhibitions, and video installations, among them: Rich and Poor (1985), Nursing Home, Raised by Wolves (1995), Hospice, and Open See (2009). His work often examines the lives of neglected, ignored, or otherwise outside-the-mainstream populations through long-term, in depth collaborations that investigate the nature of American myths about class, power, and happiness. Goldberg is part of an experimental documentary movement in photography, using a straightforward, cinéma vérité approach, based on a fundamentally narrative understanding of photography. The individuality of the subjects emerges in his works, "forming a context within which the viewer may integrate the unthinkable into the concept of self. Thus portrayed, this terrifying other is restored as a universal." Goldberg's work was featured with that of Robert Adams and Joel Sternfeld in a 1984 exhibition at the Museum of Modern Art entitled "Three Americans"; the exhibition was described as "a show of politically charged and socially conscious images." His 1985 book Rich and Poor, re-released by Steidl in an expanded edition in 2014, includes photographs of people in their homes along with handwritten comments by them about their lives. For example, the handwriting under the photograph reproduced on the front cover reads "I keep thinking where we went wrong. We have no one to talk to now, however, I will not allow this loneliness to destroy me,— I STILL HAVE MY DREAMS. I would like an elegant home, a loving husband and the wealth I am used to. Countess Vivianna de Bronville." Although the book received one mixed review shortly after publication, other reviews were positive, and it was later selected as one of the greatest photobooks of the 20th century. The photographs in a 1986 exhibition of Goldberg's The Nursing Home Series were accompanied by handwritten text by the nursing home residents who were the subjects of the photographs. A review of a 1990 exhibition Shooting Back: Photography by and About the Homeless at the Washington Project for the Arts characterized the exhibition as "Issue Art" and characterized Goldberg as "a superior Issue Artist because he's a superior artist." A major mixed-media exhibition by Goldberg concerning at risk and homeless youth in California entitled Raised by Wolves began traveling in 1995 and was accompanied by a book of the same title. A review of the exhibition at the Corcoran Gallery of Art noted that Goldberg made reference to other artists and photographers; used photographs, videos, objects, and texts to convey meaning; and "let his viewers feel, in some corner of their psyches, the lure of abject lowliness, the siren call of pain." Although the accompanying book received one mixed review shortly after publication, it was described as "a heartbreaking novel with pictures", and in The Photobook: A History, Martin Parr and Gerry Badger praised it as "complex and thoughtful." A 1999 mixed media installation at the San Francisco Arts Commission gallery entitled "57/78/97" explored race relations in the United States, including the Little Rock Crisis of 1957, the 1978 Regents of the University of California v. Bakke decision, and the year following the passage of California Proposition 209 (1996) concerning affirmative action. Selected photographs from a series by Goldberg called "Open See," concerning refugees, immigrants, and trafficked people, were first exhibited in San Francisco in 2007. One review stated that the photographs may leave the viewer "paralyzed by uncertainty about what might alleviate the injustices" depicted. Part of the series came to be known as "Open See", and Goldberg's book of that title was published in 2009 by Steidl. In 2013 Goldberg was an artist in residence at Yale University Art Gallery with Donovan Wylie. They each created a body of work based in New Haven. In Candy, Jim Goldberg, a New Haven native, creates a multilayered photo-novel of aspiration and disillusionment, interspersing Super 8 film stills, images of New Haven’s urban landscape, annotated Polaroid portraits, and collaged archival materials to explicate the rise and fall of American cities in the 20th century. Goldberg considers New Haven’s quest to become a “model city” of America, contrasting its civic aspirations with its citizens’ lived realities.Source: Wikipedia Jim Goldberg’s innovative use of image and text make him a landmark photographer of our times. He has been working with experimental storytelling for over forty years, and his major projects and books include Rich and Poor (1977-85), Raised by Wolves (1985-95), Nursing Home (1986), Coming and Going (1996-present), Open See (2003-2009), The Last Son (2016), Ruby Every Fall (2016), Candy (2013-2017), Darrell & Patricia (2018), and Gene (2018). His work is in numerous private and public collections including the Museum of Modern Art, the San Francisco Museum of Modern Art, the Whitney Museum of American Art, the Getty, and the Los Angeles County Museum of Art. He is the recipient of numerous awards including three National Endowment for the Arts Fellowships, a Guggenheim Fellowship (1985), the Henri Cartier-Bresson Award (2007), and the Deutsche Börse Photography Prize (2011). Goldberg is Professor Emeritus at the California College of the Arts and is a member of Magnum Photos.Source: Magnum Photos An heir to such social documentarians as Walker Evans and Robert Frank, Goldberg is inspired and informed by his ongoing interest in people and their positions in society as a function of broader cultural policies and practices. His work is the aesthetic embodiment of Frank’s opinion that “the truth is somewhere between the documentary and the fictional.”Source: Pace/MacGill Gallery
Morteza Nikoubazl
I was born in Tehran, Iran in 1974 and studied art and photography there. I started work as a freelance photographer for Iranian daily and weekly newspapers. I began working with the Reuters team as Freelance photographer since 1999 till 2013. After Reuters I worked with the New York Times International magazine, Polaris Images, Zuma Press and SIPA PRESS photo agencies and now I am working with the NurPhoto press photo agency. I am also UNHCR trusted photographer in Iran. Sense of death amid the COVID-19 outbreak in Iran Today is about one year after Government announced officially the COVID-19 cases in Iran and death still is everywhere. I could see patients who were infected by the new coronavirus in COVID-19 wards of hospitals who were breathing and after two hours they were died. In fact, life seems gone, time were stoped and people were looking for an empty hospital bed for their relatives. Sense of death is covered the daily life of people who have to fight with a new invisible enemy, and it will be getting worse when a country is under International sanctions. I was in the city of Bam for covering the earthquake in 2002-2003 and could see a U.S. Military cargo airplane landed after about 25 years since the Victory of the Islamic Revolution in Iran and I could see how the humanity could pass over the politic, but today I am witness how politic cover the humanity, sanctions still work and it pushed Iran to the end of the line of vaccine. People die left and right also medical personnel, But they hear about barriers to the import of the COVID-19 vaccines from western countries. When it comes to people's health, politics should be the last priority of countries, but it seems the politic is the first priority for the U.S., Iran and the European countries. On the other hand, Iranians cannot trust the China- Made, or Russian-Made vaccine and prefer the Iranian one, but they must wait until next year and try to be alive.
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