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David Seymour (Chim)
David Seymour (Chim)

David Seymour (Chim)

Country: United States
Birth: 1911 | Death: 1956

David Seymour, also known as Chim, was a Polish-born photographer who is best known for his work as a member of the photographic cooperative Magnum Photos. He was born in 1911 in Warsaw, Poland and spent his early years studying in Germany before moving to France in 1933.

Seymour's interest in photography began at a young age, and he quickly became skilled in the art of photography. He began his professional career as a photographer in Paris, working for various newspapers and magazines. In 1936, he joined the photographic cooperative Magnum Photos, which was founded by photographers Robert Capa, Henri Cartier-Bresson, and George Rodger.

Chim told me not to follow too closely the advice of Capa, and Capa told me not to take any notice of Henri’s advice. So I was a bit mixed up and went to see George Rodger... and he said, “Don’t listen to any of them, only to me.”

-- Marc Riboud, on joining the Magnum photo agency in 1953


As a member of Magnum Photos, David Seymour traveled extensively, capturing powerful images of people and events from around the world. He covered a wide range of subjects, including politics, war, and social issues. He was particularly known for his ability to capture the humanity of his subjects, and his images often conveyed a sense of empathy and compassion.

Seymour's work as a war photographer began during World War II, when he covered the Spanish Civil War and the Second World War. He was one of the first photographers to document the horrors of the Holocaust, and his images of concentration camps and Jewish ghettos are among his most powerful and moving works.

In 1948, David Seymour traveled to Palestine to cover the Arab-Israeli conflict, and his images of the fighting and the suffering of the Palestinian people helped to raise awareness of the issue around the world. He also covered the Korean War, the Suez Crisis, and the Hungarian Revolution, and his images of these conflicts were widely published in newspapers and magazines.

In addition to his work as a war photographer, Seymour also documented social issues and political events. He covered the civil rights movement in the United States, and his images of the struggles of African Americans helped to raise awareness of the issue. He also covered the Cuban Revolution and the rise of Fidel Castro, and his images of the revolution and its aftermath helped to shape the way that the world viewed Cuba and its leader.

Seymour's work as a photographer was widely recognized and respected during his lifetime, and he received numerous awards and honors for his contributions to the field of photography. He was a member of the French Legion of Honor, and in 1957 he was awarded the prestigious Robert Capa Gold Medal for his contributions to photojournalism.

Despite his success as a photographer, Seymour's life was cut short when he was killed in 1956 while covering the Suez Crisis in Egypt. He was only 45 years old at the time of his death, but his legacy as a photographer lives on through his powerful images and his influence on the field of photojournalism.

Today, Seymour's work continues to be widely admired and studied, and his images are considered to be some of the most powerful and important photographs of the 20th century. His work has been featured in numerous exhibitions and publications, and his images continue to inspire and influence photographers around the world.

David Seymour Chim was a remarkable photographer who was able to capture the essence of humanity and the complexities of human nature. His photographs are moving and powerful, and his ability to document the world's most significant events and moments in history is a testament to his skill and dedication to his craft. His legacy as a photographer lives on, and his work will continue to be appreciated for generations to come.
 

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László Moholy-Nagy
Hungary
1895 | † 1946
László Moholy-Nagy (July 20, 1895 - November 24, 1946) was a Hungarian painter and photographer as well as professor in the Bauhaus school. He was highly influenced by constructivism and a strong advocate of the integration of technology and industry into the arts. Moholy-Nagy was born László Weisz in Bácsborsód to a Jewish-Hungarian family. His cousin was the conductor Sir Georg Solti. He attended Gymnasium (academic high school) in the city of Szeged. He changed his German-Jewish surname to the Magyar surname of his mother's Christian lawyer friend Nagy, who supported the family and helped raise Moholy-Nagy and his brothers when their Jewish father, László Weisz left the family. Later, he added "Moholy" ("from Mohol") to his surname, after the name of the Hungarian town Mohol in which he grew up. One part of his boyhood was spent in the Hungarian Ada town, near Mohol in family house. In 1918 he formally converted to the Hungarian Reformed Church (Calvinist); his Godfather was his Roman Catholic university friend, the art critic Ivan Hevesy. Immediately before and during World War I he studied law in Budapest and served in the war, where he sustained a serious injury. In Budapest, on leaves and during convalescence, Moholy-Nagy became involved first with the journal Jelenkor ("The Present Age"), edited by Hevesy, and then with the "Activist" circle around Lajos Kassák's journal Ma ("Today"). After his discharge from the Austro-Hungarian army in October 1918, he attended the private art school of the Hungarian Fauve artist Róbert Berény. He was a supporter of the Communist Dictatorship (known as "Red Terror" and also "Hungarian Soviet Republic"), declared early in 1919, though he assumed no official role in it. After the defeat of the Communist Regime in August, he withdrew to Szeged. An exhibition of his work was held there, before he left for Vienna around November 1919. He left for Berlin early in 1920. In 1923, Moholy-Nagy replaced Johannes Itten as the instructor of the foundation course at the Bauhaus. This effectively marked the end of the school's expressionistic leanings and moved it closer towards its original aims as a school of design and industrial integration. The Bauhaus became known for the versatility of its artists, and Moholy-Nagy was no exception. Throughout his career, he became proficient and innovative in the fields of photography, typography, sculpture, painting, printmaking, and industrial design. One of his main focuses was photography. He coined the term "the New Vision" for his belief that photography could create a whole new way of seeing the outside world that the human eye could not. His theory of art and teaching is summed up in the book The New Vision, from Material to Architecture. He experimented with the photographic process of exposing light sensitive paper with objects overlain on top of it, called photogram. While studying at the Bauhaus, Moholy's teaching in diverse media — including painting, sculpture, photography, photomontage and metal — had a profound influence on a number of his students, including Marianne Brandt. Perhaps his most enduring achievement is the construction of the "Lichtrequisit einer elektrischen Buehne" [Light Prop for an Electric Stage] (completed 1930), a device with moving parts meant to have light projected through it in order to create mobile light reflections and shadows on nearby surfaces. Made with the help of the Hungarian architect Istvan Seboek for the German Werkbund exhibition held in Paris during the summer of 1930, it is often interpreted as a kinetic sculpture. After his death, it was dubbed the "Light-Space Modulator" and was seen as a pioneer achievement of kinetic sculpture. It might more accurately be seen as one of the earliest examples of Light Art. Moholy-Nagy was photography editor of the Dutch avant-garde magazine International Revue i 10 from 1927 to 1929. He resigned from the Bauhaus early in 1928 and worked free-lance as a highly sought-after designer in Berlin. He designed stage sets for successful and controversial operatic and theatrical productions, designed exhibitions and books, created ad campaigns, wrote articles and made films. His studio employed artists and designers such as Istvan Seboek, Gyorgy Kepes and Andor Weininger. After the Nazis came to power in Germany in 1933, and, as a foreign citizen, he was no longer allowed to work, he operated for a time in Holland (doing mostly commercial work) before moving to London in 1935. In England, Moholy-Nagy formed part of the circle of émigré artists and intellectuals who based themselves in Hampstead. Moholy-Nagy lived for a time in the Isokon building with Walter Gropius for eight months and then settled in Golders Green. Gropius and Moholy-Nagy planned to establish an English version of the Bauhaus but could not secure backing, and then Moholy-Nagy was turned down for a teaching job at the Royal College of Art. Moholy-Nagy made his way in London by taking on various design jobs including Imperial Airways and a shop display for men's underwear. He photographed contemporary architecture for the Architectural Review where the assistant editor was John Betjeman who commissioned Moholy-Nagy to make documentary photographs to illustrate his book An Oxford University Chest. In 1936, he was commissioned by fellow Hungarian film producer Alexander Korda to design special effects for Things to Come. Working at Denham Studios, Moholy-Nagy created kinetic sculptures and abstract light effects, but they were rejected by the film's director. At the invitation of Leslie Martin, he gave a lecture to the architecture school of Hull University. In 1937, at the invitation of Walter Paepcke, the Chairman of the Container Corporation of America, Moholy-Nagy moved to Chicago to become the director of the New Bauhaus. The philosophy of the school was basically unchanged from that of the original, and its headquarters was the Prairie Avenue mansion that architect Richard Morris Hunt designed for department store magnate Marshall Field. Unfortunately, the school lost the financial backing of its supporters after only a single academic year, and it closed in 1938. Moholy-Nagy was also the Art Advisor for the mail-order house of Spiegel in Chicago. Paepcke, however, continued his own support, and in 1939, Moholy-Nagy opened the School of Design. In 1944, this became the Institute of Design. In 1949 the Institute of Design became a part of Illinois Institute of Technology and became the first institution in the United States to offer a PhD in design. Moholy-Nagy authored an account of his efforts to develop the curriculum of the School of Design in his book Vision in Motion. Moholy-Nagy died of leukemia in Chicago in 1946. Moholy-Nagy University of Art and Design in Budapest is named in his honour. Works by him are currently on display at the National Gallery of Art in Washington, DC. The software company Laszlo Systems (developers of the open source programming language OpenLaszlo) was named in part in honor of Moholy-Nagy. In 1998, he received a Tribute Marker from the City of Chicago. In the autumn of 2003, the Moholy-Nagy Foundation, Inc. was established as a source of information about Moholy-Nagy's life and works.Source: Wikipedia
Nelli Palomäki
Finland
1981
Nelli Palomäki was born 1981 in Forssa, Finland. At the moment she lives and works in Karkkila and Helsinki, Finland. Her timeless portraits of children and young people reveal the fragility of the moment shared with her subject. Palomäki’s photographs deal with the growth, memory and our problematic way of seeing ourselves. One of the crucial themes in her portraiture is our mortality. She describes: “We fight against our mortality, denying it, yet photographs are there to prove our inescapable destiny. The idea of getting older is heart-rending.” She is a graduate of Aalto University School of Art, Design and Architecture in Helsinki. Palomäki’s works have been exhibited in numerous international solo and group exhibitions. Selected solo shows: Shared (Galerie Les Filles du Calvaire, Paris 2018), Shared (Gallery Taik Persons, Berlin 2017), Jaettu (Forum Box, Helsinki 2016), Breathing the Same Air (Ordrupgaard Art Museum, Copenhagen 2013), Nelli Palomäki (The Finnish Museum of Photography, Helsinki 2013), Sons of Nakhimov (The Wapping Project Bankside, London 2012), As time consumes us (Les Rencontres d’Arles, Discovery Award 2012), As time consumes us (Kulturhuset, Stockholm 2011), Elsa and Viola (Next Level Projects, London 2011), Elsa and Viola (Gallery TAIK, Berlin 2009), I, Daughter (Turku Art Museum, Turku 2008). Her photographs have been shown in several group shows including Helsinki City Art Museum, Hasselblad Foundation in Gothenburg, Bruce Silverstein Gallery in New York, Daegu Photo Biennale in South Korea, The National Museum of Photography in Copenhagen, Purdy Hicks Gallery in London and Aperture Gallery in New York. Palomäki’s photography has been featured in several publications such as TIME magazine, British journal of photography, Independent magazine, New York Magazine, Zoom and Exit. Her book Breathing the Same Air was published spring 2013 by Hatje Cantz. In spring 2010 Palomäki placed 2nd in Sony World Photography Awards in portraiture category and the same year Hasselblad Foundation awarded her the Victor Fellowship Grant for the studies in London. She has been selected as one of the young emerging artist for the reGeneration2–Tomorrow's Photographers Today project. In summer 2012 Palomäki was nominated for the Discover Award at the Rencontres d’Arles in France. Permanent collections include: Moderna Museet in Stockholm; The Hague Museum of Photography, Hasselblad Foundation in Gothenburg and Helsinki Art Museum. Palomäki is represented by Gallery Taik Persons (Berlin), Galerie Les filles du calvaire (Paris) and Jackson Fine Art (Atlanta). Source: nellipalomaki.com About The Work Seen and captured by someone else’s eyes reminds us that the image we have of ourselves is not absolute, it is not truthful. In many senses the mirror lies more than a photograph. We learn to see ourselves in such a one-dimensional way, that hardly any image can satisfy us anymore. While time gnaws away at the faces of us and our close ones, we return to look at the pictures from our past. As beautiful or poignant as an image may be; as much as we could garner from it emotionally, the feeling for which we search remains intangible and elusive. We will never fully comprehend or recreate the moment, it died at the moment of its’ birth. Sadly, the portrait is just a shadow of our meeting, a small stain of the time we spend together. Each and every portrait I have taken is a photograph of me too. What I decide to see, or more likely, how I confront the things that I see, inevitably determines the final image. But more than that, the intensity of the moment shared with the subject, controls the portrait. As we stand there, with our grave faces, breathing the same heavy air; never so aware of each other’s details. One blind and lost without seeing his own appearance, one desperately trying to reach the perfect moment. The complexity of portraiture, its greatest trap, eventually always lies on its power relationships. What I desire to find and to reveal might be someone’s secret. These secrets, finally shown to the viewers, as they were mine. A portrait remains forever. It is a desperate way to stay connected to someone who, though possibly a stranger, remains so familiar. It is my way of preserving a part of that person, embalming them. Through the portrait I build a relationship with my subject. I carry my subject’s memories with me, memories, as they are, being so intimately connected with photographs. Secretly I study their faces. This is how I remember them. I wonder how they remember me. As the time eats slowly away at us, I still hold these images of them, like they are the only way I ever knew, or will know these people. And that ever pervasive feeling; I met them. They will die and eventually I too will die.
Carole Glauber
Israel
1951
Carole Glauber is an internationally exhibiting, award-winning photographer and photo-historian, based in Israel since 2017. She has a B.S.Ed and a M.Ed. and is the author of two books: "Personal History" (Daylight Books) and "Witch of Kodakery: The Photography of Myra Albert Wiggins 1869-1956" (Washington State University Press). Her photographs have been exhibited in the United States and Europe including PH21 Gallery in Budapest, ValidFoto in Barcelona, Festival Pil'Ours in France, and The Center for Fine Art Photography, Blue Sky Gallery, ASmith Gallery, Soho Photo Gallery, the Griffin Museum of Photography, and the Dr. Bernard Heller Museum amongst others in the United States. Her book "Personal History" received a silver medal from the PX3 Prix de la Photographie Paris and three gold and bronze medals from the Budapest, Tokyo, and Moscow International Foto Awards. Her photography honors include PX3 Prix de la Photographie, Paris, the International Photography Awards, the Tokyo International Foto Awards, the Julia Margaret Cameron Awards, the Pollux Awards, the Mobile Photography Awards, PHmuseum, and the International Krappy Kamera Competition. She is the recipient of a Peter E. Palmquist Photographic History Research Fellowship, a Winterthur Museum Fellowship, an Oregon Humanities Research Fellowship, and numerous grants for her photographic research. She continues her studies and teaching of History of Photography and making photographs of her experiences and observations based on her curiosity and sense of spontaneity. Statement My book, "Personal History" explores the lives of my sons, Ben and Sam—a span covering 30 years. I used a 1950's Kodak Brownie Hawkeye camera for this work which I tried by chance, and discovered I related to the soft colors, the imperfections, and the transcendent quality of the image. During childhood and adolescence, we first experience the world. Spells are woven, our thoughts wander, curiosity grows, and our memories are sown. Friendships, dream chasing, and absorbing knowledge under the glare of the day can all happen. It is the time to discover by divergent thinking; to create, love, and energize without practical concerns of the day. Travel and seeing the world are fresh. They are like waves lapping on the beach. I invited Ben and Sam to write essays about being photographed by their mother for so many years. In effect, they have the final word. For me, the opportunity to photograph my children is like a calm breeze and now I can run with the memories recorded in the soft imagery of time.
JJ Jordan
Poland
1973
JJ Jordan is a visual artist, graphic designer, and photographer based in Surrey, UK. Working with both digital and analogue photography he creates monochrome, blurred, layered, or multi-exposed visual metaphors that favour ambiguity over certainty. Jordan’s work is deeply informed by personal experience, influenced by the dreamlike narratives of Murakami, Schulz, and Kafka, and the surreal aesthetics. Artist Statement My work explores the fragile line between perception and reality, between what is seen and what is felt. Through experimental portraiture and conceptual photography, I aim to question visual certainty and challenge the camera’s claim to truth. Often working in monochrome, and drawing on both digital and analogue processes (while deliberately excluding AI), I construct images that blur, layer, or distort, embracing ambiguity over resolution. Themes of memory, identity, and absence run through much of my work. Figures appear half-seen or obscured, more like echoes than individuals, suggestive rather than declarative. A blurred face, a painted square, a fleeting gesture, each becomes a site of tension between presence and disappearance. I am less interested in documenting a subject than in evoking the trace they leave behind: a flicker, a feeling, a fragment. Influenced by the surreal visual languages of art history and by the dreamlike narratives of Murakami, Schulz, and Kafka, my photographs often borrow from the whimsical and the uncanny. I aim to create images that invite pause, a space for wonder, doubt, and emotional reflection. Born behind the Iron Curtain and shaped by time spent across cultures, my perspective is rooted in a sense of displacement and layered experience. My portraits are not confessions; they are invitations, open-ended and unresolved, like memories still in the making. Awarded Photographer of the Week - Week 24
Carolyn Drake
United States
Carolyn Drake works on long term photo-based projects seeking to interrogate dominant historical narratives and imagine alternatives to them. Her work explores community and the interactions within it, as well as the barriers and connections between people, between places and between ways of perceiving. Her practice has embraced collaboration, and through this, collage, drawing, sewing, text, and found images have been integrated into her work. She is interested in collapsing the traditional divide between author and subject, the real and the imaginary, challenging entrenched binaries. Drake was born in California and studied Media/Culture and History in the early 1990s at Brown University. Following her graduation from Brown, in 1994, Drake moved to New York and worked as a interactive concept designer for many years before departing to engage with the physical world through photography. Between 2007 and 2013, Drake traveled frequently to Central Asia from her base in Istanbul to work on two long term projects which became acclaimed bodies of work. Wild Pigeon (2014) is an amalgam of photographs, drawings, and embroideries made in collaboration with Uyghurs in western China. In 2018, the SFMOMA acquired the body of work and opened a six month solo exhibition of Wild Pigeon. Two Rivers (2013) explores the connections between ecology, culture and political power along the Amu Dary and Syr Darya rivers and was exhibited at The Pitt Rivers Museum, the Soros Foundation, the Third Floor Gallery, and the Photo Book Museum, among other venues. In Internat (2014-17), Drake worked with young women in an ex Soviet orphanage to create photographs and paintings that point beyond the walls of the institution and its gender expectations. The work was exhibited at the Houston Center for Photography in the US, and at Si Fest and Officine Fotografiche Roma in Italy. Drake returned to the US in 2014 and is now based in Vallejo, California, from where she is currently making work that upends perceptions of gender, community, and safety in her own community. Drake is the recipient of a Guggenheim fellowship, the Lange-Taylor Prize, the Anamorphosis prize, an HCP fellowship, a Lightwork residency, and a Fulbright fellowship to Ukraine, among other awards. Her work has been published widely, in publications such as The New Yorker, Aperture, The New York Review of Books, Harpers, The New York Times Magazine, Prix Pictet, IMA, the British Journal of Photography, The Guardian, and Paris Review. She became a member of Magnum Photos in 2019. Source: carolyndrake.com
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