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Bert Stern
Bert Stern

Bert Stern

Country: United States
Birth: 1929 | Death: 2013

Bertram Stern (October 3, 1929 – June 26, 2013) was a self-taught American commercial photographer. He was the son of Jewish immigrants and grew up in Brooklyn. His father worked as a children’s portrait photographer. After dropping out of high school at the age of 16, he gained a job in the mail room at Look magazine. He became art director at Mayfair magazine, where Stern learned how to develop film and make contact sheets, and started taking his own pictures. In 1951, Stern was drafted into the US Army and was sent to Japan and assigned to the photographic department. In the 1960s Stern's heavy use of amphetamines, led to the destruction to his marriage to Balanchine ballerina, Allegra Kent. By the late 1970s Stern returned to the U.S. to photograph portraits and fashion. He was the subject of the 2010 documentary, "Bert Stern: Original Madman," directed by his secret wife, Shannah Laumeister. Ms. Laumeister and Stern never lived together, and Stern had a long standing relationship of 20+ years with Lynette Lavender who was his constant and devoted companion. His first professional assignment was in 1955 for a Madison Avenue advertising agency for Smirnoff vodka. His best known work is arguably The Last Sitting, is a collection of 2,500 photographs taken for Vogue of Marilyn Monroe over a three-day period, six weeks before her death. Stern's book The Last Sitting was published in 1982 and again in 2000. He has photographed Audrey Hepburn, Elizabeth Taylor, Madonna, Kylie Minogue, Drew Barrymore and Lindsay Lohan (recreating The Last Sitting), among others, in addition to his work for advertising and travel publications.

(Source: en.wikipedia.org)

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Dave Jordano
United States
1948
Dave Jordano was born in Detroit, Michigan in 1948. He received a BFA in photography from the College for Creative Studies in 1974. In 1977 he established a successful commercial photography studio in Chicago, IL, shooting major print campaigns for national advertising agencies. Since 2000, Jordano has concentrated on and established himself as an awarding winning mid-career fine art documentary photographer. He was awarded an honorable mention in the Houston Center for Photography’s Long Term Fellowship Project in 2003, and received the Curator’s Choice Award the following year for his documentary work on Small African American Storefront churches on the south side of Chicago. In 2006, 2008, 2013, and 2016 Jordano has been selected as a top 20 finalist in Photolucida's "Critical Mass" International Photography Competition. He was also selected for inclusion in "One Hundred Portfolios", a compilation featuring the work of 100 leading photographers from around the world and sponsored by Wright State University, Dayton, OH. A major exhibition of his work from the "Articles of Faith" project was held at the Chicago Cultural Center, Chicago, Illinois in 2009. In 2014-15 he was a finalist in the LensCulture Exposure Awards for his documentary work on Detroit and was also included in the highly competitive Outwin Boochever Portrait Competition at the National Portrait Gallery in Washington DC. Most notably, Jordano won the prestigious Canadian AIAMI / AGO Photography prize for 2015, which included a $50,000 prize and a six week, fully paid residency anywhere in Canada which he fulfilled by documenting the northern arctic town of Iqaluit, Nunavut, Canada. Jordano has exhibited both nationally and internationally and his work is included in several private, corporate, and museum collections. Most notably the Library of Congress, Prints and Photographs Division, Washington DC, the Museum of Contemporary Photography, Chicago, IL, The Museum of Fine Arts Boston, The Museum of Fine Arts Houston, The Detroit Institute of Arts, The Mary & Leigh Block Museum of Art at Northwestern University, Evanston, IL, the Harris Bank Collection, and the Federal Reserve Bank. His second book, published by the Center for American Places at Columbia College, Chicago titled, "Articles of Faith, Small African American Community Churches of Chicago", released in April 2009. His most recent publication, "Detroit - Unbroken Down" documents the cultural and societal changes of his home town of Detroit and was published in the fall of 2015 by PowerHouse Books, Brooklyn, NY. His fourth coming publication "A Detroit Nocturne" with an essay by Karen Irvine, Co-Director of the Museum of Contemporary Photography, Chicago, will also be published by PowerHouse Books and has a launch date scheduled for April 2018. Dave Jordano currently lives in Chicago, Illinois.
William Henry Fox Talbot
United Kingdom
1800 | † 1877
William Henry Fox Talbot was born on 11 February 1800 in Melbury, Dorset, into a well-connected family. His father died when he was less than a year old and he and his mother lived in a succession of homes until she remarried in 1804. Talbot went to Cambridge University in 1817. In 1832, he married Constance Mundy and the same year was elected as MP for Chippenham. In 1833, while visiting Lake Como in Italy, his lack of success at sketching the scenery prompted him to dream up a new machine with light-sensitive paper that would make the sketches for him automatically. On his return to England, he began work on this project at his home at Lacock Abbey in Wiltshire. Thomas Wedgwood had already made photograms - silhouettes of leaves and other objects - but these faded quickly. In 1827, Joseph Nicéphore de Niepce had produced pictures on bitumen, and in January 1839, Louis Daguerre displayed his 'Daguerreotypes' - pictures on silver plates - to the French Academy of Sciences. Three weeks later, Fox Talbot reported his 'art of photogenic drawing' to the Royal Society. His process based the prints on paper that had been made light sensitive, rather than bitumen or copper-paper. Fox Talbot went on to develop the three primary elements of photography: developing, fixing, and printing. Although simply exposing photographic paper to the light produced an image, it required extremely long exposure times. By accident, he discovered that there was an image after a very short exposure. Although he could not see it, he found he could chemically develop it into a useful negative. The image on this negative was then fixed with a chemical solution. This removed the light-sensitive silver and enabled the picture to be viewed in bright light. With the negative image, Fox Talbot realised he could repeat the process of printing from the negative. Consequently, his process could make any number of positive prints, unlike the Daguerreotypes. He called this the 'calotype' and patented the process in 1841. The following year was rewarded with a medal from the Royal Society for his work. Fox Talbot was also an eminent mathematician, an astronomer and archaeologist, who translated the cuneiform inscriptions from Nineveh. He died on 11 September 1877. Source: BBC
Michael Nguyen
Germany
1958
Michael Nguyen is a photo artist and documentary photographer living near Munich, Germany. He takes photographs since 1988. He has been living in Munich since 2007 and moved to Gauting near Munich in 2015. After a long break in the cultural sector and after a sickness he has dedicated himself 2018 entirely to art again. He is an artist and a photographic poet who moves away from the mainstream, at the same time blurs genres. Most of the time, he focuses on small, ordinary things but through the subjective lens, he give them new perspectives, a new soul. I found my way to photography when I was a journalist for art and culture. One of my main subjects was "Greece", and there was a lot to do with photography. Then, in close cooperation with Dr. Matthias Harder (now Director of the Helmut Newton Foundation, Berlin), we laid the foundation for understanding the photographs of Herbert List and Walter Hege. Since then, photography has opened up a whole new world to me. Michael Nguyen roamed various cities in Bavaria during the Corona pandemic. A focus of his works since COVID-19 are urban landscapes as well as urban spaces in different cities. Urban spaces can all enrich a life between buildings. Since Covid-19, social interaction in the Urban landscapes with their spaces has lain fallow. Michael Nguyen conveys this sensitively in his mostly "deserted pictures“. Nguyen enters the motifs of his urban landscapes with a great deal of empathy. He makes the city, urban landscapes and architecture visible and documents them for posterity. With his artistic documentary photography he refers to a reality that we all know, but interprets this reality with his images. Everywhere I go, my eyes and senses are in motion. With my camera I capture little things that we often don't notice in everyday life. At the BIFA Budapest International Foto Awards 2020 his artwork "Antimatter" was awarded in December 2020 with Gold. In addition to his artistic activities, Michael Nguyen is in Editor-in-chief of the online magazine for photography and art: Tagree. End of March 2021 Michael Nguyen is nominated for the Tassilo Culture Prize of the Süddeutsche Zeitung. Süddeutsche Zeitung (SZ) is a German national daily newspaper. It is published in Munich. SZ is the second largest daily newspaper in Germany (as of October 2020). Promoting the cultural sector in the Munich area and motivating creative artists (these are the goals of the Tassilo Culture Prize), which the Süddeutsche Zeitung is offering for the eleventh time this year. The SZ Prize is named after the Bavarian Duke Tassilo. Statement Our head is round so that thinking can change direction - a sentence by the writer and artist Francis Picabia, who inspired me as a young man interested in art and the art scene. Art broadened my perspectives and saved my soul. In the 1980s and 1990s I was a journalist, poet, photographer and event manager. After almost two decades, I found my way back to art in the dark times of my life in early 2018. Yes, once again art has saved my soul. Everywhere I go, my eyes and senses are in motion. With my camera I capture little things that we often don't notice in everyday life. The power of design and the contradictions between art and life Munich's most colorful shopping center facade by Prof. Dr. Rainer Funke When will the containers be loaded? Such a question comes to mind when approaching the shopping mall built in 2008 from a distance. But stop! The intense colors of the seemingly stacked cubes and their sophisticated composition immediately give rise to other associations. As if someone had created a special order out of building blocks. One wonders whether this is already the perfect final state, as one tries to create with the Magic Cube, for example. The variety of combinations seems too great for this. Both that of the colors and that of the surface structures. Added to this are the manifold reflections and the astonishing visual dynamics. One does not seem to move past the building itself, but its facades begin to run, to turn, to flow. One is almost reminded of the dancing of the facades and interiors of baroque courtly buildings in downtown Munich. Instead of baroque figurativeness, however, here it is geometry. The closer one gets, the more details become visible. No, these are neither containers nor building blocks. The prismatic shape of the colored and reflective metal plates gives the building shell pronounced plasticity. One would not have expected so much sophistication from a shopping center, especially not here, where Munich hardly has anything typically Munich anymore and is fraying into the landscape. Whether red voluptuousness with bold blue, pastel sweetness, noble gold, lush, or pale green: the overwhelming power of color is, of course, the basic theme of the series of images, always in powerfully soaring, a contrast-rich vertical sequence of seemingly endless parallels. Michael Nguyen's imposing photographs take us very close to this color organ. They make us stand at attention on the parade ground of the verticals. Especially the severity of the composition in detail becomes a theme. This gesture appears once again mercilessly emphasized by Nguyen's camera, as refractions and disturbances emerge from close up. Two framed, square blue lockers, for instance, according to their dimensions probably placed on a blue ground with metallic fittings not colored blue - the attempt to hide them has failed. Nguyen places them in the center. The wonderful striped pattern is disturbed in this way, less perfect and also a bit more lifelike. We experience something similar with the door locks (here the hinges additionally form a counter-rotating rhythm), the intercom, and the stickers on two other images. As a photographer, Michael Nguyen is as uninhibitedly consistent as the facades depicted want to be but cannot be in the storm of life and entropy. The mirrored surfaces evoke almost poetic associations when nature and urban space gently and carefully combine in them (in one picture, the soft shapes of the snow remains are added). Here, too, Nguyen is provocative. One picture is intended to irritate through eight seemingly irregular horizontal cuts in the surrounding colour surfaces. And, of course, dirt and trash. Such a design focused on geometric color perfection is highly moralistic. It points its moral finger in full size at the viewers, admonishing us not to disturb order, to preserve perfection and cleanliness. When we then perceive small discarded things and in addition a dirty floor or even dirty facade surfaces, it hits us with full force. At the same time, we are referred to the particularity and artistic rapture of the facade. Even a traffic sign, placed somewhat askew and in turn, defaced with remnants of a sticker, emphasizes the distance of the art object from life. Even the clash of different grid dimensions of the facade strips and the paving of the sidewalk draws attention and distances. Here nothing has grown out of the ground, where it has been landed. This impression is further emphasized by the filigree grid structure of the surfaces pointing to the left. If then still objects stand before the work of art, like a somewhat demolished container for the clothes collection, an ashtray (nevertheless in strict vertical-orthogonal high-grade steel form and exactly aligned), or admittedly color-coordinated garbage can one wished a ban mile for objects around the building. People appear in two photos. They make us breathe a sigh of relief: yes, the whole thing is made for people. The two people in a picture, shot somewhat voyeuristically behind a lamppost, could, however, already be a bit tighter, more upright, and perhaps defilade past the facade in step! The man with his shopping cart, on the other hand, seems to want to save himself from the austerity of the backdrop into the organic world of the leafy settlement. In an impressive way, Michael Nguyen presents us with this photo series of a building as a work of art and thus points us to the power of design but also to the contradictions between art and life. Prof. Dr. Rainer Funke researches and publishes on design-theoretical issues from a semiotic, cultural-theoretical and philosophical perspective and works as a design consultant for companies. He teaches design theory at the Potsdam University of Applied Sciences. After studying philosophy at Martin Luther University Halle-Wittenberg, he earned his doctorate in semiotics and subsequently worked in design-theoretical research at Burg Giebichenstein - University of Art and Design Halle. In 1992, he was appointed to Potsdam as the founding dean of the Department of Design. Rainer Funke was the owner of a design agency, chairman of the board of the Brandenburg Design Center, and visiting professor at the University of Art and Industrial Design Linz. Design theory is supposed to motivate in an enlightening way by conveying methods for the analysis of design, especially for the manifold relations between perceptible forms of artifacts and their meanings in the context of the process of use. Design theory explicates modes of action and historically founded developmental relationships of design and their various influencing factors. (Prof. Dr. Rainer Funke) Exclusive Interview with Michael Nguyen
Andreas Gursky
Germany
1955
German photographer. Shortly after Gursky was born, his family relocated to Essen, and then to Düsseldorf, West Germany in 1957. Gursky’s parents ran a commercial photography studio, but Gursky had no plans to join the business. He attended the Folkwangschule in Essen (1978-80) with a concentration in visual communication and the goal of becoming a photojournalist, but was unsuccessful with finding work. Encouraged by fellow photographer Thomas Struth, Gursky entered the prestigious Kunstakademie, Düsseldorf in 1980 and in his second year began studying photography under Bernd and Hilla Becher. Although the Becher’s preferred black and white photography, Gursky only worked in color, and with the help of his friends set up a color darkroom in 1981. By integrating the “systematically objective and rigorously conceptual”* documentary style of the Bechers’ photography with his taste for color, Gursky began to explore the contemporary culture of the world. Gursky had his first exhibition in 1981 featuring his series Pförtnerbilder (1981-5), a collection of works depicting pairs of German security guards. After graduating from the Kunstakademie in 1987, Gursky focused on photographing urban landscapes, both interior and exterior, and began to increase the size of his large format prints. Gursky had his first solo gallery show in 1988, at the Galerie Johnen & Schöttle. A rise of interest in the international art market for photography paired with the growing popularity of the Becher’s circle brought Gursky much commercial success. Gursky began the infamous May Day series (early 1990’s) in reaction to the biggest economic slump of recent history. A combination of the collapsing stock market with the growth of a dynamic drug-addicted rave scene inspired this photographic compilation. During this time, Gursky traveled to a number of international cities such as Tokyo, Los Angeles, Stockholm, Cairo and Hong Kong in order to photograph the masses – busy stock exchanges, manufacturing plants, industrial-looking apartment buildings, crowded arenas and swarming clubs. Gursky was one of the first contemporary photographers to use new digital photo editing techniques on his large format photographs. In 1999, Gursky created 99 Cent, the first in a series of photographs of discount stores, which “was quickly recognized as one of his most important works and placed in major museums around the world.”* Gursky’s retrospective at the Museum of Modern Art, New York in 2001, which included the work May Day IV, confirmed him as one of the greatest artistic visionaries of his generation. Source Sotheby’s, London
Donald Graham
United States
Donald Graham is an internationally recognized portrait, fashion and fine art photographer whose work is in the Metropolitan Museum of Art in New York and the International Center of Photography. He has exhibited his photography in numerous exhibitions and his photographs are held by many collectors. He is well known for his work photographing everyday people, celebrities and fashion for magazine and advertising clients including Vogue, Vanity Fair, Sports Illustrated and Time. Donald began his career in Paris as a fashion photographer. He then moved to New York and Los Angeles where he broadened his work to include portraiture for the movie, music, editorial and advertising industries and began devoting significant time to his personal fine art work. During his career, Donald has photographed in more than forty countries, with extensive travels in India, Asia, Africa, Latin America and Europe. A book of his portraits, entitled ONE OF A KIND, was published by Hatje Cantz in 2021. After 20 years in New York City, Donald is currently based in Los Angeles, California and Taos, New Mexico. Statement "My portraits are about honest moments that display qualities of the human character including wisdom and sensitivity, peace and vulnerability, both joy and tragedy. I seek to make portraits that are driven by one's inner dialog. I'm not interested in poses or performances for the benefit of the camera. I'm interested in what a person is like when they are their most authentic." Authenticity, honesty, and trust characterize Donald Graham's portraits. They are not simply photographic recordings. Looking at them is like seeing human beings in the flesh, revealed to us by Graham with his virtuoso technique and sensibilities. His exquisite, strongly contrasting black-and-white photographs are evidence of attitude, rather than studied gestures. Eyes and faces are not model-like masks; instead, they express the unique nature of those portrayed. Inevitably, viewers find themselves in a dialogue with the images. You wonder about the stories behind these faces; though unfamiliar, they are nevertheless an emotional experience. One of A Kind
Jerry Uelsmann
United States
1934 | † 2022
Jerry N. Uelsmann (born June 11, 1934) is an American photographer, and was the forerunner of photomontage in the 20th century in America. Uelsmann was born in Detroit, Michigan. While attending public schools, at the age of fourteen, there sparked an interest in photography. He believed that through photography he could exist outside of himself, to live in a world captured through the lens. Despite poor grades, he managed to land a few jobs, primarily photographs of models. Eventually Uelsmann went on to earn a BA from the Rochester Institute of Technology and M.S. and M.F.A. degrees from Indiana University. Soon after, he began teaching photography at the University of Florida in 1960. In 1967, Uelsmann had his first solo exhibit at The Museum of Modern Art which opened doors for his photography career. Uelsmann is a master printer, producing composite photographs with multiple negatives and extensive darkroom work. He uses up to a dozen enlargers at a time to produce his final images, and has a large archive of negatives that he has shot over the years. The negatives that Uelsmann uses are known to reappear within his work, acting as a focal point in one work, and background as another. Similar in technique to Rejlander, Uelsmann is a champion of the idea that the final image need not be tied to a single negative, but may be composed of many. During the mid-twentieth century, when photography was still being defined, Uelsmann didn't care about the boundaries given by the Photo Secessionists or other realists at the time, he simply wished to share with the viewer the images from his imagination and saw photomontage as the means by which to do so. Unlike Rejlander, though, he does not seek to create narratives, but rather "allegorical surrealist imagery of the unfathomable". Uelsmann is able to subsist on grants and teaching salary, rather than commercial work. Today, with the advent of digital cameras and Photoshop, photographers are able to create a work somewhat resembling Uelsmann's in less than a day, however, at the time Uelsmann was considered to have almost "magical skill" with his completely analog tools. At the time Uelsmann's work first came to popular attention, photos were still widely regarded as unfalsifiable documentary evidence of events. However, Uelsmann, along with Lucas Samaras, was considered an avant garde shatterer of this popular mindset and help to expand the artistic boundaries of photography. Despite his works' affinity with digital techniques, Uelsmann continues to use traditional equipment. “I am sympathetic to the current digital revolution and excited by the visual options created by the computer. However, I feel my creative process remains intrinsically linked to the alchemy of the darkroom.”[3] Today he is retired from teaching and currently lives in Gainesville, Florida with his third wife, Maggie Taylor.[4] Uelsmann has one son, Andrew, who is a graduate student at the University of Florida. But to this day, Uelsmann still produces photos, sometimes creating more than a hundred in a single year. Out of these images, he likes to sit back and select the ten he likes the most, which is not an easy process. (Source: en.wikipedia.org)
Laia Abril
Spain
1986
Laia Abril s a Spanish photographer and multiplatform storyteller whose work relates to femininity. Abril was born in 1986 in Barcelona, Spain. She gained a degree in journalism in Barcelona. She moved to New York City to study photography at the International Center of Photography. In 2009 she enrolled at Fabrica research centre, the artist residency of Benetton in Italy, where she worked as a staff photographer and consultant photo editor at Colors magazine for a number of years. Since 2010, Abril has been working on various projects exploring the subject of eating disorders: A Bad Day, a short film about a young girl struggling with bulimia; Thinspiration (2012), which explores the use of photography in pro-ana websites; and The Epilogue (2014), documenting the indirect victims of eating disorders, through the story of the Robinson family and the aftermath of the death of Cammy Robinson to bulimia. Critic Sean O'Hagan, wrote in The Guardian that The Epilogue "... is a sombre and affecting photobook ... dense and rewarding ... At times, it makes for a painful read. From time to time, I had to put it down, take a breather. But I kept going back." Her extended study of misogyny thus far includes A History of Misogyny: Chapter One: On Abortion, about the repercussions of abortion controls in many different cultures. Work is ongoing to produce A History Of Misogyny, Chapter 2: On Rape. Her other projects include Femme Love, on a young lesbian community in Brooklyn; Last Cabaret on a sex club in Barcelona; and the Asexuals Project, a documentary film about asexuality. Abril's books include The Epilogue (2014), which documents the indirect victims of eating disorders, and A History of Misogyny: Chapter One: On Abortion (2018), about the repercussions of abortion controls in many different cultures. On Abortion won Photobook of the Year award at the Paris Photo–Aperture Foundation PhotoBook Awards. In 2018 she was awarded the Tim Hetherington Trust's Visionary Award to work on A History Of Misogyny, Chapter 2: On Rape Culture. For the long-term project A History Of Misogyny, in 2019 she was awarded the Royal Photographic Society's Hood Medal and in 2020 she was awarded the Paul Huf Award from Foam Fotografiemuseum Amsterdam.Source: Wikipedia
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