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Arkady Shaikhet
Arkady Shaikhet
Arkady Shaikhet

Arkady Shaikhet

Country: Russia
Birth: 1898 | Death: † 1959

Arkady Samoylovich Shaikhet was at the beginning a locksmith apprentice at a shipyard in Nikolaiev where he was born. He came to Moscow in 1918. At first he worked in a photographic studio were he retouched images of others but in 1924 his career as a photojournalist started. He worked for Rabochaïa Gazeta and the weekly Ogonek/Ogoniok. He was a pioneer in a new style of documentary photography called " artistic reportage".

He became a member of the union of proletarian russian photographers (ROPF), a rival group of the other "October" founded by Aleksander Rodtchenko. Shaikhet favored a rigorous journalistic point of vue and his work was very sensitive to sociological problems. His images were at the frontier of documentary and artistic photography. In 1931 with two of his friends, M. Alpert and Sergueï Toules and also the editor in chief Mezhericher, he took 80 pictures in four days and called his series "24 hours in the life of the family Filippov, steelworker in the red proletarian factory of Moscow" These documents were published in the German magazine "Arbeiter Illustrierte Zeitung (A.I.Z.) and then in the Russian magazine "USSR in Construction". They had a huge international impact.

In 1928 Shaikhet presented 30 images at the big exhibition "Ten years of Soviet photography" and won the first prize. In 1930 he helped Russian photojournalists show their work at the Camera Club in London. During the 30s he took a lot of images of the economical and social changes happening in his country. He followed the Turkestan–Siberian railway, that connects Central Asia and Siberia but also the first cars and tractors. He was a war reporter during World War II for the newspaper Frontavaïa Illioustratsia.

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shesaidred
shesaidred
Mexico/United States
Norma Córdova, aka, shesaidred, is a Mexican-American photographer, filmmaker, and artist, known for her framed dream-like cinematic stills. She is based in Oakland, California where she still works traditionally, shooting film, polaroids, paper negatives, and making darkroom chromogenic prints, and occasionally incorporating mixed media. Her work explores moody narratives. Sex, sadness, death, and family illnesses are recurring subjects, subjects her family considered taboo. By simply photographing those subjects, she explores her feminine desires, and to come to terms with what her Mexican culture and family expected of her as a female. She creates illusions that conjure the realms of the imagination without presenting a factual reality. Her work is very personal to her, yet allows viewers to relate to it freely. She uses these subjects and memories to help her navigate the anxieties caused by her family's expectations of her (to wed and have children), and to fill the space left by her family's silence on those subjects.
Erwin Olaf
Erwin Olaf
Netherlands
1959 | † 2023
Erwin Olaf (b. 1959) is an internationally exhibiting artist with works in the collections of museums and galleries around the world. Olaf has received numerous highly prestigious commissions and awards. Olaf emerged onto the international art scene when his series ‘Chessmen’ won the Young European Photographer of the Year award in 1988. This was followed by an exhibition at the Ludwig Museum in Cologne, with subsequent solo and group shows at major museums and galleries around the world, including Centro de Arte Contemporaneo de Málaga, Museum of Image and Sound in São Paulo, Martin-Gropius-Bau in Berlin, SECCA in North Carolina and Santiago Museum of Contemporary Art. In 2018 the Rijksmuseum has accuired 500 key artworks from his fourty-year oeuvre for their collection. This follows recent official portraits for the Dutch royal family and the design of the new Euro coin for King Willem Alexander. Rutger Pontzen, art critic for Dutch newspaper the Volkskrant said, ‘Controversial or not, Erwin Olaf does give a picture of the Netherlands’.. ‘and that makes him distinctive in Dutch photography’.. ‘In other words, his oeuvre belongs to the cultural heritage’. Starting his career as a photojournalist documenting the gay scene of the 1980s, Olaf increasingly sought and defined his own subjects, often explored in series of works in black and white (Squares, Chessmen and Blacks) and colour (Mind of their Own, Rain, Hope, Grief, Dusk, and Dawn). In recent years he has developed his themes through the form of monumental tableaux, for which he adopts the role of director as well as photographer. Olaf is a master of this craft, a virtuoso in the fine and subtle arts of photography and drama suffused with stillness, contemplation and dreamlike mystery. He is also a true picture maker, showing a close affinity with Old Masters and contemporary artists alike, from Rembrandt to Mapplethorpe, and in that sense his work emphatically bridges the gap between historical and contemporary picture-making. Now internationally renowned, Erwin Olaf’s photography remains an essential part of the Netherlands’ cultural heritage. Taco Dibbits, Rijksmuseum director, says, ‘his work is deeply rooted in the visual traditions of Dutch art and history’ and that consequently Olaf is ‘one of the most important photographers of the final quarter of the 20th century’. From progression to decay, notions of transformation are prevalent throughout Olaf’s work with a multitude of projects proving his fascination for society’s ever-changing demands, its simultaneous development and devolution of our moral compass, and its cultivated sense of anticipation for an almost-achievable contentment. These are the preoccupations that add a fascinating dimension to ‘Skin Deep’ and ‘Tamed and Anger’, but also colour the tension in ‘Separation’ which explores the artist’s relationship with his mother, the controversial ‘Royal Blood’, the pressures of ageing in ‘Mature’ and the self-portrait series ‘I Wish, I Am, I Will Be’. All these projects reveal the friction of an imperfect reality hidden beneath a perfectly curated façade. His most recent work sees the conclusion of the three-part project ‘Shifting Metropolises’ [working title] - a series of artworks looking at internationally renowned cities undergoing seismic change in the modern world. Rather than fabricating a controlled studio environment, this trilogy is the only time the artist has shot on location, retaining his characteristic cinematic associations to produce a body of work wrought with the genuine emotions and neuroses of these places and their inhabitants. A bold approach to his work has earned Olaf a number of commissions from institutions including Louis Vuitton, Vogue, the Stedelijk Museum Amsterdam, and the Rijksmuseum Amsterdam, for which he designed the 2016 ‘Catwalk’ exhibition, including a promotional video and photographic campaign. He has been awarded Photographer of the Year in the International Colour Awards 2006 and Kunstbeeld magazine’s Dutch Artist of the Year 2007 as well as the Netherlands’ prestigious Johannes Vermeer Prize. Additional international awards include the Infinity Award from the International Centre of Photography, the Silver Lion at the Cannes Lions Festival for Advertising, and a Lucie Award from the United States for his whole oeuvre. In 2013 he won the commission to redesign the Dutch Euro coins, which have been in circulation since 2014. Olaf has screened video work at the Centre Pompidou in Paris, the Museum at FIT in New York, and at Nuit Blanche in Toronto with a live score commissioned for his series ‘Waiting’. He has also projected his 30 channel video installation ‘L’Éveil' onto the Hôtel de Ville for Nuit Blanche in Paris, curated by Jean de Loisy (Director, Palais de Tokyo). In March 2018 the Museu da Imagem e do Som in São Paulo hosted a retrospective of his work. In 2019 Shanghai Center of Photography (SCôP) will host a solo exhibition. The Gemeentemuseum The Hague and The Hague Museum of Photography will host an anniversary solo exhibition for Erwin Olaf his 60th birthday, and to celebrate 40 years of photography. In 2019 there will be a new retrospective monograph released, published by Hannibal, Aperture, Xavier Barral and Prestel. Erwin Olaf (born 1959, Hilversum, the Netherlands) lives and works in Amsterdam. Source: www.erwinolaf.com
Herbert List
Herbert List
Germany
1903 | † 1975
Herbert List was a German photographer, who worked for magazines, including Vogue, Harper's Bazaar, and Life, and was associated with Magnum Photos. His austere, classically posed black-and-white compositions, particularly his homoerotic male nudes, taken in Italy and Greece being influential in modern photography and contemporary fashion photography. He was born on 7 October 1903 to a prosperous business family in Hamburg, the son of Luise and Felix List. He attended the Johanneum Gymnasium, and afterwards studied literature 1921–23 at the University of Heidelberg. While still a student he became apprenticed in the family company, Landfried Coffee. In 1923, after two years in Heidelberg learning about the coffee trade and attending lectures at the university on Greek art and literature, List traveled for the family business Kaffee-Import Firma List & Heineken, Hamburg. Between 1925 and 1928 he visited plantations and contacts in Guatemala, Costa Rica, San Salvador, Brazil (where he stayed for six months) and San Francisco. During this time he began taking photographs. In 1929 he met Andreas Feininger who inspired his greater interest in photography and gave him a Rolleiflex camera. From 1930 he began taking portraits of friends and shooting still life; was influenced by the Bauhaus and artists of the surrealist movements, Man Ray, Giorgio De Chirico and Max Ernst; and created a surrealist photograph titled Metaphysique in a style he called fotografia metafisica in homage to De Chirico, his most important influence during this period. List used male models, draped fabric, masks and double-exposures to depict dream states and fantastic imagery. He has explained that his photos were "composed visions where [my] arrangements try to capture the magical essence inhabiting and animating the world of appearances." While there are surface similarities to Nazi imagery of the athletic male body—that of Leni Riefenstahl for example—unlike them, List's pictures of friends are portraits as much as they are nudes, nor did List endorse Nazi ideas, nor did his work influence National Socialist photography. He never published his male nudes in his own lifetime, and kept them hidden in his mother's house in a sack he called his poison bag". He was however influenced in his depiction of romantic paganism by the Jugendbewegung youth and physical health movement, though he did not join any of its associations, and some of the ideals of the Jugendbewegung were co-opted by the Nazis (though they later denounced the movement) and influenced their idealizing Romantic realism. List in his own notes uses a pun—"Das Objektiv ist nicht objectiv,"—to emphasize his creative, non-realist, application of photography. The lens is not objective. Otherwise photography would be useless as an artistic medium. -- Herbert List In 1936, in response to the danger of Gestapo attention to his openly gay lifestyle and his Jewish heritage, List left Germany for Paris, where he met George Hoyningen-Huene with whom he travelled to Greece, deciding then to become a photographer. In 1937 he worked in a studio in London and held his first one-man show at Galerie du Chasseur d'Images in Paris. Hoyningen-Huene referred him to Harper's Bazaar magazine, and 1936–39 he worked for Arts et Metiers Graphiques, Verve, Vogue, Photographie, and Life. List was unsatisfied with fashion photography. He turned back to still-life imagery, continuing in his fotografia metafisica style. From 1937 to 1939 List traveled in Greece and took photographs of ancient temples, ruins, sculptures, and the landscape for his book Licht über Hellas. In the meantime he supported himself with work for magazines Neue Linie, Die Dame and for the press from 1940 to 1943, and with portraits which he continued to make until 1950. In List's work the revolutionary tactics of surrealist art and a metaphysical staging of irony and reverie had been honed in on the fashion industry that relied on illusion and spectacle which after World War II returned to a classical fixation on ruins, broken male statuary and antiquity. In 1941, during World War II, he was forced to return to Germany; but because one of his grandparents was Jewish he was not allowed to publish or work professionally. In 1944 he was drafted into the German military, despite being of partly Jewish ancestry. He served in Norway as a map designer. A trip to Paris allowed him to take portraits of Picasso, Jean Cocteau, Christian Bérard, Georges Braque, Jean Arp, Joan Miró, and others. After the war, he photographed the ruins of Munich where he continued to live until 1960, working mainly for the Swiss magazine Du, with freelance photo essays for Heute, Epoca, Look, Harper's Bazaar, Flair, and Picture Post. He was made art editor of Heute magazine, published by the Allied occupying forces, in 1948. In 1951, List met Robert Capa, who invited him to work as a contributor to Magnum, but he rarely accepted assignments. For the next decade he produced copious work in Italy. During this time he also started using a 35 mm film camera and a telephoto lens. He was influenced by his Magnum colleague Henri Cartier-Bresson as well as the Italian neorealist film movement. In the 1950s he also shot portraits of Marino Marini, Paul Bowles, W. H. Auden, and Marlene Dietrich in 1960. Over the period 1949–62 he visited Italy, Greece, Spain, France, Mexico, and the Caribbean. List's 1950 picture of a woman, her black dress spread about her, reclining at a respectable distance from an elderly man reading, with one leg of his trousers rolled above his socks and garter, both enjoying the spring sunshine on the front steps of the Glyptothek in Munich, was selected by curator Edward Steichen for the world-touring Museum of Modern Art exhibition The Family of Man, seen by 9 million visitors. In 1964 List was awarded the David Octavius Hill Prize of the Gesellschaft Deutscher Lichtbildner. Herbert List is best known for his book Junge Männer (1988) which contains more than seventy images of young men lounging in the sun, wrestling and innocently regarding the camera lens. It is introduced by Stephen Spender in whose autobiographical novel The Temple, written in 1929 but not published until 1988, List is fictionalized as Joachim Lenz. List gave up photography in the early 1960s to concentrate on his collection of Italian Old Master Drawings. He died in Munich on 4 April 1975, and his archive was absorbed in the Ratjen collection which was later acquired by the National Gallery of Art in Washington.Source: Wikipedia
Anne Launcelott
Anne Launcelott
England/Canada
Anne is a self-taught photographer who began photographing her children as they were growing up in B&W. She would put her babies to bed, set up the darkroom in the apartment bathroom and print well into the wee hours. She went digital, and thus began shooting in colour, in 2010 when darkroom supplies and film were no longer available. Her first workshop was with the noted New York street photographer Jay Maisel who has influenced her use of colour, light and gesture. Her first photography expedition was with Steve McCurry in 2012 to Myanmar. On this trip she discovered her passion for travelling back in time to countries where the culture is so different from her own. People and the themes of everyday life are Anne's inspiration and she wants to draw the viewer in by telling a story through her imagery. Her preference is to explore the streets alone, camera in hand, in order to get into a Zen frame of mind. Walking, observing, interacting, and photographing... pure joy!
Yves Marchand & Romain Meffre
Yves Marchand & Romain Meffre
France
Marchand (b.1981) and Meffre (b.1987) live and work in Paris. Initially pursuing photography individually, they met online in 2002 and started working together with the beginning of their Detroit project in 2005. Steidl published The Ruins of Detroit in 2010. A second printing is planned for later this year. They are currently completing their Gunkanjima book, also to be published by Steidl, and they continue to work on a project documenting American theaters that have either fallen into decay or been transformed entirely. Their work has been exhibited extensively throughout Europe and has been featured in the New York Times, The Guardian, The British Journal of Photography, TIME Magazine, amongst others.Source: Edwynn Houk Gallery About Theaters (2005-Ongoing) In the early 20th century, following the development of the entertainment industry, hundreds of theaters were built across North America. Major entertainment firms and movie studios commissioned specialized architects to build grandiose and extravagant auditoriums. From the 60's, TV, multiplexes and urban crisis made them obsolete. During the following decades, these theaters were either modernized, transformed into adult cinemas or they closed, one after the other; many of them were simply demolished. About Gunkanjima (2008-2012) In the South China Sea, 15 kilometers off the southwest coast of Nagasaki among the thousands of verdant landmasses that surround Japan, lies a mysterious island. With the geometric silhouette of a dark gray hull, perforated by hundreds of small windows, the island resembles a battleship. As one moves closer, approaching by sea, the figure takes shape again and the ghost ship turns into a block of concrete surrounded by a high wall on which waves crash - the island looks like a Japanese version of Alcatraz. Only 40 years ago, this tiny island was home to one of the most remarkable mining towns in the world and maintained the highest population density in the world. During the wave of industrialisation in the nineteenth century, a coal seam was discovered on the tiny Hashima island. In 1890 the Mitsubishi Corporation opened a mine on the island. For decades coal production sustained Japan's modernisation and helped establish its position as an industrialised nation and imperial power. Workers settled on the island and the population increased. Mine slag was used to expand the surface of the colony; piling up on itself like an ant hill. The small mining town quickly became an autonomous modern settlement (with apartment buildings, a school, hospital, shrine, retail stores and restaurants) which mimicked the other settlements on the Nippon archipelago. One multi-storied concrete apartment block with its brutal and rational style followed another, until the tiny island became the most densely populated place in the world per square meter with over 5,000 inhabitants in the 1950s. About The Ruins of Detroit (2005-2010) At the end of the XIXth Century, mankind was about to fulfill an old dream. The idea of a fast and autonomous means of displacement was slowly becoming a reality for engineers all over the world. Thanks to its ideal location on the Great Lakes Basin, the city of Detroit was about to generate its own industrial revolution. Visionary engineers and entrepreneurs flocked to its borders. In 1913, up-and-coming car manufacturer Henry Ford perfected the first large-scale assembly line. Within few years, Detroit was about to become the world capital of automobile and the cradle of modern mass-production. For the first time of history, affluence was within the reach of the mass of people. Monumental skyscapers and fancy neighborhoods put the city's wealth on display. Detroit became the dazzling beacon of the American Dream. Thousands of migrants came to find a job. By the 50's, its population rose to almost 2 million people. Detroit became the 4th largest city in the United States.
Lev. L. Spiro
Lev. L. Spiro
United States
Lev L. Spiro is a fine art photographer and filmmaker, whose work tries to convey the sense of mystery and wonder he finds in the natural world. Work from his series "Fugitive Light", "Night Creatures" and "Thin Places" has been juried into more than 60 exhibitions, including A. Smith Gallery, Southeast Center for Photography, Ph21 Gallery, Midwest Center for Photography, and Davis Orton Gallery, as well as featured in publications including Dodho Magazine, Shadow & Light Magazine, What Will You Remember?, Art Ascent Magazine (Gold Artist, June 2021; Silver Artist, July 2023) All About Photo, and Black + White UK. Lev currently teaches the fine art photography courses "The Artful Garden" and "Story & Emotion in the Natural World" for Santa Fe Workshops. He's also well known for his tv and film directing work, having helmed more than 160 episodes, pilots and features for tv including multiple Emmy-award winning series such as Orange is the New Black, Ugly Betty, Modern Family, Weeds and Arrested Development. He lives in Los Angeles, California with his wife, screenwriter Melissa Rosenberg, and their two dogs T.Beau and Luna. ARTICLE: Elemental
Vicky Stromee
Vicky Stromee
United States
1950
How I got interested in photography I was immersed in the arts from an early age. My father was an amateur photographer and my mother a painter and pianist. At 8, I got my first Brownie camera and began shooting everything I saw. Watching an image magically emerge from the developing tray in my dad's darkroom; spending afternoons lying under the baby grand piano with waves of sound resonating around and through me; texture, pattern, fluidity, and change - these were my earliest influences, and they continue to unfold in my work. Where I live and my work can be seen I am fortunate to call the Southwest - a place of incredible natural beauty - my home. I have lived in Tucson, AZ since 1975 when I moved here to pursue a master’s degree in Counseling at the University of Arizona. When I retired from a long career in mental health, I turned my attention full time to photography, ultimately finding my niche in photographing natural subjects. More recently I have begun to create photomontages incorporating these natural objects into both abstract images and scenes of imaginary realism. My work hangs in galleries, hospitals, and private and corporate collections throughout the US. It has been featured at the Griffin Museum of Photography, Boston; Waxlander Gallery, Santa Fe; PhotoPlace Gallery, Vermont; A Smith Gallery, Texas; Fotonostrum, Barcelona; and Afterimage Gallery in Dallas. Selected images have representation through Cynthia Byrnes Contemporary Art in New York. What captures my imagination and what I explore in my art I am interested in edges and intersections of transformation where one thing moves inexorably to become something else. When is the moment when love fades into anger and resentment; when disillusionment erupts into a violent uprising, when order descends into chaos? And when is the moment when war turns towards peace; unbearable grief shifts towards acceptance; or when pain gives way to relief? I feel the daily bombardment of stories about conflict and anger towards “otherness.” I’m disturbed by the disintegration of public discourse that has devolved into shouting tropes at one another and refusing to entertain differing points of view while using violence to subjugate and silence others. The cacophony of misinformation drives me into further retreat. I’ve always felt a kinship with Buddhist thought and the concept of nonduality - the belief that there is only one reality that is the summation of all experience. That there is no separation between subject and object; inner self and outer experience; self and other. We are drops in the ocean, interconnected manifestations of spirit. When I am engaged in the act of creation – no longer focused on trying to create, but simply being a conduit – time disappears. I’m following an intuitive process to listen for what comes next. The external chatter recedes, I feel a sense of calm, I feel connected to a deeper flow. Touching into these moments provides a respite and allows me to re-engage in the world with all its seemingly unresolvable conundrums. I make art as much for myself as for others; creating visual meditations is an end in and of itself.
K-Narf
K-Narf
France/Australia
1970
Using adhesive tape to manually process my photographs, open to influences from street art and video, the medium of photography is for me not only limited to truth-seeking but is also a toy to create and play. Both conceptual and experimental, definitely non-conventional, my work documents, recycles and collects the visual anachronisms of a world in a perpetual mutation.For the past decade K-narf has lived and exhibited worldwide including Japan, Australia, France, Singapore, USA and Italy. His exhibitions, often taking the form of ephemeral installations, are shown without distinction in a plant still in operation, an old theatre, Art galleries, Art biennales or an abandoned garage. His work has been shown atthe Museum of Contemporary Art in Scottsdale (US), the Museum of Sydney, the Japan Foundation for the Arts, The Yves Klein Archives, Issey Miyake (Paris), the Clic gallery in NYC as well as a solo show during the Arles photo festival.
Joakim Eskildsen
Joakim Eskildsen
Denmark
1971
Joakim Eskildsen was born in Copenhagen in 1971 where he trained with Royal Court photographer, Mrs. Rigmor Mydtskov. In 1994, he moved to Finland to learn the craft of photographic book making with Jyrki Parantainen and Pentti Sammallahti at the University of Art and Design in Helsinki, graduating with an MA degree in photography in 1998. He often collaborates on projects with writer Cia Rinne, and his publications include Nordic Signs (1995), Blue-tide (1997), iChickenMoon (1999), which was awarded Best Foreign Title of 2000 in the Photo-Eye Books & Prints Annual Awards, the portfolio al-Madina (2002), which was made in collaboration with Kristoffer Albrecht and Pentti Sammallahti, and the book The Roma Journeys (Steidl 2007), which a.o. has been awarded with the Amilcare Ponchielli Award in 2008, Deutscher Fotobuchpreis (Gold) 2009, the Otto Pankok Promotion Prize, and the David Octavius Hill-medal awarded by Deutsche Fotografsche Akademie in 2009. Joakim lives and works in Berlin.Source: www.joakimeskildsen.com Joakim Eskildsen (born 1971 in Copenhagen) is a Danish art photographer. Eskildsen was a pupil of Rigmor Mydtskov in Copenhagen and went to Finland in 1994 to study photographic book making with Pentti Sammallahti at the University of Art and Design Helsinki. He lives near Copenhagen and has shown some of his works in Europe (including Germany, Denmark, Finland, Sweden, France, England, Italy), China, and South Africa. From 2000-2006, together with the writer Cia Rinne, Eskildsen sought out Roma in various (mainly Eastern European) countries and other ethnic groups in India who are possibly related to the Roma. The fruits of this work have found their way into the book The Roma Journeys, which delivers insight into the life of the Roma by its text and more than 200 photographs. Source: Wikipedia
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