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Angela Bacon-Kidwell
Angela Bacon-Kidwell
Angela Bacon-Kidwell

Angela Bacon-Kidwell

Country: United States

Angela Bacon-Kidwell is an award winning photographer and visual artist that lives and works in Texas. Angela has a BFA from Midwestern State University, Wichita Falls, Texas, with specialization in painting and photography. Her work emerges from her journey of recovering a sense of self, strength and spirituality through an examination of her identities as daughter, granddaughter, wife, mother and artist. Her photographic work has received numerous awards and honors and has been exhibited and published both nationally and internationally. Recent awards and recognition’s include: nominated for the Santa Fe Prize for Photography in 2011, Finalist for the John Clarence Laughlin Award, First place in the Palm Springs Photo Festival, First Place in the Texas Photographic Society International Competition and 2012 lecture at the Annenberg Space for Photography in Los Angeles.

She is currently represented by Afterimage Gallery, Dallas, Texas, Wallspace Gallery, Santa Barbara, CA and Galerie BMG, Woodstock, NY


Home by Nightfall (2012-2014)

Silence ceased for him in 2011
not a whisper, but a relentless roaring thunder
molding his spirit into mourning

In his misery, a new vaporous malice was brewing
the ringing was a warning
tinnitus and cancer were converging

Every known eradication was pursued
He and I, separated by many miles,
shared a need for solitude
cultivated by lucid country drives

We drove separately through the dark districts of our minds
invariably contemplating what was to come,
a symbiotic transitory landscape emerged
and the thunder soared in 2013

Questions, Answers, Questions, Answers
Questions, Answers, Questions, Answers
Questions, Answers, Questions, Answers
all tedious throbbing answers

How many miles in a life?
What shape is the color grey?
When does an echo become whole?

During the three years of relentless discord,
I created images of these ambiguous queries
emoting, sensing, seeking

There is a truth in "big" questions with small answers
Clarity in the midst of chaos
Hope in the face of despair

Silence returned for him on May 24, 2014
He was my father.

Galleries

Afterimage Gallery

Wallspace Gallery

Galerie BMG

Website

www.angelabaconkidwell.com

 

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More Great Photographers To Discover

Jiri Sneider
Jiri Sneider
Czech Republic
1979
Jiří Šneider was born in 1979 and bred in Český Krumlov where my home is. Photography started to fascinate me around the year 1997. I have always been attracted by black & white photography, hence this constitutes of two thirds of my work. I've focused on portrait and travellers documentary. Recently I have developed more thanks to travelling (Ukraine, Bangladesh, Armenia and Nagorno-Karabakh, Japan...). These destinations brought up many topics and situations of people at home, at work, going out, in streets, at religious rituals... Hard Workers The Gulf of Bengal, with a population of more than 156 million, keeps its economy running on hard human labour every day. Across the age, gender... older children take care of young children and infants, while parents earn money for daily survival, medical care, housing and other daily necessities. In such working conditions where the human body is exposed to dust, polluted water, fumes from machines and cars for a long time. So that families do not have to waste time commuting to work, they live in simple shelters around the shipyard, the port, or directly in the areas where bricks are made and baked, in villages where they also manually model clay bowls and bake them in primitive kilns. Even whole families work on a landfill, where they sort and recycle garbage for sale to make a living. Brave young people travel west to work in Arab countries near the Persian Gulf to make many times more money in services, auxiliary work and gastronomy, which they regularly send to their families in Bangladesh. The Hard workers project introduces you to black and white photographs of workers who work hard every day for a very small wage. For a journalist photographer and documentary filmmaker, this country is rough but full of many friendly people.
James Peaslee
James Peaslee
United States
1952
James M. Peaslee (Jim) is an art photographer living in New York City. He grew up in New York City and its suburbs, Los Angeles, and France. He has been taking pictures for 50 years. His formal photography education started at age 17 in 1970, in a course taken in the Yale Art Department from the venerable Walker Evans. Peaslee has a substantial portfolio of black and white pictures (taken with a medium format camera) from that time. The need to earn a living then put a temporary damper on artistic endeavors. He went to law school, and was a tax lawyer for many years with the international law firm Cleary Gottlieb. Good tax lawyers are known for their creativity, but admittedly the artistry is light on color, tones, and shapes. In 2018, Peaslee retired from the law and attended the Rocky Mountain School of Photography Summer Intensive Program. Much of his time since the beginning of 2018 has been devoted to photography, and his portfolio is growing. Statement Peaslee admits to having a dark side. Many of the pictures he takes are stark or consciously simplified. A picture that is stark or simple offers the viewer a chance to ask what is missing, or what happens next. Many images show individuals who seem isolated. Pictures of buildings usually show no people, or only figures in silhouette or shadow. One artist Peaslee cites as an influence is Edward Hopper. Walker Evans, his first photography teacher, also helped set the tone.
Jo Ann Chaus
Jo Ann Chaus
United States
1954
Jo Ann Chaus is an American photographer from and based in the New York metro area She holds two certificates from the International Center of Photography in New York City. In 2016 Jo Ann self-published "Sweetie & Hansom", a 60-image book with original text exploring family, relationships and loss. Her current body of work, "Conversations with Myself", is a collection of performative self-portraiture that explores women's roles and identity, currently under edit for publishing. Her work has been exhibited nationally and internationally, and she holds special recognitions and awards: Critical Mass Top 200 2020, 2019, 15th Julia Margaret Cameron Award for Women Photographers Winner Self Portrait Series, 14th Julia Margaret Cameron Awards Honorable Mention, Winner 13th Pollux Awards non-professional category, Critical Mass 2019 Top 200, Klompching Fresh 2019 Finalist, PDN Emerging Photographer Fall 2019 Winner, , Candela Unbound8! and 9! juried exhibitions, Permanent Collection in the Center for Creative Photography Qualities of Light Exhibition, Juror's Choice South East Center for Photography Portrait Exhibition 2019. Statement Jo Ann's work is a visual record of her interactions with and with-in her environment, and her curiosity to explore and discover personal truths, whether found or assembled, as metaphors for her inner landscape. She expresses the joys and pathos of a life, as seen and felt by the young girl within who became the woman, the mother, and the wife. Her perspective is through the eyes of an elder in our society, contemplating the challenges and incongruities of her own will, desire and constraints within a historical context. Heightened and enhanced by the literal light of day, it is an examination of life's ambiguities: the close and the distant, the beauty and the grit, the singular and the plural, satisfaction and longing, together and apart… all relentlessly seeking to understand and witness herself, past, present and future.
Kerry Mansfield
Kerry Mansfield
United States
Kerry Mansfield is a San Francisco based photographer whose work explores time and how it affects our perceptions of what we see and the world it envelops. Born in New Jersey in 1974, Kerry graduated with a Bachelor’s Degree in Photography from UC Berkeley and did further studies at CCA (California College of the Arts). Her work has been exhibited globally and garnered numerous honors including LensCulture’s Single Image Award, multiple PX3, World Photography Organization and IPA Awards, and as a Critical Mass Finalist for three years. A host of press and publications, ranging from Time Magazine's Lightbox to the New York Times LensBlog, have featured several bodies of her work. Kerry’s Expired series monograph was released in spring 2017 receiving high praise from The Guardian UK, Architectural Digest, BuzzFeed News, Hyperallergic and and winning the PX3 Bronze Book Award. She's now currently creating a new body of work focused on tidal shifts as a metaphor for how time alters memories. Aftermath As a photographer, I've spent most of my career looking deeply into the spaces we inhabit. The idea of Home - what it meant and how it felt, preoccupied my thinking. Almost all my pictures were of the spaces we live in or the things we live with. But at the age of 31, a diagnosis of breast cancer forced me to redefine my ideas of home. Needless to say it came as quite a shock. I had exercised and eaten correctly, and like many of my age, I felt indestructible, never thinking the most basic of dwellings could be lost. Faced with the nihilistic process of radical chemotherapy and surgery, my ideas of "where" I exist turned inward. As the doctors, with their knives and chemistry broke down the physical structure in which I lived, the relationship between the cellular self and the metaphysical self became glaringly clear. My body may not be me, but without it, I am something else entirely. I knew that my long held image of myself would be shattered. What would emerge would be a mystery. It was in that spirit of unknown endings, that I picked up my camera to self document the catharsis of my own cancer treatment. No one was there when these pictures were made, just my dissolving ideas of self and a camera. And what began as a story that could have ended in many ways, this chapter, like my treatment, has now run its course. While I can't say everything is fine now, I will say, "These are the images of my Home - as it was then", and with a little luck, there will be no more to come. AAP Competitions: All About Photo Awards 2019 Article: The Tidal Block
Costas Delhas
Costas Delhas
Greece
I was born and raised in Athens, where I work as a photographer. I have attended photography courses and specialized seminars in applied and art photography. I have also taken part in workshops with Magnum photographers Gueorgui Pinkhassov and Nikos Εconomopoulos. Since 2017 I have been a lecturer in the photography seminars of www.iFocus.gr. Statement "Cosmography" is a portfolio dedicated to the magic of travel and the art of photography. Each image included in this collection is a window into the world - a moment frozen in time that tells a story of culture, landscape and human presence. Photography here functions not just as a record, but as a bridge: between the gaze and the experience, between the photographer and the viewer. "Cosmography" is a map of emotions, experiences and images - a photographic mapping of the world as seen by a traveller, inviting the viewer to rediscover the world - not as a tourist, but as an explorer of beauty, diversity and the common human thread that connects us all. AAP Magazine AAP Magazine 47 Shadows AAP Magazine 56 Shadows
Jolana Havelkova
Jolana Havelkova
Czech Republic
1966
Jolana Havelková (1966, Kolín, Czech Republic) graduated from the Institute of Creative Photography at the Silesian University in Opava, Czech Republic. In addition to photography, she uses a number of other means of expression in her work, including video and music. Her work includes conceptual, site-specific projects, and socio-artistic events. She has exhibited in many places in the Czech Republic as well as abroad. She also works as a teacher and curator of exhibitions (in 1993, she became one of the founding members of the Festival of Photography Funke's Kolín).
Ole Marius Joergensen
Ole Marius Joergensen
Norway
1976
Ole Marius Joergensen is an artist with a background in film based in Asker, Norway. He is best known for his meticulously staged cinematic photographs. With the use of theatrical light and vivid color juxtapositions, Ole Marius' work emphasizes the mystery and duality of rural life in the modern world. A child of 80s rural Norway, he became fascinated with suburban America, like the popular narratives told on screen by Steven Spielberg and the storytelling of author Stephen King. Drawn to the descriptive narrative and quality of light, he found himself wanting to create his own stories. Influenced by the work of the mid century painter Hopper and the directors Alfred Hitchcock, David Lynch, as well as 19th Century painting traditions of David Caspar Frederic, his work often depicts ordinary situations infused with a unique narrative that unlocks an unexpected mystery that feels both old and new. In 2014 he debuted his first major series "No Superhero," an ode to one of his childhood heroes, and a playful series with dark undertones. Ole Marius views Superman as a metaphor for taking risks and the worry of failure. Each scene is depicted through a lens that captures childhood nostalgia with the hero as an ordinary man. In 2015 Ole Marius made the series "Space Travels" which was his rediscovery of his native country. It was a narrative driven by the feeling of being trapped in a place and yearning for a new adventure that is out of reach. "Vignettes of a Salesman" (2016) is a love letter to simpler times of Scandinavia in the 1950s and 1960s. This series follows the main protagonist on a silent, solitary journey and the complex emotions, from the dark to the eccentric, associated with a stranger's life unfulfilled. Ole Marius' work has been exhibited widely in the United States, Asia, and Europe. His work can be found in private collections in Hong Kong, Los Angeles, Oslo, New York, Madrid and Berlin. His work has been featured on international art & culture websites, as well as in printed publications around the world.
Germaine Krull
Germaine Krull
Germany
1897 | † 1985
Germaine Krull was a photographer, political activist, and hotel owner. Her nationality has been categorized as German, Polish, French, and Dutch, but she spent years in Brazil, Republic of the Congo, Thailand, and India. Described as "an especially outspoken example" of a group of early 20th-century female photographers who "could lead lives free from convention", she is best known for photographically-illustrated books such as her 1928 portfolio Métal. Germaine Luise Krull was born in Wilda, Poznan, then on the border between Germany and Poland in East Prussia, of an affluent German family. In her early years, the family moved around Europe frequently; she did not receive a formal education, but instead received homeschooling from her father, an accomplished engineer and a free thinker but a bit of a ne'er-do-well. Her father may have influenced her in at least two ways. First, he let her dress as a boy when she was young, which may have contributed to her ideas about women's roles later in her life. Second, his views on social justice "also seem to have predisposed her to involvement with radical politics." Between 1915 and 1917 or 1918 she attended the Lehr- und Versuchsanstalt für Photographie, a photography school in Munich, Germany, at which Frank Eugene's teaching of pictorialism in 1907-1913 had been influential. She opened a studio in Munich in approximately 1918, took portraits of Kurt Eisner and others, and befriended prominent people such as Rainer Maria Rilke, Friedrich Pollock, and Max Horkheimer. Krull was politically active between 1918 and 1921. In 1919 she switched from the Independent Socialist Party of Bavaria to the Communist Party of Germany, and was arrested and imprisoned for assisting a Bolshevik emissary's attempted escape to Austria. She was expelled from Bavaria in 1920 for her Communist activities, and traveled to Russia with her lover Samuel Levit. After Levit abandoned her in 1921, Krull was imprisoned as an "anti-Bolshevik" and expelled from Russia. She lived in Berlin between 1922 and 1925 where she resumed her photographic career. She and Kurt Hübschmann (later to be known as Kurt Hutton) worked together in a Berlin studio between 1922 and 1924. Among other photographs, Krull produced in Berlin were nudes that one reviewer has likened to "satires of lesbian pornography." Having met Dutch filmmaker and communist Joris Ivens in 1923, she moved to Amsterdam in 1925. After Krull returned to Paris in 1926, Ivens and Krull entered into a marriage of convenience between 1927 and 1943 so that Krull could hold a Dutch passport and could have a "veneer of married respectability without sacrificing her autonomy." In Paris between 1926 and 1928, Krull became friends with Sonia Delaunay, Robert Delaunay, Eli Lotar, André Malraux, Colette, Jean Cocteau, André Gide and others; her commercial work consisted of fashion photography, nudes, and portraits. During this period she published the portfolio Métal (1928) which concerned "the essentially masculine subject of the industrial landscape." Krull shot the portfolio's 64 black-and-white photographs in Paris, Marseille, and Holland during approximately the same period as Ivens was creating his film De Brug ("The Bridge") in Rotterdam, and the two artists may have influenced each other. The portfolio's subjects range from bridges, buildings (e.g., the Eiffel Tower), and ships to bicycle wheels; it can be read as either a celebration of machines or a criticism of them. Many of the photographs were taken from dramatic angles, and overall the work has been compared to that of Laszlo Moholy-Nagy and Alexander Rodchenko. In 1999–2004 the portfolio was selected as one of the most important photobooks in history. By 1928 Krull was considered one of the best photographers in Paris, along with André Kertész and Man Ray. Between 1928 and 1933, her photographic work consisted primarily of photojournalism, such as her photographs for Vu, a French magazine. also in the early 1930s, she also made a pioneering study of employment black spots in Britain for Weekly Illustrated (most of her ground-breaking reportage work from this period remains immured in press archives and she has never received the credit which is her due for this work). Her book Etudes de Nu ("Studies of Nudes") published in 1930 is still well-known today. Between 1930 and 1935 she contributed photographs for a number of travel and detective fiction books. From 1935–1940, Krull lived in Monte Carlo where she had a photographic studio. Among her subjects during this period were buildings (such as casinos and palaces), automobiles, celebrities, and common people. She may have been a member of the Black Star photojournalism agency which had been founded in 1935, but "no trace of her work appears in the press with that label." In World War II, she became disenchanted with the Vichy France government, and sought to join the Free French Forces in Africa. Due to her Dutch passport and her need to obtain proper visas, her journey to Africa included over a year (1941–1942) in Brazil where she photographed the city of Ouro Preto. Between 1942 and 1944 she was in Brazzaville in Republic of the Congo, after which she spent several months in Algiers and then returned to France. After World War II, she traveled to Southeast Asia as a war correspondent, but by 1946 had become a co-owner of the Oriental Hotel in Bangkok, Thailand, a role that she undertook until 1966. She published three books with photographs during this period and also collaborated with Malraux on a project concerning the sculpture and architecture of Southeast Asia. After retiring from the hotel business in 1966, she briefly lived near Paris, then moved to Northern India and converted to the Sakya school of Tibetan Buddhism. Her final major photographic project was the publication of a 1968 book Tibetans in India that included a portrait of the Dalai Lama. After a stroke, she moved to a nursing home in Wetzlar, Germany, where she died in 1985.Source: Wikipedia
Lara Wilde
Lara Wilde
Germany
1988
Lara Wilde dances in her projects between the themes of raw human emotions and the complexity of the outside world. As a photographer and psychologist she is interested in what moves us as humanity on an individual level. Besides an intensive involvement with her protagonists, she stands for technical perfection in the execution, which has earned her several awards. Since 2016 Wilde is working as a fine art photographer and creative director. Statement A few years ago I moved from a Norwegian village back to Berlin to study photography. What I didn't know back then is that you unlearn being a city person when you are gone long enough. I really thought I would die in the anonymous streets of the city I once loved so much. As you know, when we are determined to solve a problem, we go deeper into it. So I wanted to meet strangers and see how they feel outside of their awesome social herds. A lot of nights I now invited myself to other peoples houses, men and women, all strangers, drinking coffee and photographing them in the process. I shot them in longterm exposures, first, because I didn't want to bring a lot of equipment, but later I enjoyed the slow process, sitting there in darkness and waiting for the picture to come through. For some people, it was torture sitting around in the darkness, confronted with their thoughts without their smartphones, friends or busy surroundings. For me they looked like something was missing when they were just sitting by themselves. It felt really personal watching them trying to get comfortable in this inputless scene, to see them struggle, or to see them think and sometimes sharing the feelings that were coming forward. All these conversations with strangers, waiting around in the dark, gave me a feeling of togetherness, becoming a tiny particles of their lives and giving them something that they normally didn't have: Stillness. They were so open and thankful for conversations and most of the times we talked about the real shit: About being lonely, about dying, about calling our parents and our first love. All the stories found their way into the pictures and reminded me of everything we talked about. But I personally got my Berlin back. Not at the streets, but at the dark corners of their homes. Everything in their homes told their stories as loud as they did and I had the honor of being part of it for a short period of time. I get you now, Berlin-people: You are kind and giving, but you are afraid of being used. You are interested in others, but don't want to be tangled up in other peoples problems. You want to show yourself, but want to be accepted. And if you like it our not, the people around you want that too.
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