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Win a Solo Exhibition this February. Juror: Harvey Stein
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Wendi Schneider
Wendi Schneider
Wendi Schneider

Wendi Schneider

Country: United States
Birth: 1955

Wendi Schneider is visual artist illuminating impressions of grace and vanishing beauty in our vulnerable environment with photography and precious metals. Her work is influenced by the lush landscapes of Memphis and New Orleans and a background in painting and art history - in particular Whistler and Steichen, and other Pictorialists and Tonalists.

She turned to photography in the early 1980s to create references for her paintings. Mesmerized by the alchemy of the darkroom, yet missing the sensuousness of oils, she layered glazes on her prints to create a heightened reality. She moved to New York in 1988, where she also photographed for advertising, book covers and Victoria Magazine, and to Denver in 1994, later sidelining her fine art practice while raising her son and working in commissioned photography, art direction, and design.

Inspired to return to fine art photography in 2010, she soon began her ongoing series 'States of Grace' - engaging digital to capture, layer and print her images, then applying gold or silver on verso to infuse the artist's hand and suffuse her subjects with the spirituality and sanctity of the precious metals - insuring each print is a unique object of reverence.

Her photographs have been shown in numerous solo and group exhibits internationally and are held in permanent collections at the New Orleans Museum of Art, the Memphis Brooks Museum, the Center for Creative Photography, Auburn University Library, and the Try-Me Collection.

Statement

My work is rooted in the serenity I find in the sinuous elegance of organic forms. It's a celebration of the senses anchored in the visual. I'm transfixed and transformed in the art of capturing the stillness of the suspended movement of light and compelled to preserve the visual poetry of these fleeting moments of vanishing beauty in our vulnerable environment.

I photograph intuitively - what I feel, as much as what I see. Informed by a background in painting, art history and design, I layered oils on silver gelatin prints in the '80s and '90s to find balance between the real and the imagined. My images are now layered digitally with color and texture, often altered within the edition, honoring the inconsistency. Printed on translucent vellum or kozo, these ethereal impressions are illuminated with white gold, moon gold, 24k gold or silver on verso, creating a luminosity that varies as the viewer's position and ambient light transition. My process infuses the artist's hand and suffuses the treasured subjects with the implied spirituality and sanctity of the precious metals - insuring each print is a unique object of reverence.

'States of Grace' has evolved organically into series within series that can be curated by subject, theme, treatment or feeling.

Galleries

A Gallery for Fine Photography
Anika Dawkins Gallery
Catherine Couturier Gallery
Galeria PhotoGraphic
Rick Wester Fine Art
Vision Gallery
 

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Fred Lyon
United States
1927 | † 2022
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Fenqiang Liu
United States
Anna Laza
Romania
"I started to be in photography about 15 years ago. At that time I used to model and participate in shootings. But quite quickly I got bored with posing and was becoming more curious to stand on the other side of the camera. So slowly, but certainly I started my own way in the big universe of photography. I have principles in my shootings and always keep in focus my own style. It’s very important for an artist to both keep his/her unique style and progress in it at the same time. When I shoot women I avoid sexualizing them and even photographing naked bodies there’ll be no sexual vision in the image, but sensual and sophisticated." Anna Laza is an influential visual artist working in Art and Fashion photography. Her projects are focused on finding new innovative styles both shooting and post-processing. Her work has been rewarded and been exhibited internationally, she has won in a number of famous photo contests, including LensCulture, MonoVisions and Minimalist Awards. She is often published in photography magazines and regularly appears on prestigious jury lists for photographic events. Besides her own photography, she is also a creator of the magazine FotoSlovo, which highlights every year new emerging talents in photography from Russia & CIS counties. Metaphysical Body Landscapes "My childhood I've spent at my grandmother's house in Romania, near the Carpathian Mountains. Seeing human's strong bond with the earth, observing nature, landscapes around influenced my understanding of earth beauty and men's connexion with it. All being is something whole, indivisible. Earth, sky, plants, fruits, mountains, rivers, men, women, day, night- all merged together and flow into each other. This process is infinite and harmonious. Men came from the earth, lives on earth and will return to earth. And landscapes of the earth are seen in body curves. Growing up I moved to live in big cities, my grandmother passed away and I felt the loss of spiritual connexion with nature. To reconnect, I start to search the Landscapes in body in my photography."
Isabeau De Rouffignac
I followed an artistic career path with a drawing baccalaureate, 2 years of preparatory classes at the Met de Penninghen studio, then I entered the graphic art school. This was followed by a long experience in design agencies (Design Strategy Orchestra), communication agencies (CPP) and manufacturing agencies (Vision Prod) as an employee and then as a freelancer since 1999. It is this status that will allow me to devote myself to photography, which I discovered in the 2000s. It was a revelation, and soon became obvious. Since then, I have been photographing worlds far and near, between a documentary approach and a resolutely artistic approach. A line of conduct, like a thread that runs through my work and gives it coherence: approaching the other, taming them, taking the time, learning their language, being forgotten, with a gaze that is always curious and fundamentally empathetic. Four photographic editions were born from this work. Since 2017, I devote all my time to photography. And although I have an initial training that integrates the work of the image and a long-standing photographic practice, I felt the need to go further, to question my writing, and I have therefore attended several workshops and training courses. (Arles, Cifap, Gobelins) In 2018, I became a member of Studio Hans Lucas Today, the more I advance in my artistic practice, the more I approach my projects from a documentary point of view, but with an aesthetic or even plastic approach from the start. By mixing these different ways of working on my subject, I leave the imposed categories (documentary, plastic photography, etc.) to invent my own language that allows me to convey a message (environmental, social, humanitarian, political, etc.). This is the case in my latest work in India, pleas. In Bhopal, they point out the consequences of the worst chemical disaster the world has ever known, and in Rajsamand, they tell of the difficult working conditions of the miners. Statement An intuition, a call following the reading of an article or a book, moves me from my daily life in the metropolis and I set off to meet the other. The country is always far away, the situation speaks of a reprieve. Through photography I seek an encounter with the other, the other in what is different about him, his way of life, his language, which I try as much as possible to learn in order to be in touch with him. I am looking for an encounter with a place that also has its own language that often says the impalpable, what does not always appear at first sight, a place to be deciphered. In these encounters, I also seek an encounter with myself, because the other person questions me, challenges me, shakes up my preconceptions, pushes me to question myself. In my last work on the miners of Rajasthan, I sought to pay tribute to men in pain, working in sandstone or marble quarries, working without safety clothing, for a ridiculous salary, without a work contract, and more than half of whom suffer from silicosis because they work without masks. In most of my other photographic works, I try to bear witness but also to show a cultural heritage that is on the verge of disappearing, and to talk about those who keep it alive and often fight against a progressive assimilation. Of course, the time needed for these encounters, for this acceptance by the communities in which I immerse myself, implies taking time. A lot of time. It is the only way to establish the links that open doors, give access to knowledge, beliefs, and sometimes even confidences. Learning the Hindi language has helped me to better understand the personal stories of all the men and women I have photographed, to understand the distress that lies behind their dignity. I try to document the issues through personal stories that are each unique and singular. This is what I have done here with the miners of Rajasthan, or previously with the women of Bhopal, the postmen of Rajasthan, or the Akhas of Thailand. I offer you my view, nourished by what my encounters have revealed to me, my way of documenting it, as close as possible or with distance when necessary. A view that I hope will open up the possibility of better understanding, or at least of trying. That's already a lot.
Pierre Verger
France
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Pierre Edouard Leopold Verger, alias Fatumbi or Fátúmbí was a photographer, self-taught ethnographer, and babalawo (Yoruba priest of Ifa) who devoted most of his life to the study of the African diaspora - the slave trade, the African-based religions of the new world, and the resulting cultural and economical flows from and to Africa. At the age of 30, after losing his family, Pierre Verger took up the career of journalistic photographer. Over the next 15 years, he traveled the four continents, documenting many civilizations that would soon be effaced by progress. His destinations included Tahiti (1933); United States, Japan, and China (1934 and 1937); Italy, Spain, Sudan (now Mali), Niger, Upper Volta, Togo and Dahomey (now Benin, 1935); the West Indies (1936); Mexico (1937, 1939, and 1957); the Philippines and Indochina (now Thailand, Laos, Cambodia and Vietnam, 1938); Guatemala and Ecuador (1939); Senegal (as a conscript, 1940); Argentina (1941), Peru and Bolivia (1942 and 1946); and finally Brazil (1946). His photographs were featured in magazines such as Paris-Soir, Daily Mirror (under the pseudonym of Mr. Lensman), Life, and Paris Match. In the city of Salvador, Brazil he fell in love with the place and people, and decided to stay for good. Having become interested in the local history and culture, he turned from errant photographer to a researcher of the African diaspora in the Americas. His subsequent voyages are focused on that goal: the west coast of Africa and Paramaribo (1948), Haiti (1949), and Cuba (1957). After studying the Yoruba culture and its influences in Brazil, Verger became an initiated of the Candomblé religion, and officiated at its rituals. During a visit to Benin, he was initiated into Ifá (cowrie-shell divination), became a babalawo (priest) of Orunmila, and was renamed Fátúmbí ("he who is reborn through the Ifá"). Veger's contributions to ethnography are embodied in dozens of conference papers, journal articles and books and were recognized by Sorbonne University, which conferred upon him a doctoral degree (Docteur 3eme Cycle) in 1966 — quite a feat for someone who dropped out of high school at 17. Verger continued to study and document his chosen subject right until his death in Salvador, at the age of 94. During that time he became a professor at the Federal University of Bahia in 1973, where he was responsible for the establishment of the Afro-Brazilian Museum in Salvador; and served as visiting professor at the University of Ifé in Nigeria. The non-profit Pierre Verger Foundation in Salvador, which he established to continue his work, holds more than 63,000 photos and negatives taken until 1973, as well as his papers and correspondence. Source: Wikipedia
Loretta Lux
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1969
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Barbara Crane
United States
1928 | † 2019
Barbara Crane (March 19, 1928 – August 7, 2019) was an American artist photographer born in Chicago, IL. Crane worked with a variety of materials including Polaroid, gelatin silver, and platinum prints among others. She was known for her experimental and innovative work that challenges the straight photograph by incorporating sequencing, layered negatives, and repeated frames. Naomi Rosenblum notes that Crane "pioneered the use of repetition to convey the mechanical character of much of contemporary life, even in its recreational aspects." Crane began her studies in art history at Mills College in Oakland, California in 1945. She transferred to New York University in 1948. In 1950, she received her BA in art history from New York University. After recommencing her career in photography, Barbara Crane showed a portfolio of her work to Aaron Siskind in 1964 and was admitted to the Graduate Program in Photography at the Institute of Design at the Illinois Institute of Technology. Crane then studied under Siskind at the Institute of Design, Illinois Institute of Technology, and received her MS from the Institute in 1966. Crane’s master’s degree thesis focused on “sculptural patterns through abstractions of the human body.” The images for this series depict bodies against white or black backgrounds – the overexposed, overdeveloped nature of the film turns these bodies into abstract outlines. John Rohrbach states, “each body almost dissolves, becoming a sinuous river flowing across a snowy landscape. This unnerving disconnect between what is seen and what is known would become a central theme of her career.” In 1971, Crane visited Ansel Adams at his home to show him a selection of her work. Adams told an assistant “See I told you photographers could still do something different” upon viewing her Repeats series. After this encounter, Adams hired Crane to teach workshops at Yosemite between 1977-1980. During Crane’s Guggenheim Fellowship (1979), she collaborated with the Center for Creative Photography in Tucson, Arizona to create a career retrospective of her work. During her time in Boston, she formed a relationship with the Polaroid Corporation and through the Polaroid Artist Support Program she experimented with Polaroid black & white and color photographic materials in numerous series. In 1995, Crane became Professor Emeritus at the School of the Art Institute of Chicago. Barbara Crane's work is represented in numerous public collections including the International Center of Photography, New York City; the George Eastman Museum, Rochester, NY; the Art Institute of Chicago; The J. Paul Getty Museum, Los Angeles; the National Museum of Modern Art, Kyoto; the Museum of Contemporary Art, Chicago; the Museum of Fine Arts, Houston; and the WestLicht Museum of Photography, Vienna, Austria. Crane's archive resides at the Center for Creative Photography at the University of Arizona in Tucson, AZ.Source: Wikipedia
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All About Photo Awards 2026
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Call for Entries
All About Photo Awards 2026
$5,000 Cash Prizes! Juror: Steve McCurry