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Roman Vishniac
Roman Vishniac
Roman Vishniac

Roman Vishniac

Country: Russia/United States
Birth: 1897 | Death: 1990

Roman Vishniac was a Russian-American photographer, best known for capturing on film the culture of Jews in Central and Eastern Europe before the Holocaust. A major archive of his work was housed at the International Center of Photography until 2018, when Vishniac's daughter, Mara Vishniac Kohn, donated it to The Magnes Collection of Jewish Art and Life at the University of California, Berkeley.

Vishniac was a versatile photographer, an accomplished biologist, an art collector and teacher of art history. He also made significant scientific contributions to photomicroscopy and time-lapse photography. Vishniac was very interested in history, especially that of his ancestors, and strongly attached to his Jewish roots; he was a Zionist later in life.

Roman Vishniac won international acclaim for his photos of shtetlach and Jewish ghettos, celebrity portraits, and microscopic biology. His book A Vanished World, published in 1983, made him famous and is one of the most detailed pictorial documentations of Jewish culture in Eastern Europe in the 1930s. Vishniac was also remembered for his humanism and respect for life, sentiments that can be seen in all aspects of his work.

In 2013, Vishniac's daughter Mara (Vishniac) Kohn donated to the International Center of Photography the images and accompanying documents comprising ICP's Roman Vishniac Rediscovered travelling exhibition.

In October, 2018, Kohn donated the Vishniac archive of an estimated 30,000 items, including photo negatives, prints, documents and other memorabilia that had been housed at ICP to the Magnes Collection of Jewish Art and Life, a unit of the University of California at Berkeley's library system.

Source: Wikipedia


As the Nazis rose to power in Berlin, Vishniac photographed the ominous changes in the city and also worked to document Germany-Jewish relief and social service organizations. In 1935, the American Jewish Joint Distribution Committee (AJDC) hired Vishniac to travel to Eastern Europe and take photographs documenting Jewish poverty and relief efforts to be used in its fundraising campaigns. In 1939, Vishniac pursued other AJDC assignments in Western Europe and worked as a freelance photographer there. After the German invasion of France, he was arrested and sent to an internment camp. With help from the AJDC and the remainder of his family’s resources, he secured the release and immigrated with his wife and two children to the United States via Portugal in December 1940. They settled in New York, where Vishniac worked as a photographer, making portraits and documenting Jewish refugees and American-Jewish community life.

In 1947, Vishniac returned to Europe to document the aftermath of the war and the plight of refugees and those living in displaced persons camps. Back in the United States, Vishniac continued his work as photographer and scientist and became a pioneer in the new field of photomicroscopy.

Vishniac’s photographs of Jewish life in prewar Eastern Europe gained renown in the aftermath of the Holocaust and were used to illustrate numerous books. Many people today are familiar with his work from his book A Vanished World (1983). However, the public saw only a small fraction of Vishniac’s work before his daughter, Mara Vishniac Kohn, entrusted his images to ICP and the Museum. This project makes them available to the public at large in hopes of learning more about the subjects of his photographs.

Source: Unites States Holocaust Memorial Museum


As an amateur photographer, Roman Vishniac took to the streets with his camera throughout the 1920s and ’30s, offering an astute, often humorous visual commentary on his adopted city and experimenting with new and modern approaches to framing and composition. Documenting the rise of Nazi power, he focused his lens on the signs of oppression and doom that soon formed the backdrop of his Berlin street photography.

From 1935 to 1938, while living in Berlin and working as a biologist and science photographer, he was commissioned by the American Jewish Joint Distribution Committee (JDC), then the world’s largest Jewish relief organization, to photograph impoverished Jewish communities in Central and Eastern Europe. On New Year’s Eve, 1940, he arrived in New York and soon opened a portrait studio. At the same time, he began documenting American Jewish communal and immigrant life and established himself as a pioneer in the field of photomicroscopy.

In 1947, Vishniac returned to Europe and documented Jewish displaced persons camps and the ruins of Berlin. During this time, he also recorded the efforts of Holocaust survivors to rebuild their lives and the work of the JDC and other Jewish relief organizations in providing them with aid and emigration assistance.

Source: International Center of Photography


 

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Susan Kismaric named a price for Smith's work, which Smith declined due to the price not paying off her bills. Kismaric asked Smith to reconsider, which she eventually did. Shortly after, she became the first Black woman photographer to be included in the collections of the Museum of Modern Art (MOMA) in New York City. In addition to the MOMA, Smith's art has been featured at the Schomburg Center for Research in Black Culture and the Smithsonian Anacostia Museum & Center for African American History and Culture in Washington, D.C. Smith has twice exhibited at the Bellevue Hospital Centre in Morristown, New Jersey, through their Art in the Atrium exhibitions. The first was in 1995, for Cultural Images: Sweet Potato Pie, an exhibit curated by Russell A. Murray. In 2008 she contributed as part of the exhibition New York City: In Focus, part of Creative Destinations 2008 Exhibition of African American Art. Smith's photographs are included in the 2004 Ntozake Shange book The Sweet Breath of Life: A Poetic Narrative of the African-American Family and Life. In 2010, her work was included in MOMA's exhibition Pictures by Women: A History of Modern Photography. This exhibition recontextualized Smith's work alongside that of Diane Arbus and marked a growing interest in Smith's work. Organized by curator Roxana Marcoci, it was curated by Sarah Meister through the Department of Photography. In 2017, a major survey exhibition of Smith's work was held at the Steven Kasher Gallery in New York. The exhibition featured 75 vintage black-and-white prints that represented Smith's career. Smith has collaborated with filmmaker Arthur Jafa in the Serpentine Sackler Gallery's 2017 show, Arthur Jafa: A Series of Utterly Improbable, yet Extraordinary Renditions (Featuring Ming Smith, Frida Orupabo and Missylanyus). That same year, she was featured in the Tate Modern group exhibition Soul of a Nation: Art in the Age of Black Power, curated by Mark Godfrey and Zoé Whitley. The show received international acclaim before traveling to Crystal Bridges Museum of American Art, The Brooklyn Museum, The Broad, the de Young Museum of San Francisco and the Museum of Fine Arts, Houston. Since then, Smith's work was featured in solo presentations by Jenkins Johnson Gallery both at Frieze New York and Frieze Masters in 2019, the former of which receiving the Frieze Stand Prize. In 2020, Ming's work will be included in the group exhibition Working Together: Louis Draper and the Kamoinge Workshop at the Virginia Museum of Fine Arts in Richmond, VA. From there, the exhibition will travel to The J. Paul Getty Museum in Los Angeles, CA, and the Whitney Museum of American Art, New York, NY.[19] Smith's work is in museum collections including the National Gallery of Art, Whitney Museum of American Art, Brooklyn Museum of Art, Philadelphia Museum of Art, Detroit Institute of Arts, Virginia Museum of Fine Arts, and the Schomburg Center for Research in Black Culture. Some of Smith's work displayed in the Museum of Modern Art depicts motherhood in Harlem. These photos are taken using a documentary style way of photographing these subjects. Ming Smith lives and works in New York City.Source: Wikipedia Ming Smith is known for her informal, in-action portraits of black cultural figures, from Alvin Ailey to Nina Simone and a wide range of jazz musicians. Ming’s career emerged formally with the publication of the Black Photographer’s Annual in 1973. She was an early member of the Kamoinge Workshop, an association of several generations of black photographers. Ming has traveled extensively, showing her viewers a cosmopolitan world filled with famous landmarks and extraordinary landscapes. People continue to be her most treasured subjects. This is most apparent in her series depicting African American life. Ming’s early style was to shoot fast and produce complicated and elaborate images in the developing and post-printing processes, so that many of her pictures carry double dates. She experimented with hand-tinting in My Father’s Tears, San Miguel de Allende, Mexico (1977/1979). Ming continues to expand the role of photography with her exploration of image and paint in the more recent, large-scale Transcendence series. Ming’s place in photography’s 175-year history was recognized by her inclusion in the Museum of Modern Art’s groundbreaking exhibition Pictures by Women: A History of Modern Photography in 2010. Ming Smith's photography is held in collections in the Museum of Modern Art, New York; the Schomburg Center for Research in Black Culture, New York; the Smithsonian Anacostia Museum & Center for African American History and Culture, Washington, DC and the AT&T Corporation.Source: Steven Kasher Gallery
Dmitry Ersler
Russia
1969
Dmitry Ersler is an award-winning fine art and advertising photographer with over two decades of experience. Born in Moscow, USSR and now based in Thailand, he began his artistic training under the guidance of his father. From 1976 to 1984, he studied at a Moscow public school, followed by public high school from 1984 to 1986. Between 1998 and 2004, he studied law at the Moscow Law University. Simultaneously, from 1999 to 2002, he pursued professional photography studies at the Moscow School of Art and Photography. Artist Statement: The artist's task is to awaken the viewer's imagination. My goal as a photographer is to evoke the viewer's imagination, trigger it, bring it to life. No one can create a picture better and brighter than the viewer's own imagination. It just needs a push, an impulse. My name is Dmitry, and I am a photographer. I create realistic-style photos depicting people in everyday life. However, most of my works are pictures with stories, with a narrative. The idea of creation such works is to photograph images with embedded stories and attempt to describe them using various techniques (interior details, clothing or props, lighting, model's pose, facial expressions, gestures, and so on). The people on these photographs are not just models; each of them is a participant in some events, a hero of their own story. And in each story, there was a past that happened just a moment before the viewer approached the photograph. There is also a present frozen while the viewer looks. And there is a future that will come as soon as the viewer steps away from the image. Each viewer has to examine the present himself, speculate about the past, and anticipate the future. What was in this imaginary past and what will be in the future entirely depends on the imagination of each viewer. The most important thing for me is that the viewer, flipping through a magazine or walking along the gallery wall, stops and looks at the image, freezes, and begins to ask themselves questions: What is happening here? Why is the protagonist of the picture doing this? What prompted him to do this? What will happen next? Making these questions arise is the essence of art.
Joshua Lutz
United States
1975
Joshua Lutz is an American artist working with large-format photography and with video. Lutz was given his first solo exhibition at Gitterman Gallery during the summer of 2004. In 2008 Lutz's first book, Meadowlands, was published with powerHouse Books. In essayist Robert Sullivan's introduction to the book he describes the Meadowlands as “… that giant swath of swamp and space that separates New Jersey from New York City, or, put another way, from New York City and the rest of the United States of America.” The New Yorker wrote "Joshua Lutz takes the New Topographics of Adams, Shore, and Sternfeld into its current era of urban sprawl.” In the fall of 2008 Lutz had a solo exhibition for the Meadowlands series at ClampArt Gallery in New York City. 2013 saw the release of Hesitating Beauty. A series of photographs revealing a different side of Lutz's photography, it tells the story of his mother. Mind the Gap (2018) is "an exploration through photographs and text of how our society and the things we experience affect our mental health".Source: Wikipedia Joshua Lutz‘s large-format photographs of urban sprawl and suburban portraiture capture intimate details of places and their inhabitants in a soft, moody palette. The subtle tension in Lutz’s photographs between natural and man-made structures expands upon themes of Stephen Shore and the New Topographics. From an image of an airplane take-off framed by trees and a cell phone tower in his Meadowlands series to rows of wind turbines amid factories on a grassy plain in his new Am Dam series, Lutz’s photographs offer new views of the post-suburban landscape, capturing on film the spirit of simultaneous progress and decay. Meadowlands, Lutz’s debut monograph, was published by powerHouse Books in 2008, and has received considerable acclaim including being named Village Voice “Best in Show,” and Photo District News and American Photo‘s “Best Photography Books of 2008.” The recipient of the Tierney Fellowship, Best Editorial awards from Photo District News and Communication Arts, Lutz was also named one of Photo District News‘ top 30 emerging photographers. His work has been featured in The New Yorker, Harper’s, The New York Magazine, Newsweek, ArtNews, and Time. Lutz received his B.F.A. from Bard College in 1997, and his M.F.A. from Bard College at the International Center of Photography in 2005. He is currently on the faculty at the International Center of Photography in New York.Source: Robert Koch Gallery
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