Robert Rauschenberg

Robert Rauschenberg, “Self Portrait, Black Mountain (1)”, 1952, Gelatin Silver Print, 14.3 x 8.3 cm, Robert Rauschenberg Foundation

While studying at Black Mountain College in North Carolina between 1948 and 1952, Robert Rauschenberg focused his attention on mid-century experimental and abstract photography. His exploration of this medium was influenced by the works of photographer Aaron Siskind, whose detailed images created an innovation in abstract photography; Harry Callahan, a prolific photographer who rigorously curated his work; and educator and photographer Hazel Larson Archer, whose work captured life at Black Mountain.

Rauschenberg used a bold mixture of abstraction, double exposures, experiments with light and shadow, and used blueprint paper to produce photographs with a camera. Many of his earliest photographic experiments were portraits of close companions and people he met in conversations; these include artists such as choreographer and dancer Merce Cunningham and painter Cy Twombly.

A recurring subject of his experimental work was the self portrait, of which the double-exposure image above, “Self Portrait, Black Mountain (1)”, is an example. Shot in 1952, it features Rauschenberg seated on a wooden chair with his hands folded. Ghostly images of weeds and chairs are superimposed over his body.This photograph is a singular work in a portfolio edition of seven related photographs taken during the summer of 1952 at Black Mountain College near Asheville, North Carolina.

Mati Gelman

Mati Gelman, “Joel”, Date Unknown, Trending Deities Series, Photograph, Computer Graphics

Born in Hungary, Mati Gelman is a commercial and fine art photographer who spent his early years living in Israel. Interested in the processes of nature and humans’ interaction with them, he initially pursued a vocation in the field of science and earned a Bachelors of Science in Biochemistry from the Israel Institute of Technology in Haifa and a Masters of Science in Chemistry from the Bar Han University in Tel Aviv. Upon moving to New York City in 2015, Gelman decided to enhance his self-taught photographic skills with technical courses at the International Center for Photography and the Pratt Institute, both located in Manhattan.

Gelman’s work aesthetic focuses on the connections between the forces of nature and the human body. His images explore the issues of human integration with nature, sexuality, and queerness; they are heavily influenced by legends and fairytales, which have had a lasting impact on human society. Gelman tends to create scenes which provoke an ominous sensation in order to induce a sense of the unknown. As human beings are pattern recognizers and often prescribe meaning to unaccustomed phenomena, the elements of Gelman’s works are intentionally left open to the viewers’ interpretations.

Mati Gelman creates stories and shapes his characters through both his imagination and his life experiences. His work is a blend of photography and computer graphics. Using a Sony a7R11 with a 24-70 lens, Gelman photographs his posed subjects and continues his work with Lightroom for minor adjustments and Photoshop for the basic effects. Gelman won the ViewPoint Gallery International Photography competition for his work entitled “Flight”, an image of a figure mid-air surrounded by billowing cloth in the light of a sunset. His “Entangled”, a figure seemingly suspended by strips of white cloth, won first place in the 2018 Chromatic Awards. Gelman has also won awards at the Annual Fine Art Photography Awards, FAPA, in 2019 and 2020.

Besides his fine art photography, Gelman has executed photo shoots for off-Broadway theater productions. He shot the promotional images for playwright and director Asher Gelman’s 2018 theater production, “Afterglow”, a character study which explored the dynamics of an open gay relationship involving three personality archetypes. Mati Gelman’s work also includes photo shoots for the following plays: “Diaspora”, “Safeword”, “Eco Village”, “Counting Sheep”, “We Are the Tigers”, and “Medusa”.

The title image “Joel” and the middle insert image, title unknown, are from Mati Gelman’s “Trending Deities” series which explores the parallels between ritual and worship in both religion and social media. Using both modern and traditional references throughout the series, Gelman’s work uses cinematic proportions as a reference to smartphone screens and, by multiplying the characters and placing them in ritualistic activities, depicts the virtual cult-like following that is adherent on social media platforms. The color palettes and compositions were inspired by Renaissance, Greco-Roman, and Medieval art.

The work of Mati Gelman can be found at the artist’s sites: https://www.matigelman.com and Instagram @matigelman .

Denis Dailleux

Photography by Denis Dailleux

Born in Angers, France in 1958, Denis Dailleux is a portraiture photographer who has been documenting life in Egypt for the past thirty years. His works, done in classical black and white as well as in subtle colors, equally capture Egypt’s famous residents and the anonymous subjects in the slums of Cairo with the same passion and the same distinctive sensitivity.

Dailleux has published a series of photographic books, all of which  portray the settings and people of Egypt, the city of Cairo, and his impressions of the 2011 January Revolution in Egypt. After the publishing of his 2008 “Fils de Roi: Portraits of Egypt”, Dailleux took an exploratory trip to Sub-Saharan Africa in search of new sources of inspiration. This expedition led to a portrait series on the village residents in the country of Ghana.

Denis Dailleux has been awarded several international prizes, including the 1997 Monographies Award, the 2000 World Press Photo Award in the portraits category, the 2000 City of Vevey Hasselblad Award in Switzerland, and the 2001 Fuji Film Award given at Biarritz’s Festival Terre d’Images. Dailleux’s series “Egypt, Mother and Son”, portraits of Egyptian bodybuilders with their mothers, won second prize at the 2014 World Press Photo Awards in the staged portraits category. 

A member of Agence VU, Denis Dailleux currently lives in Cairo, Egypt, where he works as a portrait photographer. His website is located at: https://www.denisdailleux.com/index.php?/

The images above contain photographs from several of Dailleux’s series: “Ghana” and “Egypt“; “Egypt, Mother and Son”,  and “Les Conducteurs de Tuk-Tuk du Cairo”.

Enrique Toribio

Enrique Toribio, Red Series, Limited Edition Series, Model Unknown

Enrique Toribio is a Spanish photographer who currently lives and works in Madrid. He studied Design at Madrid’s School of Arts and Crafts and later earned a degree in Industrial Pattern Design. Since the mid-1980s, Toribio has been involved in couture costume design for theatrical productions of work by Chekhov, Ibsen, and Tennessee Williams. He has also designed costumes for cabaret and dance productions, both Spanish and classical. 

Beginning in 2003, Toribio has concentrated on his photography with an emphasis in figurative and portraiture work. Particularly interested in the aesthetic treatment of body and facial expressions and textures, he endeavors to recreate the appearance of mid-twentieth century photography with the use of digital technology.

Enrique Toribio has participated in several international photography exhibitions, including the Second Great LGBT Photo Show at Leslie & Lohman in New York City, and multiple exhibitions in Spain, including “ABRAZOS” at the Museum of Contemporary Art Conde Duque in Madrid. He has received recognition for his work at Argentina’s FotoRevista competitions in both 2017 and 2018, and received Third Prize at FotoRevista in February of 2018. Toribio’s work has also appeared in several digital photographic magazines and has been included in Joris Buiks’ 2011 phtotographic anthology “Turnon: Tattos”, published by Bruno Gmunder.

Enrique Toribio’s photographic work is available through Saatchi Art: https://www.saatchiart.com/etoribio

The artist’s website is located at:  https://etoribio.com

 

Étienne-Jules Marey

Motion-Analyses by Étienne-Jules Marey

Born in March of 1830 in Beaune, Étienne-Jules Marey was a French scientist, physiologist, and chronophotographer. The results of his work were significant for the development of aviation, cardiology, laboratory photography, cinematography, and instruments for precise measurement.

Étienne-Jules Marey traveled to Paris in 1849 and enrolled at the Faculty of Medicine to study surgery and physiology. After qualifying as a doctor in 1859, he established a small Parisian laboratory in 1864 where he studied the circulation of blood in the human body. From these studies, Marey published the 1868 “Le Mouvement dans les Fonctions de la Vie”. This book discussed the importance of recording devices in biology, Marey’s graphic method, the origin of movement, muscle contractility and elasticity, artificial stimulations of movement, and descriptions of many medical recording devices.

Beginning in 1862, Marey perfected the first elements of his graph methodology, which studied movement using recording instruments and graphs. He succeeded in analyzing through diagrams the walk of man and a horse, and the flight of birds and insects. The published results of this work, the 1873 “La Machine Animals”, led Eadweard Muybridge and Leland Stanford to pursue their own photographic researches into animal movement. 

Although Étienne-Jules Marey admired the results of Muybridge’s work done at the Palo Alto studio, he was dissatisfied with the lack of precision in Muybridge’s bird movement images. Inspired by previous photographic work done by astronomer Jules Janssen, Marey, in 1882, perfected the ‘photographic gun’ with a revolving cylinder containing photographic plates that was capable of taking twelve exposures in one second. Using this instrument, he was able to shoot multiple images of a subject quickly from different angles. Later in the same year, Muray invented the chronophotographic fixed-plate camera which was equipped with a timed shutter. 

Unlike the motion studies of Eadweard Muybridge, who depicted movement as a series of discrete moments on separate, sequential negatives, Marey’s analyses of motion, captured by his chronophotographic camera, are characterized by multiple exposures on a single photographic glass plate. He made improvements to his invention in 1888 by replacing the glass plate with a long strip of sensitized paper. Marey’s first multiple-exposure “film” on paper, produced by moving the strip intermittently in the camera by an electromagnet at the speed of twenty images a second, was presented at the Academy des Science on October 29th in 1888. 

Two years later, Étienne-Jules Marey replaced the paper strip with a transparent celluloid film ninety millimeters wide with a length of one meter or more. A pressure-plate immobilized the film; a spring restarted the film when the pressure was released. All following cameras produced were based on the principles first applied by Marey: the intermittent movement of a sensitive film behind an objective lens  and the film’s static moments corresponding with the opening of the shutter. 

Between 1890 and 1900, assisted by inventor and photographer  Georges Demenÿ, and later by photographers Lucien Bull and Pierre Nogues, Marey made a large number of motion analysis filmstrips of high aesthetic and technical quality. These filmstrips were subsequently  processed and archived by the Cinématheque Francaise, the French non-profit film organization founded in 1936, and totaled over four- hundred original negatives, a collection which included the recording of a moving hand, self-portraits of Demenÿ and Marey, and the now-famous falling cat filmstrip, taken in 1894. 

In 1894, Étienne-Jules Marey published his collective research work under the title “Le Mouvement”. Towards the end of his life, he returned to studying the movement of more abstract forms. Marey’s  last great work was the observation and photography of smoke trails, partially funded by American astronomer and inventor Samuel Pierpont Langley under the auspices of the Smithsonian Institute. In 1901 Marey built a smoke machine with fifty-eight smoke trails; this machine became one of the first aerodynamic wind tunnels. 

The founding father of technical cinematic photography, Étienne-Jules Marey died on May 15th of 1904 in Paris. His research was continued by his assistants Lucien Bull and Pierre Nogues at the Marey Institute, built at the request of the International Society of Physiology by Marey to house a commission for the control of graphic instruments dedicated to physiology.  At this institute, Bull and Nogues made microscopic, X-Ray and high-speed analysis films.

Herbert List

Photography by Herbert List

Herbert List was a classically educated artist who combined his fascination with  Surrealism and Classicism with his love for photography. His austere, classically posed black and white compositions, particularly his Greek and Italian homoerotic nudes, became a prominent influence on both fashion and contemporary photography. 

Born in Hamburg, Germany, in October of 1903 to a wealthy business family, Herbert List  studied art and literature between 1921 and 1923 at the University of Heidelberg. In 1923, he began to travel for the family’s coffee business, Kaffee-Import Firma List & Heineken. List made contacts and visited plantations in Costa Rica, Guatemala, Brazil and El Salvador; during this four year period, he began to record his travels photographically.  

Through his connections to the European avant-garde, List became associated with  American photographer Andreas Bernhard, known for his dynamic black and white city scenes and natural structures. Bernhard  introduced him to the Rolleiflex camera which allowed for more sophisticated compositions. Beginning in 1930, influenced by the Bauhaus artists and  the emerging surrealist movement, List began photographing still life and portraits of friends, often employing draped fabrics, masks, and double exposures. 

Once the National Socialist Party was in control of Germany, the Gestapo began to pay attention to Herbert List’s openly gay lifestyle and Jewish heritage. In 1936, he left Germany for Paris and decided to begin a professional career as a photographer. During 1937 List maintained a studio in London and held his first solo show at Galerie du Chasseur d’Images, the first Paris gallery dedicated to photography.  Starting in 1936 with a reference from fashion photographer George Hoyningen-Huene to Harper’s Bazaar magazine, List began a three year period working as a fashion photographer for various magazines, including Verve, Vogue, and Life.

Dissatisfied  with fashion photography, List returned to his still life and portraiture  work. He traveled throughout Greece from 1937 to 1939 where he took photographs of ancient temples, sculptures and landscapes; two hundred of these photographs would be published in his 1953 “Licht Über Hellas: Eine Symphonie in Bildern”. During this time, List supported himself with work for magazines and the press, and by doing portraiture work. 

Working in Athens, Herbert List hoped to escape World War II; however, when troops invaded Greece, he was forced in 1941 to return to Germany, where, due to a grandparent’s Jewish heritage, he was denied the ability to work or publish professionally. Near the end of the war in 1944, despite his Jewish heritage, he was drafted into the German military and served in Norway as a map designer. A trip to Paris during his military service allowed him the opportunity to photograph images of Jean Cocteau, Pablo Picasso, Georges Braque, Jean Arp, Joan Miró, and other artists.

After the war, List continued to live in Munich until 1960, where he photographed its ruins and produced freelance photo essays for newspapers and magazines such as Look, Picture Post, Heute, and Harper’s Bazaar. List was made art editor in 1948 for the Swiss-German language, daily free newspaper Heute, which was published by the Allied Forces. In 1951 through an invitation by photojournalist Robert Capa, he started contributing photographs to Magnum, an international photographic cooperative. 

Through the next decade Herbert List focused his interest on photographing life in Italy. where he shot photo essays, street scenes, architectural views, and portraits using a 35 mm camera and a telephoto lens. His work became more spontaneous and was influenced by the Italian neorealist film movement and the work of his Magnum colleague Henri Cartier-Bresson. List ’s travels for his photographic work was extensive, including trips to Spain, France, Mexico, and the Caribbean. 

List’s publications include “Rom”, a collection of his work in Rome, published in Munich in 1950:“Caribia”, his Caribbean Island series published in 1958: “Nigeria”, published in 1963; and “Napoli”,  a 1962  collaboration with Italian director Vittorio de Sica. List is best known for his  1988 book “Junge Männer”, a collection of seventy images of young men lounging in the sun, wrestling, or gazing at the camera. The introduction of the book was written by English novelist Stephen Spender, who fictionalized List as Joachim Lenz in his novel “The Temple”. 

Herbert List passed away in Munich on the 4th of April in 1975. His archive of photographs, originally part of the Ratjen Collection, is now housed in the National Gallery in Washington DC. His work is held in many private and public collections, including New York’s Metropolitan Museum of Art, Boston’s Museum of Fine Art, Kunsthaus Zürich, Cologne’s Museum Ludwig, Munich;s Stadtmaueum, and the Musée Picasso in Paris.

Insert Images:

Herbert List, “Self Portrait, Herrsching”, 1947, Silver Gelatin Print

Herbert List, “Man and Dog”, 1939, Gelatin Silver Print

Photographer Unknown, “Herbert List and Max Scheler, Venice”, 1952, Silver Gelatin Print, Mas Scheler Estate

Herbert List, “Young Man Under Reed Roof, Torremolinos”, 1951, Gelatin Silver Print

Lee Friedlander

Lee Friedlander, Photographs from the “The Little Screens” Series

Born in Aberdeen, Washington, in July of 1934, Lee Friedlander is an artist and photographer known for his innovative images depicting America’s city streets. His candid street photography captured the light and content in the country’s urban landscapes.

At the age of eighteen, Friedlander began his formal studies of photography at the Art Center College of Design in Pasadena, California. In 1956, he settled in New York City, where he photographed jazz musicians for record album covers. Friedlander’s early work was influenced by Swiss photographer and documentary film maker Robert Frank, best known for his 1958 book “The Americans”; Walker Evans, known for his Depression Era images taken with a large-format view camera; and the French pioneer of documentary photography Eugène Atget, known for his scenes of Paris’ streets and architecture. 

Awarded a Guggenheim Fellowship in 1960, Lee Friedlander was able to focus on his photography, which is primarily executed with hand-held Leica 35 mm cameras and black and white film. Friedlander’s street photography featured detached images of ordinary urban life, including structures framed by fences, gas stations, parking lots, store fronts, churches and commercial signs and posters. In his work, he cleverly used reflections and shadows, often shooting images at strange angles or through car windshields. Friedlander has also used car mirrors to frame an image within an image. 

Friedlander is constantly aware of the photographer’s relationship to the picture plane; and he places at least as much importance on it as on the image’s apparent subject which could be an empty street, a store window, or an unremarkable piece of town statuary. Friedlander’s photographs often contain his shadow and/or his reflection, a self-portrait which lends an odd edge to his observations.

Friedlander had his first solo exhibition in 1963 at the International Museum of Photography located at the George Eastman House in Rochester, New York. Along with photographers Diane Arbus and Garry Winogrand, he was a key figure at curator John Szarkowski’s 1967 “New Documents” exhibition at New York’s Museum of Modern Art, an influential exhibition which generated a new look in documentary photography. 

Lee Friedlander has published books regularly: the 1969 “Work from the Same House”, a collaborative effort with artist Jim Dine; “Self-Portrait” published in 1970; the 1981 “Flowers and Trees”; the 1985 retrospective “Lee Friedlander: Portraits”; “Nudes” published in 1991; and the 1992 “The Jazz People of New Orleans”. Friedlander has received a number of awards for his photography, including three Guggenheim Fellowships, five National Endowment for the Arts Fellowships, and a MacArthur Foundation Award. 

Friedlander is also responsible for rescuing and printing the negatives of early twentieth-century New Orleans photographer Ernest Joseph Bellocq, remembered for his haunting photographs taken in Storyville, New Orleans’ legalized red-light district. These photographs were published in the 1996 “Bellocq: Photographs from Storyville”, with an introduction by photographer Susan Sontag.

Note: In the early 1960s, Lee Friedlander’s attention was drawn to television sets, a relatively recent luxury appliance. His series “The Little Screens” first appeared as a 1963 picture essay in Harper’s Bazaar magazine, with a commentary by photographer Walker Evans. Six untitled photographs showed television screens broadcasting glowing images of faces and figures into unoccupied rooms in homes and motels across America. 

Between 1963 and 1969, “The Little Screens” series grew and, in 2001, was exhibited in full at the Fraenkel Gallery in San Francisco. The series documented not only iconographic ghostly rooms filled with bland furnishings of the period; it also revealed an emerging future reality of omnipresent television screens, and droning television voices and personalities that filled space in an increasing isolationist culture.

Insert Images: Lee Friedlander, “Self Portraits”, 1960s, Gelatin Silver Prints

Chris Plytas

Photography by Chris Plytas

Born in 1953 in London, Chris Plytas is an established contemporary visual artist whose work covers the psychology of self-image and identity. His photographic portraiture works have been admired often for their way of unearthing the primal and sensual core of their subjects, and the way they sometimes straddle the borderline between beatific innocence and animal rage.

From 1974 to 1977, Plytas studied fine art, painting and sculpture at St. Martins School of Art in London and earned a BFA with honors. After graduation, he developed his darkroom skills on landscape and portraiture photography.Plytas also  did reportage photography for publications, in which he covered  events such as night clubs, concerts, fashion shows, the Royal Wedding, and the Cannes Film Festival.

During the period form 1977 to 1985, Chris  Plytas did photographic printing, layouts, and personal design realization in London for Vivienne Westwood, the English fashion designer largely responsible for bringing punk and new wave fashions into the mainstream. In 1982, he became Director of Berwick Universal Pictures, Limited, an award-winning documentary film company based in Soho, London.  Starting in 1985, Plytas began concentrating on his own personal, black and white, fine art photography, shot with Hasselblad cameras, for exhibition and personal archives. 

Chris Plytas’ first series, entitled “Australia”, was shot over a six month period mostly in the New South Wales and Victoria provinces of Australia. This large body of work, consisting of landscape and portraiture, was exhibited in 1987 at London’s Photographers Gallery and toured Europe for six years with support from Fonds National d’Art Contemporain, a public collection of France’s contemporary art. 

Starting in 1987, Plytas engaged in a six-year shoot for his series “Hadrian: The Violence and Sexuality of Adolescence” series, a coming of age story shot in real time. His next series “Le Corps Enjeux (The Body)” was shown as part of the Mois de la Photo exhibition, sponsored by Audiovisuel and Kodak,  held in Paris in 1988. Plytas spent a year from 1992 to 1993 in the Xi’an and the Yannan regions of China, where he shot his “China: Voyage to the East” portfolio, a series which he dedicated to Sun Wukong, the trickster Monkey King.

Known for his exhibited photographic series, Chris Plytas began to receive commissions for portraiture work. His “Family Portraits” series was commissioned by the De Ganay Archives and, at present, consists of forty-eight individual portraits of members of the French aristocratic family. He has also received portraiture commissions from various  other European  and American families 

After shooting his “Miami Beach” series in  1994.  Plytas  has continued working, throughout his career, on multiple personal portfolios, some of which have been exhibited and published. These include his “The Burden of Classicism”; “Nature and Nurture”; “Youth: A Retrospective” shot in Italy; “Beach-Scapes” shot in  Italy and Sicily; a series entitled “Allegorical Portraits”; and “Blood Ties”, a portfolio documenting family member connections.

In addition to his participation in numerous group exhibitions, Plytas  has shown his work in solo gallery exhibitions, including  Paris’ Galerie PONS in 1995, Paris’ Galerie Serge Aboukrat in 2000, a 2002 exhibition in Italy entitled “Frascati Doc”, an exhibition project at the Chateau de Courances in France in 2004, and in 2015 a Paris exhibition entitled “What is Erotic?”. 

Chris Plytas’ work is available in limited editions and custom portfolios. Private individual or family portraits can be commissioned. His website is located at: https://www.chrisplytas.com/index

Insert Images:

Chris Plytas,, Title Unknown (Slogan on Wall), 1992-93, China, Voyage to the East Series, Silver Gelatin Print

Chris Plytas,, “Boy and Girl Entwined”, 1986-2003, The Body Series, Silver Gelatin Print

Andreas Fux

Photography by Andreas Fux

Born in East Berlin of the German Democratic Republic in 1964, Andreas Fux is a photographer whose body of work focuses on how the human individual evolves into his own artistic creation. He belongs to the Prenzlauerberg photo artist scene, which documented the last decade of the German Democratic Republic. 

Andreas Fux initially trained from 1980 to 1982 as an electrician. In 1983, he began his own sstudy of  the process and techniques of photographic work. During the years between 1983 and 1988, Fux exhibited his photographs in private gallery spaces. His first published works appeared in a 1988 issue of Das Magazin, a monthly East Berlin magazine that focused on culture and lifestyle. Working as a freelancer, Fux provided the publication with black and white photographs covering Berlin’s punk and youth culture.

 In 1989, Fux worked on photo productions for Deutsche Film-Aldiengesellschaff, the state-owned film studio of East Germany. Since 1990, he has been working as a freelance photographer for various newspapers and magazines, as well as executing his own photographic projects. In 1992, Fux’s first solo photographic book was published entitled “The Russians”; it was a supplement to his solo exhibition, of the same name, at the Janssen Gallery in Berlin, a show which later traveled to Hamburg and Munich. 

Andreas Fux gained a wider audience for his work with the 2005 series “The Sweet Skin”, which covered a decade of works between 1995 and 2005. For this series of portraits which focused on tattoos and skin scarification; he followed the lives of his models, with daily documentation and night shoots in his studio. Against a mostly white background and in the silence of the photo studio, nude photographs of his models were taken, in which the contrast between intimacy of the body and clinical sterility of the room was exaggerated. In another series entitled “At the End of the Night”, whose topic was body culture, the nude, and sexuality, Fux posed his subjects against a black background with a selective light source that modeled and fragmented the models sculpturally. 

Fux’s 2001 series “The Horizonte” is reminiscent in its formality of the 1980s “Seascapes” series done by Japanese photographer and architect Hiroshi Sugimoto, in which Sugimoto bifurcated the landscape images exactly in half by the horizon line. At the beginning of September 2001, Fux travelled across the North Sea on board a Ukrainian training sailboat. For this series, he celebrated the beauty of the horizon as an interaction between sea, clouds and light. The images of “The Horizonte” series were seen by the critics as an expression of calm and innocence. For his 2010 series “Kerberos and Chimaira”, Fux staged his motifs in a wind tunnel at Berlin-Adlershot. Using the strict compositions of expressionism and the aesthetic codes of the latex and fetish scene, his series examined  a dangerous and often not considered proximity between the erotic picture codes of fetishism and the aesthetics of National Socialism.

For his 2016 exhibition “Shame and Beauty”,  Andreas Fux opposed new portraits with a selection of older works, a combination which showed the development of his oeuvre over the years. His new work preserved the almost tender and respectful handling of his subjects found in his early works. The photographic sessions in which he bathed his models in soft light took an entire night, were meticulously planned, and took place in a highly sensitized atmosphere. This Berlin show contextualized the discussion on governmental and social repression and persecution; the works in this show had previously been exhibited by Fux in Moscow in September of 2015 under rather adverse conditions.

Andreas Fux has had solo exhibitions in Germany and abroad, including the Widmer and Theodoris Gallery in Zurich, the Photo Festival in New York, the Esther Woerdehoff Gallery in Paris and the Pasinger Fabrik Gallery in Munich.

A collection of Fux’s photo work from Berlin can be found at: https://andreas-fux.berlin

Franz Szony

Photographic Work by Franz Szony

Raised in Reno, Nevada, Franz Szony is a writer and photographic artist whose main body of work, both in its fine art and commercial forms, embraces conceptual portraiture. 

After finishing his primary education in 2014, which included art classes at an early age, Szony relocated to San Francisco where he attended the Academy of Art. At the academy, he initially studied fashion and illustration, and, later. focused on photography. After learning the technical aspects of photography, Szony returned to his hometown of Reno where, as a freelance artist, he photographed different advertisement campaigns for newspapers, theaters, and several casinos. He exhibited his own work in a small gallery he created and hosted monthly nude drawing workshops in that space. 

Szony moved to Los Angeles in 2012 and settled in the Brewery Artist Loft complex, an industrially zoned area where artists rent living and working space. Inspired by the area’s creative energy, he photographed campaigns for perfume and fashion brands, created album covers, and did creative photographic work for companies, including Disney and Warner Brothers. 

Influenced by illustrators such as Marc Davis and Erte, and, at an early age, by the extravagant stage shows of Reno’s casinos, Franz Szony’s conceptual portraiture work is lush both in its color and settings. His images are presented ambiguously in time and place, and androgynously in character. Szony’s photographs often contain symbolic or mythological elements and convey psychological, political, and sexual identity messages to the viewers.  

Franz Szony is also a songwriter who has produced several music videos in which he has incorporated his poetry and visual art. Shot over a period of three days, his music video, “Petunia”, based on several of his photographic pieces, was released in 2018. Other music videos by Szony include “La Petite Mort”, “Antibeige”, and “Pansy”, also released in 2018; and “What You Seek” and “Surrender Dorothy”, both released in 2020. 

Szony had solo exhibitions at Reno’s Sierra Arts Foundation in 2015 and at Hollywood’s World of Wonder Gallery in 2019. His work is included in many private collections. Franz Szony’s website is located at http://www.franzszony.com

August Sander

August Sander: Portraits from “People of the Twentieth Century”

Born in 1876 in Herdorf, a small village east of Cologne in Rhineland-Palatinate, Germany, August Sander was a photographer, now viewed as a forefather of conceptual art and a pioneering documentarian of human diversity. 

Sander spent his time, between 1897 and 1899, as a photographer’s assistant during his military service. In 1901, Sander started working for a photo studio in Linz, Austria, became a partner in 1902, and then the proprietor in 1904. By this time, he already had several exhibitions and purchases of his work by museums. After many successful exhibitions of his work, Sander relocated his studio to Cologne. 

In 1911, August Sander began the first series of portraits for what would be his monumental project, “People of the Twentieth Century”, an archived and sustained photographic enterprise of twentieth-century man, These emphatically objective photographs from the years of the Kaisers, the Weimar Republic, the Nazi regime, and the early Federal Republic make up an unprecedented document of both the individual and the collective recent history of the German  people. 

In 1927, August Sander traveled through Sardinia for three months, where he took hundreds of photographs. A exhibition of his portraits at the Kölnische Kunstverein in 1927 received positive reviews from both critics and the public. This exhibition led to the 1929 publishing of Sander’s “Antlitz der Zeit (Faces of Our Time)”, which included the first sixty portraits from his twentieth-century series and an introduction by German novelist and essayist Alfred Döblin.

Under the rise of the Nazi regime in Germany, Sander’s work and personal life were greatly restrained. In 1934, Sander’s son Erich, a member of the Socialist Workers’ Party, was arrested and sentenced to ten years in prison, where he died shortly before the end of his sentence. The printing blocks for Sander’s “Antlitz der Zeit” were destroyed and unsold copies impounded in 1936 by the authorities, most likely due to the publication’s image of a heterogeneous German society of which the Nazi Party disapproved.

Despite the political situation in Germany between 1933 and 1945, August Sander continued working in his Cologne studio, portraying intellectuals, Jewish citizens, National Socialists, as well as regular people from the street. Many of these commercial portraits were included in his opus ”People of the Twentieth Century” where they became a political statement. Beginning in 1942, Sander started to relocate the most important parts of his negative archive to Kuchhausen, a small village in Westerwald, where he continued both his commercial photographic work and  his project wor

Although August Sander’s main studio in Cologne was destroyed in a 1944 bombing raid, tens of thousands of his negatives, which he had left behind in the basement of a former apartment in Cologne, survived the war. In a later 1946 fire, approximately twenty-five thousand negatives were destroyed in the same apartment basement. In 1946, Sander continued his historical archive with  a post-war photographic documentation of the bombed city of Cologne in 1946. 

Sander sold a portfolio of four-hundred and eight photographs of Cologne, taken between 1920 and 1939, to the Kölnisches State Museum in 1953. These photos would form the 1988 book “Koõin wie es War (Cologne As It Was)””.  In 1962 an edition of eighty photographs from the “People of the Twentieth Century” was published as a book entitled “German Mirror: People of the Twentieth Century”. Still working on his project at the age of eighty-eight, August Sander died of a stroke on April 20th in 1964. His body was buried next to his son Erich in Cologne’s Melaten Cemetery.  

One of the most ambitious undertakings in the history of photography, the “People  of the Twentieth Century” project occupied Sander for some 40 years, from the early 1920s until his death, during which he took portraits of hundreds of German citizens and then categorized them by social type and occupation — from farm laborers to circus performers to prosperous businessmen and aristocrats. Remarkable for their unflinching realism and deft analysis of character and lifestyle, Sander’s individual images stand out as high points of photographic portraiture and collectively propose the idea of the archive as art. 

Although the Nazis confiscated the first publication of Sander’s work, and the majority of his negatives were later destroyed by fire, approximately eighteen hundred portrait negatives for “People of the Twentieth Century” survived, as well as Sander’s notes and plans. Together with the existing vintage prints, they have provided the basis for current reconstruction of Sander’s ambitious project in both book and exhibition form.

Middle Insert Image: August Sander, “Workmen in the Ruhr Region”, 1928, Silver Gelatin Print, August Sander Archive, VG, Bild-Kunst

Leonardo Corredor, “João Knorr”

Leonardo Corredor, “João Knorr”, Los Angeles Photo Shoot for Man About Town, January 2019

Born in Mérida, Venezuela, and based in New York City, Leonardo Corredor is a photographer and art film director. Before his photography career, he was professional model, named Best Venezuelan Model in 2007. Since his first appearance as an actor in 2010, Corredor has appearred in several acting roles on television series, including “Control Remoto”, “Dum Dum”, and “La Merienda”. He has also hosted Telemundo’s show “Invasion Casera”.

In 2012 Corredor became a creative director and fashion photographer for webzines, print magazines and fashion advertisers, including Essential Homme, Man About Town, Rollercoaster Magazine, Portrait, Fashionably Male, and Solar Magazine, among others. He is represented by The Industry MGMT, a artist and model management agency, focused on still and motion photography,  with offices in New York and Los Angeles.

Examples of Leonardo Corredor’s photographic and video work can be found at his site located at: https://www.leonardocorredor.com

Richard Laeton

Digital Photographic Art by Richard Laeton

Born and raised in Long Beach, New York, Richard Laeton is a graphic designer and illustrator. He attended the Carnegie Mellon University from 1973 to 1975, receiving his BA in Communication Design, and attended the Parsons School of Design from 1974 to 1975, earning his MFA in Illustration and Design. Laeton currently lives and works in Marin County, California. 

A versatile graphic designer with expertise in all phases of art direction, Laeton was graphic designer and illustrator fo the SYDA Foundation from 1995 to 2003. He was art director for the global world music label Real Music from 2005 to 2012, a which time he founded Laeton Designs, a provider of designs and illustrations for private clients, as well as a source for commissioned portraitures, fine art drawings, and other digital work. 

Richard Laeton creates works of art that blend conventional photography and painting with digital technology. Inspired by the naturally occurring forms, contours, and colors in the environment, his figurative work uses natural colors with a layered and textural approach to the image. Laeton’s works include figurative works, celebrity portraits, floral images, abstracts, and meditative works.

For more information and images, Richard Laeton’s website is located at:  https://richard-laeton.pixels.com

Travis Chantar

Photography by Travis Chantar

Born in California and raised in the mountains of Idaho by two moms, Travis Chantar studied music in Minnesota and settled in Brooklyn, New York, as an artist and freelance photographer. He first developed a passion for decorating and portrait photography in high school, after which he progressed to creating poster imagery for shows in college. Upon graduation, Chantar combined his enthusiasm for painting and portraiture to produce a solo exhibition entitled “Tribe”, a body painting series which resulted in a published art monograph of the same name. A subsequent series entitled “Flowers” consisted of images of nude sitters adorned with flower and petal arrangements. 

In 2014, Chantar began assisting Ryan Pfluger, a New York and Los Angeles based freelance photographer, in his high-profile shoots for publications such as Vogue, New York Times, Billboard, Elle, Netflix, and other image oriented companies. Chantar’s work has included both book and album covers, product campaigns, and portfolio work for creative agencies. Most recently, Chantar published editorials in Risk Magazine, Out Magazine, FGUK Magazine, Natural Pursuits Magazine, Kaltblut Magazine, and VMAN Magazine.

For more information and images, the artist’s website is located at:  http://www.chantarphotography.com

Hans Mauli

Black and White Photography of Hans Mauli

Born in Switzerland in 1937, Hans Mauli studied graphic design at university for a career. In the late 1960s, he worked in New York for the celebrated American graphic designer Herb Lubain and was the designer of the art-deco typeface ITC Avant Garde, the font used for the World Trade Center signage. Mauli also worked for Young & Rubicam, a global full-service advertising agency in Paris, and in other world-wide cities including Copenhagen, London, New York, and Paris between the years 1971 and 1991.

Though graphic design was his profession, Mauli always had a passion to be a professional photographer. He moved to the United States in 1991 to focus on his career in photography. Mauli has produced a number of photographic series including: Chinese New Year, Portraits, Italy, Paris, Still Lifes, and two series on life in San Francisco. Recently he has done a series of shoots covering Napa Valley and Saint Helena, including the 2020 Glass and lightning fires in California.

For more information and images of Hans Mauli’s work visit the artist’s site located at: http://www.hansmauli.com

George Daniell

 

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The Photography of George Daniell

Born in May of 1911 in Yonkers, New York, George Daniell was an American photographer and a painter. His experience in the dramatic landscape of his childhood was the genesis that led to his passion for black and white photography’s cinematic effects. Taking a keen interest in a variety of subjects throughout his life, Danielle shot photos of dock workers in New Brunswick, crabbers on the Hudson, swimmers at Glen Island Beach and ballet dancers on Fire Island, all of which to him presented a fierce and tender celebration of the angular male figure.

George Daniell began his artistic career with a folding Kodak camera and a drawing class at the Grand Central Art School in New York City. He trained as a painter at Yale University, where he graduated in 1934 earning a Bachelor of Arts Degree in Painting and Photography. After returning to Yonkers, Daniell began photographing fishermen and bathers along the banks of the Hudson River, traveling further to Glen Island, Jones Beach, and Fire Island on subsequent excursions. Moving to New York City and attending courses at the Art Students League, he supported himself as a freelance photographer for publications such as “Time” and “Life” magazines.

In the summer of 1937, Daniell traveled north to Maine, first visiting the art colony at Ogunquit and then continuing up the coast to Monhegan Island. Developing his eye for composition and tonal values, he shot many images of Monhegan’s distinctive houses, rugged terrain, and working fishermen. The publication of many of these Monhegan  images in both “Time” and “Life” earned Daniell a reputation as an artist with a keen sense for recognizing the human moments within everyday life. He followed this project in the following year with an internationally acclaimed photo essay about the lives of herring fishermen living on Grand Manan Island, off the coast of New Brunswick.

In 1940 in New York, George Daniell continued his studies of painting at Bronx’s American People’s School, after which he served from 1942 to 1944 in the US Army during World War II.  After his discharge he returned to New York City, purchased a house on Fire Island, and continued his freelance photography career. Soon after resuming his work, Daniell met and fell in love with realist-expressionist painter and gallery owner Stephen Dorland. The couple  moved in 1960 to Trenton, Maine, near Acadia National Park, to paint and to start a country life together; over the next forty years, they would travel and paint together.

George Daniell’s association with renowned photographer and owner of the famous “291” Gallery,  Alfred Stieglitz, would lead to his most known series of work, the celebrity portraits. Meeting Georgia O’Keeffe at the gallery would result in two famous intimate photo shoots, one in 1948 at Daniell’s Fire Island house and one in 1952 at O’Keeffe’s Ghost Ranch in New Mexico, which formed a lasting friendship between the two. Some of the famous subjects included in this celebrity series were landscape painter and friend John Marin, photographer Berenice Abbott, writer Tennessee Williams, and actors Robert De Niro and Greta Garbo. 

Over the course of his career, George Daniell spent a considerable amount of time traveling abroad, completing two around the world excursions. Between 1950 and 1954, he photographed many street scenes and images of the local people in Rome and Florence. Returning to Italy for two months in 1955, Daniell shot a series of images depicting  the streets and countryside of devastated postwar Italy; he also shot a series of portraits on the movie sets of Rome’s Cinecittà Studios. Marked by a distinct sense of sensuality and interest in his subjects, these two series, which Daniell considered his favorite work, combined his democratic vision and his recognition of the celebrity.

Affected by Stephen Dorland’s death in October of 1983 and suffering from depression, George Daniell was hospitalized and shortly after suffered a stroke which limited his mobility. Drawn to the dark and deep tones of the North Atlantic Coast, which coalesce in his early paintings, Daniell moved to Bar Harbor, Maine where he returned to painting. He continued working as a photographer and painter until his death on September 14, 2002 at the age of ninety-one.

The George Daniell Museum located in South Beach, Florida, houses a full collection of George Daniell’s work which covers the years from 1920 to 1991, and includes paintings, aquarelles, and his more personal photographs. The collection was recently unearthed by his estate and was presented through the cooperation of the German organization Zentraldepot, a security facility with conservators and restorers.

Top and Bottom Insert Images: Self Portraits of George Daniell, George Daniell Estate

Middle Insert Image:  George Daniell, “Steve Dorland in Acapulco”, 1944, Silver Gelatin Print, 34.5 x 23.1 cm, George Daniell Estate 

Naur Calvalcante

Photography by Naur Calvalcante

Naur Cavalcante is a designer and photographer, specializing in portraiture and commercial advertising, working in both Três Lagoas and São Paulo, Brazil. His work has been presented in the magazines: “Revista Planter”, “Revista Ella”, “Em Focco”, and the online magazines “Image Amplified” and “Morphosis”.

More information on the artist’s work can be located at: https://naurcavalcante.46graus.com

Arlene Gottfried

Photography by Arlene Gottfried

Born in August of 1959 in Coney Island, New York, Arlene Gottfried was a photographer who recorded scenes of ordinary life in some of New York City’s more impoverished neighborhoods. At the age of nine, Arlene Gottfired’s family moved to the Crown Heights area where its Puerto Rican culture caught her attention and expanded her world view. Later in the 1970s, her family moved to the Alphabet City neighborhoods of the East Village and the Lower East Side of Manhattan. 

Arlene Gottfried studied photography at the Fashion Institute of Technology where she was the only woman in her class. She later moved to Manhattan as a photographer for an advertising agency, where she did commercial work which at that time was a male-dominated profession. Switching to freelance work, Gottfried began shooting images for publications such as LIFE, the Village Voice, The New York Times Magazine, TIME, CBS News, and London’s The Independent. Her freelance work gave her the time and opportunity to wander the streets, always carrying a camera, and shoot her images spontaneously. 

Gottfried’s subjects are consistently depicted with a sense of intimacy and curiosity, in which strangers are indistinguishable from friends. In every frame, no matter how tough the subject matter, there is never a sense of detached irony or coolness. She approached all her subjects with careful empathy and directness.

Gottfried produced several series of importance including the 1991 “The Eternal Light” series on the Eternal Light Community Singers, a choral group on the Lower East Side which she later joined, and her 2016 series “Mommie”, her last collection and an epic compilation containing forty years of work documenting the women in her family. Gottfried, a frequent visitor of the Nuyorican Poets Cafe, was accepted into the Nuyorican downtown culture and documented her close friend Midnight’s years-long struggle with mental health problems in her 2003 series “Midnight”.

In 2008, a retrospective of Gottfried’s earlier black and white work was published as “Sometimes Overwhelming” by PowerHouse Books. Her “Barcalaitos and Fireworks”, a collection of images of New York’s Puerto Rican community in the 1970s, inspired by its poetry and music, was published in 2011. 

Through her life, Arlene Gottfried continued to capture the excitement of everyday life in New York City. She died from complications of breast cancer, surrounded by friends and family. in August of 2017 at her home. Gottfried’s photographs are held in the collections of The Brooklyn Museum; The Jewish Museum; The Tang Teaching Museum, The North Carolina Museum of Art; and the New York Public Library.

Andrea Pezzatti

Photography by Andrea Pezzatti

Andrea Pezzatti is a freelance photographer working in the fields of portraiture, commercial, and landscape photography. Based in both Montevideo and Paysandú, Uruguay, she has traveled worldwide, producing portfolios of her work in Italy, France, Spain, Argentina, and Sicily. Pezzetti is currently shooting her work with both the Canon Powershot GFX Mark iii and the Canon Eos 6D. 

More examples of Andrea Pezzatti’s work can be found at her 500px site located at: https://500px.com/p/andreapezzatti?view=photos

James Baldwin: “The Child is Filled with Darkness”

Photographer Unknown, The Child is Filled with Darkness

“In a moment someone will get up and turn on the light. Then the old folks will remember the children and they won’t talk anymore that day. And when light fills the room, the child is filled with darkness. He knows that every time this happens he’s moved just a little closer to that darkness outside. The darkness outside is what the old folks have been talking about. It’s what they’ve come from. It’s what they endure. The child knows that they won’t talk any more because if he knows too much about what’s happened to them, he’ll know too much too soon, about what’s going to happen to him.” 

—-James Baldwin, Sonny’s Blues

“Sonny’s Blues” is a short story written by James Baldwin, originally published in 1957 in the Partisan Review, a small circulation quarterly New York City magazine dealing with politics, literature, and culture. Written in the first-person singular narrative style, the story presents the memories of a 1950s black teacher in Harlem as he reacts to his brother Sonny’s drug addiction, arrest, and recovery. 

Baldwin’s story is set in New York City of the post–World War Two era, when an important political and cultural change was occurring. A diverse array of artists from all over the world, learning and borrowing ideas and techniques from each other,  converged in the city and made New York a new cultural capital. Despite differences in style and subject matter, these artists were responding, through their work, to what they believed was America’s unique cultural and political crisis.

While the art scene in New York was rapidly expanding, thousands of African American soldiers were returning home from the war and heading north toward communities like Harlem.  Instead of finding new job opportunities and equal rights, the returning men found newly constructed housing projects and vast urban slums. Hundreds of homes in Harlem had been leveled to build these housing projects, which would eventually become symbols of urban blight and poverty,. This experience would be faced by thousands of other African-Americans in the years after the war’s conclusion.

Although America in the 1950s was generally more conservative, the groundwork for the 1960s radical political movements was being laid. The civil rights movement, which had begun in the South earluer in the decade, had started to rapidly spread across the country as millions of African Americans began to seek equal rights. Written at this critical juncture in history, James Baldwin’s “Sonny’s Blues” is a testament to the frustration of life in the cities of America and this frustration’s eventual transformation into a political and artistic movement.

Baldwin’s “Sonny’s Blues” was adapted for a short film of the same name by Gregory Scott Williams Jr for his second year project at New York University’s Graduate Film Program. Written and directed by Williams, the short, seventeen-minute film was produced by Seith Mann and starred actor Charles Parnell as the narrator-brother David, and New York-based poet and verbal stylist Saul Williams in the role of Sonny. The cinematography was by Cybel Martin, featuring the music of Gil Scott-Heron and Ray Charles with an original score by composer and pianist John Bickerton. The film can be found in its entirely at YouTube:   https://www.youtube.com/watch?v=5Y9CDEfnKvQ