[ ] · · fotografebi..., :)

[chamoxeuli bilbordebi]

Abbe James:



Abbott Berenice:





Adams Eddie:



- Eddie Adams Workshop XVII - Awarded an assignment for “Guitar World”
- 59th College Photographer of the Year - Honorable Mention - Pictorial
Published:
- San Francisco Chronicle, News Photographer, Current Magazine,
The Skateboard Mag., Thrasher, Onboard, Titus, South Coast Beacon,
Juice Magazine, VC Reporter, Herbivore, Audrey, surfclass.com.
Exhibitions:
- A Camera with a Person Attached. Ventura, CA 2004





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Adams Shelby lee:

For more than twenty five years Shelby Lee Adams has been photographing in Appalachia,
documenting families residing deep in the Kentucky mountainside.
His unrelenting dedication to this region is a testament to his desire to bring honor to people he has come to call family.
Shelby Lee Adams was born in Hazard, a small town in eastern Kentucky.
Although he grew up in the back seat of his father's car, moving from place to place,
Hazard was where he settled, living with his grandparents while he attended high school.
Trapped between two world -- country kids and town kids -- Adams never fit in,
immersing himself in photography books and anything affiliated with the arts.
This was the mid 1960s and the Peace Corps had a great interest in the poverty sweeping the people of Appalachia.
When a film crew visited his home town, Adams naturally wanted to help,
taking them to his meet his grandparents and his uncle so they could film their daily lives.
When the media described them as malnourished and poor, his friends and family felt betrayed.
This devastated Adams, who felt he had misled the people he so dearly loved -- an
experience that had a profound impact on him.

It wasn't until he left Kentucky to attend college that he understood the lessons
he learned from the country people.
A summer job working at a mental institution helped shape his understanding and
compassion for people deemed unfit -- a lesson which helped his artistic growth.
While attending junior college, Adams decided he wanted to go to art school and was accepted
at the Cleveland Institute of Art. Finally surrounded by artists, he experienced a complete culture shock,
rejecting his Appalachian upbringing, telling people he was from Cincinnati.

Embarrassed by his past, Adams stayed away from Hazard and his family, searching for a new identity.
By the second year in college, Adams was exposed to the FSA photographers who documented the
lives of people living in poverty. Although initially defensive about the work, Adams submerged himself
in documentary books, showing them to his family on a summer visit. His uncle, a county doctor, took him
on house calls to meet people similar to the ones in the books. More than twenty five years later,
Shelby Lee Adams is still visiting these people, returning year after year, documenting their lives.

Whether documenting a home funeral,
a family gathering on the porch or the worn faces of poverty,
Adams's images are so raw we want to both turn away and stare.
The humanity in their faces, the comfort of their stance, are indications that an insider
is showing us a reality few people would ever see. That Adams has returned to the same
families for years is a testament to his dedication to show their painful existence while
maintaining their dignity. Although he now lives in Massachusetts, Shelby Lee Adams's
heart is forever in Appalachia.











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Aigner Lucien:

Lucien Aigner / Aigner László (Érsekújvár, 1901 – Waltham, 1999) He is a photo reporter who at ninety-six is
capable of getting into a sprightly argument, in a Japanese restaurant in Massachusetts, with his bosom buddy
Stefan Lóránt about whether Márkus Emília was a member of the National Theatre in 1919, and whether the
tram used to stop before the theatre or not. Meanwhile, two world wars and eighty years have passed.
It is hard to find an archive of such richness as his.
It would be just a slight exaggeration to say that any well-known personality absent from those archives
cannot have existed.A museum has been organized out of his collection of pictures already during his lifetime.










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Allard William Albert:






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Alvarez Bravo Manuel:


Manuel Alvarez Bravo
Born 1902, Died 2002
Photographer

A self-taught photographer, Manuel Alvarez Bravo purchased his first camera at age twenty while working at a government job. His earliest success at photography came around 1925, when he won first prize in a local photographic competition in Oaxaca. He returned to Mexico City, where he had been born, and in 1927 met Tina Modotti, who introduced him to a lively intellectual and cultural environment of other artists from various disciplines. Among them was Edward Weston, who encouraged Alvarez Bravo to continue photographing; Weston wrote to him in 1929: "Photography is fortunate in having someone with your viewpoint. It is not often I am stimulated to enthusiasm over a group of photographs."

Alvarez Bravo taught photography at the San Carlos Academy in the late 1930s, documented the work of Mexican mural painters including Diego Rivera, and contributed images to the journal Mexican Folkways . His primary subject interests have ranged from the nude form to folk art, particularly burial rituals and decorations.














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Andriesse Emmy: from holland






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Annan James Craig:

James Craig Annan (1864-1946). Artist of 2 portraits.

Born in Dumbarton, William Strang came to London to study at the Slade School under Alphonse Legros and remained there for the rest of his life. A prolific painter of portraits, biblical and subject paintings, he is best known for his portrait drawings in a style based on Holbein, and for his many etchings which are remarkable for their unity of vision and superb draughtsmanship. This photogravure was published in America in Alfred Stieglitz's Camera Work in July 1907 under the title The Etching Printer - William Strang, Esq., ARA. It shows Strang, who stands before a printing press, examining an etcher's plate.






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Appel Dieter:

Dieter Appelt has been a Professor of Photography, Film and Video at the Hochschule der Kunst in Berlin since 1982. He studied photography at the Academy of Fine Art in Berlin as well as music at Leipzig and Berlin Music Academies.

Appelt's work of the late 70's & 80's was typically related to performance art and often incorporated a level of sculptural construction. He began photographing to record his performance in outdoor settings -for some of these performances he built structures out of branches and positioned himself within the construct - a tower roughly crafted of tree branches, a slab cut into the ice, and mud as a protective yet primal second skin. Duration and decay are persistent themes in Appelt's photographs. He often uses exposures that are hours long in an attempt to record the effects of the passage of time.

His photographs have been exhibited extensively in Europe since the 1970's. He has had major solo exhibitions at the Guggenheim Museum in New York, the Art Institute of Chicago and the Staatliche Museen zu Berlin. Appelt's work has also been acquired by major collections internationally including the Museum of Modern Art, New York; the Victoria and Albert Museum, London; Centre George Pompidou, Paris; and the San Francisco Museum of Modern Art, California.
Dieter Appelt is linked to the following websites:










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Araki Noboyushi:

This is a one-man exhibition of Japanese photographic prodigy, Araki, who achieved the brilliant success overseas as well in throwing private exhibitions in Venice, Korea and other places in 2002. His early works were defined with its sharp expressions that scoop out the private inner self of the model, after that there was a series of portraits, nudes and landscapes in typical “Arakism” style with a touch of irony, rebel and satire. The exhibition this time features 10 color prints and 5 monochromes focused on the theme of “hyper-beauty” with young female models as the photogenic subject. This interesting collection is successful in exposing Araki’s aesthetic that refines fleeting eroticism from any context of society and metaphor.









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Arbus Diane:

Photographer Diane Arbus (1923-1971) captured provocative and unsettling portraits of modern Americans that were difficult to put aside. Her unflinchingly direct and often controversial photographs are enjoying renewed attention in the art world.

An Arbus show that opened Jan. 12 at New York University's Grey Art Gallery and will travel to Lawrence on a national tour, shows the influence of KU's Spencer Museum of Art.

Organized by the Spencer Museum and the Mount Holyoke College Art Museum, "Diane Arbus: Family Albums" holds at its heart more than 200 previously unseen photographs, both contact sheets and finished prints, which Arbus in December 1969 made for a private commission. Also on view are images Arbus shot on assignment for Esquire magazine, including pictures of the families of Ricky Nelson, Jayne Mansfield and Ogden Reid.

The exhibition catalog has received widespread critical acclaim. The book features essays by the two curators: John Pultz, KU associate professor of art history and the Spencer's curator of photography, and Anthony Lee, associate professor of art history at Mount Holyoke.










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Arnold Eve:

Eve Arnold was a world class photojournalist who followed Marilyn's career. She was trusted by Marilyn, who often called on her when the pictures had to be right.









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Atget Eugene:

Atget was born February 12, 1857 in Libourne, France. A sailor until 1879, an actor until 1897, and then briefly a painter before taking up photography in 1898, he brought a utilitarian’s sensibilities to his documentation of vieux Paris (Old Paris). Atget described himself as an archivist, lecturer, and author/publisher, while the sign on his door labeled his photographs merely as “Documents for artists.” Though this very private man shirked the title of artist (famously asking that his name not accompany his photograph “L’Eclipse—Avril 1912” when published in La Revolution Surrealist), he came to be celebrated by the surrealists, heralded as an important precursor to the New Objectivity, and remembered for a strong influence on the work of Walker Evans, Lee Friedlander, and many others. Man Ray claims to have discovered him (around 1926), but most of the world came to know Atget posthumously through Bernice Abbott’s tireless promotion of his work and his place as both ancestor and forerunner to modern photography. Atget was still largely unknown when he died in Paris on August 4, 1927, but within a decade was all but cannonized. Today his work numbers in most major institutional collections, such as those of the J. Paul Getty Museum in Los Angeles, The Museum of Modern Art in New York, and the Bibliotheque Nationale in Paris.










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Atwood Jane Evelyn:

Jane Evelyn Atwood, born in New York but living in France since 1971, received the first W. Eugene Smith Grant in Humanistic Photography for her continuing study of the blind. Her book on the subject, "Exterior Nuit," was published in 1998 as part of the Photo Poche series by Editions Nathan. She is the author of four other books, two on French prostitutes in Paris, one on the French Foreign Legion, and her most recent, "Too Much Time," a 10-year study of women in prison. In 1987, she received a World Press Prize for "Jean-Louis--Living and Dying with AIDS."










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Averon Richard:












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ასო A ამოვწურე და თუ ვინმეს დააინტერესებს B-ზე გადავალ

[chamoxeuli bilbordebi]

Battaglia Letizia

Letizia Battaglia: Passion Justice Freedom – Photographs of Sicily
Aperture (Burden Gallery)
20 East 23rd Street
October 16 – December 31, 2001


There has been a great deal of discussion lately, questioning whether art can provide a legitimate response to disaster, or if art that addresses a tragedy on the scale of the attacks on the World Trade Center in fact trivializes the event. The work of Letizia Battaglia, on view at Aperture’s Burden Gallery and featured in an Aperture publication from 1999 illustrates how art can both respond to desperate conditions and provide an avenue of hope, a way out of despair.

Letizia Battaglia can be tagged with many labels – photographer, political activist, feminist, environmentalist – none of which adequately convey who she is. Since the 1970s Battaglia has been documenting life in her native Sicily – its tragedies and violence, its stoicism and dignity. Rarely has an artist been bestowed with such an appropriate name: Letizia means joy, Battaglia means battle, and these two poles define the emotional territory that her work inhabits. While she started out as a photojournalist, Battaglia transcends the confines of that field and imbues every image with a timeless nobility and humanity. For several years she stopped taking pictures and officially entered the world of politics, standing for election and serving on the city council. She was instrumental in saving and reviving the historic center of Palermo, established her own publishing house and is deeply involved in working for the rights of women and, most recently, prisoners.

Much of Battaglia’s work documents the brutality of the Mafia: corpses, grieving widows, bloodstained streets. What is striking is the conflict between acceptance and outrage. Groups of onlookers, stoical and beyond shock, have seen it all before. Mourners wracked by sobs seem to be playing out a tragedy that defines every chapter of their lives. But Battaglia refuses to accept this reality. Her lens moves in too close for comfort, capturing a moment that is not meant to be seen, a scene that perhaps will be set back in order, hurriedly, as soon as possible (Fig 1).
Battaglia’s proximity to her subjects is unblinkingly honest, but it is never cruel. Her photographs of psychiatric patients expose the dimensions of their world without condescension. Most of Battaglia’s subjects either avoid the camera or are caught unawares. Mafiosi on trial, of course, would rather be elsewhere and look away in shame or defiance. Aristocrats at a gala party are as oblivious to the photographer as they are to the wider surrounding world. But there are some notable exceptions. Her portraits of children, particularly young girls, pay tribute to their eerie, prematurely adult beauty. Interestingly, these adolescent girls openly return the camera’s gaze. It seems to be a complicit glance, charged with a conspiratorial understanding of life’s inequity and harshness. Another powerful image in the exhibition – a young mother whose child has been bitten by a rat during the night – atypically looks straight into the camera, honestly acknowledging her plight, yet more heroic than resigned. One of the most emotionally laden and direct glances is exchanged between the photographer and Magistrate Roberto Scarpinato. It was Scarpinato who was the lead prosecutor in the trial of former Prime Minister Giulio Andreotti (who was acquitted). Scarpinato stands erect and stares ahead, enveloped in sadness. His entourage of bodyguards looks away (Fig 2).