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Engage with ICP from Anywhere. We Need Your Support. Fall exhibitions on view through January 10, Learn More. Between and , he embarked on several expeditions to the Orinoco River in Venezuela, and to other parts of South America. He went on his final, most extensive African expedition in , going throughout the continent, from Dakar to Zanzibar.
After this, he began a career as an industrial filmmaker for engineering projects throughout South America. He died in Bogota on 22 April Acebes's African photographs are often viewed as a departure from colonial anthropologists such as Casimir Zagourski, in whose footsteps he followed. He himself rejected the label of "anthropologist", seeking to distance himself from its colonial connotations.
The work of many previous photographers was often in service to the European colonization of Africa, and sought to document Africans as colonial subjects, Acebes's portraits gave the subjects more agency to pose, express emotions and individuality, thus departing from this tradition to an extent. He was raised in Madrid, Spain, and attended the Colegio del Pilar. While in college, he maintained his own photo studio. Army and served in Germany.
He has a son and two daughters. Throughout the late s and the s, Acebes took expeditions through Africa and South America and started his work as a professional filmmaker and lecturer. By the late s, Acebes Productions had established a reputation for creating excellent documentary and industrial films.
Acebes wrote, filmed, directed, and edited each of the forty-three films Acebes Productions released.
For the last ten years, the Hector Acebes Archives has been active in bringing Acebes' work to the attention of galleries, collectors, and museums. It is managed by Ed Marquand. Source: Hector Acebes Archives. Ricardo Reis. Why I Photograph As a young person, I needed and had to put out there so many things that were stuck inside me, and very quickly, I realized that I had a different way of seeing the world. I started noticing that even if there were many people looking at the same thing as me, they weren't seeing what I was seeing.
Photography became the most realistic representation of my perspective. Photography blends all the art mediums and I am inspired to create amalgamations of the dream world with the real. I love the challenge of being able to put onto paper the ideas and surreal world of my own creation. My Purpose When I create a photograph image, I want to engage in a dialogue-to make the viewer feel something, even if it's a negative reaction.
I appreciate the negative reaction, because I understand I've drawn something out in the viewer: an honest reaction is more potent than an indifferent one. I want to be able to convey an inner conversation-an ambience, a vibe- to create curiosity in the viewer for the lives and moments depicted in my images.
My Method I prefer to shoot with black and white 35mm film, because I find it's more honest and direct, at least for me. I like the mental exercise of having to prepare the picture in your mind first and do the chain of thoughts necessary to translate the idea into the final work.
Color can be distracting and disruptive of the real intent and emotion I am trying to achieve. My favorite camera is the Canon EOS 1 RS film camera; it has plenty of functions which allow me to have more control over the final product.
I love to prepare a playlist and just go and take a walk with my camera and put myself in the mood: a limbo between voyeurism and participant. My Path When I started I wanted to be a war photographer, but in my home country of Portugal, it's very difficult to get the connections necessary to achieve that. I was fortunate to get an internship at a daily newspaper in Portugal which led to my work being published in several major newspapers and magazines. I began to work more in fashion photography and was assigned to the fashion weeks that took place in Europe.
During the shows, I found that I always preferred the backstage where I had more freedom to do different things, take more risks.
Photography has been the driving force through all my creative pursuits. My love of music, music photography and music videos comprise a large part of my work. The more artistic side of my work is represented in several countries and in private collections, from Canada, the UK, France, Netherlands, Australia, China, Portugal, and the United States. Currently I am living in Lisbon, but who knows what's next. Nicolas Thomas Moreno. Born in in Suresnes, I moved all over France during my youth as I followed my father's professional transfers.
Back in Paris in after being accepted at the Icart School of Photography in Levallois Perret , I obtained my diploma in , finishing second with my series "Architectura". Since then, I had several internships with architectural photographers and I keep assisting others while still working on my personal projects. I started working on "Topography of Remembrance" a year ago and it allowed me to travel to more than 60 different locations from which I kept images.
I'm now working on a project called Brutalism. Constanza Hevia H. Her appreciation and curiosity about the life of ordinary people has led her to use photography as a tool of social observation. Intrigued by everyday life scenes, one of her main goals is to document and leave testimony about the strengths and weaknesses of human nature.
Thomas Michael Alleman. Thomas Michael Alleman was born and raised in Detroit, where his father was a traveling salesman and his mother was a ceramic artist. William Eggleston. His father was an engineer and his mother was the daughter of a prominent local judge. As a boy, Eggleston was introverted; he enjoyed playing the piano, drawing, and working with electronics.
From an early age, he was also drawn to visual media, and reportedly enjoyed buying postcards and cutting out pictures from magazines. At the age of 15, Eggleston was sent to the Webb School, a boarding establishment. Eggleston later recalled few fond memories of the school, telling a reporter, "It had a kind of Spartan routine to 'build character'. I never knew what that was supposed to mean. It was so callous and dumb. It was the kind of place where it was considered effeminate to like music and painting.
Nevertheless, Eggleston noted that he never felt like an outsider. Nonetheless, his interest in photography took root when a friend at Vanderbilt gave Eggleston a Leica camera. He was introduced to abstract expressionism at Ole Miss by visiting painter Tom Young. Eggleston later recalled that the book was "the first serious book I found, from many awful books I didn't understand it a bit, and then it sank in, and I realized, my God, this is a great one. Color transparency film became his dominant medium in the later s.
Eggleston's development as a photographer seems to have taken place in relative isolation from other artists. In an interview, John Szarkowski describes his first encounter with the young Eggleston in as being "absolutely out of the blue". After reviewing Eggleston's work which he recalled as a suitcase full of "drugstore" color prints Szarkowski prevailed upon the Photography Committee of MoMA to buy one of Eggleston's photographs.
Hopps later reported being "stunned" by Eggleston's work: "I had never seen anything like it. As Eggleston later recalled: "It advertised 'from the cheapest to the ultimate print. I went straight up there to look and everything I saw was commercial work like pictures of cigarette packs or perfume bottles but the colour saturation and the quality of the ink was overwhelming.
I couldn't wait to see what a plain Eggleston picture would look like with the same process. Every photograph I subsequently printed with the process seemed fantastic and each one seemed better than the previous one. When you look at the dye it is like red blood that's wet on the wall A little red is usually enough, but to work with an entire red surface was a challenge.
Eggleston's work was exhibited at MoMA in Although this was over three decades after MoMa had mounted a solo exhibition of color photographs by Eliot Porter, and a decade after MoMA had exhibited color photographs by Ernst Haas, the tale that the Eggleston exhibition was MoMA's first exhibition of color photography is frequently repeated, and the show is regarded as a watershed moment in the history of photography, by marking "the acceptance of colour photography by the highest validating institution" in the words of Mark Holborn.
Around the time of his MoMA exhibition, Eggleston was introduced to Viva, the Andy Warhol "superstar", with whom he began a long relationship. During this period Eggleston became familiar with Andy Warhol's circle, a connection that may have helped foster Eggleston's idea of the "democratic camera", Mark Holborn suggests. Also in the s Eggleston experimented with video, producing several hours of roughly edited footage Eggleston calls Stranded in Canton.
Writer Richard Woodward, who has viewed the footage, likens it to a "demented home movie", mixing tender shots of his children at home with shots of drunken parties, public urination and a man biting off a chicken's head before a cheering crowd in New Orleans.
Woodward suggests that the film is reflective of Eggleston's "fearless naturalism—a belief that by looking patiently at what others ignore or look away from, interesting things can be seen. Some of his early series have not been shown until the late s. The Nightclub Portraits , a series of large black-and-white portraits in bars and clubs around Memphis was, for the most part, not shown until Lost and Found, part of Eggleston's Los Alamos series, is a body of photographs that have remained unseen for decades because until no one knew that they belonged to Walter Hopps; the works from this series chronicle road trips the artist took with Hopps, leaving from Memphis and traveling as far as the West Coast.
Eggleston's Election Eve photographs were not editioned until Eggleston also worked with filmmakers, photographing the set of John Huston's film Annie and documenting the making of David Byrne's film True Stories In an album of Eggleston's music was released, Musik.
It comprises 13 "experimental electronic soundscapes", "often dramatic improvisations on compositions by Bach his hero and Haendel as well as his singular takes on a Gilbert and Sullivan tune and the jazz standard On the Street Where You Live. Once she was back in Seattle, Cunningham opened a photography studio and began to be noticed for her work. She had shows at prestigious galleries and academies in New York and had a grouping of her photos published in a major magazine.
Cunningham married Roi Partridge in An artist himself and a teacher, he also posed for her. They had three children together and moved to San Francisco in , where Partridge taught at Mills College.
In the meantime, Cunningham returned to her botanical photographs. She also created industrial photographs. In , ten of her photos, including Two Callas , were included in an exhibition entitled Film und Foto , curated by the renowned photographer, Edward Weston. Over the years Cunningham became more and more interested in the human form and especially human hands.
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