Ive been experimenting with print making. the next steps for me i think is to research many different print makers and find out in more detail where i can take my work
(1937-) American nature photographer
After earning a doctorate in English and becoming a college professor, Adams decided to shift careers and focus on his true love, photography, in 1970. Since then, he's made a name for himself with more than 20 books, mainly chronicling the, American West, particularly the Colorado landscape, in and around Denver. He attributes his affinity for the Western landscape to boyhood adventures such as hiking, river rafting, and camping. His black and white photographs of characteristically spare landscapes have brought him two National Endowment for the Arts Photography fellowships (1973, 1978), a Guggenheim award (1973), and a MacArthur fellowship (1994).
© Robert Adams
William Eggleston
EGGLESTON, WILLIAM (1939) American
His exhibition at the Museum of Modern Art in 1976, William
Eggleston’s Guide, featuring lush dye-transfer prints of the
banal made in the American South ushered in the acceptance
of color photography as a fine art. By means of a sophisticated
snapshot aesthetic, Eggleston uses color to describe scenes
in psychological dimensions that makes everyday events
look unusual. Initially criticized for making vulgar images of
insignificant subjects, such as a light bulb or the inside of an
oven, he promoted the notion that anything could be photographed
by democratically filling the dull existential void
of American culture with color. Th e skewed angles of his
“shotgun” pictures, not using the camera’s viewfinder, helped
to open the traditional “photographer’s eye” in terms of how
images are composed and what is acceptable subject matter.
In turn, this sparked questions about the interpretation and
response viewers have to images, and what the role of makers
is in educating their audience.
Publications
Eggleston, W. (2003). Los Alamos. New York. Scalo.
Eggleston, W. (1976). William Eggleston’s Guide. Cambridge,
MA: MIT Press.
Information collected from: Focal Encylopedia of Photography
Copyright © 2009 Focal Press, Inc.
Image © Eggleston Artist Trust. All rights reserved.
His exhibition at the Museum of Modern Art in 1976, William
Eggleston’s Guide, featuring lush dye-transfer prints of the
banal made in the American South ushered in the acceptance
of color photography as a fine art. By means of a sophisticated
snapshot aesthetic, Eggleston uses color to describe scenes
in psychological dimensions that makes everyday events
look unusual. Initially criticized for making vulgar images of
insignificant subjects, such as a light bulb or the inside of an
oven, he promoted the notion that anything could be photographed
by democratically filling the dull existential void
of American culture with color. Th e skewed angles of his
“shotgun” pictures, not using the camera’s viewfinder, helped
to open the traditional “photographer’s eye” in terms of how
images are composed and what is acceptable subject matter.
In turn, this sparked questions about the interpretation and
response viewers have to images, and what the role of makers
is in educating their audience.
Publications
Eggleston, W. (2003). Los Alamos. New York. Scalo.
Eggleston, W. (1976). William Eggleston’s Guide. Cambridge,
MA: MIT Press.
Information collected from: Focal Encylopedia of Photography
Copyright © 2009 Focal Press, Inc.
Image © Eggleston Artist Trust. All rights reserved.
Mary Ellen Mark
Image © of Mary Ellen Mark.Mary Ellen Mark (born 20th March, 1940) is an American Photographer known for her photojournalism, her portraiture, and her advertising photography. She has had 16 collections of her work published and has been exhibited at galleries and museums worldwide. She has received numerous accolades, including three Robert F. Kennedy Journalism Awards and three fellowships from the National Endowment for the Arts.
Mark became a unit photographer on movie sets, shooting production stills for films including Arthus Penn's Alice's Restaurant (1969) and Mike Nichol's Catch-22 (1970) and Carnal Knowledge (1971), among her earliest. For Look magazine, she photographed federico fellini shooting his film atyricon (1969).Mark has since photographed on the sets of more than 100 movies, up through at least director Baz Lurhmann's Australia (2008).
Mark has contributed to publications including the magazines Life, Rolling Stone, The New Yorker, and Vanity Fair. As of 2009, she has published 16 books including:
Falkland Road 1981), Mother Teresa's Mission of Charity in Calcutta 1985,
Streetwise 1992, Mary Ellen Mark: 25 Years 1991,
Indian Circus 1993, Portraits 1995,
A Cry for Help 1996, Mary Ellen Mark: American Odyssey 1999,
Mary Ellen Mark 55 2001, Photo Poche: Mary Ellen Mark 2002,
Twins 2003, Mary Ellen Mark: Exposure 2005,
Extraordinary Child 2007 and Seen Behind the Scene 2008.
Mark's photography has addressed such social issues as homelessness, loneliness, drug addiction, and prostitution. She works primarily in Black & White.
Annie Leibovitz
Annie Leibovitz is an American portrait photographer whose style is marked by a close collaboration between the photographer and the subject.
Born in Waterbury, Connecticut, Leibovitz is the third of six children in a Jewish family. Her mother was a modern dance instructor, while her father was a lieutenant colonel in the United States Air Force. The family moved frequently with her father's duty assignments, and she took her first pictures when he was stationed in the Philippines.
In high school, she became interested in various artistic endeavours, and began to write and play music. She attended the San Francisco Art Institute, where she studied painting. She became interested in photography after taking pictures when she lived in the Philippines, where her Air Force father was stationed during the Vietnam War. For several years, she continued to develop her photography skills while she worked various jobs, including a stint on a kibbutz Amir in Israel for several months in 1969.
When Leibovitz returned to the United States in 1970, she worked for the recently launched Rolling Stone magazine. In 1973, publisher Jann Wenner named Leibovitz chief photographer of Rolling Stone. Leibovitz worked for the magazine until 1983, and her intimate photographs of celebrities helped define the Rolling Stone look.
In 1975, Leibovitz served as a concert-tour photographer for The Rolling Stones' Tour of the Americas.
Famous Leibovitz photographs.
- Leibovitz in front of her More Demi Moore Vanity Fair cover photo, 2008.
- John Lennon and Yoko Ono for the Jan. 22, 1981 Rolling Stone cover, shot the day of Lennon's death.
- Linda Ronstadt in a red slip, on her bed, reaching for a glass of water in a 1976 cover story for Rolling Stone magazine.
- Demi Moore has been the subject of two highly publicized Vanity Fair covers taken by Leibovitz: More Demi Moore featuring Moore pregnant and nude, and Demi's Birthday Suit, showing Moore nude with a suit painted on her body.
- Fleetwood Mac for a 1977 issue of Rolling Stone magazine. Stevie Nicks and Mick Fleetwood are shown lying together, as are Christine McVie and Lindsey Buckingham at the opposite end of the bed. John McVie is shown reading Playboy magazine.
- Brooke Shields, pregnant for the cover of Vogue in April 2003. This was the first image of a visibly pregnant woman on its cover.
- Whoopi Goldberg lying in a bathtub full of milk, shot from above.
- Christo, fully wrapped so the viewer must take the artist's word that Christo is actually under the wrapping.
- David Cassidy on the infamous Rolling Stone cover depicting him naked from his head to his waist.
- Dolly Parton vamping for the camera while Arnold Schwarzenegger flexes his biceps behind her.
- Dan Aykroyd and John Belushi, as The Blues Brothers, with their faces painted blue.
- Keira Knightley and Scarlett Johansson, both nude, with a fully-clothed Tom Ford, for the cover of Vanity Fair's March 2006 Hollywood Issue. [30][31]
- Queen Elizabeth II on occasion of her state visit in United States in 2007.
- Sting in the desert, covered in mud to blend in with the scenery.
- Closeup portrait of Pete Townshend framed by his bleeding hand dripping real blood down the side of his face.
- "Fire" portrait and caption "Patti Smith Catches Fire".
- Cyndi Lauper, She's So Unusual and True Colors album covers
- Bruce Springsteen, Born in the U.S.A. album cover.
- Gisele Bündchen and LeBron James on the April 2008 cover of Vogue America.
- Miley Cyrus' Vanity Fair photo in which the young star appeared semi-nude, leading to a controversy.
- Michael Jackson twice for the cover of the Vanity Fair magazine, including other additional photographs of him which were not featured on the cover of the magazine.
- Bill Gates for the cover of Gates' book "The Road Ahead".
Leibovitz's photography books
- Photographs
- Photographs 1970–1990
- Olympic Portraits
- Women
- American Music
- A Photographer’s Life 1990–2005 (catalog for a travelling exhibit that debuted at the Brooklyn Museum in October 2006)
- Annie Leibovitz: At Work.
Life Throught The Lens
Google Search: Annie Leibovitz
Ian Beesley
Acclaimed social documentary photographer, Ian Beesley, completed the Foundation in Art &
Design at Bradford Art College in 1974.
Following his Foundation course at Bradford Art College, Ian studied at Bournemouth & Poole College of Art until 1977 when he graduated with a double distinction in editorial and documentary photography. He has been a professional photographer for over 30 years and his work has been exhibited widely, both at home and internationally.
Ian has produced over 20 books, some in collaboration with local historians, documenting industrial landscapes, urban life and architecture and vanishing workplaces. He has also captured such diverse subjects as professional sportsmen, ophans, tattoos, and clubbers. Titles include Through the Mill (1987); Victorian Bradford (1987); Calderdale: Architecture and History (1988); Victorian Manchester & Salford (1988); Undercliffe: Bradford’s Historic Victorian Cemetery (1991); Leeds the Architectural Heritage: A First Selection (1993); A Place of Work (1995); Claret and Amber in Black and White: Bradford City AFC’s Premiership Season 1999-2000; The Power, the Pride, the Passion: Images from the Bradford Bull’s 2001 Season; Building Sights: The Architecture and People of Leeds (2001); Orphans of the Fall-out: Zhitkovitchi Orphanage, Belarus (2001); Meltdown: Words and Images from West Yorkshire Foundries (2004) and Shining Out: Reflecting the Images of Stainless Steel Rolling at Shepcote Lane (2006). He has also worked in film and lectured in photography.
“The year I spent on the Foundation course was possibly the best year I have had in education. I was always interested in art but I never did it at school because of their stupid options system. When I left school I ended up working at Esholt sewage works. I had a friend who was a student at Bradford Art College and he said I should show the tutors there the photos and bits of writing and drawing I did and see if I could get a place on a course. Workmates encouraged me to go for it and told me not to get stuck where I was. When you work in a sewage works it concentrates your mind as to what you want to do!
I started in September 1973 and the photo shows what I looked like then! I am eternally grateful that I did. The course was great but the best thing was being part of such a vibrant art scene. I remember Albert Hunt, all the events and the great speakers that came in. My favourite was Champion Jack Dupree, the famous American blues pianist. He had been put in an orphanage after his parents were killed by the Klu Klux Klan and he became a bare knuckle fighter before teaching himself to play the piano. I also remember Brendan Behan’s brother visiting to talk about him, plus Viv Stanshall and various people from the Bonzo Dog Doo-Dah Band. It was never a formal programme but it seemed that nearly every day something amazing happened.”
Ian has produced over 20 books, some in collaboration with local historians, documenting industrial landscapes, urban life and architecture and vanishing workplaces. He has also captured such diverse subjects as professional sportsmen, ophans, tattoos, and clubbers. Titles include Through the Mill (1987); Victorian Bradford (1987); Calderdale: Architecture and History (1988); Victorian Manchester & Salford (1988); Undercliffe: Bradford’s Historic Victorian Cemetery (1991); Leeds the Architectural Heritage: A First Selection (1993); A Place of Work (1995); Claret and Amber in Black and White: Bradford City AFC’s Premiership Season 1999-2000; The Power, the Pride, the Passion: Images from the Bradford Bull’s 2001 Season; Building Sights: The Architecture and People of Leeds (2001); Orphans of the Fall-out: Zhitkovitchi Orphanage, Belarus (2001); Meltdown: Words and Images from West Yorkshire Foundries (2004) and Shining Out: Reflecting the Images of Stainless Steel Rolling at Shepcote Lane (2006). He has also worked in film and lectured in photography.
“The year I spent on the Foundation course was possibly the best year I have had in education. I was always interested in art but I never did it at school because of their stupid options system. When I left school I ended up working at Esholt sewage works. I had a friend who was a student at Bradford Art College and he said I should show the tutors there the photos and bits of writing and drawing I did and see if I could get a place on a course. Workmates encouraged me to go for it and told me not to get stuck where I was. When you work in a sewage works it concentrates your mind as to what you want to do!
I started in September 1973 and the photo shows what I looked like then! I am eternally grateful that I did. The course was great but the best thing was being part of such a vibrant art scene. I remember Albert Hunt, all the events and the great speakers that came in. My favourite was Champion Jack Dupree, the famous American blues pianist. He had been put in an orphanage after his parents were killed by the Klu Klux Klan and he became a bare knuckle fighter before teaching himself to play the piano. I also remember Brendan Behan’s brother visiting to talk about him, plus Viv Stanshall and various people from the Bonzo Dog Doo-Dah Band. It was never a formal programme but it seemed that nearly every day something amazing happened.”
Martin Parr
Martin Parr, British born 1952.
Parr studied photography at Manchester Polytechnic in the 70's and gained early recognition in the UK and Europe when he won three successive awards from the Arts Council in the late 1970's. He became a member of Magnum in 1994 and is now one of Englands most prolific and high profile photographers whose idiosyncratic style is instantly recognizable the world over. His work has appeared in all major magazines and been exhibited at some of the world's most important museums including the Tate Modern and New York's Metropolitan Museum Of Modern Art, He also directed and made a television documentary films for the BBC and Europe. Parr has also curated photographic festivals written about photography and had close to 20 books on his work published.
Books:
- Martin Parr
- Small World
- Think Of England
- The Last Resort
- Objects
Martin Parr
Magnum: Martin Parr
BBC: Martin Parr
Ansel Adams
Image © Of Ansel Adams
Ansel Adams (Feb. 20 1902 — Apr. 22, 1984), photographer and environmentalist, was born in San Francisco, California, the son of Charles Hitchcock Adams, a businessman, and Olive Bray. The grandson of a wealthy timber baron, Adams grew up in a house set amid the sand dunes of the Golden Gate. When Adams was only four, an aftershock of the great earthquake and fire of 1906 threw him to the ground and badly broke his nose, distinctly marking him for life. A year later the family fortune collapsed in the financial panic of 1907, and Adams's father spent the rest of his life doggedly but fruitlessly attempting to recoup.
An only child, Adams was born when his mother was nearly forty. His relatively elderly parents, affluent family history, and the live-in presence of his mother's maiden sister and aged father all combined to create an environment that was decidedly Victorian and both socially and emotionally conservative. Adams's mother spent much of her time brooding and fretting over her husband's inability to restore the Adams fortune, leaving an ambivalent imprint on her son. Charles Adams, on the other hand, deeply and patiently influenced, encouraged, and supported his son. Read more At: The Ansel Adams Gallery
Afro Modern: Journeys through the Black Atlantic
Tate Liverpool 29 January – 25 April 2010
About the exhibition
Afro Modern: Journeys through the Black Atlantic explores the impact of different black cultures from around the Atlantic on art from the early twentieth-century to today. The exhibition takes its inspiration from Paul Gilroy's influential book The Black Atlantic: Modernity and Double Consciousness 1993. It features over 140 works by more than 60 artists.
Gilroy used the term 'The Black Atlantic' to describe the transmission of black cultures around the Atlantic, and the instances of cultural hybridity, that occurred as a result of transatlantic slavery and its legacy. Afro Modern: Journeys through the Black Atlantic reflects Gilroy's idea of the Atlantic Ocean as a 'continent in negative', offering a network connecting Africa, North and South America, the Caribbean and Europe. It traces both real and imagined routes taken across the Atlantic, and highlights artistic links and dialogues from the early twentieth-century to today.
The exhibition is divided into seven chronological sections. Charting new forms of art arising from black culture and the work of black artists and intellectuals, it opens up an alternative, transatlantic reading of modernism and contemporary culture.
Afro Modern: Journeys through the Black Atlantic is part of Liverpool and the Black Atlantic, a series of exhibitions and events that explores connections between cultures and continents. Partners include the Bluecoat, FACT (Foundation for Art and Creative Technology), International Slavery Museum, Kuumba Imani Millenium Centre, Liverpool Philharmonic Hall, Metal, Tate Liverpool, Walker Art Gallery, and the University of Liverpool.
Lisa Kowalski
Lisa Kowalski is not afraid to paint. With bold,
fluid brush strokes and a minimal style, her
paintings have a childlike freedom and a
sophisticated spontaneity. Her dynamic oil
paintings are infused with creative energy,
an intuitive sense of color, and an innate
understanding of composition. When asked to
reflect on her work, she believes, “There is an
unmitigated spontaneity driven by emotive
forces, reacting intuitively, relying on chance
and making arbitrary choices. The works are
not meant to be narrative. I am in love with
everything about the act of painting; the smell,
the lushness of oil paint, color.”
Reminiscent of the Abstract Expressionism
movement of the 1940s and beyond, Kowalski
unleashes the creativity of her unconscious
mind through the impulsive quality of her
approach, therefore making the process just as
important as the painting itself. She paints what
she feels, capturing the essence of herself and
all she has absorbed in the world, displaying
it on the canvas or board in the form of
uncalculated marks, rich textures, and games
of positive and negative space.
Lisa received her Bachelor of Fine Arts degree
in 1988 from The School of the Art Institute
of Chicago. She currently divides her time
between her studio in Chicago, Illinois and her
home in Grand Haven, Michigan.
View More of Lisa Kowalski's work Here
fluid brush strokes and a minimal style, her
paintings have a childlike freedom and a
sophisticated spontaneity. Her dynamic oil
paintings are infused with creative energy,
an intuitive sense of color, and an innate
understanding of composition. When asked to
reflect on her work, she believes, “There is an
unmitigated spontaneity driven by emotive
forces, reacting intuitively, relying on chance
and making arbitrary choices. The works are
not meant to be narrative. I am in love with
everything about the act of painting; the smell,
the lushness of oil paint, color.”
Reminiscent of the Abstract Expressionism
movement of the 1940s and beyond, Kowalski
unleashes the creativity of her unconscious
mind through the impulsive quality of her
approach, therefore making the process just as
important as the painting itself. She paints what
she feels, capturing the essence of herself and
all she has absorbed in the world, displaying
it on the canvas or board in the form of
uncalculated marks, rich textures, and games
of positive and negative space.
Lisa received her Bachelor of Fine Arts degree in 1988 from The School of the Art Institute
of Chicago. She currently divides her time
between her studio in Chicago, Illinois and her
home in Grand Haven, Michigan.
View More of Lisa Kowalski's work Here
Peter Wileman
Image Copyright of Peter WilemanPeter Wileman was born in 1946 in Middlesex. On leaving school he went straight into his first job as a studio junior for a card company, where his innate artistic talent was recognised. Here he spent five years studying lettering and design - his first artistic training - which gave him a solid grounding in colour awareness and formal structure.
Peter then moved on to become art editor on a number of magazines, until finally he tired of the rat-race and set himself up as a freelance illustrator. His years of experience stood him in good stead, covering as they did, all aspects of design and illustration, from greeting cards and posters through to
portraits and Limited Edition Prints.
Working freelance gave Peter the opportunity to concentrate on his painting, and he has produced a substantial body of highly expressive work inspired by Britain’s coves and harbours. His large-scale compositions have a painterly quality derived from the apparent vigour of the brushstrokes and the impression of spontaneous creativity, which make them both dramatic and uplifting.
Over the last six years Peter has exhibited regularly at a
number of prestigious art venues including the Royal Society of Marine Artists, the New England Art Club and the Royal Institute of Oil Painters of which he is an associate member.
Howard Hodgkin
Howard Hodgkin
Hodgkin's first solo show was in London in 1962. His early paintings tend to be made up of hard-edged curved forms in a limited number of colours.
Mature work
Around the beginning of the 1970s, his style became more spontaneous, with vaguely recognisable shapes presented in bright colours and bold forms. His works may then be called "semi-abstract", and are often compared to the paintings of Henri Matisse.
In 1984, Hodgkin represented Britain at the Venice Biennale, in 1985 he won the Turner Prize, and in 1992 he was knighted.
In 1995, Hodgkin printed the Venetian Views series, which depict the same view of Venice at four different times of day. Venice, Afternoon - one of the four prints - uses sixteen sheets, or fragments, in a hugely complex printing process which creates a colourful, painterly effect. This piece was given to the Yale Centre of British Art in June 2006 by the Israel family to complement their already-impressive collection of Hodgkins.
In 2003 he was appointed by Queen Elizabeth II as a Companion of Honour. A major exhibition of his work was mounted at Tate Britain, London, in 2006. Also in 2006, The Independent declared him one of the 100 most influential gay people in Britain, as his work helps many people express their emotions to others.
Style
Hodgkin's paintings often seek to convey memories of encounters with friends and frequently carry titles alluding to specific places and events such as Dinner at West Hill (1966) and Goodbye to the Bay of Naples (1980–82). Hodgkin himself has said that he paints "representational pictures of emotional situations."
Despite their apparent spontaneity and usually small scale, many of Hodgkin's paintings take years to complete, with the artist returning to a work after a wait and then changing it or adding to it. He often paints over the frames of his pictures, emphasising the idea of the painting as an object. Several of his works are on wooden items, such as bread-boards or the tops of old tables, rather than canvas. A number of his works not shown in frames are surrounded by rectangles of simple colour.
His prints are hand-painted etchings and he has worked with the same master printer (Jack Shirreff at 107 Workshop) and print publisher (Alan Cristea Gallery) for the last 25 years
Howard Hodgkin
Hodgkin's first solo show was in London in 1962. His early paintings tend to be made up of hard-edged curved forms in a limited number of colours.
Mature work
Around the beginning of the 1970s, his style became more spontaneous, with vaguely recognisable shapes presented in bright colours and bold forms. His works may then be called "semi-abstract", and are often compared to the paintings of Henri Matisse.
In 1984, Hodgkin represented Britain at the Venice Biennale, in 1985 he won the Turner Prize, and in 1992 he was knighted.
In 1995, Hodgkin printed the Venetian Views series, which depict the same view of Venice at four different times of day. Venice, Afternoon - one of the four prints - uses sixteen sheets, or fragments, in a hugely complex printing process which creates a colourful, painterly effect. This piece was given to the Yale Centre of British Art in June 2006 by the Israel family to complement their already-impressive collection of Hodgkins.
In 2003 he was appointed by Queen Elizabeth II as a Companion of Honour. A major exhibition of his work was mounted at Tate Britain, London, in 2006. Also in 2006, The Independent declared him one of the 100 most influential gay people in Britain, as his work helps many people express their emotions to others.
Style
Hodgkin's paintings often seek to convey memories of encounters with friends and frequently carry titles alluding to specific places and events such as Dinner at West Hill (1966) and Goodbye to the Bay of Naples (1980–82). Hodgkin himself has said that he paints "representational pictures of emotional situations."
Despite their apparent spontaneity and usually small scale, many of Hodgkin's paintings take years to complete, with the artist returning to a work after a wait and then changing it or adding to it. He often paints over the frames of his pictures, emphasising the idea of the painting as an object. Several of his works are on wooden items, such as bread-boards or the tops of old tables, rather than canvas. A number of his works not shown in frames are surrounded by rectangles of simple colour.
His prints are hand-painted etchings and he has worked with the same master printer (Jack Shirreff at 107 Workshop) and print publisher (Alan Cristea Gallery) for the last 25 years
Laurie Maitland
Images Copy Right of Laurie MaitlandBorn in Portsmouth in 1969, Laurie Maitland came from an artistic family. Having been brought up in the Cotswolds for the formative years of her childhood, she moved to London as a teenager and excelled in the arts. She studied photography, life drawing and specialized in set design as part of an English and Drama degree. After teaching for a couple of years, Laurie first exhibited her work in 1995 and has since owned and sold two art galleries and a furniture design business, and she helps run Naked Art Publishing Company. Laurie now paints full time and her work is a best seller in galleries throughout the world.
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