Jazz Photographer Herman Leonard

Herman Leonard (March 6, 1923, in Allentown, Pennsylvania – August 14, 2010, in Los Angeles, California) was an American photographer known for his unique images of jazz icons. «President Bill Clinton has called Herman Leonard, „The greatest jazz photographer in the history of the genre.“ Born March 6, 1923 and raised in Allentown, PA, at age 9, Herman Leonard witnessed an image being developed in his brother's darkroom and became enthralled with the magic of photography. As the official photographer for his high school, Herman quickly learned that with a camera in hand, he had an „open sesame“ to people and events, that his shyness might have prevented him from experiencing. When it came time for college, Herman chose Ohio University, “The only university at the time that could offer me a degree in Photography”. His college studies were interrupted from 1943-1945, as Herman joined the United States Army and was sent to Burma with the 13th Mountain Medical Battalion. He had hoped to be a field photographer, but was ironically assigned as a combat anesthetist when he failed a test which required him to identify the chemical ingredients of film developer. After the war, Herman returned to college and graduated in 1947 with a Bachelor of Fine Arts Degree.


Herman's most influential teacher was master portrait photographer, Yousuf Karsh, with whom Herman spent a year as an apprentice to in Ottawa, Canada from 1947-1948. Herman assisted Karsh in the darkroom and with photographic sittings including, Martha Graham, Harry Truman, and Albert Einstein.

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Tachisme Hans Hartung

Hans Hartung (21 September 1904 – 7 December 1989) was a German-French painter, known for his gestural abstract style. He was also a decorated World War II veteran of the French Foreign Legion.Hartung was born in Leipzig, Germany into an artistic family. He developed an early appreciation of Rembrandt, German painters such as Lovis Corinth, and the Expressionists Oskar Kokoschka and Emil Nolde. In 1924 he enrolled in Leipzig University, where he studied philosophy and art history.He subsequently studied at the Fine Arts academy of Dresden, where he copied the paintings of the masters. The modern French and Spanish works he saw in 1926 at the Internationale Kunstausstellung in Dresden were a revelation to him, and he decided that he would leave his native country to prevent succumbing to provincialism. Consequently, after a bicycle trip through Italy, he moved to Paris.


  

 

 

 

 

 

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Geometric abstraction Rudolf Bauer

«Rudolf Bauer, in full Alexander Georg Rudolf Bauer (born February 11, 1889, Lindenwald, Germany (now in Poland)—died November 28, 1953, Deal, New Jersey, U.S.), German-born abstract artist whose role in the conception and founding of the Solomon R. Guggenheim Museum was buried for some 60 years after he had a falling-out with Guggenheim. As a result of the same incident, Bauer’s own colourful geometric paintings also remained largely out of the public eye until the early 21st century.
Bauer’s interest in art began at an early age. He left home in 1905, without the support of his family, and enrolled in the Academy of Fine Arts, Berlin-Charlottenburg. Losing interest in academic training, he left school and supported himself by drawing political cartoons and caricatures that he sold to magazines and newspapers. The small income he earned in this fashion allowed him to pursue his own art. He experimented with both representational and nonrepresentational modes of expression, including Impressionism and Expressionism. In 1915 he joined Der Sturm, a circle of avant-garde artists such as Wassily Kandinsky who were affiliated with Herwarth Walden’s Galerie Der Sturm. Bauer began exhibiting frequently with them, teaching in Walden’s Sturmschule and writing for his magazine. It was at that gallery in 1916 that Bauer met Hilla Rebay, a German baroness and artist. Rebay immediately became the greatest champion of his work, and the two began a nearly three-decade-long on-and-off relationship...»........More


 

 

 

 

 

 

 

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Barton Lidicé Benes - Conceptual art

Barton Lidicé Beneš (1942-2012) was born in Westwood, New Jersey on November 16, 1942. Beneš first came to prominence during the 1980s with his whimsical constructions of shredded currency and later with his signature “museums,” gridded arrangements of relics from Ancient Egypt to Hollywood. He transformed fragments of our throwaway culture into art that sometimes addressed taboo subjects and often used unconventional materials including cremation ashes, shells, bodily fluids, currency and shredded money, relics, celebrity artifacts and found objects. Beneš was a first-generation veteran of the AIDS crisis and chronicled his own HIV+ status in Lethal Weapons, a series of works created with his own blood. This exhibit toured Europe in the 1990s and traveled to Lund, Sweden, where authorities intervened and demeaned installation be heated to 160 degrees Fahrenheit in a hospital oven to make it “safe” for public viewing. These provocative pieces confront HIV/AIDS head-on, blending political activism, visual poetry and a wicked sense of humor, forcing viewers to face their fears of death and transmission. His work continues to serve as a symbol of resistance, engaging a new generation in the evolving conversation about art and AIDS.
At the forefront of New York’s burgeoning gay scene in the post-Stonewall era, Beneš was also featured in numerous documentaries about art, AIDS and gay history, including Lovett Productions’ Gay Sex in the 70s. His work has been exhibited nationally and internationally at The Cleveland Museum of Art; North Dakota Museum of Art; The Katonah Museum of Art; The New York Public Library; and Aldrich Museum of Contemporary Art, as well as Centre Pompidou, Paris; Boras Konstmuseum, Sweden; and Old Town Hall, Prague. His work is in the permanent collections of The Art Institute of Chicago, The Smithsonian, The U.S. Mint and North Dakota Museum of Art. Beneš is represented by Pavel Zoubok Gallery in New York

 

 

 

 

 

 

 

 

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Art & Fashion : Japanese Contemporary Fashion Kansai Yamamoto

Kansai Yamamoto (February 8, 1944) is one of the leaders in Japanese Contemporary fashion, in particular during the 1970s and 1980s.Kansai was born in 1944 in Yokohama, Japan. After studying civil engineering and English at Nippon University, got a so-en prise at Bunka Fashion College in 1967.Among the designers with whom he apprenticed are Junko Koshino and Hisashi Hosono; in 1971, he opened his own company, Yamamoto Kansai Company, Ltd., Tokyo. His first collection debuted in London in 1971 and in the USA at Hess's Department Store in Allentown, Pennsylvania, which was renowned for many avant-garde collections. His 1975 debut in Paris was followed by the opening of his Kansai Boutique in 1977.In 1999, he and Junko Koshino renewed the kimono, reviving interest in this classical fashion. He is also known for his avant-garde kimono designs, including ones worn by David Bowie in his Ziggy Stardust Tour.In 1999 he organized a fashion program under the aegis of the India-Japan Mixed Cultural Cooperation Committee.Since 2001, he has been known for his fashion eyewear, sold by Aoyama USA.He is a recipient of the Soen prize at the Bunka College of Fashion (1967) and the Tokyo Fashion Editors award in 1977.In 2008, an exhibit named «Netsuki Shinten: Kansai Genki Shugi» (or «Passionate Exhibit: The Energy Principle of Kansai») was held at the Edo-Tokyo Museum.[3] In 2009, a major retrospective of Yamamoto's work was exhibited at the Philadelphia Museum of Art.Yamamoto designed the Skyliner train, unveiled in 2010, that connects Japan's Narita Airport with central Tokyo.In July 2013, he made a comeback to the fashion industry with a showing in the 19th New Britain Mask Festival in Kokopo, Papua New Guinea

 

 

 

 

 

 

 

 

 

 

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Minimalist objects Donald Judd

Donald Judd (June 3, 1928 – February 12, 1994) was an American artist associated with minimalism (a term he nonetheless stridently disavowed).In his work, Judd sought autonomy and clarity for the constructed object and the space created by it, ultimately achieving a rigorously democratic presentation without compositional hierarchy. It created an outpouring of seemingly effervescent works that defied the term «minimalism». Nevertheless, he is generally considered the leading international exponent of «minimalism,» and its most important theoretician through such seminal writings as «Specific Objects
In the late 1940s, Donald Judd began to practice as a painter. His first solo exhibition, of expressionist paintings, opened in New York in 1957. From the mid-1950s to 1961, as he explored the medium of the woodcut, Judd progressively moved from figurative to increasingly abstract imagery, first carving organic rounded shapes, then moving on to the painstaking craftsmanship of straight lines and angles. His artistic style soon moved away from illusory media and embraced constructions in which materiality was central to the work. He would not have another one person show until the Green Gallery in 1963, an exhibition of works that he finally thought worthy of showing.

 

 

 

 

 

 

 

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Color field painting Stanley Boxer

Stanley Boxer (1926-May 8, 2000) was an American artist best known for thickly painted abstract works of art. He was also an accomplished sculptor and printmaker.
Boxer was born in New York City, and began his formal education after World War II, when he left the Navy and studied at the Art Students League of New York. He drew, painted, made prints, and sculpted. His work was recognized by art critic Clement Greenberg, who categorized him as a color field painter, a designation which Boxer rejected. Art critic Grace Glueck wrote «Never part of a movement or trend, though obviously steeped in the language of Modernism, the abstract painter Stanley Boxer was a superb manipulator of surfaces, intensely bonding texture and color.»
Boxer offered an explanation of his philosophy and working process:
    In the manufacture of my art, I use anything and everything which gets the job done without any sentiment or sancity as to medium. Then, too, I have deliberately made a practice of being «visionless»… this is, I go where my preceding art takes me, and never try to redirect the future as to what my art should look like. This is a general credo and foundation for everything I have ever done and stands firm in its solidity as this is written.
In 1953 Boxer had his first solo exhibition of paintings in New York City, and showed regularly thereafter until his death. His paintings and sculpture were represented in New York City during the late 1960s through 1974 by the Tibor de Nagy Gallery, then by the André Emmerich Gallery from 1975 until 1993, and finally by Salander-O'Reilly Galleries until its demise in 2007 .

 

 

 

 

 

 

 

 

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Fine art Photography - J.D. 'Okhai Ojeikere

Johnson Donatus Aihumekeokhai Ojeikere (1930 – 2 February 2014), known as J.D. 'Okhai Ojeikere, was a Nigerian photographer who is known for his work with unique hairstyles found in Nigeria.Ojeikere was born in 1930 in Ovbiomu-Emai, a rural village in south-western Nigeria. He worked and lived in Ketu, Nigeria. At the age of 20 he pursued photography, which was out of the ordinary Ojeikere for people in Nigeria, especially those in his village. Cameras were not in high demand and were of low priority as they were considered a luxury. However in 1950 bought a modest Brownie D camera without flash, and had a friend teach him the fundamentals of photography.
Ojeikere started out as a darkroom assistant in 1954 at the Ministry of Information in Ibadan. After Nigeria gained its independence in 1960, Ojeikere pursued his first job as a photographer. In 1961 he became a studio photographer, under Steve Rhodes, for Television House Ibadan. From 1963 to 1975 Ojeikere worked in publicity at West Africa Publicity in Lagos. In 1967 he joined the Nigerian Arts Council. In 1968 he began one of his largest projects as he documented Nigerian hairstyles. This was a hallmark of Ojeikere's work and he printed approximately a thousand pictures of different African women's hair.A large selection of Ojeikere's work was included in the arsenale section of the 55th Venice Biennale d'arte, «Il Palazzo Enciclopedia» curated by Massimiliano Gioni in 2013.Ojeikere died on 2 February 2014, at the age of 83. He is the subject of a documentary film by Tam Fiofori entitled J. D. ‘Okhai Ojeikere: Master Photographer.

 

 

 

 

 

 

 

 

 

 

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Giuseppe Santomaso - abstract painting

«Giuseppe Santomaso was born in Venice on September 26, 1907. He studied at the Accademia di Belle Arti there from 1932 to 1934. In 1938 he began his work in graphics, a medium that continued to interest him. In 1939 the artist traveled to Paris on the occasion of his first solo exhibition at the Galerie Rive Gauche. Santomaso participated in the Quadriennale of Rome in 1943 and executed illustrations for Paul Eluard’s Grand Air in 1945. In 1946 he was a founding member of the antifascist artists’ organization Nuova Secessione Artistica Italiana–Fronte Nuovo delle Arti in Venice.
Since 1948 Santomaso has participated often in the Venice Biennale, where he was awarded the Prize of the Municipality of Venice in 1948 and First Prize for Italian Painting in 1954. He received the Graziano Prize from the Galleria del Naviglio in Milan in 1956 and the Marzotto Prize at the Mostra internazionale di pittura contemporanea in Valdagno in 1958, among other awards. Santomaso taught at the Accademia di Belle Arti in Venice from 1957 to 1975. His first exhibition in the United States was held at the Grace Borgenicht Gallery in New York in 1957. The Stedelijk Museum in Amsterdam gave the artist a solo exhibition in 1960. In 1961 he participated in the São Paulo Bienal and he traveled to Brazil the following year. A Santomaso retrospective toured from the Kunstverein in Hamburg to the Haus am Lützowplatz in Berlin and the Museum am Ostwall in Dortmund in 1965–66. He contributed lithographs to On Angle, a book of Ezra Pound’s poetry published in 1971. His work appeared in the International Engraving Biennial in Cracow in 1972 and 1978. Solo exhibitions of his work were presented in 1979 by the Fondacio Joan Miró in Barcelona and the Staatsgalerie Moderner Kunst in Munich. The Borgenicht Gallery organized a Santomaso show for the spring of 1983. Santomaso died on May 23, 1990, in Venice.»

 

 

 

 

 

 

 

 

 

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Master of Surrealism Leonora Carrington

«In Self-Portrait (1938), Carrington offers her own interpretation of female sexuality by looking toward her own sexual reality rather than theorizing on the subject, as was custom by other Surrealists in the movement. Carrington’s move away from the characterization of female sexuality subverted the traditional male role of the Surrealist movement. Self-Portrait (1938) also offers insight into Carrington’s interest in the ‘alchemical transformation of matter and her response to the Surrealist cult of desire as a source of creative inspiration.’ The hyena depicted in Self-Portrait (1938) joins both male and female into a whole, metaphoric of the worlds of the night and the dream. The symbol of the hyena is present in many of Carrington's later works, and it was even used to depict Carrington in Max Ernst's work „La Debutante“ in his book The Oval Lady.Her book The Hearing Trumpet deals with aging and the female body. It follows the story of older women who, in the words of Madeleine Cottenet-Hage in her essay „The Body Subversive: Corporeal Imagery in Carrington, Prassinos and Mansour“, seek to destroy the institutions of their imaginative society to usher in a „spirit of sisterhood.“ The Hearing Trumpet also criticizes the shaming of the nude female body, and it is believed to be one of the first books to tackle the notion of gender identity in the twenty-first century. Carrington's views of sexuality, however, differ from contemporary feminists in that she sees maternity as a key experience to femininity. Carrington stated, „We, women, are animals conditioned by maternity… For female animals love-making, which is followed by the great drama of the birth of a new animal, pushes us into the depths of the biological cave“Carrington's art often depicts horses, as in her Self-Portrait (Inn of the Dawn Horse) and the painting The Horses of Lord Candlestick Her fascination with drawing horses began in her childhood. Horses also appear in her writings. In her first published short story, „The House of Fear“, Carrington portrays a horse in the role of a psychic guide to a young heroine. In 1935, Carrington's first essay, „Jezzamathatics or Introduction to the Wonderful Process of Painting“, was published before her story „The Seventh Horse“. Carrington often used codes of words to dictate interpretation in her artwork. „Candlestick“ is a code that she commonly used to represent her family, and the word „lord“ for her father»

 

 

 

 

 

 

 

 

 

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