- Hi guys -
Am on a little break, I will be back before u know it.
Happy Holidays every one :)))
07/07/2009
Rachel Papo was born in Columbus, Ohio and raised in Israel. She began photographing as a teenager and attended a renowned fine arts high school in Haifa, Israel. At age eighteen, she served as a photographer in the Israeli Air Force. She earned a BFA in fine art from Ohio State University (1996), and an MFA in photography from the School of Visual Arts in New York City (2005).
Rachel's photographs are included in several public and private collections, including: The Museum of Contemporary Photography, Chicago, The Museum of Fine Arts, Houston, and The Griffin Museum of Photography, Boston. Her images have been exhibited and published widely. Exhibitions include the Griffin Museum of Photography, Paul Kopeikin Gallery, Los Angeles, Photographic Center Northwest, Seattle, 92nd Street Y, and Hebrew Union College Museum, New York. Her photos have been published in magazines worldwide, including in the U.S., U.K., Germany, Israel, France, Spain and China. Rachel has been awarded a 2006 NYFA Fellowship, was selected as a finalist for the 2006 Santa Fe Prize for Photography, and received the 2006 Ronnie Heyman Prize for an Emerging Jewish Visual Artist.
"I shoot through window screens, netting, and scrims, creating grid patterns that become the sharpest focal element of each image. I employ these grids and barriers in order to dissect, pixelate, filter and flatten landscapes and space. Subjects and figures are broken apart and reconstructed in such a way that they are both integrated into their environments and isolated within them. None of the subjects in my photographs have any discernible features; rather they are faceless characters whose identities are defined by their surroundings. Although the photographs originate from 35mm negatives, I hope to reference both video technology and painting techniques."
Katie was born in New York City, grew up in Baltimore, MD and received a BA in art and photography from Guilford College. She began her career photographing the back roads of North Carolina, shooting in black and white. Her focus soon changed as she was motivated by the capacity of color and its ability to define an image. Katie’s work is conceptual with an emphasis on creating her own reality amidst ever-changing moments.
Katie’s photographs have been exhibited throughout California and the East Coast. Recently, her work was selected for PhotoEye’s Photographer's Showcase. Currently, Katie enjoys curating art shows in the San Francisco Bay Area, which she has called home for the past decade.
Katie’s photographs have been exhibited throughout California and the East Coast. Recently, her work was selected for PhotoEye’s Photographer's Showcase. Currently, Katie enjoys curating art shows in the San Francisco Bay Area, which she has called home for the past decade.
Roy Rudolph DeCarava
Roy DeCarava was born in New York City’s Harlem, on December 9, 1919. From 1938 to 1940 he studied painting at Cooper Union Institute, from 1940 to 1942 painting and printmaking with Elton Fax at the Harlem Art Center, and drawing and painting with Charles White at George Washington Carver Art School in 1944. He originally purchased a camera (in 1946) to document his work in printmaking, but by 1949 photography itself was his sole artistic focus. He went on to establish himself as a post-war street photographer of daily life, specifically African-American life in New York. DeCarava was not the first photographer to shoot Harlem, but his commitment to interpreting it in artistic terms sets him apart from the history of social documentary established there.
His first photography exhibition was in 1950 at Mark Pepper’s Forty Fourth Street Gallery. There were 160 prints in exhibition, and Edward Steichen purchased three for the Museum of Modern Art’s collection. There Homor Page, a student of Steiglitz, befriended DeCarava and began discussing darkroom technique with him. Soon thereafter, DeCarava started to experiment with a darker tonal range. His studies of the New York jazz world, begun a few years later, further developed his penchant for dark printing. While the deep tones in his pictures sometimes push the edge of legibility, both true blacks and true whites are rare.
In 1952 DeCarava became the first African-American recipient of a John Simon Guggenheim Memorial Fellowship. The year of the fellowship was remarkably fruitful, producing such important prints as Nightfeeding. At first rejected by publishers, photographs from the project were eventually published with the help of Langston Hughes in 1955 as The Sweet Flypaper of Life. Shortly thereafter, DeCarava opened one of the first galleries in New York devoted to photography, A Photographer’s Gallery, which would feature exhibitions of Bernice Abbott, Harry Callahan, and Minor White in the two years it was open. At the same time, he began a series on jazz musicians that would occupy him for a decade.
His first photography exhibition was in 1950 at Mark Pepper’s Forty Fourth Street Gallery. There were 160 prints in exhibition, and Edward Steichen purchased three for the Museum of Modern Art’s collection. There Homor Page, a student of Steiglitz, befriended DeCarava and began discussing darkroom technique with him. Soon thereafter, DeCarava started to experiment with a darker tonal range. His studies of the New York jazz world, begun a few years later, further developed his penchant for dark printing. While the deep tones in his pictures sometimes push the edge of legibility, both true blacks and true whites are rare.
In 1952 DeCarava became the first African-American recipient of a John Simon Guggenheim Memorial Fellowship. The year of the fellowship was remarkably fruitful, producing such important prints as Nightfeeding. At first rejected by publishers, photographs from the project were eventually published with the help of Langston Hughes in 1955 as The Sweet Flypaper of Life. Shortly thereafter, DeCarava opened one of the first galleries in New York devoted to photography, A Photographer’s Gallery, which would feature exhibitions of Bernice Abbott, Harry Callahan, and Minor White in the two years it was open. At the same time, he began a series on jazz musicians that would occupy him for a decade.
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