John Benton-Harris – A native Bronx born New Yorker (1939) completed his formal education and obtained a diploma in commercial photography in 1960. His commitment to “Serious” seeing dates back to well before that time. His professional career kicked off with The Sinclair Oil Corporation as a apprevtice Industrial Photographer. A short time after that he received a scholarship from Alexey Brodovitch to attend his now legendary “Design Limitary” at Richard Avedon’s studio in Manhattan. And after almost completing his 2 year military obligation as a Photographer (1963-65) with the US Army in Italy, John flew to London on self assignment to record The State Funeral of Sir Winston Churchill.  In August of that year he returned again to carry forward his new desire to explain something more of the nature of the English character to the outside world. He quickly landed a staff position with LONDON LIFE Magazine. Since that time he has carried forward several on going visual investigations on both sides of the Atlantic divide, while managing to do some relevant Curetting, teaching and lecturing whilst miraculously managing to continuing to stop, entertain and inform us with his Voiced Stoppages from Time, while remaining open to a multitude of influence from both this history and the broader deeper and longer history of artistic visual expression.  

“Old Masters Were Young Once” – Serpentine Gallery, London -1971

“Derby Day 200” – Royal Academy of Art, London – 1979

“Americans in Europe” – Santa Fe Centre for Photography – 1983

“Eyeing the British Character” – Sussed Gallery, University of Michigan -1988

“The Mad Hatters Tea Party” – OK HARRIS Works of Art, New York -1991

“Out for the Day” – mac THE CENTER FOR BIRMINGHAM -1998

“Mad Hatters – a diary of a secret people”, Bielsko-Biala, Poland” – 2011

More complete information on John’s History and outlook and overlook can be found on – www.johnbenton-Harris.com  & his Blog site: http://thephotopundit.blogspot.co.uk/

Contact Information:  Diane Kramek, 862-226-2112

dianekramek@gmail.com or stanleyknapphotography@gmail.com

Website: www.stanleyknap.net

Stanley I. Knap was born in 1947 in Wildflecken, Germany in a displaced persons refugee camp operated by the US Army.  His parents were liberated from Nazi concentration camps two years earlier and together with 20,000 refugees – primarily Poles – they were given the choice to return to Soviet-controlled Communist Poland or immigrate to the United States.  In 1949, the family landed in Manhattan but eventually settled in New Jersey where Stanley’s father, a talented composer and music director, took a job at a Polish parish in Passaic. His mother, a nurse with RN status in Poland, quickly taught herself enough English to qualify as a LPN in a local hospital.

Stanley identified with his Polish roots as a child but also became Americanized in high school and as a young adult.  He was drawn to photography and began seriously studying it in 1966.  He graduated from The School of Visual Arts, New York in 1969, majoring in both film and photography.  His work – that of the life around him and his beloved city – won him early accolades as he was awarded sponsorship for a Guggenheim Grant and was also one-time assistant to Annie Lebowitz. His work was published in New West Magazine and he was featured in Rolling Stone as being one of the Twelve Hot photographers. He shot a number of album covers: Blossom Dearie, Larry Croce and Sugarcane Harris among others. Stanley’s work touches upon that of Cartier-Bresson and Robert Frank; however, it was Stanley’s mentor and teacher Garry Winogrand who would be the biggest artistic influence in his career.

Stanley preferred working in film photography, never digital, as it allowed a tactile relationship between the photographer, the subject, and eventually, the viewer.  He primarily worked with a 35mm Leica M4 camera with a 28mm lens and Tri-X 400 in black and white film. There was no cropping or special manipulation done in the dark room and all photographs were composed full frame in the camera’s view finder.  His subject matter is his life and observations; much of his work captures the dynamic and gritty realities of New York City in the 60s-80s.

Stanley suffered from a syndrome that many children of adult Holocaust survivors develop.  While it manifests itself in a myriad of ways, for Stanley it halted his ability to pursue photography. In 2009 he began working again. As he was beginning to reestablish himself he was diagnosed with cancer and died in June of 2014. His renewed passion can be seen in personal photographs of his family and friends.

THE ARCHIVE & PRINT COLLECTION OF JURGEN SCHADEBERG

65 YEARS OF PHOTOGRAPHY BY JURGEN SCHADEBERG

schadebe@iafrica.com  – www.jurgenschadeberg.com

200,000.00 negatives 1942 – 2014 – 4,000 plus silver prints, many vintage, all hand printed by Jurgen Schadeberg, 500 plus colour giclee archival prints

SOUTH AFRICA – 1951 – 2009

500 plus archival black and white silver prints and colour giclee prints by Jurgen Schadeberg which cover six decades of South African photography.

10% are vintage prints and the balance are late prints.

A Retrospective of films by Jurgen & Claudia Schadeberg , a one hour Arte documentary about Jurgen Schadeberg and accompanying books and catalogues

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The above section of images covers key social, cultural and political events and personalities in the early struggle for freedom in the fifties and are 60 silver prints of the black and white fifties. They are all silver gelatin prints and the average paper sizes are 40 x 50 and 50 x 60 cms. All these images were taken during the fifties in South Africa – many images come from the book “The Black and White Fifties”. This set of images includes prints of Nelson Mandela in the fifties.

The 1952 Defiance Campaign, 25 silver prints in paper sizes from 30 x 40 (unframed)

The Rise and Fall of Sophiatown – fifties – 25 framed silver prints of Sophiatown in its heyday, its forced removal and demolition to give way to a white suburb called Triomf.

The San of the Kalahari 1959 – a set of 12 framed silver prints of the San Dance of Exorcism

The story of jazz, swing and blues over six decades – 60 framed silver prints –Portraits of the most talented and influential jazz and blues singers and musicians many of whom have been sadly neglected an forgotten.

The story of Robben Island, the prison, the island and former inmates, including Nelson Mandela and Walter Sisulu – 15 framed silver prints.

Kliptown today – 2003 the Soweto suburb where the historic Freedom Charter was formed which was the basis for South Africa’s new constitution. We see how the Kliptonians live and survive today – 40 framed silver prints & 40 unframed silver prints

Voices from the Land – 2007 – a study of farm conditions in South Africa today with stories from farmers and farmworkers – 128 framed and crated silver prints.

Tales from Jozi – 2007 – the story, in colour, of life today in Johannesburg showing the diverse lives and lifestyles of a city in transition- 92 archival framed colour giclee prints in crates.

On the Beach – 1995 – a range of framed black and white and colour images of happy beach scenes from Camps Bay to the Oyster Box – 20 giclee colour prints – paper sizes range from 80 x 80 cms to 40 x 40 cms.

All the photos are digitised and all the prints have been hand printed and signed by Jurgen Schadeberg.

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GREAT BRITAIN – 1964 – 1984

GERMANY – 1942 – 2012

GLASGOW, GREAT BRITAIN 1968

FRANCE – 1984-1985 & 2007 – 2010

SPAIN – 1968-1971 & 2012-2013

Jack Mitchell

Native Floridian Jack Mitchell (1925-2013) was an avid photographer whose work was published in Florida newspapers and national magazines before he was out of high school. Jack Mitchell moved to New York City after serving in WWII and spent the next five decades there. His photographs have appeared worldwide in newspapers and magazines including Time, Life, Newsweek, Rolling Stone, Vanity Fair and Vogue, and Mitchell photographed more than 160 covers for Dance magazine. His work chronicles the greatest dancers, actors, writers, artists and musicians of the late 20th century.

Craig B. Highberger, Executive Director Jack Mitchell Archives

Email: craig.highberger@gmail.com Website: www.jackmitchell.com

Larry Racioppo  141 Beach 129^th Street   Rockaway, NY 11694

larryracioppo.com

Larry Racioppo

b. 1947

Home Page: larryracioppo.com

Archive Contact: larryracioppo@gmail.com

LARRY RACIOPPO was born and raised in South Brooklyn. After two years as a VISTA volunteer in California, he returned home in December, 1970, intending to become a photographer. While working a series of jobs—telephone repairman, taxi cab driver, waiter and bartender, and photographer’s assistant—he completed his undergraduate work at Fordham University and earned a master’s degree at Brooklyn College.

All the while, Racioppo was photographing his neighborhood, working in black-and-white 35mm and later in 120mm film. He had his first solo exhibition in 1977 at Brooklyn’s f-stop gallery, and in 1980 Scribner’s published his first book of photographs, Halloween.

In 1989 Racioppo became the official photographer for New York City’s Department of Housing Preservation and Development, hired to document the city’s re- building of its distressed neighborhoods, from Bedford Stuyvesant to Harlem to the South Bronx.

When he received a Guggenheim Fellowship in Photography in 1997, Racioppo took a leave from HPD to create a series of panoramic urban landscapes. He returned to HPD to coordinate LANDSCAPES OF HOPE an exhibit at the Museum of the City of New York documenting the agency’s work. While continuing to photograph for HPD until 2011, Racioppo had solo exhibits of two in-depth personal projects: FORGOTTEN GATEWAY: The Abandoned Buildings of Ellis Island at the National Building Museum, and THE WORD ON THE STREET at the Museum of Biblical Art.

Racioppo has received grants from the New York State Council on the Arts, the Queens Council on the Arts, and the Graham Foundation. In 2006 he received a National Endowment for the Arts Chairman’s Extraordinary Action Grant for his exhibit “The Word on the Street” at the Museum of Biblical Art in New York. Racioppo’s work is in the collections of the Museum of the City of New York, The Brooklyn Museum, the Brooklyn Public Library, El Museo del Barrio, and the National September 11 Memorial & Museum.

Hugh Bell

Raimondo Borea

 

American, b. Italy, 1926 – 1982

Archive Contact: Gartenberg Media Enterprises. For all inquiries related to exhibition, loan requests, reproduction rights, or for more information about this collection contact info@gartenbergmedia.com

Webpage: http://www.gartenbergmedia.com/library-excavation-media-archiving/photographers

Photography enables me to discover, observe [and] understand things about people and their relationships, and it allows me to capture and hold them forever… It is by photographs, rather than by talking about experiences, that I communicate.

 

Photography is an expression of your individuality. You start with color or black and white. Then having chosen your film, the camera, the lens, the developer, the paper for the final print, you can create an almost infinite number of ways to make a photograph.

 

I enjoy being in my darkroom. There is something in the still darkness that brings out your best creative thinking. You relive your past photography and plan your future… You experience a very special sensation holding the end product…the picture you have printed yourself.

 

Building on his career as a young photographer in Italy, Borea began working full time in 1957 as a freelance photographer, traveling around New York City on his three-speed Dunelt bicycle. He shot photographic essays of now-demolished New York City landmarks, including the Washington Square Market and the Third Avenue El. He also photographed many other cityscapes, including Central Park, Riverside Park, and the New York City subway system. In his picture-making, he often transformed these locales into studies of abstraction. Borea also produced photographic essays from his travels around the US and abroad.

MARVIN KONER
1921–1983
http://marvinkonerarchive.com
Pam Koner, Pam@MarvinKonerArchive.com

For nearly four decades, American photojournalist Marvin Koner traveled the world capturing the people, places and personalities that shaped the latter half of the 20th century.

Born into a family of Russian intellectuals in New York City, Marvin Koner would come to see the world through the eye of his camera – observing and chronicling the ordinary and extraordinary.

Stationed in the South Pacific during World War II, Koner served as a First Lieutenant in the Army Photo Intelligence Unit where his interest in photography began. At the end of the war he returned to New York determined to make a career in photography, and enabled by the G.I. Bill, studied with Alexy Brodovitch, the renowned art director of Harper’s Bazaar Magazine.

Spearheading the use of the 35mm. camera and available light, for the next 30 years, Koner’s work appeared in leading magazines, including Life, Fortune, Look, Esquire and Collier’s. During the course of his career Koner received numerous awards from professional journals and served a number of terms as Vice-President of The American Association of Magazine Photographers.

Koner photographed many distinguished subjects, most notably Martin Luther King, Robert Frost, Margaret Mead, Robert Kennedy, Frank Lloyd Wright and Eleanor Roosevelt. Always eager to tell a story, Koner photographically retraced James Joyce’s “Ulysses” main character, Leopold Bloom’s journey through Dublin, covered the exchange of prisoners at the end of the Korean war for Collier’s Magazine, and in the early 1960’s followed the migration by boat, of an Italian family to New York. When the interest in photojournalism diminished and virtually disappeared, Koner turned from magazines to corporate photography on an international scale. His color images of industry, architecture, nature and portraiture have been published worldwide.
Koner died in 1983 at the age of 62. His work in is the permanent collection of the International Center for Photography where a one-man show of his photographs was held there in 1993, The Metropolitan Museum of Art, and the Museum of Modern Art.

Guy Borremans (1934-2012) emigrated from Belgium to Montreal in the mid-fifties and established himself as one of the leading photographer and cinematographers in Quebec and in Canada.

After working as a photographer in Belgium, Borremans found work in Montreal as a press photographer and had his first solo photography exhibit in 1956.

He moved to New York City in 1965 to work for the United Nations Film Department, National Educational Television (NET), as well as Movietone and other production companies. He moved back to Montreal in 1968, and worked in still photography. He also taught film and photography at the University of Montreal, Moncton University and Concordia University.

Borremans has contributed to more than forty productions and has held thirty-three solo exhibitions of his photography.

Guy Borremans photographs are in many private and institutional collections, such as the Canadian Museum of History in Ottawa, the Museum of Fine Arts in Quebec City and may others.

Please contact Ariel Borremans for more information.

Ariel Borremans

4828 Hutchison, #2

Montreal, Quebec, Canada

H2V 4A3

514-271-3784

arielborremans@me.com

Joe Schwartz
1913 – 2013
Home page: http: //www.joeschwartzphoto.com
Archive contact: Paula Motlo – joeschwartzphotos@gmail.com

Joe Schwartz (American, b. July 6, 1913 – d. March 13, 2013) was born to immigrant
parents from Eastern Europe, on the top floor of the tenement building at 47 Humboldt
Street in Brooklyn, New York. “Baby” Schwartz began his new life as a “have-not” …
and the “have-nots” were the very people that he chose to photograph during his
lifetime. Joe’s camera became his notes, sketches, diary, memory identifiers, and his
key to the many doors he was afraid to open without the use of the lens. His camera
was used, not as an intruder, but as a participant in each scene.

In the 1930s, David Robbins introduced Joe to the Photo League of New York. It was
there he interacted with the “greats” such as, Margaret Bourke-White, Dorothea Lange,
Ruth Orkin, and Walter Rosenblum. Joe was strongly influenced by the League’s high
standards and humanitarian values. He interacted with many dedicated artists in the
League and pursued his passion – documenting through photography, life on the streets
of New York as well as other areas of America. Joe’s photos captured the dignity of the
“unfortunates” and showed that hope still burned bright in the bellies of the immigrants
and the American Blacks. While focusing on inter-racial cooperation and understanding,
Joe fulfilled his vision – to serve as a philosopher of hope rather than a messenger of
despair.

Joe married in 1939; he served as a combat photographer on Iwo Jima during World
War II; and as a staff member of Leatherback Magazine. During the war his photos were
printed in several notable publications; and in 1946, Joe was a recipient of the Best
Picture of the Year award. Joe graduated from the Fred Archer School of Photography;
worked as a lithographer; owned Color Magic, a successful print shop; and published
his own photography book, Folk Photography: Poems I’ve Never Written.

Schwartz’s photographs have been widely exhibited. His works are part of the
permanent collections at: Smithsonian National Museum of African American History
and Culture (open to the public in 2016 at the National Mall); J. Paul Getty Museum;
Museum of Modern Art New York; Skirball Cultural Center of Los Angeles; Houston
Museum of Fine Arts; National Gallery of Canada; Santa Barbara Museum of Art;
Columbus Museum of Art; Harn Museum in Arizona; and Center for Creative
Photography at the University of Arizona.

Photo captions:

1. TRICYCLE GANG – 1940s, photo by Joe Schwartz – Herkimer Street, Bedford-Stuyvesant, Brooklyn, New York, p.91

2. SULLIVAN MIDGETS – 1930s, photo by Joe Schwartz – Sullivan Street, Greenwich Village,  Lower Manhattan – Italian street gang – “Nothing creative to do – nothing to be proud of -except to act tough – Kid-Folk seek low-grade excitement to vent their energies and anger.” p.66

3. MISS AMERICA – 1948 – Ocean Hill, Bedford-Stuyvesant, Brooklyn – “African American girl at a patriotic gathering.” p.16

4. DOES DISCRIMINATE – 1940s – Ocean Hill, Bedford-Stuyvesant, Brooklyn – “National Negro Congress, Citizens Affairs Committee – First black women to picket chain (Woolworths) for jobs. p.116

5. TWO’S A TEAM – 1940s – Kingsboro Federal low cost housing project, Ocean Hill, Bedford-Stuyvesant, Brooklyn – (a mural of this photo is currently on display at the National Mall in Washington D.C. in front of the new Smithsonian National Museum of African American History and Culture that’s being built). p.41

6. WORK DONE, A FLIGHT BEGUN – 1939 – (year of the New York’s World Fair) – Soho district Remembering the Photo League of NYC – 18 Saint Marks Place – Sign: “Accordion Repairing” – Man on stairs, a window shade repairman, has a bag full of window shades. p210