Artists
Engine Of Change
The future of our planet and of humanity relies not just in lifting women up, but in giving them the opportunity to lead and to help invent a new economic era… because what’s good for women and girls, is good for Earth.
— Cristina Mittermeier
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When we do this, we change the cycle. We build change. Seeds of change. Winds of change. Oceans of change. Climate change. Catalyst of change. Cristina Mittermeier is an engine of Change.
She is a Sony Artisan of Imagery, National Geographic Woman of Impact, founder of the International League of Conservation Photographers and co-founder of Sea Legacy, an organization combining decades of experience in conservation, photography, and communications, with the latest digital and social technologies, to build a healthy future for our oceans.
She is a woman whose influence has grown beyond her Mexico City roots as a marine biologist, artist, author and global champion for a sustainable earth. Her accomplishments fill an impossibly long list of environmental protections working in over 120 countries, from fisheries, biodiversity and the plight of indigenous peoples around the world to the support and education of young women and girls.
Mittermeier’s success as an activist and her ability to see into the needs of our world comes from a special place. All of her success and the mission that drives her comes from her ability to truly see the world and people as they are. Her provocative, insightful images come from a much deeper place when you understand Mittermeier’s focus behind the camera:
“There are some who believe that when you photograph a person, you capture an image of their soul. When photographing people, I have always focused on creating a photo that captures their essence as a human. My profound love for taking portraits is because they have such a deep narrative- a lifetime of stories within a single image.” ~ Cristina Mittermeier talks about “Lady With the Goose.”
For International Women’s Day, German automobile manufacturer Mercedes-Benz chose Mittermeier as a central figure in their global initiative, She’s Mercedes. She’s Mercedes recognizes her ability to “inspire, connect and empower women in creating a dialogue that transcends cultures, industries and experience.” In doing so, Mittermeier’s conservation and photography honors the company’s storied traditions established, in part, by one of its pioneering founders, Bertha Benz.
Mercedes-Benz was founded on a dream to utilize technology in a way that would enhance the lives of people and the overall progress of humanity. As the wife of Karl Benz, Bertha was instrumental in supporting his vision of an engine-powered vehicle. But it was Bertha’s insistence that he use her dowry before the couple was married to save the fledgling company as it struggled financially, in the early stages. Further to this, she also suggested technical enhancements such as adding wire insulation and leather brake pads, during the initial creation of this new “horseless carriage.”
In fact, Bertha Benz was so committed to advancing progress as quickly as possible that she secretly took the first long-distance journey in the company’s inaugural motor car, traveling 105 km (65 miles) with her two teenage sons. Karl had no idea and during the rigorous drive, Bertha solved technical issues and proved to doubters that his 1888 invention was safe and reliable.
The confluence between Benz’s work and Mittermeier’s is obvious, more than one hundred years later. Mittermeier uses her camera, embarking on her own long-distance journeys to document the plight of our oceans and the effects of unsustainable living habits on our planet. As a trailblazing spokesperson for the damaging effects of climate change, it’s inspiring to see her recognized and supported by the very company that Bertha Benz helped establish.
Who would have thought that the connection between these two heroic women would run so deep? Benz ushered in mobility and progress, while Mittermeier advocates for cleaner technologies and progress away from petroleum-powered vehicles. This bold move by Mercedes-Benz recognizes Mittermeier’s influence as an advocate and spokesperson for the damaging effects of climate change. Mittermeier’s collaboration with the very company that Benz helped to establish speaks to the role that every company should play in combating the devastating effects of the petroleum industry.
By the year 2022, the mission of Mercedes-Benz is carbon neutral production in all European plants (and worldwide by 2039) through renewable energy sources, such as wind power and other clean forms of energy. Once again, the automobile giant will need technological ingenuity and financial investments to change production methods, renovate factories, overhaul supply chains and develop new models of electric vehicles; all this while reducing production of the combustion engine within the next 20 years.
By promoting the use of hybrid-gas and electric powered cars, Cristina Mittermeier is driving change into the future. The theme for She’s Mercedes is Change Your Mindset. And that is what Mercedes-Benz has done. They have changed their mission and business model in accordance with their values.
“We have set a clear course to help prevent further acceleration of climate change,” the auto maker said in a statement, adding that the Paris climate accord is “more than an obligation — it’s our conviction.”
By using art as a tool, Mittermeier exposes the truths about the effects of climate change, our oceans, and the lifeblood of our existence. The oceans are under siege and not indestructible. They are the healing source of life and regulator of our climate. Oceans provide food and medicines for over seven billion people, yet they have become a holding tank for over 8 million metric tons of plastic – used once, and discarded. The implications of discarding a plastic water bottle or a single straw can no longer be ignored.
The extent of our negligent behavior can be seen, as Mittermeier suggests, as far as the polar regions and the coldest places on Earth. Antarctica is not immune to the immense threat of climate change. In addition, large commercial fisheries exploit foundation species, like a small crustacean called krill, a staple in the diet of whales, penguins and seals, and whose population dynamics are barely understood. A growing tourism destination, increasing pressure is put on fragile landscapes of the southern regions.
As consumer awareness about the harmful effects of gas emissions and the production industry that supports gas powered vehicle manufacturing, it is up to all of us to change the way we travel in the present and into the future. Our freedom to easily navigate our lives and explore our earth must acknowledge the footprint on our environment and the species that inhabits it.
“This year marks Antarctica’s 200th anniversary since it was first discovered and, unfortunately, it’s also the year where the highest temperatures in the ice continent’s history were recorded. This past February, temperatures soared to 20.75°C (69.3°F), alarming scientists and conservationists across the globe. World leaders are joining together to consider the establishment of three major MPAs (Marine Protected Areas) that would span across East Antarctica, the Antarctic Peninsula, and the Weddell Sea.
This would protect almost 1% of the ocean globally and approximately 4 million square kilometers. This is our chance to protect ecosystems to provide climate stability and to mitigate the effects of global warming on future generations. Think about that! At our fingertips is the creation of the greatest act of ocean conservation in the history of humanity, and it can all happen in a pandemic year!”
Mittermeier reminds us that 90% of the fish have disappeared from the oceans so every protection counts. “When I take stock of the challenges facing humanity and planet Earth, I cannot help but wonder, how can we aspire to solve massive global existential threats like climate change and inequality when half of our planet’s population is disenfranchised participate in the solutions?”
Women make up slightly more than half the global population. If we are serious about engaging every sentinel to save our great earth, we must ensure women have the opportunity to change the trajectory and find solutions.
Written By | WS Magazine
Conservation in the Time of Corona
The new decade has brought with it some unexpected challenges, but those same obstacles have given us an opportunity to focus on reaching out to our online community, and to explore new methods of digital story telling.
At this time when science is critical for our survival and art is necessary for our sanity, the conservation photography of Paul Nicklen and Cristina Mittermeier is the perfect union of these two complementary paradigms. Hilton Asmus Contemporary couldn’t be representing a more inspirational and dedicated pair of humans.
Paul Nicklen is an acclaimed National Geographic photographer, filmmaker, and marine biologist who has spent the last twenty years documenting the natural beauty of our planet in an effort to illustrate the plights of critical species and their fragile ecosystems, while advocating for their protection. As a National Geographic assignment photographer, he is particularly famous for his awe-inspiring images of polar wilderness regions and the unique animals that call these harsh and rugged habitats home. Nicklen’s sensitive and evocative imagery has garnered many of the highest awards given to any photographer in his field, including the BBC Wildlife Photographer of the Year and the prestigious World Press Photo for Photojournalism.
Cristina Mittermeier is a marine biologist, photographer, writer, and conservationist. Fifteen years ago, she founded the prestigious International League of Conservation Photographers (ILCP) to provide a platform for photographers covering environmental issues. She primarily specializes in creating images related to ocean conservation and indigenous peoples. Mittermeier is recognized as one of the World’s Top 40 Most Influential Outdoor Photographers, was the recipient of Smithsonian Conservation Photographer of the Year Award in 2010, and was named one of National Geographic’s 2018 Adventurers of the Year. Cristina’s work has appeared in hundreds of publications, including National Geographic Magazine, McLean’s and TIME.
Together, Cristina and Paul founded SeaLegacy in 2014. The goal of this Canadian nonprofit is to “bring together the world’s best photographers, conservationists, scientists, storytellers and strategists to lead a bold new movement to engage one billion people in ocean conservation.” SeaLegacy’s three-pronged approach of leading expeditions, fueling campaigns, and implementing solutions is united by a focus on extraordinary visual storytelling. “I’m fortunate to be able to lead some of the world’s best photographers and film makers to the farthest corners of our oceans,” says Paul. “It’s our job to bring the oceans to you.” SeaLegacy uses its massive media footprint of over six million followers to rally global support for projects that invest in community-centered solutions that help build healthy and abundant marine ecosystems. As Cristina explains, “Extraordinary opportunities exist to restore and sustainably develop our oceans in order to protect them and sustain all life on this planet.”
It’s a privilege for us at Hilton Asmus Contemporary to represent the gorgeous work of this truly visionary team. Paul and Cristina were kind enough to join us earlier this week from their home in Vancouver for the virtual launch of their show at our gallery. It was enlightening to hear firsthand about their mission at SeaLegacy, and a pleasure to get a peak into their exciting and unique lives. Two nights in a row – April 2nd and 3rd – they transported us all over the planet with their stories. Paul closed out the live Instagram feed last night by regaling us with a tale of a Grizzly bear he called Morris who chose to eat his salmon dinner right next to Paul while he sipped on a nightcap. These lively and personal background narratives bring the photos to life.
Once it’s safe to start going back to our regular activities, we can’t wait to invite everyone to come to the gallery and enjoy each one of these stunning images. When you view their photographs, they pull you in and hold your attention, making you yearn to know everything about the subject. The color photos will be a feast for your eyes, while the black and whites will mesmerize you with their details. Each composition is so saturated with life that you’ll swear you can hear the ice crunching under your feet, and feel the humid air of the tropics on your skin.
We have dubbed 2020 our Year of Conservation, and the tireless efforts put forth by Paul and Cristina to protect our priceless natural wonders, embody this theme to perfection. Even though we may currently be apart, their art excels at bringing us together, and reminding us how important it is to value and protect every ecosystem on this beautiful planet we are endlessly lucky to call home.
Written By | Alex Rose
Photographer David Yarrow on the Inspiration Behind His New ‘Wild West’ Series Starring Cindy Crawford and Cara Delevingne
Yarrow traveled to Montana and Wyoming to create these quintessentially American images.
British photographer and conservationist David Yarrow is celebrated for his black-and-white photos of far-flung territories, endangered landscapes, and nature’s most majestic creatures. This fall, after a long quarantine, the photographer set off for Wyoming and Montana to shoot his new series “The Wild West.” Headlined by supermodels Cindy Crawford and Cara Delevingne, the series captures quintessentially American scenes from the cross-country road trip, which culminated at a Western saloon. “The Wild West” series also features Chief John Spotted Tail, of the Lakota tribe, who appears self-styled in his images.
The new images—along with many of Yarrow’s iconic works from earlier series—are currently on view at Chicago’s Hilton | Asmus Contemporary. A portion of the profits from sales will be go to benefit charities and organizations supported by Yarrow and his models.
Below, Yarrow shares his inspiration behind a few of his new photographs:
“We have all, at one time or another, entered a bar, and immediately felt out of place. At the most extreme level this can evoke a sense of trespassing. This was very much the narrative behind this photograph. To be greeted by an overtly territorial crew with menace and attitude. But, for the story to work, two things had to coalesce as—the characters and the interior. I like playing with the cold, it adds a visceral layer to the story and in this case, it hints at an outpost on the final frontier. Surely the further off the beaten track we travel, the greater the chance of being the outsider. This is a frame that exhausts every inch available in the camera and that was my intent. There were so many characters I wanted to include, but I was also reluctant to lose the mood of the frozen saloon…. Our key asset was, of course, Cindy Crawford, and she had to have sovereignty of the joint. She can play a badass very well and that was her ascribed role.”
“The Pioneer bar in Virginia City has offered so much to us over the years and we are acutely conscious not to overplay our hand here. After all, there are many other weathered saloons in the West. We don’t want to be repetitive in our story telling…The Pioneer is emphatically the best bar known to us. It has depth and the wagon wheel on the ceiling is ideally positioned. To bring such a celebrated and relevant woman as Cara to Montana is fresh ground. Put her in front of the Eiffel Tower and it is a new look on the Eiffel Tower. I can’t think of any other woman in the world I would prefer to play this role. These are not easy images to execute as there is such limited light. Depth of field and shutter speeds are therefore compromised. Cara would always be sharp—that was easy—then we had to hope for some luck elsewhere. Cameras have improved so much over the years in terms of ability to work in low light. I could not have done this 10 years ago. But you are pushing the camera right to the edge of its capability.”
“Once we found the caterpillar road that dissects this picture, I knew that we had the canvas on which to continue our road series that started in 2018… The only traffic was the occasional oil worker or perhaps someone who was totally lost… The sense of place is palpable. This is the America that so many know and love, with its long roads running to the horizon with either side exuding a simple sense of calm and solitude. No other country in the world offers road trips as visually rewarding as America and they are integral to the fabric of the American dream. The snowfall the previous night added another layer to the narrative both on the road itself and on the prairies. We were lucky that the snow stopped and the light picked up. It adds warmth to an image already glowing with positivity and joy. Willie Nelson was surely singing “On the Road Again” on the car radio with the volume turned up to the maximum level.”
“The senior Elder of the fabled Lakota tribe is Chief John Spotted Tail. We spent two days with him in northern Wyoming and he was so excited to wear the headpiece that only the most senior Native American chiefs like him can wear. His attire was emphatically his decision, not ours. Their heritage is integral to their souls. The ground in front of Devils Tower has film history. It is, of course, where Spielberg shot Close Encounters of a Third Kind immediately after the release of Jaws in 1975. More poignantly, it is sacred land for Native Americans, and, at dawn, before our early morning shoot, John and his wife, Tamara Stands and Looks Back, spent some time there praying. At around 8:30 am, the low hanging clouds lifted above the iconic geographical landmark and shafts of light lit up our canvas. We had our moment. Later that day, when I showed Chief John Spotted Tail this image, he shed a tear and I am proud to admit I did too. It was one of the most privileged days I have ever had in the field.”
David Yarrow’s “The Wild West” series is on view at Hilton| Asmus Contemporary through June 2021.
Written By | Artnet
Fragile beauty
How conservation photographer Cristina Mittermeier uses her work to protect the oceans.
The pictures by photographer Cristina Mittermeier show how fragile our planet is. They show the beauty and, at the same time, the transience of nature. Despite all the challenges, Cristina is certain: it is not too late – we can save our planet if we act together now. We visited the marine biologist on board our first all-electric vehicle, the EQC. In her chosen home on Vancouver Island, we talked to her about how she uses her passion for strong stories to make the earth a better place – and how she was the first “conservation photographer” in the world to succeed in a male-dominated profession.
Listening to Cristina Mittermeier talk about nature, there is no need to ask why she has made Vancouver Island the centre of her life. The Pacific island is a natural wonder, impressing with picturesque fjords, rainforests and fascinating storms. One could almost use this natural phenomenon as a metaphor to describe Cristina’s captivating personality: her non-conformity, her courage and her enduring passion for what has helped her to succeed in an industry that is still predominantly male. How does that work? “Don’t listen to the voices in your head telling you that your dream is not for girls. That you are not strong enough, brave enough or smart enough. Instead, imagine walking those voices to the edge of a cliff and throwing them over. It takes a lot of courage to take the more difficult path; do it anyway; defy the norm and be an example to others.” Cristina is using the fact of being a woman to her advantage. She has managed to turn perceived weaknesses into her secret weapon.
We visit Cristina in her cosy house right on the Bay of Georgia, where she lives with her husband Paul Nicklen and their two dogs. Spread out on the living room table are some pictures, which the photographer is currently signing. Paul Nicklen is also a nature photographer and her “life and adventure partner,” Mittermeier tells. In addition to their shared love of photography, the two are united by their desire to protect the environment. Above all: the oceans. “The sea is full of life, full of wonder, so beautiful and wild. But its beauty is fragile. If we don’t protect it, it will vanish.”
This is one of the reasons why Mittermeier sees her work as political. Her photography is her tool; the social networks are her reach enhancer. Magazines such as National Geographic and TIME print her pictures and on Instagram 1.3 million people follow the work of the 53-year-old. During a peaceful trip in the virtually noiseless and locally emission-free EQC through the pristine nature of Vancouver Island, Cristina tells us more about the philosophy of her daily work, which she describes much more as a calling: “Each of my pictures tells a story – the story of the problems that threaten our planet and our oceans.” This is why she describes herself not as a nature photographer but as an environmental photographer – a “conservation photographer” by all means. She has significantly coined the term. Conservation stands for preserving. This is exactly what Mittermeier wants to do: help preserve the planet – and motivate others to do the same. How did she manage to live her dream? “Unknowingly, I made all my important life decisions based on the Japanese philosophy Ikigai (‘finding the meaning of life’). Ikigai calls for us to pursue the things we love, which are the things we have a talent for, which are the things we can earn a living from – and which are the things that make our world a better place.”
Cristina Mittermeier prefers to take her photos where it is particularly cold and wet: under water. However, only about ten years ago Mittermeier came to underwater photography. “I am the best example of how it is never too late to pursue your dreams,” she laughs. Before that, Cristina photographed rather casually – until a special turning point many years ago. At that time, she accompanied the father of her children, a biological anthropologist, to the tropical regions of the world. While he set off on expeditions, she stayed behind in the surrounding villages. She began to portray the inhabitants in the villages – mostly women and children of indigenous tribes. Not in the service of science, but for emotional reasons. Her aim: to capture the perspective of disenfranchised and mostly invisible women. When the photos were printed, she noticed that they make the viewers think. “As a biologist, I was committed to environmental protection already. But I noticed that people react very differently to my photos than to my studies.”
Since then, she has had a dream – and through her work, she is calling for the protection of our unique planet. “I love that my job is my entire life. I get up every morning knowing that I’m contributing to a better world with what I love most – using my stories and images to help protect nature.”
In Memoriam: Terry O’Neill
Artists
NOVEMBER 18, 2019 | TERRY O’NEILL
New York Times: By Neil Genzlinger
On an early assignment he shot a new group called the Beatles. He went on to photograph, among many others, Faye Dunaway — whom he later married.
Terry O’Neill, who as a novice photographer found himself shooting pictures of an up-and-coming group called the Beatles and never looked back, spending a lifetime capturing memorable images of musicians, movie stars and other celebrity gods of the age, died on Saturday at his home in London. He was 81.
Carrie Kania, creative director of Iconic Images, the London agency that represents him, said the cause was cancer.
Mr. O’Neill was the photographer of choice for a wide array of the stars of the 1960s and beyond. He photographed not only the Beatles and the Rolling Stones, but also Frank Sinatra; not only classic Hollywood actresses like Audrey Hepburn, but also more recent big-screen favorites like Nicole Kidman. Winston Churchill, Nelson Mandela and other prominent politicians turned up in his lens as well.
Mr. O’Neill had a way with putting famous people at ease and became friends with many of those he photographed. For a time in the 1980s he was married to Faye Dunaway, having taken one of his best-known images of her in 1977 on the morning after she won an Oscar for her performance in “Network.”
That picture — Ms. Dunaway lounging beside the pool at the Beverly Hills Hotel — and the story behind it show Mr. O’Neill’s preference for the casual shot over the stiff portrait, a signature of his work. People magazine had assigned him to get a photograph of Ms. Dunaway, assuming she would win the Oscar.
“While we were doing the pictures, I said to her: ‘I’ve been to the Oscars before. If you win, they always take the same pictures of you receiving the statue in the press room,’” Mr. O’Neill told New York magazine’s website The Cut in 2015. “I knew that wasn’t the real story — the real story is the next day, when they realize suddenly they’re getting all these offers to do films, their value goes from $100,000 to $10 million, and they’re just sort of stunned. I wanted to capture that.”
Another well-known O’Neill image was of Brigitte Bardot, captured in 1971 during an unguarded moment while she was on location in Spain, cigarette in her mouth, windblown strands of hair across her face.
“That was the last frame in a roll of 35 millimeter,” he told The Irish Examiner in 2013. “The wind blew and I took the picture.”
“I only had one crack at it,” he added, “and it turned out to be a stunner.”
Among Mr. O’Neill’s favorite subjects was Elton John; the image on the cover of his “Greatest Hits” (1974), of Mr. John in a white suit and oversize glasses, is his. Sinatra and David Bowie, two decidedly different singers, were also photographed repeatedly by Mr. O’Neill.
“I didn’t like his voice,” Mr. O’Neill confessed of Bowie in an interview last year with The Scotsman, “because I’m a jazz fan, a blues fan, and not really into that type of music. But he was a fascinating guy to work with.”
Present-day stars and celebrities, he found, were not so fascinating, lacking the magnetism and larger-than-life quality of the subjects of his photographic heyday.
“I don’t want to photograph anyone anymore,” he told The Scotsman.
“I think,” he added, “I was born at a time where I had the best of the best to shoot.”
Terence Patrick O’Neill was born on July 30, 1938, in London. His father, Leonard, was a foreman at a Ford plant, and his mother, Josephine, was a homemaker.
He left school at 14, and several years later, aiming to become a jazz drummer, he sought a job as a flight attendant with British Overseas Airways Corporation, the forerunner of British Airways. He hoped to try jazz clubs in New York during layovers. Instead, the airline placed him in a photography unit based at Heathrow Airport.
As he told the story later, one photograph started him on his career path. Part of his job was to take pictures of people arriving and departing. He shot one of a well-dressed napping man in a bowler hat surrounded by African chieftains in traditional regalia. The man in the hat was the politician R.A. Butler, who was home secretary at the time, and the picture found its way to the newspapers, and editors on Fleet Street took notice.
“They said, ‘You’ve got an eye’, but I had no idea,” he told The Scotsman. “I said, ‘I don’t know what I’m doing,’ but they said, ‘Just keep doing it, we’ll train you,’ and they did. They turned me into a photographer.”
He worked for The Daily Sketch, a tabloid newspaper, for a time, then struck out on his own. An early assignment was to photograph the Beatles in 1963 just as they were breaking big in England. The Stones soon called asking for his services.
He continued to photograph both groups and their individual members as they rocketed to fame. He was still photographing Paul McCartney some four decades later. Elvis Presley, Janis Joplin, Tom Jones, Boy George, Led Zeppelin, Joan Baez and countless other musicians also turn up in his archive.
Mr. O’Neill married the actress Vera Day in 1963; they divorced in 1981. He and Ms. Dunaway were married from 1982 to 1987. In 2001 he married Laraine Ashton, founder of a modeling agency, with whom he had had a long relationship. She survives him, as do two children from his first marriage, Sarah and Keegan; a son from his second marriage, Liam; a stepson, Claude; and three grandchildren.
In 2018 Mr. O’Neill talked to The Scotsman about his collection of millions of negatives.
“I look back at all the pictures and I can’t believe the life I’ve had,” he said. “They’re all memories for me.”
David Gamble: Andy Warhol's House
Artists
OCTOBER 14, 2019 | DAVID GAMBLE
In 1988 Sotheby’s New York hosted one of the most talked-about auctions of the decade, the sale of the Estate of Andy Warhol. In addition to paintings and sculpture, some of the most hotly sought-after items were Warhol’s personal effects. The goal of the sale was to raise funds for the then fledgling Andy Warhol Foundation for the Visual Arts.
Soon after Warhol’s death in 1987, photographer David Gamble was given exclusive access to Warhol’s East 66th street House, Factory and Warehouse. There, he captured the placement of Warhol’s belongings as the artist had lived with them over the years. Rather than simply documenting the space, and Warhol’s objects. Gamble’s images sought to capture the humanity and fierce individuality of the artist.
Please join us for an intimate look into the life of this beloved Pop icon as the Art Institute of Chicago launches its major retrospective ANDY WARHOL — FROM A TO B AND BACK AGAIN that “illuminates the breadth, depth and interconnectedness of Warhol’s production across the entirety of his career but also ways he anticipated the issues, effects, and pace of our current digital age.”
Legendary photojournalist Julian Wasser reflects on career, discusses Chicago exhibit
Artists
CHICAGO (WLS) — Julian Wasser has witnessed Hollywood through a camera lens for well over half a century, capturing images of stars from Jack Nicholson to The Beatles, and he even got one of the very last pictures of Robert Kennedy before his assassination.
The view can be seen in a special exhibit, “Julian Wasser: The Way We Were,” a photographic time capsule of the 1960’s and 1970’s.
ABC7 Chicago’s Janet Davies talked to him about his new exhibit that opened Friday in River North.
Wasser began shooting spot news in the nation’s capital at a tender age.
Julian Wasser: “Every night I would climb out my bedroom window and steal my father’s car when I was 12 and take pictures, and they’d be on the front page of the Washington Post. My father would say ‘look, there’s another Julian Wasser in Washington.’ I said ‘yeah dad.'”
Later Wasser’s camera took him to New York then Los Angeles, shooting stars for publications like Time Magazine, Vanity Fair and Life Magazine.
Wasser: “Most photographers would get a star, line them up against a wall and stand there and don’t say anything. They would wait for the star to do something, I can’t stand that. They want direction. I gave lots of directions. They liked that and worked well with that. That’s why pictures look the way they do.”
Wasser’s career has spanned over six decades, and each of his iconic photographs has a story.
Wasser: “The Beatles, which was taken in London in Soho. Jayne Mansfield was at the Whiskey, I was shooting for Life Magazine. David Bowie, I was working for him, shooting at the Hollywood Bowl at one of his concerts.”
Janet Davies: “How about that Hugh Hefner photo on roller skates?”
Wasser: “He had incredible luck with women, didn’t he? He was actually a very, very nice guy, very sweet guy, he treated those girls like queens.
Davies: “What about the Marilyn one?”
Wasser: “I wanted to look at her, so I sat at her feet like a lap dog and took the pictures; she didn’t even know I was there, she’s a star!”
Wasser’s iconic photos are on display at the Hilton-Asmus Contemporary Gallery through September 30th.
“Julian Wasser: The Way We Were” runs through September 30th at the Hilton-Asmus Contemporary Gallery.
Wasser will be at the exhibit Friday from 6:45 p.m.- 9 p.m.
Hilton-Asmus Contemporary
716 N. Wells St., #3739, Chicago, IL 60654
www.hiltoncontemporary.com
For Years, This Couple Has Been Quietly Collaborating on Sculptures. Now, They Are Finally Showing Together
The true extent of the collaboration between Boky Hackel-Ward and Blake Ward was a secret for years.
The story of husband-and-wife artists Blake Ward and Boky Hackel-Ward is a romance, certainly, but one complicated by the tribulations of the art market, among other obstacles.
They were born on different sides of the world: Ward in the depths of the Northwest Territories in Canada into a family that made its name running an airline and Hackel in Germany, who then was raised between Switzerland, Costa Rica, and Venezuela.
In a cinematic turn, the pair met at a wedding where he was the best man and she the maid of honor. There was a spark—but Hackel was married at the time and both were busy pursuing individual artistic careers.
Ward had studied figurative sculpture in Paris with the sculptor Cyril Heck and gone on to teach sculpture at the University of Hanoi, as one of the first Western educators in Vietnam since 1945. She was a Conceptual artist and polyglot who played in an orchestra and restored artworks for a living.
Three years later, the two would meet again, and, with Hackel newly single, they soon became a couple. But their union was more than romantic.
An artistic collaboration soon grew between them as Hackel slowly informed the development of Ward’s sculptures. Mutually thrilled by this development, the pair was unaware that their collaboration would actually cause a flurry of distress as Ward’s publicist at the time quickly tried to subdue news of Hackel’s involvement, believing it would damage his client’s career. For years, as later gallerists would continue to subtly dismiss her influence, Hackel continued to work quietly behind-the-scenes.
Now, for the first time, the couple will present both their own works and their collaborative efforts together in “Somewhere Within” at Chicago’s Hilton Asmus Contemporary. Recently, we caught up with the pair to learn more about their story and this collaborative debut.
How did you two begin to collaborate? Was it something you discussed or did it just happen?
Boky Hackel-Ward: Our collaboration happened quite naturally. I had been working in art restoration and at one point Blake asked me to help with some gold leafing on one of his sculptures. Before we knew it, I was learning about his process and helping him with wax casting, which can be rather temperamental with regards to temperature. We would enter this state of flow, where the world of the studio became the only world.
We went on foundry visits together, too. The first time I went, I just watched, but with my career history, working the bronze came quite naturally to me. Power tools and files didn’t intimidate me. Blake asked me for help, so I put some gloves on and the rest is history.
What was your work like before you started collaborating with Blake?
Boky: I composed music and wrote poetry and whenever possible did performance art pieces, such as conducting the university orchestra, complete with vocal cadenzas. I was strongly influenced by artists such as Laurie Anderson, John Cage, David Tudor, Merce Cunningham, and Robert Wilson.
One of my early sculpture pieces is Requiem for my Father, which is made of crushed wire and computer memory boards. I built things but it was a bit like swimming in the dark. I never really found the right medium until Blake walked into my life.
Blake, what qualities did you feel Boky contributed to your work?
Blake: When we were working in the foundry, she wasn’t concerned with the technical principles of the pour; she was fearless. I liked that energy. I watched her pour and copied her abandonment and found myself using the technique or, shall we say, the freedom with which she poured the wax.
She introduced the idea of deconstruction or, what we now call, the reverse engineering of our sculptures. She’s very good at editing the wax sculptures. I realized that these pieces were no longer just mine, they had changed and I wanted to include her in that.
When did you decide to start signing works together, to define yourselves as equal partners?
Blake: Boky made a sculpture called Hathor while I was away on a trip. When I saw it I recognized its significance: it’s a beautiful work that I couldn’t improve upon. Then, right away, I insisted she sign it. In my opinion, with that work, Boky had expanded upon the rules of classical sculpture and she had helped me to break some of those rules as well.
So her name is written on it in bronze. I thought that everyone would recognize and accept that she was a co-creator, but people didn’t. It seemed that everyone preferred to ignore the fact. I pushed back, since truly these people, particularly one marketing consultant, had no idea what she had contributed and were wrongly worried about my career.
That must have been difficult for your relationship both as a couple and as collaborating artists.
Blake: These people missed the point completely. One of the things we try to do with this body of work is tell the truth; the truth in materials, the truth about the work, about how the work is made. This was another part of telling the truth. I was embarrassed by the way Boky was treated.
Boky: People insisted I’d ruin your career and I didn’t want to cause trouble for you. In this era, I suppose I expected some visibility as an individual artist. If nothing more, some credit for my work, for my ideas, and for my writing.
What changed?
Blake: We stepped back and removed these people from our lives. First I was shocked, then I was mad and then we became resilient. We retreated and let everybody’s contracts expire. It was a new chapter in both our careers.
Boky: Another very important element has been having a gallerist such as Arica Hilton who recognized us as a creative entity and wanted to show that to the world. She is an artist herself and an ardent defender of women.
How does it feel to be exhibiting together as an artistic entity for the first time?
Boky: The idea of being able to share our love story and our sculpture with others, and to do so openly, means everything to me. It means I’m not invisible. We all have our own stories and we all have the possibility of healing. For me this exhibition is about letting the light shine and telling the truth.
Blake: It is also about celebrating the overlooked accomplishments of Boky and all women, as well as recognizing realities facing our society today. Women still have to fight so hard for every little thing.
Written By | Artnet
SOMEWHERE WITHIN: Open Your Eyes to Your Eyes
Mikhail Larionov’s words to Natalia Goncharova in 1900: “Open your eyes to your eyes” is a sentiment that mirrors the beginning of an artistic collaboration and exquisite love story between what would one day become a husband and wife creative entity. Each with their own road to follow yet passing through all the stages of love that culminate in the lyrical. This is the story of Blake Ward and Boky Hackel-Ward.
Three years ago my gallery had a wonderful exhibition of sculptures by internationally recognized artist, Blake Ward. During that time, I met his partner in life, German-born Boky Hackel. She was not only stunningly beautiful, but a brilliant poet, writer, artist and all around gorgeous soul. After the opening, Blake and Boky told me the story of how they began working together and how Blake’s publicist at the time was opposed to Blake giving Boky any credit for the work she had done on the creation of his sculptures. It was too late to change the direction of our exhibition as we had already sent out press releases and BMO Harris was the sponsor of the exhibition along with the Canadian Consulate. In the end, the exhibition was a resounding success.
Now, three years later, we have invited Blake to return for a second exhibition in our gallery. But this time he comes with his partner, co-creator and new wife, Boky Hackel Ward. We are thrilled to feature Boky as Blake’s collaborator and artistic partner of this beautiful collection of inspiring angels, phantoms, ushabtis and modern sculptures. Below is some history on how Blake and Boky came to be.
German-born Boky Hackel began life as a conceptual artist, restorer of Old Master paintings, photographer, musician, writer and poet. As a conceptualist and a polyglot, language had always been extremely important in her work. Although Blake Ward’s name is well known in the art world, it was not known that Boky Hackel-Ward was in the shadows as Blake’s artistic partner. In 2015, when Blake made an announcement that he and Boky were co-creators, his publicist relentlessly convinced him that Boky’s name be kept out of the press and public because “it would hurt Blake’s career.”
In 2015 Blake and Boky exhibited in Monaco at the Grimaldi Forum when the Monaco Matin ran a story featuring their love story and their work. It was an artistic collaboration made in heaven, they wrote. On Valentine’s Day 2015, at the vernissage of Blake’s exhibition at the Canadian Sculpture Society, Blake publicly announced that the new work presented was not his alone but a result of his collaboration with Boky.
Immediately, the publicist called an urgent meeting where he strongly discouraged Blake from telling anyone about the collaboration. There were many arguments while their representative in Canada backed the publicist 100%. They relentlessly tried to dissuade Blake from following his instinct and ethics. Boky’s contribution they said should be to continue ghost writing his blogs every three days, but no mention or credit should be given to her artistic collaboration with Blake.
In short time, Blake fired the publicist. He gave Boky credit not only for her writing but also for her creative contributions. Although the damage to their artistic synergy was serious, their love, respect and devotion to one another ran deeper.
Canadian-born Blake Ward was born in Yellowknife in the North West Territories in Canada, In 1985 Blake moved to Paris to study under Cyril Heck with whom he learned traditional techniques of modeling figurative sculpture. When the opportunity arose for Blake to move closer to both his foundry and marble quarry in France and Italy, he opened his current studio in Monte Carlo in 1990.
It was Blake who introduced Boky to sculpture. He asked her to do some gold leafing on some bronze pieces because of her mastery in restoring old master paintings in Italy. This assignment became the catalyst to her development as a sculptor.
“I suppose our collaboration is a result of the love that we have for one another. From the very beginning we have always tried to teach one another and share our knowledge. We each bring different things to the table; the sculpture techniques, the conceptual, the wax and the clay, we share this beautiful life together. Without the art we would be lost!” states Boky.
In March 2013, Blake & Boky began offically working together. Blake taught Boky the techniques he used in building his sculpture and Boky shared with Blake her knowledge and experience as a conceptual artist. The synergy was evident as they began to create together. It quickly turned into an incredible love story.
One day, as Boky returned to the studio after an orchestra rehearsal, she found Blake holding up a sculpture that the she had built in the style of his work. He looked at her and said, “Sign it….there is nothing I can do to make it better.” The sculpture was an Ushabti (a funerary figurine used in ancient Egypt) Boky had named “Hathor – Goddess of Love.” In ancient Egyptian mythology, Hathor is also the goddess of beauty, music, dance, joy, motherhood but best known as the goddess of love. She was also considered the protective goddess of women. Perhaps Boky created Hathor as a way of protecting herself after she was negated so strongly by the “good ole boy” publicist.
Blake created an inner structure for it, built a dream catcher and ultimately, they both signed the piece. From that point on, they worked incessantly, creating well over 20 sculptures per year. “Hathor” along with her sister sculpture “Hetheru” will be on display.
After much soul searching, today Blake and Boky are married and working together in perfect synergy. They work in harmony in the studio and in their foundries in Italy, France and Canada. His work, her work, and their work… They are two separate artists but sometimes one plus one makes for an even stronger one.
Blake has thrown himself into the digital world of Z-brush and 3D printing, mixing the digital with the analogue, the state of the art with the ancient lost wax techniques. Boky’s collection of Figurative Poetry is about making the hurt subside. It is what Blake calls Intentional Art, art with a purpose; it is about healing.
While building on the techniques of figurative sculpture lost in antiquity, Blake remains true to their representational qualities, yet his sculptures are a transgression of the rules, crossing over into the abstract and ethereal realms of our inner worlds. His 1/4 life-size, partial figures materialize before us. Both seductive and tragic, their perfect proportions reflect the hidden perspectives of our human condition. The textured exterior surface alludes to the complexity of our individuality. The open, exposed interior elicits introspection. Holding fast to his love of the human figure, Ward leads us toward self-discovery.
Ward received his Fine Arts Degree from the University of Alberta in 1979 and went on to study classical figurative sculpture in Paris until 1990, when he moved to his current studio in Monte Carlo. When he was invited to teach at the University of Hanoi in 2003, Ward began a journey combining art and activism. His work evolved a bold socio-political voice calling out to our humanitarian dreams of justice, truth, and equality and he has been a positive force raising funds and awareness for the eradication of landmines. Blake’s works have shown in Monaco, England, Germany, Italy, Singapore, Hong Kong, India, The United States, and Canada including many public installations in the principality of Monaco, where he and Boky currently reside, including Princess Grace’s Rose Garden. The work is in the private collections of Prince Albert of Monaco, Herb Alpert, Gerry Moss among others.
“Somewhere Within” will be the first time that Blake Ward and Boky Hackel-Ward will be showing together in the United States as co-creators.
“SOMEWHERE WITHIN” runs from Thursday, May 23, 2019 thru June 12, 2019.
Written By | Arica Hilton
David Gamble Takes Us Inside Andy Warhol’s Apartment
Artists
APRIL 27, 2018 | DAVID GAMBLE
In 1987, the world slowed down as the passing of Andy Warhol hit headlines. After immediate attention was paid to the artist’s lifetime of achievement, his manager, Fred Hughes, hired trusted photographer to capture his untouched apartment before Warhol’s possessions were auctioned off by . was held over the course of a few weeks in April 1988. This month marks the 30th anniversary of that monumental , full of iconic Warhol items.
Since then, Gamble has gone on to gain recognition for photographing illustrious figures like the Dalai Lama, Stephen Hawking, and Margaret Thatcher, capturing images for magazines like Time and The Observer, and globally exhibiting work at places like the in London.
Whitewall spoke with Gamble about Warhol’s possessions, and what it said about his energetic, enigmatic personality.
WHITEWALL: When you were tasked by Hughes to photograph Warhol’s apartment, what did you feel at the time was most important for you to document?
DAVID GAMBLE: I hadn’t photographed a portrait of Andy. Because Andy had just died, I felt that I might find a way to make a portrait of him through the objects and the places he owned.
I wasn’t really interested in the value of the objects themselves; I was interested in why he would own something like that, and his taste. I was as much interested in photographing things that people didn’t real feel had any value. Around that time, Sotheby’s was obviously looking to see what objects were going to be of value for the auction, and I knew that the mundane and ordinary things were most likely not going to be touched. There was a different agenda for me, so that’s why I was fascinated by seeing the medicine cabinet and what was in the bathroom because there’s nothing of any real intrinsic value in there. It was just left. That’s what I really loved about that. The kitchen was very similar in that sense. The cookie jars were included in the auction. They were only worth 5 or 10 dollars, and they probably went, because Andy owned them, for 250 to 500 dollars. Sotheby’s and other auction houses realized that you didn’t need to have an object of value if it belonged to a celebrity. The Andy Warhol sale proved that a celebrity name would sell objects that didn’t have any real value. That was a real mark for auctions around the world.
WW: What were some unexpected treasures that you found in his apartment?
DG: I found his teddy bear in the bedroom. I liked the idea he had a teddy bear.
WW: Did you get to keep or take away any of the objects from the shoot?
DG: No, but my assistant did. It was strange because the food had already been cleared out of the cupboards in the kitchen, so when I looked, there was nothing in there. I was just interested to see if there was anything in there. But I put my hand in the back of one, and I found this Campbell’s can of tomato bisque and I went, “Wow, that’s cool.” Out of all the objects I could find left, right behind the back of the cupboard is this Campbell’s can. That was the only thing I introduced in the picture was the can on the kitchen sink. When I finished the shoot, my assistant said, “You know that can you found? Well, I’ve got it. I took it for you.” Interesting enough, I photographed the can ten years later just by itself and it was starting to rot inside and corrupt itself. I liked that idea. You were trying to take an object like something that Andy had, and through age, it was corrupting itself on the inside. I was thinking, “Well that’s sort of like Andy, being corrupted by time and by his death in the ground.” It was sort of my taking of Andy’s death through the can. I’m thinking about taking another picture of it 30 years later because it’s even more deteriorated.
WW: What about Warhol was surprising to you, that you found only through photographing his apartment?
DG: He had great taste at times. He could be really tacky and sort of cheap, and on the other side he knew quality when he saw it. A lot of the surprises in Andy’s house were the objects and pieces of furniture, which in themselves were really amazing pieces and very collectable in their own right. Andy had the eye to see that. I think that’s very cool.
WW: You’ve had so many wonderful opportunities to photograph influential people of today and the past. What has been a career highlight?
DG: There are no highlights in my career. [Laughs] It never felt really good when I received an award. The problem with receiving awards from anybody is that it’s always retrospective, meaning you are only ever given an award on something that you’ve already made. It doesn’t make me feel any better because I’d always like to think I’m better than the stuff I’ve already made, or I’m more interesting than that.
I like the idea of memories of certain events, and I like to talk about meeting Margaret Thatcher or Dalai Lama, or receiving awards in the South of France. All of these things are wonderful in themselves, but I can’t see them as really being highlights. I’m looking forward to the next thing I’m making.
WW: What do you enjoy photographing most? What brings you the most happiness when you work?
DG: Happiness. Oh. [Laughs] It’s sort of something that sits in my mind all of the time. I’m really involved with including or making references to the figurative. I’m really interested in the human condition, in the sense of what we feel like. All of the things that occupy my mind and my existence in the world, and the fact that a lot of people feel the same things I feel, I find a way to somehow transfer those things through photographs. When I’m shooting somebody else creating a painting of somebody else, it’s essentially referring to things that are familiar with yourself. Whoever you photograph or whatever you make is also a reflection of your own thinking—your own self. I suppose that’s really what all the work is about. When I photographed Andy’s apartment, I chose those objects because they set off a familiarity and recognition in me. In some ways, I photographed Andy through me. And when I photographed Margaret Thatcher and Stephen Hawking, it was through things that were familiar to me. That’s the whole point. I think the question of what makes me happy is trying to photograph or make an image of the human condition. And that includes objects. Sometimes, with an object, you can make it reflect a person as well as a person themselves.
WW: What are you working on now?
DG: I’m preparing for the April Sotheby’s auction of which two pieces have been selected. The watch, wig, glasses, and medicine cabinet from my Warhol series will be on display in a Sotheby’s exhibition at their NYC offices (April 4-9) and in the live auction on April 10. I’ve produced a series of gas compressed archival prints direct onto aluminum, special for the 30th anniversary, finished with Museum Plexiglas and white frame.
I’m working on a provocative new endeavor called “THE SILENCE” (a working title) that is dedicated to helping suffering women find their voices. There are those among us who are screaming for help as a consequence of sexual abuse and violence. This exhibition seeks to draw attention to their unheard cries for help, to acknowledge their pain, and amplify awareness of the many ways society attempts to inhibit and silence women.
I’m working on this 16mm black-and-white movie with a really great jazz composer here in New Orleans who’s a friend of mind. I’ve been shooting that over the last year. It’s just a pure collaboration of music and images, riffing and improvisational into one piece of art based on a street in New Orleans called Esplanade. It’s very avant-garde.
I’m also working on doing an Andy Warhol show in Chicago, too. Essentially, this whole year is really part of the fun to do this 30th anniversary of the Sotheby’s auction, so we’ll be doing a couple of shows. I want to do an installation experience with the Warhol house pictures… I’ll make a few life-size images, so you could actually look at the kitchen sink and the living room. It would be more like you’re walking into the environment of the house.
