Lucienne Bloch

Lucienne Bloch was born in 1909 in Geneva, Switzerland and died three years ago in 1999. In all, Bloch's life stretched from one end of the 20th century to the other, during which she prolifically photographed the world around her. Moving to New York as a young woman, Bloch was a WPA artist during the Great Depression, and was assigned to work with the celebrated Mexican artist Diego Rivera. Rivera's work for the WPA was to have been a mural for Rockefeller Center, but the nearly completed work, featuring a portrait of Lenin, was destroyed before it was unveiled. The images Bloch secretly took with her Leica are the only artifact of this extraordinary mural. During this period, Bloch became very close with Rivera's wife Frida Kahlo, and took many of the best known images of Kahlo, Rivera, the couple, and their work.


Lucienne Bloch -
Frieda Kahlo and Diego Rivera


David Fokos

David Fokos' large-format prints use the benefit of prolonged exposures ranging from 20 seconds to 10 minutes to cut through the temporarity of the eye's penchant for visual clutter to capture the essence of a compositional frame. In Fokos' world, it's always a grey day, but his highly stylized prints offer us clean, calming looks at well-defined objects both natural and man-made. And though Fokos uses a conventional 8x 10 camera to capture his images, his use of lightjet printing renders each image as the artist intended it to be.

Click here to view more images by David Fokos





Wright Brothers, New York Times Archives

New York Times Archives

The New York Times photography department is perhaps second only to National Geographic in terms of desired places to work by talented young photographers, and rightly so. As a paper of both New York and the world, the Times has had photographers on the scene for many of the great moments in history, and has been instrumental in the development of photojournalism and the importance of the image as a newsworthy tool. These 16 B&W images, ranging from the face of the Statue of Liberty shot from just below the chin to close-up pictures of American icons Lou Gehrig and Joe DiMaggio to a beautiful picture of the Wright Brothers first flight all reflect an Americana that is a rich part of our collective cultural heritage.



Nickolas Muray

(1892-1965) was a Hungarian photographer who, in 1913, immigrated to New York City where became internationally known as a portrait photographer. His circle of friends in the art culture in Mexico in the 1930's included Miguel Covarrubias, Rufino Tomayo, Diego Rivera and, especially, Frida Kahlo, with whom he exchanged love letters in 1939. From Frida Kahlo:The Brush of Anguish by Martha Zamora: "One affair of great consequence to Frida was with Nickolas Muray, a well-known Hungarian photographer who made some of the most beautiful photographs of Frida." In one letter to Frida, Muray said: "The one of me is eternally grateful for the Happiness that the half of you so generously gave." Between 1920 and 1940, Nickolas Muray made over 10,000 portraits. Who would have thought that the one of Frida Kahlo, c. 1939, would bring him greater acknowledgment than any? But it did. The portrait, made in the winter of 1938-39, while Kahlo sojourned in New York, attending her exhibit at the Julien Levy Gallery, became the best known and loved portrait made by Nickolas Muray. Muray and Kahlo were at the height of a ten-year love affair in 1939 when the portrait was made. Their affair had started in 1931, after Muray was divorced from his second wife and shortly after Kahlo's marriage to Mexican muralist painter Diego Rivera. It outlived Muray's third marriage and Kahlo's divorce and remarriage to Rivera by one year, ending in 1941. Muray wanted to marry, but when it became apparent that Kahlo wanted Muray as a lover, not a husband, Muray took his leave for good and married his fourth wife. He and Kahlo remained good friends until her death, in 1954. After Kahlo received the portrait in Mexico, she wrote to Muray on June 3, 1939: "Nick darling, I got my wonderful picture you sent me, I find it even more beautiful than in New York. Diego says that it is as marvelous as a Piero de la Francesca. To me it is more than that, it is a treasure, and besides, it will always remind me that morning... [when] we went to your shop to take photos. This one was one of them. And now I have it near me. You will always be inside the magenta rebozo (on the left side)." Carbro copies of the portrait are in the permanent collection of the Frida Kahlo Museum, The George Eastman House, and the Metropolitan Museum of Art. The Nickolas Muray Archives has commissioned Sal Lopes, master printer, to produce this edition of hand-coated platinum prints, limited to 50 numbered prints and 5 artist proofs. -- Salomon Grimberg

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