Dylan Thomas, Poet

Do not go gentle into that good night

Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.

Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.

Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.

Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.

Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.

And you, my father, there on the sad height,
Curse, bless, me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.

Anton Corbijn, Photographer/Director

Anton Corbijn (born May 20th, 1955) is a photographer and director from Strijen, in the Netherlands. He is well-known for directing music videos, including Depeche Mode's "Personal Jesus" (1989) and Niravana's "Heart-Shaped Box" (1993), as well as directing the Ian Curtis Biopic "Control." He is widely acknowledged by the music industry, mainly for being the creative director of the visual output of prominent bands like Depeche Mode and U2, having handled the principal promotion and sleeve photography for both for more than a decade.

William Wordsworth, Poet

The world is too much with us

The world is too much with us; late and soon,
Getting and spending, we lay waste our powers;
Little we see in Nature that is ours;
We have given our hearts away, a sordid boon!
This Sea that bares her bosom to the moon;
The winds that will be howling at all hours,
And are up-gathered now like sleeping flowers,
For this, for everything, we are out of tune;
It moves us not.--Great God! I'd rather be
A pagan suckled in a creed outworn;
So might I, standing on this pleasant lea,
Have glimpses that would make me less forlorn;
Have sight of Proteus rising from the sea;
Or hear old Triton blow his wreathèd horn.

Laura Letinsky, Photographer

Born in Winnepeg, Manitoba, Canada in 1962, Laura Letinsky received her degrees in photography from the University of Manitoba, Winnipeg (BFA, 1986) and Yale University School of Art, New Haven (MFA, 1991). Her works have been exhibited at the Museum of Modern Art, New York, The Art Institute of Chicago, the Canadian Museum of Contemporary Photography, Ottowa, and the San Francisco Museum of Modern Art, among others. In her first series of published photographs, titled Venus Inferred, Laura Letinsky took as her subject heterosexual couples intimately engaged and tried to show us what love looks like.

Bill Henson, Photographer

Bill Henson (born 1955) is an Australian contemporary art photographer. Henson's art has been exhibited in many locations, including the Solomon R. Guggenheim Museum in New York, the Venice Biennale, the National Gallery of Victoria in Melbourne, Australia, the Art Gallery of New South Wales in Sydney, Australia, and the Bibliotheque Nationale in Paris. Henson's photographs reflect an interest in ambiguity and transition. The use of chiaroscuro is common throughout his works. His photographs are painterly and often presented as diptychs, triptychs, and other groupings.

Arthur Tress, Photographer

Arthur Tress is a notable American photographer born on November 24, 1940 in Brooklyn, New York. He is well known for his staged surrealism and exposition of the human body.

Adrian Ghenie, Painter

Adrian Ghenie was born in 1977 in Baia Mare, Romania and lives and works in Cluj and Berlin.

Balthus, Painter

Balthus (Balthazar Klossowski) was born on February 29, 1908 in Paris France and died on February 18, 2001 in La Rossinière, Switzerland. He was a reclusive French painter who, in the midst of 20th-century avant-gardism, explored the traditional categories of European painting: the landscape, the still life, the subject painting, and the portrait. He is best known for his controversial depictions of adolescent girls.

Yousuf Karsh, Photographer

Yousuf Karsh (1908-2002) is one of the masters of 20th century photography. His body of work includes portraits of statesmen, artists, musicians, authors, scientists, and men and women of accomplishment. His extraordinary and unique portfolio presents the viewer with an intimate and compassionate view of humanity.

Ray Metzker, Photographer

Ray Metzker’s images question the nature of the photograph and photographic “reality.” Through cropping, multiple imagery, and other formal inventions, his work explores options for transforming the vocabulary of the photograph. “What appears in the pictures was the subject’s decision, not mine. I took what they presented – delicate moments – unadorned and unglamorous, yet tender and exquisite.” Born in Milwaukee on September 10, 1931, Ray K. Metzker began to photograph at age fourteen, studied art at Beloit College, Wisconsin (BA, 1953), and studied photography at the Institute of Design, Illinois Institute of Technology, Chicago (MS, 1959). He has taught at the Philadelphia College of Art (1962-1980), the University of New Mexico (1970-1972), and Columbia College Chicago (1980-1983). Metzker left teaching in 1983 in order to photograph full-time. He is the recipient of two John Simon Guggenheim Memorial Fellowships (1966 and 1979) and two National Endowment for the Arts fellowships (1974 and 1988).

Judith Joy Ross, Photographer

Judith Joy Ross was born in 1946 in Hazleton, Pennsylvania and is an American portrait photographer. She has created a unique body of black-and-white portraits using traditional photographic tools and subject matter. With her old-fashioned 8x10-inch view camera mounted on a tripod, she directly confronts her sitters, whether they are children or members of Congress.

Thomas Ruff, Photographer

Thomas Ruff was born in 1958 in Zell am Harmersbach, Germany. He attended the Kunstakademie Düsseldorf from 1977 to 1985, where he studied under Bernd Becher. Ruff began photographing landscapes, but while he was still a student he transitioned to interiors (1979–83) and deadpan portraits of friends. His early portraits were black-and-white and small, but he soon switched to color, using solid backgrounds in different colors. He began to experiment with large-format printing in 1986, ultimately producing photographs up to seven by five feet in size. Ruff expanded beyond portraiture with Haus (1987–91), a series of building exteriors. In 1989, he produced a series of images depicting starry skies, derived from pictures he had obtained from the astronomy institute of the Ruhr-Universitt Bochum.

Robert Mapplethorpe, Photographer

Robert Mapplethorpe was born in 1946, the third of six children. The shift to photography as Mapplethorpe’s sole means of expression happened gradually during the mid-seventies. He acquired a large format press camera and began taking photographs of a wide circle of friends and acquaintances. These included artists, composers, socialites, pornographic film stars and members of the S & M underground. Some of these photographs were shocking for their content but exquisite in their technical mastery. Mapplethorpe told ARTnews in late 1988, “I don’t like that particular word ‘shocking.’ I’m looking for the unexpected. I’m looking for things I’ve never seen before…I was in a position to take those pictures. I felt an obligation to do them.” During the early 1980s, Mapplethorpe’s photographs began a shift toward a phase of refinement of subject and an emphasis on classical formal beauty. During this period he concentrated on statuesque male and female nudes, delicate flower still lifes, and formal portraits of artists and celebrities.

John Coplans, Photographer

When John Coplans began photographing his aging body after he turned 60, he embarked on a documentation of age that is alternately humorous, reflective, and disquieting in the closeness of its observation. Seeing himself as an actor, Coplans examines various body parts closely, often quoting art historical postures with his sagging figure. Self-Portrait, Three Times is exemplary of his scrutinization of idealized expectations of the body and the self. Born in London in 1920, John Coplans was educated in South Africa and England. After immigrating to the United States in 1960, he began teaching at the University of California at Berkeley. Coplans was the founding editor of Artforum magazine. Coplans worked as the senior curator of the Pasadena Art Museum from 1967 to 1970 and as the director of the Akron Art Museum in 1978. He has published numerous articles of art criticism, and his books include Weegee: Tater und Opfer (1978), Ellsworth Kelly (1973), Roy Lichtenstein (1972), Andy Warhol (1970), Serial Imagery (1968), and Cezanne Watercolors (1967). Coplan’s extremely close-up nude self-portraits have been exhibited at numerous institutions worldwide. He received the Frank Jewitt Mather Award of the College Art Association for services to art criticism in 1974; John Simon Guggenheim Memorial Foundation Fellowships in 1969 and 1985; and National Endowment for the Arts Fellowships in 1975, 1980, 1986, and 1992.

Nobuyoshi Araki, Photographer

The photographer and artist Nobuyoshi Araki is known for his provoking and erotic pictures. He documents social taboos surrounding sexuality and death. Encompassing contemporary Japanese sub-culture, from poetic scenes of old Tokyo, to the dark side of urban life and eroticised female bodies in a variety of fantasy settings.

David Armstrong

David Armstrong grew up outside of Boston, Massachusetts. He attended the Boston Museum School from 1974-77, where he'd planned to study painting. Instead, he switched almost immediately to photography. He moved to New York in 1977, studied at Cooper Union and spent the rest of the 70s and 80s living and working either in New York or Boston. After receiving a BFA at Tufts University in 1988, he moved back to New York permanently. During this period he worked primarily on black and white portraits. Because Armstrong works intuitively, the portraits are personal and intense. The work is forceful yet ephemeral: capturing the essence of the person while ineffably capturing the essence of Armstrong's own desire.

Jonas Bendiksen, Photographer

Born in Norway in 1977, Jonas Bendiksen began his photography career as a 19-year-old intern in the London office of Magnum Photos. After a time, he decided to leave office life and travel through Russia to pursue his own work as a photojournalist. In the years he spent there, Bendiksen photographed stories from the fringes of the former Soviet Union, culminating in his 2006 book Satellites. Since leaving Russia, Bendiksen has worked on numerous articles throughout the world, including his ongoing project about the world's slums. His coverage on "Dharavi: Mumbai's Shadow City," is featured in the May 2007 issue of National Geographic. Bendiksen has received numerous awards, including a National Magazine Award for his story "Kibera,'' which was featured in the Paris Review. Other distinctions include a Freedom of Expression Foundation fellowship, second place in the Daily Life Stories category for World Press Photo, the 2003 Infinity Award from the International Center of Photography, and first prize in the Pictures of the Year International competition. In addition to National Geographic and Paris Review, Bendiksen's editorial clients include GEO, Newsweek, Telegraph Magazine, the Sunday Times magazine, and the Rockefeller Foundation. He lives in New York with his wife and son.

Anna Shteynshleyger, Photographer

Anna Shteynshleyger is a photography teacher at The School of the Art Institute of Chicago. Originally from Moscow and of Ukranian descent, she left to come to the United States. Her photographs of Siberia examine the sites of Russian labor camps under the former Communist regime. The juxtaposition of the beautiful landscapes with their history of containment and oppression draws an interesting paradox about the character of modern Russia. Making three different trips to different regions of Russia, Shteynshleyger manipulated already existing scenes rather than creating new situations. Born in Russia in 1977 and educated at the Maryland Institute College of Art (BFA, 1999) and Yale University (MFA, 2001), Shteynshleyger’s most recent exhibitions include Solo Exhibition (12×12 project) at the Museum of Contemporary Art, Chicago and Art Basel Miami Beach at the Jacob Karpio gallery in Miami, FL.

"… be it a metaphysical or cultural concern, whether it’s a critique or a celebration, art remains a practice rooted deeply in the material world. We make likenesses of what we see and transform our world in a very tangible way. Any situation can reveal a reality not apparent at first examination."

Dith Pran, Photojournalist

Dith Pran (born September 27th, 1942 -- March 30th, 2008) was a photojournalist best known as a refugee and Cambodian Genocide survivor and was the subject of the Academy Award-winning film The Killing Fields. He was portrayed in the movie by first-time actor Haing S. Ngor, who won an Academy Award Oscar for his performance. In 1975, Pran and New York Times reporter Sydney Schanberg stayed behind in Cambodia to cover the fall of the capital Phnom Penh to the communist Khmer Rouge forces. Schanberg and other foreign reporters were allowed to leave, but Pran was not permitted to leave the country. When Cambodians were forced to work in forced labor camps, Pran had to endure four years of starvation and torture before finally escaping to Thailand in 1979. He coined the phrase "killing fields" to refer to the clusters of corpses and skeletal remains of victims he encountered during his 40-mile escape. His three brothers were killed back in Cambodia. From 1980, Pran worked as a photojournalist with The New York Times in the United States. He also campaigned for recognition of the Cambodian Genocide victims, especially as founder and president of The Dith Pran Holocaust Awareness Project. He was a recipient of an Ellis Island Medal of Honor in 1998 and of The International Center in New York's Award of Excellence. Pran died on March 30th, 2008, having been diagnosed with stage 4 Pancreatic Cancer just three months earlier.

Kenneth Jospehson, Photographer

Kenneth Josephson (American, b.1932) was among the first generation of photographers to graduate with a degree in photography from the Illinois Institute of Design, where he studied with Aaron Siskind and Harry Callahan. He studied photography with Minor White at the Rochester Institute of Technology. Before retirement in 1997 as a teacher at The School of the Art Institute of Chicago for over 35 years, Josephson trained two generations of photographic artists.

"I think Louis Pasteur said, 'Accident and chance favors the prepared mind.' If you are kinda open and somewhat prepared, I think you recognize all things that are going on and produce work in your favor."

Alan Cohen Photography Lecture

"You need to find the boundary lines you are crossing... We have less and less to say about the value we think we hold... Your work doesn't have to be narrative, but you are going to be impacted by whatever you grew up in and whatever you are going towards... It's crucial to find that line. It's shaping you in terms of what's possible and what's not...You need to understand your transitional points. It's not just global and political but it may be personal. It might be transitional from Suburban to Urban, or it might be a type of thinking. It's ambition, it's drives, it's fantasies. Work is based on the awarenesses that come from transitions. The more you know who you are, the more you can speak... If you don't want to talk about things, choose to look at things. If you're not thinking about what someone will swallow, you're not thinking about them. Or you'll never get people to open up to you. Questions should be neutral, directed, focused thought-out. This isn't about what you like, it's about what you perceive, If you are interviewing someone, make that perception larger. Then you may be the bearer of the question, to inform whoever else is around you. If you get informed, they'll get informed. Think about the so what aspect of every question. So you're asking a question, so what? You also can't ask a quesiotn like a tv interviewer. A question should come out of things that are there and being addressed and that are evident and make sense and can be backed up. If they aren't, work it in, build it in. Where do you place yourself in this dream of contemporary history? The thing about Josephson is that his ideas are technical, personal, historical; there is an analysis that is acceptible. There is no look-at-me-doing-this sensibility. He's very drole, he's very calm... You should never write an essay just to write the essay. You need to edit yourself and then edit yourself and then edit yourself."

Erica Langley, Photographer

Erika Langley is an internationally recognized photographer. A native of Arlington, Virginia, she attended the Rhode Island School of Design, cross-registering for writing courses at Brown University, and graduated with honors in 1989. She worked for newspapers in Virginia and was the recipient of three Virginia Press Awards before moving to Seattle, Washington in 1992.

Sebastian Salgado, Photographer

Sebastião Salgado changed careers from economist to photographer in 1973. After a few years of covering news events he began working on the first of the major photographic projects that would begin to define his vision of the majority world. "Other Americas" depicted those Latin Americans who clung to traditional rural ways; "Famine in the Sahel" documented people attempting to survive in the worst of circumstances; and "Workers" explored the eroded status of the manual worker in the age of computers and high technology. Being a photographer has allowed Sebastião Salgado extended contact with people throughout the world, and it is around this contact that he believes his work revolves. “The picture is not made by the photographer,” he remarked in a somewhat rare public explanation of his approach, “the picture is more good or less good in function of the relationship that you have with the people you photograph.” In the Sahel, for example, he preferred to take a bus rather than rent a car, because when one arrives by car “it’s a disaster--you are a guy with a car,” a rich guy, and not “with the people.” Or, as he put it more broadly, “You need to be accepted by reality.” The philosophy also jibes with his sense of personal economy--by traveling third class, rolling his own film, working sixteen-hour days making thousands of small proof prints himself, he was able to accomplish his various extended reportages in the Sahel--in Chad, Ethiopia (including the disputed Tigre province), Mali, and the Sudan--for the very minimal sum of $20,000, with printing being the major expense. “You photograph with all your ideology.”

Charles Burnett, Filmmaker

Charles Burnett is the epitome of a cult hero—almost famous for not being famous. On the rare occasion his work attracts any notice in the mainstream press, the article will be sure to mention how little attention his work receives in the mainstream press. Despite the public acclaim of critics and fellow filmmakers, the festival awards and retrospectives, the MacArthur Foundation “genius” grant, the Library of Congress' selection of Killer of Sheep for its National Film Registry—despite his legendary status among a small cohort of cinephiles, Burnett goes unrecognized by the larger culture, the pop marketplace. His films are known to few. But among those few they're loved by many. The best qualities of Burnett's films are the very things that make them a tough sell in the mass-media world. The people in Killer of Sheep (1977) and To Sleep with Anger (1990) don't conform to the usual commercial-film typology of hero, villain, supporting player, love interest and comic relief. Like Renoir, Ozu, Altman, Leigh—like Chekhov—Burnett presents his characters in the round, justifying themselves to themselves. (In industry terms, that means there's no one to root for.) He does not direct us to feel a certain way as the narratives unfold. At its best, his work is not easily digestible at one sitting: morally and emotionally complex, subtly layered with cultural references and mythic overtones, these films ask us not to judge them too quickly. (In industry terms, that means they're slow and boring.) Finally, he's black, and he rejects sensationalism, stereotype, and genre convention in favor of human-scaled, richly observed tales of African-American life. Burnett was born in Mississippi in 1944 and moved as a child to Los Angeles, where he has lived ever since. During the 1960s, after receiving a degree in electronics at Los Angeles Community College, he planned to pursue a career in engineering but instead enrolled in UCLA to study film.

Charles Bukowski, Poet

Alone with Everybody

the flesh covers the bone
and they put a mind
in there and
sometimes a soul,
and the women break
vases against the walls
and the men drink too
much

and nobody finds the
one
but keep
looking
crawling in and out
of beds.
flesh covers
the bone and the
flesh searches
for more than
flesh.

there's no chance
at all:
we are all trapped
by a singular
fate.

nobody ever finds
the one.

the city dumps fill
the junkyards fill
the madhouses fill
the hospitals fill
the graveyards fill

nothing else

Henry Charles Bukowski (August 16th, 1920-- March 9th, 1994) was an influential Los Angeles poet and novelist. Bukowski's writing was heavily influenced by the geography and atmosphere of his home city of Los Angeles. He is often mentioned as an influence by contemporary authors, and his style is frequently imitated. A prolific author, Bukowski wrote thousands of poems, hundreds of short stories, and six novels, eventually having more than fifty books in

print.

Daniil Kharms, Author

Born in St. Petersburg in 1905, Daniil Kharms was one of the founders, in 1928, of OBERIU, or Association of Real Art, an avant-garde group of writers and artists who embraced the ideas of the Futurists and believed that art should operate outside the rules of logic. In his lifetime, Kharms produced several works for children, but his writing for adults was not published. In 1931, Kharms was charged with anti-Soviet activities and briefly exiled from Leningrad. In 1941, he was arrested by the N.K.V.D. for making “defeatist statements”; sentenced to incarceration in the psychiatric ward of a prison hospital, he died of starvation the following year, during the siege of Leningrad. It wasn’t until the late nineteen-seventies that Kharms’s playful and poetic work began to appear in mainstream publications in Russia.

"How strange, how indescribably strange, that behind the wall, this very wall, there’s a man with an angry face sitting on the floor with his legs stretched out, wearing red boots. If one could only punch a hole in the wall and look through it, one would see right away that this angry man is sitting there. But it’s better not to think about him. What is he? Is he not a particle of a dead life that has drifted in from the imaginary void? Whoever he may be, God be with him." (1931)

Mira Schendel, Artist

Like thousands of Jewish refugees seeking a fresh start after World War II, Swiss artist Mira Schendel immigrated to Brazil. She worked prolifically in São Paulo until her final days in 1988. An important contributor to the Brazilian Constructivist movement, Schendel was inspired by both Eastern mysticism and Jungian psychoanalysis. Born in 1919 in Zurich, Schendel was in her late teens when her family moved to Milan, where she attended art school and studied philosophy at Catholic University. Because of Nazi persecution, Schendel joined a group of refugees fleeing to Sarajevo in 1941. She married a Croatian friend, Josip Hargesheimer, to facilitate her exit visa, and they left for Rome to work for the International Organization of Refugees. In 1949, Schendel arrived in Brazil. In 1951, she exhibited a series of spare still lifes in the first São Paulo Bienal. Schendel then relocated from Rio de Janeiro to São Paulo, where she met Brazilian Concrete artists. (She also met the bookseller Knut Schendel and married him in 1960.) Her tendency toward abstraction grew along with her misgivings about the Concrete movement’s quest for scientific rationality in art. Schendel did feel an affinity with the movement’s poets; she experimented extensively with letters and graphic symbols in purposefully imprecise configurations on rice paper. The modesty and translucency of that medium and the repetitive nature of her process revealed the artist’s growing interest in Asian philosophy. Schendel joined a Zen meditation group in 1978.Her use of paper led to an intimate understanding of the medium. She twisted and tied it into sculptural Droguinhas (Little Nothings) and suspended numerous sheets face-to-face from transparent fishing line to make Trenzinhos (Little Trains). Schendel died in 1988.