Click here for our video channel featuring videos about LivingHome featured artists & photographers,

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Will Rogers, one of my heros, in a caricature with Noel Coward, by Miguel Covarrubias, published in Vanity Fair in 1935.

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Left to right, Lee Weiner, John Froines, Abbie Hoffman, Rennie Davis, Jerry Rubin, Tom Hayden and David Dellinger. More:
en.wikipedia.org/wiki/Chicago_Seve
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More Info:
www.davidgrahamphotography.com/
en.wikipedia.org/wiki/David_Graham_(photographer)

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en.wikipedia.org/wiki/Andreas_Gursky
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Thomas Struth (born in Geldern) relies on the optical precision and detailed resolution of photography to explore social and psychological aspects of the contemporary urban metropolis. A student of Gerhard Richter and Bernd Becher at the Kunstakademie, Düsseldorf, Struth inherited from his instructors a similar conceptual approach. His work of the early 1980s, austere black-and-white images of buildings and city streets devoid of human activity, suggests urban malaise and, at the same time, a sense of soulful detachment from the environment.For his later works, Struth moved into color and greatly increased the scale of his photographs, invoking a more participatory relationship between image and viewer. His scenes expanded to include people interacting in public spaces such as museums and churches, or posed in family portraits.Struth has exhibited internationally, with one-person shows at the Yamaguchi Prefectural Museum of Art (1987), the Hirshhorn Museum and Sculpture Garden, Washington, D.C. (1992), the Saint Louis Art Museum (1993), the Institute of Contemporary Art, Boston (1994), and the Kunstmuseum, Bonn (1995). His monographs include Thomas Struth, Unbewusste Orte/Unconscious Places (1987), Thomas Struth (1989), Thomas Struth Photographs (1990), Thomas Struth (1991), Thomas Struth: Portraits (1992), Thomas Struth, Museum Photographs (1993), and Thomas Struth: Strangers and Friends: Photographs 1986-1992 (1994). He lives in Düsseldorf.

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Havana-born Abe Morell became interested in photography while a student of John McKee at Bowdoin College in Maine (B.A., 1977). Fascinated by the surreal, he initially produced manipulated prints of outlandish scenarios. The work of Robert Frank, Diane Arbus, and Henri Cartier-Bresson, however, showed Morell "that straight photography could pack more surrealism into a picture" than he could achieve through manipulation. Adopting a 35mm straight technique, in 1978 he traveled to Miami and New York to work as a street photographer in the vein of Garry Winogrand and Lee Friedlander, continuing in this format at Yale University (M.F.A., 1981).In the late 1980s, Morell began two series for which he is best known: large-scale black-and-white photographs of interior spaces made with a self-built camera obscura, and still lifes of pictures of the pictures in books. The images provide clever post-modern commentary on the nature of photographic representation by referencing the medium''s beginnings while simultaneously celebrating the ephemeral magic of light and shadow. Devoid of human subjects, these psychologically complex interior landscapes allude to the changing spheres of childhood and family, and our understanding of history itself, in contemporary middle-class society.Morell has received fellowships from the Cintas Foundation (1992-93) and the John Simon Guggenheim Memorial Foundation (1993-94). He currently chairs the photography department at Massachusetts College of Art and lives in Quincy.

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Bill Brandt became known for his social documentary photographs of the 1930s and his experimental series of nudes with distorted forms created in the 1940s-50s. Brandt, whose father was British, grew up in Germany and then spent six years in a Swiss tuberculosis sanatorium. In 1927 he continued his treatment in Vienna, where he underwent psychoanalysis. Following his recovery, he became an apprentice photographer in a portrait studio. From Vienna Brandt went to Paris, spending three months in 1929 as an assistant in Man Ray''s studio. In 1931 he decided to move to England and work as a freelance photojournalist.Once in England he began making photographs for a variety of magazines, including Weekly Illustrated, Picture Post, Minotaure, Verve, Lilliput, Life, and Harper''s Bazaar. In 1936 he published his first book, The English at Home, which documented the various social types comprised by England''s class system. During the 1930s he also traveled to the Midlands and northern England to photograph industrial towns during the depression. At the end of the decade, he produced his second book, A Night in London (1938), commissioned by Arts et Métiers Graphiques, the publishers of Brassaï''s Paris de Nuit (1933). That same year Brandt''s work was featured in his first exhibition at the Galerie du Chasseur d''Images in Paris. Two years later, at the beginning of World War II, he was hired by the Ministry of Information to photograph bomb shelters and in 1941 went to work for the National Buildings Record documenting historic buildings and monuments endangered by air raids.After the war, Brandt turned to photographing the landscape and the female nude. For his ongoing nude studies he used a Kodak box camera with an antique wide-angle lens, which produced elongated and distorted images. Photographs from this series were included in his book Perspective of Nudes (1961). During the 1960s Brandt experimented with color photography and collage, and in 1969 was the subject of a major retrospective at the Museum of Modern Art, New York, followed by retrospectives at the Royal Photographic Society, Bath (1981), the Philadelphia Museum of Art (1985), and the Barbican Art Gallery, London (1993).

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More Images: http://www.lib.uconn.edu/about/exhibits/AnnParker/imagespage.htm

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Joel Meyerowitz began taking black-and-white photographs in the streets of New York during the 1960s, working with his 35mm Leica camera alongside Garry Winogrand and Lee Friedlander. With the emergence of new technologies in the early 1970s, he successfully translated his vision to color images. In 1976 Meyerowitz further expanded his technical vocabulary by using a large-format camera to photograph in and around Cape Cod, Massachusetts. Published as Cape Light: Photographs by Joel Meyerowitz (1978), the series explores the manipulation of light and the full range of color available to the medium. He is also recognized for his photographs of St. Louis, commissioned by the city in 1977 and published four years later as St. Louis and The Arch (1981).
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Explorations of childhood, adolescence, and puberty characterize the imagery of Sally Mann (born Sally Munger), who first came to public attention for her series on pre-teenage girls, published in 1988 as At Twelve: Portraits ofYoung Women. Since 1984 her images have focused on family scenes centered around her three children, Emmet, Jessie, and Virginia. Working in black and white with a large-format view camera, Mann is both documentarian and storyteller, chronicling her children''s physical and emotional maturity as she photographs their everyday mishaps and playtime adventures. The children often appear nude, without modesty, and the candor of her subjects has sparked controversy over the photographs as part of the public domain and over issues of childhood sexuality and freedom. It has also raised debates about Mann herself, as she moves between roles as artist and mother

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Half-length caricature shows General Alexander Haig wearing several medals and emblems: a bugged telephone and reels of tape representing Watergate, a hatchet, bananas, hotdogs, clocks and watches, a sheep, and a dollar sign with missiles. Haig''s teeth are like those of Dracula. Levine shows Haig as a menacing vampire in the guise of a highly decorated military officer during the period when he served as President Richard Nixon''s Secretary of State.

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More on Dan Dare:
http://en.wikipedia.org/wiki/Dan_Dare

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From Image Source Page:
" This painting portrays snow-laden shocks of corn that recede into the distance, like a line of armored soldiers, in a white, otherwise featureless landscape. Wood beautifully rendered the irregular patterns of frozen snow and icicles hanging from the corn. Close examination reveals that the snow is not simply white but a complex mix of dozens of colors. In the foreground, the tracks of a rabbit zigzag through the white landscape and enter a hole in the cornshock. Painted at a time when Wood and his work were under attack at the University of Iowa, the piece explores opposing themes of shelter and oblivion.Along with Thomas Hart Benton (1889-1975) and John Steuart Curry (1897-1946), Wood is one of the three major figures of the Regionalist movement, which dominated American art of the 1930s. The theme of the abundant Midwestern landscape is common in Regionalist painting. However, January represents a surprising inversion of this theme of Midwestern abundance."
Source: popartmachine.com/item/pop_art/D10024-CMA_.2002.2/GRANT-W...


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en.wikipedia.org/wiki/Danny_Lyon
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No artist could match Lowell Nesbitt for what he did with irises.Wikipedia on Nesbitt
"I'm for mystery, not interpretive answers. ... The answer is never the answer. What's really interesting is the mystery. If you seek the mystery instead of the answer, you'll always be seeking. I've never seen anybody really find the answer, but they think they have. So they stop thinking. But the job is to seek mystery, evoke mystery, plant a garden in which strange plants grow and mysteries bloom. The need for mystery is greater than the need for an answer."


Source: http://nevver.tumblr.com/search/irving+penn
Source: http://tr.im/lzNA
"Eggleston''s photographs rely heavily on ironic formal juxtapositions, with the added consideration of color. His work also depends on the banality of his subjects: the familiar people and places of his native Memphis and northern Mississippi. Like snapshots, his photographs are candid and commonplace, though they lack the snapshot''s posed artifice and sentimental associations. Instead, Eggleston relies on straightforward documentation to effect a cool, often uncanny, distance between viewer and subject."

From World Digital Library, Looking Across Lake Toward Mountains, 'Evening, McDonald Lake, Glacier National Park,' Montana by Ansel Adams, www.wdl.org/en/item/2722/

One of our favorites, Hopper, in high-res to download, print and display
2009 is the 10th anniversary of LivingHome being named the Top Home & Garden site by USA Today. Here is the article from 2000 when we received the same honor for the second year in a row.
Great YouTube videos of Chet Baker tunes, both instrumental and with him singing. Check out this one: http://www.youtube.com/watch?v=jvXywhJpOKs&NR=1


At LivingHome we love vintage pulp magazine covers. Here is a Wordle word cloud consisting of the names of pulp magazine villains and heros.