The Art of Harumi Hironaka
ABOUT THE ARTIST:
Harumi Hironaka is a Japanese/Peruvian self-taught painter and illustrator, living in São Paulo, Brasil.
Harumi Hironaka is a Japanese/Peruvian self-taught painter and illustrator, living in São Paulo, Brasil.
Giada Cattaneo is an Italian Illustrator with a strong Italian accent. She’s based in Miami Beach, Florida. She studied Art History at the University of Bologna, Italy, and received her Bachelor of Arts degree in 2014, with a thesis on Florida-based sculptor, Duane Hanson. She recently showcased her watercolor paintings at Jude Papaloko’s “Jakmel Gallery” at Wynwood Art District in Miami. She’s also collaborated with Italian Editors and Artists Associations: Enrico Folci Editore (Roma), SensoInverso Edizioni (RAvenna), UAO Edizioni (l’Aquila), Eventualmente Edizioni (Palermo), Freaks Edizioni (Faenza), Cacofonico Editore (Faenza), Fermenti Editrice (Roma), Progetto Flaneri Edizioni (Roma), Zacem Cultural Association (Savona), L’URLO Magazine (Ancona), il Cacofonico Magazine (Faenza).
Her paintings have been shown at Jakmel Art Gallery, Wynwood Art District, Miami. Her illustrations have been published in Fourteen Hills Magazine, Black Scat Review, Puerto Del Sol, and Meat for Tea Magazine.
Giada’s Website: www.honeyjade.com
Alina Zamanova is a fashion illustrator and print/textile designer. She studied at University of the Arts London. Currently looking for permanent print design roles. Require sponsorship for working. Originally from Ukraine. She is also available for freelance opportunities both as a fashion illustrator and print designer.
To view more art by Alina:
– Print Design for YANA CHERVINSKA SS16 collection; Art direction (make up, hair) for the show during Ukrainian Fashion Week (10.2015)
– Fashion Illustrations for SHOWstudio covering SS16 LFW collections. (09.2015)
– Fashion Illustrations Couture AW15 collections for HUNGER magazine. (07.2015)
– Fashion Illustrations for LITKOVSKAYA fashion brand; sketches for Vogue Italy Talents application (05.2015)
– Fashion Illustration job for VERA MEAT , NYC (06.2015)
– Print Design for ILLUSTRATED PEOPLE AW15 + SS16 + AW16
– Print Design for ELENA REVA AW15/16
– Studio intern at Jean Pierre Braganza (09. 2014)
– Print Textile Intern at ALEXANDER MCQUEEN (10.2013- 06.2014)
– Print Design for VALERY KOVALSKA SS14
– Sky Ferreira. Instagram (online)
– Marie Claire. Hungary (online)
– Hunger Magazine. Interview in Issue 8.
– Pigeons & Peacocks. Interview online
– Idol magazine (online)
– Vogue Italy, V Talents (online)
– ArtefactLifestyle magazine (online)
– Twenty6 magazine (online)
– DASH magazine (printed issue+Illustrator of the Week online)
– Showstudio blog (online)
– SpookMagazine (online)
2015 – External show at London college of Fashion, Shoreditch, London, UK
2014 – Art/Georgia/Paris
2013 – Illustrating Dreams, Fashionstyleology , Dash Magazine partners, at Gallery Different, Central London, UK
2013 – Exhibition at CAFE1001 Brick Lane, LovArts, Chaos Control, London, UK
2012 – Brick Lane Gallery, Art in Mind, London, UK
Claudia Pomowski evokes visions of surreal landscapes and whimsical characters, often connected to German Romanticism. She creates poetic moments in her line drawings, graphics, collages and handmade art books. The freelance graphic artist and lecturer of book design lives in Germany near Trier.
See more of Claudia’s work:
The Anna Pierrepont Series, my drawings of public statuary in NYC, is plein air appropriation. Plein air drawings come into being through visual encounters with the constant changes of light and color in things ideally encountered out of doors. I roll a blue whole foods cart behind me, jammed with a folding chair, pencils, oil and chalk pastels, oil sticks and a pad of paper. I encounter a statue I wish to draw, unfold my chair, lay out my materials and struggle to represent the object emerging from the light and shadows of its surroundings onto a sheet of paper. The drawings are appropriation because the subjects I invariably select are public monuments created by other artists. In 2014, I began to augment the drawings with pictorial essays that enable me to explore beyond the plein air limitations of sight. The essays enable me to explore how the monuments came into being, their connection with their surroundings and their fate after installation. I have named the entire project after Anna Marie Pierrepont, a grand dame of 19th century Brooklyn interred in one of the most magnificent tombs in Greenwood Cemetery. I named the work in her honor as a comment on the gap between my silent and anonymous wanderings and her exulted self presentation.
A central theme of the Anna Pierrepont Series is the utilization of public figurative monuments in the creation and perpetuation of collective ‘American’ identity among a diverse population whose cultural and national identities typically originate elsewhere. In order to create this identity, other identities need to be subsumed and rendered invisible. Statues installed in public spaces act as soil to be churned and tilled in order to transform identities thro
St. Francis College, Brooklyn Heights NY, 2001 – Principal Instructor in Studio Practice
Essex County College, Newark, NJ – 2001 – Senior Lecturer in sculpture and drawing
SELECTED SOLO EXHIBITIONS
2015 – “HMS Jersey” at the Callahan Center Gallery/St. Francis College and online
[http://howardskrill.blogspot.com/], youtube video of reception
2011 – “Anna Pierrepont Series” at the Callahan Center Gallery at St. Francis
2006 – “Thru Rain” at Chashama Gallery, New York, NY
2006 – “Thru” at Safe-T Gallery, Brooklyn, NY
2001 – CUNY – Queens College, “Thru”, Thesis Exhibition
2000 – Liquitex Corp. – “Artist of the Month”, www.liquitex.com/aotm/howard/home.cfm
SELECTED GROUP EXHIBITIONS
2006-13 – “Faculty Exhibition”, CUNY – Bronx Community College
2005 – Dumbo ‘Under the Bridge Festival” at Safe-T Gallery, Brooklyn, NY
2005 -‘Color Mix’, Studio/Gallery 64, Brooklyn, NY
2004 – ‘Friends’, Studio Gallery 64, Brooklyn, NY
2002 – “Site Lines”, St. Francis College, Brooklyn, NY
2002 – Object Image Gallery, Brooklyn, NY
2000 – Queens Museum of Art, Flushing, NY -Intervention/Tiffany Permanent Collection
2000 – “Altered Realities”, Manhattanville College, Purchase, NY
1997 – “Urban Landscape”, Wheaton College, Wheaton, Mass.
HowardSkrill.blogspot.com – 2011
Kickstarter.com – “Anna Pierrepont Series on the Road”
Electric Gallery – “egallery.com” [Abstract Realism] 2003-
Green-Wood Blog by Historian Jeff Richman, Fall 2015, [https://www.green-wood.com/2015/another-artist-inspired-by-green-wood/]
Kyso Flash, ‘Works from 1990s’, Fall 2015, [http://www.kysoflash.com/SkrillFivePaintings.aspx]
Red Savina Review, Cover of the Fall 2015 Issue [http://www.redsavinareview.org/]
Assisi: An Online Journal of Arts and Letters of St. Francis College, ‘Civic Virtue’
Columbia Journal [from Columbia University], ‘Liminal’, Summer 2015, [http://columbiajournal.org/the-anna-pierrepont-series-by-howard-skrill/]
Newfound:An Inquiry of Place, ‘Erasure’ [newfoundjournal.org/archives/volume-6/issue…/nonfiction-howard-skrill]
3Elements Review, Issue 5, Fall 2014, plate/http://3elementsreview.com/past-journals,
Doppelgänger, Bludgeon, Dirge] ‘Brooklyn Dirge on pg. 50, 51 and back’
Slag Magazine, Issue 2, Fall 2014/http://issuu.com/jonhenry5/docs/slagmagissue2fina ”Return’ on pg 11′
Queens College – CUNY, 1999-2001, MFA in Studio Arts, June 2001
State University of New York, College at Purchase, BFA with Honors,1985 – Faculty Award in Painting and Drawing
I was born in St. Petersburg, Russia, where I spent my childhood years. The Soviet Union was ruled by Leonid Brezhnev at the time and the USSR called itself the most powerful country in the world. At age four, my parents left for the Polar Far North for jobs in the Soviet oil and gas industry. They left me with my grandmother, who lived in a town called Luga, which was famously called the “second worst city in Russia” by the great Russian poet Alexander S. Pushkin.
My childhood memories of the town were quite different. The town was situated in a beautiful natural setting consisting of a luscious pine forest and blue lakes covered in yellow water lilies with golden sandy shored. This was my first encounter with vivid colors and I immediately attempted to reproduce them on paper.
My grandmother would spoil me. I distinctly remember the smell of a new pack of crayons she bought me. I loved to color, and my grandma would always buy me coloring books. There were only two different coloring books available in the store. One had line drawings of dogs, and the other of all kinds of fish. I would outline and color them again and again.
At the age of seven I joined my family in the Far North . The colorful palette of Luga changed to the black grey and white of the arctic north. My parents weren’t really supportive of my art. Their plan was to train me as a piano teacher. They never denied my requests for art supplies however, and I was drawing and painting constantly. At school, kids noticed my love for doodling and made me the illustrator of the school newspaper. I really enjoyed doing this. Most of the drawings I made for the paper were caricatures. I took my inspiration from a magazine called Krokodil (crocodile) which was a Soviet propaganda magazine. One of my first tasks was to copy a caricature of president Reagan playing a grand piano with the caption “Reagan is playing the strings of International Capital.” I was praised for the result. This was the beginning of my fascination with portraits.
We left Russia in 1991. We immigrated to Israel and we were penniless since all our property was taken away by the Soviets together with our citizenships. New life, new language, new college (I studied industrial engineering). I put my art on hold for a while to provide for myself and my family. One of my new friends later on brought me to the School of Art in Tel-Aviv, where I attended still life painting classes.
15 years ago I got married and immigrated to the United States, where we live happily with two kids and a pup in the suburbs of New Jersey. In the present, I am a full time artist and own a home art studio where I create my paintings and give art lessons.
My art is available for viewing here:
I create drawings and conceptual artwork, illustrate children’s books and fashion campaigns as well as create concepts for animation and the gaming industry. I currently live and work in Toronto, Canada.
I see my work as an attempt to use color, texture, a combination of motion and emotion, a lot of details and wide range of textures to create a visually stimulating image. It is also a way for me to expand my abilities through constant experimentation.
My drawings tend to show everyday objects and ordinary people combining them with a zero-gravity feeling and a touch of mystery. I like to involve the viewer and offer to dream a bit about magical moments in our daily lives such as chances, matches and luck. I believe that everything is connected and has its own energy. Everything that makes our lives so fulfilling. We just need to watch carefully.
All my illustrations are made with black ballpoint pen, my favorite tool for creating graphics, which I’ve been devoted to for more than 10 years. Other tools may vary from colored pencils to watercolors and graphic software.
I was born in Vladivostok, Russia, and spent my first twenty years of life by the seashore. After graduating Far Eastern National University (Vladivostok, Russia) with my Bachelor degree in Math in 2007 I spent about seven years working in the financial industry in Russia and abroad. In 2012, I was in a car accident entailing ten days being in coma and ten months of rehabilitation. During that period, I started to draw prolifically as an artist, illustrated one book, the full Tarot deck (78 cards) and made more that 50 illustrations for different projects. This was helping me to fill my time as my abilities were pretty limited at that time. After I left hospital I moved to Canada and continued working as an illustrator and concept artist for animation and gaming industry.
I’m originally from Running Springs, California, in the San Bernardino Mountains, although I’ve lived all over Southern California. I wrote and drew a few webcomics for a few years, and was the writer and publisher of a web series called Supernaturals Presents for two years which is available to read online. I’ve had artwork, fiction and poetry published in Phineas Literary Magazine, Morpheus Tales, Statement, Inlandia and The Realms Beyond since 2014. I’m currently an illustration student at Cal State Fullerton.
Art is weird and so am I. I love the traditional use of perspective and the interplay between light and shadows. At the same time I’m drawn to the abstract and the macabre. My work ranges from mechanically themed abstract drawings with a limited use of perspective to depictions of horrifying nightmares.
I primarily use a variety of markers and pens for my work, which allows me to produce work with an obsessive amount of detail, while at the same time leaving great expanses of white negative space open to balance out the extreme complexity. In addition, my work is framed with a backbone of thick graphic lines of solid black that gives it a bold IN-YOUR-FACE look. More than anything, my work is full of patterns which make it interesting to get up close to and study, but at the same time when you step back you’ll see the complete picture out of all the detail. I find myself moving toward a more gestural style with more uneven, jagged lines in big, bold, black strokes of ink, and with splashes of color with strong highlights in-between all of that.
I’m particularly interested in themes of world culture, human evolution, science fiction, feminism and gender equality. My work has been influenced by contemporary artists like Jeff Soto, Brian Cooper, Susan Logoreci, and Sam Bernal: all very modern artists who use very detail oriented styles with their work, and often strong graphic styles as well. In addition, I’ve always been inspired by artists like Piet Mondrian, Andre Derain, and Franz Kline.
I’ve shown artwork at the Center Gallery at Cal State Fullerton, the Gresham Art Gallery in San Bernardino, as well as the Redlands Art Association Gallery, and the Avantgarden Gallery in Santa Ana.
Collage undresses the darkness with a mirror’s secret undertow. It’s a dance done on burning kites while dreaming at the speed of light. Expectant as nakedness, collage is a door that surfaces in the shipwreck of your sleep. It’s a caress with the irresistible softness of a slipknot in a velvet blindfold. At its best, like poetry, collage is a moan just beyond delirium.
I make collages out of all kinds of materials. Most are made out of paper engravings. Many collages are digitally generated or enhanced.
Bill Wolak is a poet, photographer, and collage artist. His collages have been published in The Annual, Peculiar Mormyrid, Danse Macabre, Dirty Chai, Hermeneutic Chaos Literary Journal, Lost Coast Review, Yellow Chair Review, Otis Nebula, and Horror Sleaze Trash. He has just published his twelfth book of poetry entitled Love Opens the Hands with Nirala Press. Recently, he was a featured poet at The Hyderabad Literary Festival. Mr. Wolak teaches Creative Writing at William Paterson University
Daniele Serra was born and lives in Italy. He works as an illustrator and comic artist. His work has been published in Europe, Australia, United States and Japan. He has worked for DC Comics, Image Comics, Cemetery Dance, Weird Tales magazine, PS Publishing and other publications, and he won the British Fantasy Award.
TO VIEW MORE OF DANIELE’s WORK:
I am heavily influenced by old sci-fi, mystery and horror movies, monsters, UFOs, hauntings and unexplained events. I love to draw and find inspiration from the strange and unusual. I attended the School of Visual Arts and majored in Illustration in 2012.
Black and white photos have always captured me, specifically their tonal representation. I try to evoke that when creating my pictures. I live in an old cape in the woods of New England. Ideas tend to come to me late at night when everything is quiet. Something about the dark and the silence always gets my imagination going. I start sketching ideas. The planning stage never lasts long and I go right into the drawing. I tend to work small. I like the portability of it.
All pieces are pencil on paper.
All images ©James Lipnickas
Contact Info: James Lipnickas
Painting is a cross between a crap shoot, finding your way out of the woods, and performing a magic
act. Each time I begin to paint I feel like I am walking a tightrope—sometimes scary, sometimes
exciting, sometimes very quiet, and always, always surprising; leading me where I never expected to
go. Doing art makes me lose all sense of time and place and go inside one long moment of creating.
Whenever I feel a painting in my gut, I know this is why I paint. The colors are the message, I feel
them before my mind has a chance to get involved. Color is the most agile and dynamic medium to
create joy. And if you can find joy in your art, then you’ve found something worth holding on to.
Born in Canada and bred in the U.S., Allen Forrest has worked in many mediums: computer graphics, theater, digital music, film, video, drawing and painting. Allen studied acting in the Columbia Pictures Talent Program in Los Angeles and digital media in art and design at Bellevue College (receiving degrees in Web Multimedia Authoring and Digital Video Production.) He currently works in the Vancouver, Canada, as a graphic artist and painter. He is the winner of the Leslie Jacoby Honor for Art at San Jose State University’s Reed Magazine and his Bel Red painting series is part of the Bellevue College Foundation’s permanent art collection. Forrest’s expressive drawing and painting style is a mix of avant-garde expressionism and post-Impressionist elements reminiscent of van Gogh, creating emotion on canvas.
Miami native, Manhattan resident, Natalia Jheté is steadily making her mark while pursuing both illustration and fashion design. Natalia attended the Academy of Art in San Francisco for women’s wear design and soon after moved to New York City. After several design internships Natalia realized that she could use her background as an illustrator to open doorways into the industry, and she hasn’t stopped yet. Currently, Natalia is working as a freelance fashion illustrator, contributing to magazines and editorials, as well as designing for the promising new brand Jheté.
You can see more of Natalia’s work here:
A graduate of Syracuse University School of Art and New York University, I have been a textile, apparel and home products designer for three decades, working in the New York and Los Angeles garment and design districts. I began painting canvases in 2004 and have experimented with various styles. I started with a series of large expressionist botanicals and have since moved on to more illustrative studies of mid century modern themes. As a long time collector of Eames Era furnishings, I find the subjects fun and inspiring. I like to add my own twist to the sometimes stark Eames elements by posing pets in the settings. I am also intrigued by the futuristic space age themes from the period, and like to add mystery and humor to my works.
I currently live and work in my suburban home in Greensboro, North Carolina. I have two Flat-Coated Retrievers and two mixed breed cats who make my home a warm and happy place. When I am not designing or painting, I am usually out working in my gardens.
To see more work, go to:
FaceBook Page: Artist Linda Tillman
Etsy Store: LTillmanArt
Ebay Store: ALT Gallery
See more of Linda’s work, Here.
we worship the women who are barely there
pigment void eyes
and platinum white hair
her torso is so thin she threatens to disappear
her skin is so white it’s verging on clear
she is a silent image with no voice of her own
she is an object of perfection — a capitalist drone
she is the height of Dennett’s zimbo —
the disengaged bimbo
and we’ll never hear her theory of mind
and she’ll never skull-crushingly illuminate humankind.
But there are these women who are filled to the brim
with pigments so demanding —
as to color the passion within
with voices so loud your brain will vibrate
and you will thank her out loud for showing you heaven’s gate
Her curves are fierce with unapologetic life
and her enormous dark eyes strike like an amorous knife
We must worship the earth as we worship the air
we must worship the women who are actually there.
We are perched on a peak as we watch it collide,
deep and destructive.
The static in our veins
is the wreckage of the week
and the avalanche has become conductive.
We will see it unfold
before we have time to catch up
and the bottom falls out all over.
We crack like eggs into a syrupy glue,
the contents of our souls simmer out like steam.
We are but a dream in the land of a baffled philosopher.
And so we lay naked,
in the contents of one another
hoping to make something more than a child.
More than another one
of what we are
or always were
We are the seams of dreams
meeting as one defies
and we seek to retreat
from the hearts pulse
into the cosmic beat.
Claustrophobic thoughts, I must be insane
Packed tight in the tousled tubes of my brain
Electric, shaking, wild, and dense
A vicarious vacuum of intangible sense.
Conflicted and raw, my heart beats in my eyes
Pick the wrong card and the fantasy dies.
Muffled truths cry out in dirty-rotten air
You’ve said it before mama, you sincerely don’t care.
But ill stand idle in the night neglecting the drowning hours
Dismal and dead are their strong standing forever-powers.
Your mind is so weak.
Your moans are so meek.
Now picture this
Without word or a rhyme
You drop into space
One inch at a time.
Give me your eyes
I can give them true vision
Now give me your heart
It’s not your decision.
It feels as if I am filling in an impulse, or a beat, what feels like an intuitive template or scaffold that I never asked or looked for. The process of my work often feels more like an unfolding rather than a directed venture there is never a point A to B, Its a point A to which ever point feels natural. My portraits are all informed by the psychology and personality of the subject as well as my own state. I strive to find an integral balance of external and internal impressions, a marriage of the objective and subjective. I would consider my photography to be an attempt to use my perspective and addition of various edits to reconcile the objective information a camera provides with the subjectivity of the shooter’s perspective and imagination. Finally, my abstracted pieces are the expression and solidification of something that I cannot verbalize, they are physical imprints of my innermost personal interpretation of reality. All of my pieces are learning experiences, I have mastery over none of them nor do I attempt to, i wish only for my pieces to reflect intentionality and to have autonomous agency.
My name is Lauren Martino and I refuse to write about myself in the third person. I paint, I write poems, I take pictures, I draw, I sculpt, I build sets, I make things. The day I stop learning is the day I die. I am the daughter of two painters who gave me the experience of a lifetime by raising my twin brother and I in a building called Westbeth Artists Housing. I pray one day to be at least half as talented as they are. Taking summer classes at FIT throughout my adolescence had an enormous part in shaping me into who I am today. I am currently embarking on a new journey as a part time student at the New York Studio School. I have shown at Westbeth Gallery under the alias of Heather Bridges because if they knew how old I was they wouldn’t have accepted my work. I have worked as a Set Designer for the ID channel and other independent projects. I am young, with time I will collect more anecdotes to inspire and impress perfect strangers, but for now this is me and that is all.
Sometime in 1933 the famous screen actor/director Francis X. Bushman seen here came up with the idea of melding an actual gun with a camera that could shoot bullets as well as still and motion pictures as an aid to law enforcement. The idea was even if the bad guy escaped the bullets, he couldn’t avoid getting his mug shot taken and thus sealing his eventual captured. Something smaller and less noisy was needed by real world spies which prompted inventors around the globe to search for the perfect spy camera. As a result untold variations were created, a few literally shaping the history of nations and wars, cold and hot. As an offshoot, “spy camera” compact design eventually entered the consumer market, some basically toys, others hi-tech wonders. Here are a few from the author’s collection of vintage cameras, but only touching upon the tip of the spy iceberg.
If you were a kid growing up in the 1950s and read comic books, you saw an endless flow of ads, small ones, for The Hit…and you just had to have one because it was so “spyish” and cool. Your parents probably tried to explain that it was a toy and you couldn’t photograph a barn door with the Honey-I-Shrunk-a Real-35mm Camera. But no doubt you pressed on as I did until you had one. Okay, so it took 40 years before I added a Hit to my current collection and now you many find many for sale on the Internet, some with their original cases and even film. In any case, The Hit seems to remain on the hit list of spy cameras even if no self-respecting agent would use one.
The Hit was the product of the Tougodo Optical company founded in Japan in 1930 and named as things often were at the time after a military personage, in this case Admiral Tougo of the Japanese Navy. The camera relied on 14x14mm film.
Actually there are several variations of sub-mini 1950s cameras from Japan, the prices ranging from $10- $3,000 depending on their level of rarity. This one cost me $3 at a garage sale.
The MEC 16 was produced by Germany’s Feinwerke Technik around 1957-60. This example, an SB was updated in 1960, and gained milestone status as the first TTL Camera (Through the Lens Metering system) by incorporating a Gossen Selenium Exposure Meter in its subminiature design, no mean feat as the camera in closed position measures only 4 x 2.5 x 1.5 inches. It utilizes a high quality Rodenstock f 2 22mm lens, making it one of the fastest subminis ever made. Its “Cats Eye” pupil diaphragm is adjustable f 2.0 to f16 with focal plane shutter speeds from 1/30 sec. to 1/1,000 sec. with a range of focus form 1ft. to infinity. Considered a top of the line “mini,” they are considered rare, prices reaching $250 and beyond.
Produced apparently for only one year, 1949, it was designed to mimic the shape of a movie-camera. While certainly spyish in appearance and size and all metal in construction, the optical performance of the f6.3-11.0 Anastigmatic fixed-focus lens with a fixed shutter speed of 1/50 second, was mediocre at best. It did sport a pop-up viewfinder, flash synch and provided 14 exposures per magazine. A later version included an f8 lens and a slightly fast single speed of 1/60 second. Boxed sets include the camera, flash and spare bulbs, negative holders, tripod and film and still have good cool factor.
Post-war Japan produced a slew of high quality cameras of various formats and sizes. One major company, Mamiya, made 16mm subs from 1949-62 and judged as exceptional in design and performance. This model, appearing in 1959, was its built-in selenium meter is actually larger than the original Mamiya 16 that came without the meter. As far as being “automatic” it was actually a matter turning various dials that provided for a quality image. The lens was either an f2.8-16 25mm with speeds up to 1/200 sec. It was also the first Mamiya 16 with a flash shoe.( I got lucky and found this one for a grand total of $18.10. It pays to stay up to 3 in the morning scouring the Web.)
Popular with the KBG and other international espionage organizations up until the 1990s when digital took over, the incredible Minox was actually designed and first built in Riga, Latvia, then later in Germany. This example, a Minox-B literally fits in the palm of your hand at least without its various attachments as shown here including flash and binocular mount. Production started in 1958 and ran to 1969 when it was replaced by the improved Minox C, but it never surpassed the popularity of the Minox-B.
The Minox B features a Complan 15 mm f/3.58 4-element lens with shutter speeds of 1/2 – 1/1000 seconds with a focal range from infinity down to eight inches. A special braided metal chain allows for precise distance measurements for documents being photographed. The Minox B is capable of producing up to 50 photos using a single cartridge and still a highly usable camera, film and processing available, though not cheap.
There are miniature cameras, sub-miniatures and micro-miniatures…all based of course on size and weigh though not necessarily quality of images produced, such is the case of this camera that wore several brand names.
Founded in New York City in January 1933, The Universal Camera Corporation was the brainchild of loan company exec Otto Wolff Githens and his partner, taxicab insurance agent Jacob J. Shapiro, both believing Americans needed a very affordable camera. With that idea in mind, they approached the Norton Laboratories requesting they design a small Bakelite camera, simple to use, and cheap to manufacture. Naturally, seeing a good thing, Norton started selling the camera under their own name. Not giving up, the original Universal company went on to manufacture the Univex Model A themselves as well as several other cameras.
Although most people have no recollection of the camera today, Universal eventually sold more cameras per year than any other company in the world, at least for a time. Keeping to their prime directive of affordability, the Univex Model A sold for 39 cents with over 3 million purchases in the first three years. Boosting the sales was the inexpensive six-exposure rollfilm that was packaged in Belgium and sold for only 10 cents in the United States. 22,000,000 rolls where sold in 1938. However, it was the monopoly on the special Univex film that contributed to the collapse of the company in 1958.
Described as the size of a deck of cards, it was actually much smaller and could be concealed inside a pack of cigarettes, apparently a popular combination with detectives of its day. Using 16mm film via a 24 exposure cartridge, it appeared on the “spy camera” scene in 1946, just after WWII’s end, the design of a Hollywood, CA concern named after its founder, It relied on an achromatic doublet f6.3 lens with fixed focus and a single speed although the aperture could be adjusted for lighting conditions and color film usage via 1:11 (bright), 1:8 (dull), and 1:6.3 (color). Production ended in 1950, a short run for the popular mini that sold for a relatively expensive $30 in the 1940s, about what people were earning on a weekly basis at the time. Today prices range from $25 to several hundred for very rare editions.
In closing, if you’ve got the bug for vintage cameras, small or larger, remember condition, condition, condition….and keep both eyes open on the Web, at garage sales and swap meets. You may just find that treasure. But remember, the value is in the history, the quest and the kinds of cameras that open wide your own apertures of interest. Do your research by surfing the Internet or purchase a couple quality camera collector books as resources. Happy hunting!
Paul Garson is a writer and photographer. He has contributed to many magazines and periodicals, and has published both fiction and nonfiction books as well as written two screenplays that have been produced. He served as a university instructor of composition and writing, as well as a martial arts instructor. His public relations and marketing projects included several for national and multinational companies.
we are surrounded by it
we sometimes forget
it is not only in front of us,
to our left and right, or behind
it is also above
Photography locations: Bremen (Germany), London (UK), Vienna (Austria), Bochum (Germany), Oxford (UK), Bath (UK) and Dresden (Germany)
Sarah Katharina Kayß is winner of the manuscript-award of the German Writers Association for her poetry and essay collection Ich Mag Die Welt So Wie Sie Ist (Allitera, Germany 2014). She edits the bilingual literature magazine The Transnational (www.the-transnational.com) and works on her doctorate at King’s College London. Her artwork, essays and poetry have appeared in literary magazines, journals and anthologies in Germany, Switzerland, Austria, the United Kingdom, Italy, Canada, New Zealand and the United States.
Photo of Sarah by IAN FORKNALL (London)
Born and raised in New Orleans, Louisiana.
Dumped art school after a semester. Got out and finally settled in LA.
In between I worked for rock ‘n’ roll bands traveling the world and discovered Professor Longhair and Papa Lightfoot.
Drew a picture everyday.
Dumped it during the Manson fun.
Partnered up in ANT FARM
Made tons of art, life art, video.
Dumped it and retired to Mendocino.
Partner and co-founder of TVTV.
Made a ton of TV shows and video.
Sodbuster on the heliacal scan trail.
Dumped that when I was stabbed in the back.
Joined 695 and did a picture a year and had a show a year.
Still painting and trying to perfect ways of making sealing wax.
Most people know my work, but not my name. I created the Cadillac Ranch. You know that big bunch of Cadillacs buried in the Panhandle? Just outside Amarillo, Texas? 10 cars 10 sets of tailfins depicting the Rise and Fall Of The Tailfin.
That was a smart thing to do. The second smart thing I did was COPYRIGHT the piece in the name of Ant Farm. People pay for the image. Sometimes.
I have been a polltaker, a commie campus arsonist, an LSD purveyor, van customizer molten zinc wrangler, front man for Zep and Peter Grant, record producer, car washer, weed seller, cook, pornographer, resale rag runner, father to Terraplane Leander, road manager, boom man, mixer, cable puller, alleged artiste, magazine writer, Negrobilia collector, fly fisherman and a lot of other things that I forget.
My current painting are about Great Moments in RnB and high heel shoes. Wimmens’ shoes. They are imprinted on me from the Bourbon Street strip joints and childhood. All women wore heels. I just love shoes.
R&B illustrated stories are all true … Imprinted on me since hearing Little Richard on WBOK as a child. Wop Bop A Loo Bop Wop Bop Bam.
From New Orleans, Louisiana
Education, Newcomb College
Partner, ANT FARM group
Creator, THE CADILLAC RANCH
Co-founder, TVTV Video Collective
Whitney Museum of American Art — Young Printmakers
Contemporary Arts Museum, Houston, Texas — Inaugural Show
20/20 Vision: Ant Farm
Museum of Modern Art — Video Eye
Mail Art Show
Houston Museum of Fine Art — Texas Landscape
Berkeley Museum of Art — ANT FARM, traveling retrospective
Zero One, Los Angeles
Swope Gallery Los Angeles
La Luz De Jesus Los Angeles – January 9 – February 1, 2015
Diverse Works, Houston, Texas
Redbud Houston, Texas
For more information, visit: Hudson Marquez
These drawings were inspired by the music, stories and photos I’d seen of the subjects in them. They were all made with charcoal, graphite, chalk, eraser and masking tape on paper. I used eraser almost as much as charcoal and graphite, and the masking tape used in service of sharp edges, flatness, and graphic effect added an element of chance – which was often a total joy. There was a point in working on each of these when likeness was achieved – verisimilitude, though, was not something I was going for, ever (it always felt empty, exhaustive, enervating, sinkingly depressing when it was just likeness). I find there can be far more pathos in a bulge or curve or a movement or sound or the voluptuous blackness of a charcoal line. In this way, the drawings usually didn’t feel right until they looked “wrong” (as portraits, right as drawings). Working on these was intensely arduous but intuitive and completely immersive in an uncanny way that, when completed (and despite my being covered in charcoal dust), often made them seem more like alchemy than the result of hard work (I think this is an experience familiar to most creative people).
Willie Mae Thornton – Willie Mae “Big Mama” Thornton was a rhythm and blues singer. She taught herself to play the drums and harmonica when she was a young girl. She and her sisters sang with her mother in church, where her father was a preacher. Hound Dog, later made famous by Elvis, was written for her and she recorded it in 1952, with her friend Johnny Otis on drums. Her rendition is definitely worth seeking out. Ball N’ Chain, written and recorded by Willie Mae, was later made famous by Janis Joplin. Willie Mae often dressed in men’s clothes and her performances often subverted the traditional roles of women in the blues industry. She died at age 57 in Los Angeles in 1984, going from 350 to 95 pounds, suffering complications exacerbated by alcohol abuse. She was inducted into the Blues Hall of Fame in 1984, Ball and Chain into the Rock and Roll Hall of Fame, and the Willie Mae Rock Camp for girls ages 8 to 18 was named after her.
Willard Mayes (Pete’s brother) – Willard was the brother of Pete Mayes (here pictured behind Willard), and a blues guitarist and singer. Willard and Pete were raised in Double Bayou, Texas, a town with a dance hall (something significant in the young lives of so many musicians of the era). The brothers likely taught themselves to play. There was little information I could find about Willard, but he has a credit as the bass player on one of his brother’s recordings.
Gladys Presley and the Infant – Gladys Love Smith eloped with Vernon Presley in 1933. She was Elvis Presley’s mother. Here she is pictured with the infant Elvis (it is perhaps too macabre to say I sometimes think of the infant in this picture also as Jesse Garon Presley, stillborn 35 minutes before Elvis – I find it haunted in that way….) At the time of her pregnancy with Elvis, Gladys was earning $2 a day at the Tupelo Garment Company. Elvis and Gladys had a very close relationship and she remained at the center of his life. She died at age 46.
Vernon Presley – Vernon Elvis Presley was Elvis Presley’s father. He eloped and married Gladys Love Smith, Elvis’s mother, when he was 17. Vernon was a deacon in the Assembly of God Church in East Tupelo and worked at various odd jobs. He has described his life with Gladys and Elvis as close and happy, despite their struggles with poverty – “There were times we had nothing to eat but corn bread and water. But we always had compassion for people”. He remarried after Gladys’s death, to Davada Stanley with whom he had three stepsons, who Elvis always considered brothers, and not stepbrothers.
Martha Promise – Martha Promise was the wife and widow of Huddy Ledbetter (Lead Belly) and known to be the inspiration of some of his songs. In a Life magazine feature about Lead Belly, Martha is identified in a photo as his manager. She performed with Huddy at his final concert in 1949 at the University of Texas at Austin.
Ike Zinnerman – [Ike Zimmerman] taught Robert Johnson to play guitar, and harmonica. He was born in Grady Alabama, spent his early life as a farmer, and eventually moved to The Quarters, a small area in Beauregard, MS by a crossroads and the Beauregard Cemetery. As a boy, Ike played in juke joints in surrounding towns. He taught many people to play – many of them women, one remembered as being as good as Robert Johnson. He met Robert Johnson at a store. His family took Robert into their home, where Robert learned from ike. They often practiced in the Beuregard Cemetery. Ike later gave up the blues – but not the guitar – and became a pastor in Compton, California. His children remember some of the songs later attributed to Robert Johnson, being played by their father in their home before Robert ever came to stay.
Big Maceo – Maceo Meriweather, born Major Meriweather in 1905, was a self-taught blues pianist and singer. His song, Worried Life Blues was later recorded by Chuck Berry, and among the first to be inducted into the Blues Hall of Fame. He made over 30 recordings and is considered one of the most influential blues pianists of the 1940s. In 1946, Maceo suffered a stroke which left him partially paralyzed. He died in 1953. In 2008 an event was organized to honor Meriweather and raise funds for a headstone for Maceo’s grave.
Clifton Chenier – Clifton Chenier is a Creole French-speaking musician from Opelousas, Lousiana. He is known as the King of Zydeco (a highly infectious (joyously danceable) mix of Cajun and Creole, R&B, Jazz and Blues music (it is one of my favorite forms of rock and roll). He is also credited with redesigning the tin washboard, a staple of zydeco bands, into a more easily playable vest frottoir. “What I did was to put a little rock’n’roll into the zydeco to mix it up a bit. You see, people been playing zydeco for a long time, old style, like French music. But I was the first one to put the pep to it.” Chenier toured extensively throughout his lifetime, until his death (brought on by diabetes and kidney related illness).
A.P. Carter – Born Alvin Pleasant Delaney Carter in Poor Valley, Virginia, AP was an American musician and, along with his wife Sara Dougherty, a founding member of The Carter Family. AP suffered from physical tremors as a child (which his mother attributed to nearly being struck by lightning during pregnancy), but was an active violin player and singer in church choir. AP expected to live as a farmer (like his family); he also worked on the railroad, and traveled the country selling trees (when he met Sara). He is known for collecting folk songs, particularly Appalachian ones, during these travels. Despite being among the very first to have made recordings of “country music”, The Carter Family’s seminal influence in the form, being posthumously inducted into the Nashville Songwriters Hall of Fame and Country Music Hall of Fame, and his image appearing on a postage stamp in 1993, he died in relative obscurity.
Gid Tanner – James Gideon Tanner was a fiddle player. Along with his band, The Skillet Lickers, he was an early country music star, making some of its earliest recordings. He learned to play the fiddle at age 14 and was known as one of the finest musicians in Georgia. Gid worked as a chicken farmer for most of his life. He stopped making records in the 1930’s but continued performing. His grandson and great-grandson continue to play in the Skillet Lickers; they host an open jam session on Friday nights in a refurbished chicken house on the family farm in Dacula, Georgia.
Otis Spann – Otis Spann was a blues pianist. He began playing piano at age 7. His father, Friday Ford, was a pianist, and his mother a blues guitarist who played with Bessie Smith and Memphis Minnie, among others. Otis replaced Big Maceo Meriweather as Muddy Waters’ pianist. He had recordings in his own right, working with other greats such as Howling Wolf, and worked as a session pianist. He died of liver cancer in 1970. He was buried in an unmarked grave until a fundraiser in 1999 raised money for a headstone. This drawing was inspired by a very moving account by Peter Guralnik of his visit with Otis just before his death, in which he recounted that the walls in Otis’s room was covered with dog pictures.
Information on these subjects was gleaned and paraphrased from verbal histories, books and internet sites (including Wikipedia, Elvis.Wiki, biography.com, coldbacon.com, aaregistry.org, tdblues.com and as very beautifully related by Peter Guralnik in Lost Highway and other publications, among others). No copyright infringement is intended; absolute gratitude for sharing the history is. While I was familiar with the music of most of these people when I made these drawings during the 1990’s, information on these people at the time was much scarcer – the obscure seemed much more obscure. In researching them again today at Editor’s request for some additional bio information, I find so much more information is available, and that those that seemed to be living in relative obscurity are now written about very differently, their influence and life’s work perhaps finally given its due.
Hilda Daniel is a multi-media artist based in New York City. Her work has been exhibited in New York, London, Berlin, Oslo, Marseille, Dublin and other cities in Europe, the US, Canada, Mexico – including the Anthology Film Archive, NYC, the Oslo Screen Festival, and most recently in the MoMA’s curated SoundCloud site for its exhibition on John Cage’s 4’33” and in Kinokophonography at Lincoln Center’s Bruno Walter Auditorium. Her work has also been written about in The New York Times, Performance Art Journal, New Art Examiner, artnet.com and other publications.
Painting is a cross between a crap shoot, finding your way out of the woods, and performing a magic act. Each time I begin to paint I feel like I am walking a tightrope—sometimes scary, sometimes exciting, sometimes very quiet, and always, always surprising; leading me where I never expected to go. Doing art makes me lose all sense of time and place and go inside one long moment of creating. Whenever I feel a painting in my gut, I know this is why I paint. The colors are the message, I feel them before my mind has a chance to get involved. Color is the most agile and dynamic medium to create joy. And if you can find joy in your art, then you’ve found something worth holding on to.
Born in Canada and bred in the U.S., Allen Forrest works in many mediums: oil painting, computer graphics, theater, digital music, film, and video. Allen studied acting at Columbia Pictures in Los Angeles, digital media in art and design at Bellevue College, receiving degrees in Web Multimedia Authoring and Digital Video Production. Forrest has created cover art and illustrations for literary publications: New Plains Review, Pilgrimage Press, The MacGuffin, Blotterature, Gargoyle Magazine, his paintings have been commissioned and are on display in the Bellevue College Foundation’s permanent art collection. Forrest’s expressive drawing and painting style is a mix of avant-garde expressionism and post-Impressionist elements reminiscent of van Gogh creating emotion on canvas.