Chester Higgins Art

Emma in Botafogo, Rio de Janeiro, 1984 Pão de Açucar, (Sugarloaf Mountain), Rio’s defining landmark looms in the background. Photographed by Jonathan Becker Contemporary 14" x 14.5...

All photographs are platinum/palladium prints. These metals are hand coated on 100% rag cotton water color paper with natural deckled edges and contact printed. Since platinum, like ...

Marcel Duchamp and Eve Babitz, 1963, TIME Walter Hopps, the curator of Duchamp's landmark retrospective at The Pasadena Art Museum, helped direct this shot...

The history of photography has always included the genre of the nude. In the last decade, there is a new perspective in considering the female form. Women photographers are able to capture the nude, not from a position of who holds the power in the relationship, to more of an examination of form without the whisper of sexuality. I have recently revisited my exploration of nudes, this time only from behind the camera. My revelation is that I perceive the subject as a whole, complex human being, giving me the gift of seeing them profoundly. The performance of photographer and subject is on equal footing as we both work within an area of trust and curiosity. What are we really revealing to the camera as one stands before it? Ultimately the experience connects us not only in our shared experience, but as two women, both bringing a level of acceptance and courage to our efforts. It is exhilarating to change the masculine history of photography into a feminine one. Lisa McCord is a fine art and documentary photographer from the Arkansas Delta...

All photographs are platinum/palladium prints. These metals are hand coated on 100% rag cotton water color paper with natural deckled edges and contact printed. Since platinum, like ...

Martha Graham at New York City Center after her final onstage bow - backstage with Madonna and Calvin Klein, October 1990 "Martha was my godmother, and she was posing." - JB Photog...

Jean-Paul Goude & Toukie Smith in NYC Subway, 1976 Photographed by Jonathan Becker Contemporary 14" x 14.5" Platinum/Palladium Print Edition Nº 1 of 6 Ce...

Anthony FRIEDKIN (*1949, America) Woman by the Pool, Beverly Hills Hotel, Beverly Hills, California, U.S.A., 1975 Silver Gelatin Print, later print Image 76,2 x 114,3 cm (30 x 45 in....

Linda Hutton in the attic tub, Southampton, August 1974 X Photographed by Jonathan Becker Contemporary 16" x 16.5" Archival Platinum/Palladium Print Edition Nº 1 of 6 Certificate o...

LINA SCHEYNIUS (*1981, Sweden) Untitled (Diary) 2015 Fibre-based silver gelatin print Sheet 26,75 x 40 cm (10 1/2 x 15 3/4 in.) Edition of 3, plus 2 AP; Ed. no. 2/3 Print only Touc...

Elaine's Kitchen - Andy Warhol and Elaine, New York, 1976 Photographed by Jonathan Becker Contemporary 14" x 14.5" Platinum & Palladium Print Edition Nº 1 of 3 Certificate of Origin Signed and Titled by the Photographer in Edition and Emboss-stamped in the Margin/Recto Printing & Edition Notes along with Copyright Stamp and Applicable Providence on Verso Printed by hand at the photographer's studio in the traditional Platinum & Palladium process on 100% cotton rag paper. Platinum & Palladium prints are known for their unrivaled longevity and unparalleled subtlety. Print cost includes wrapping/packing/crating for shipment in double-tubing. ______ Jonathan Becker (Steven Kasher Gallery bio by Mark Rozzo) Literate flair, acute visual intuition, love of mischief and spontaneity, and global wanderlust: These are among the hallmarks of the work of Jonathan Becker, whose photography spans four decades and includes iconic portraits (often for Vanity Fair) of a multiplicity of subjects, including Robert Mapplethorpe, Martha Graham, Madonna, Elia Kazan, Prince Charles, Eudora Welty, André Leon Talley, Ai Weiwei, Diana Vreeland and Jack Kevorkian. Becker - whose work was first published in Andy Warhol’s Interview in 1973 - was born in 1954 and raised in New York City. In the mid-1970s, he moved for a year to Paris, where he was mentored by his hero, Brassaï. Upon return to New York, Becker drove a cab, toting his camera and parking to complete magazine assignments. A 1981 exhibition of Becker’s work at New York’s Rentschler Gallery included a series of arresting images of patrons taken inside the kitchen at Elaine’s, the storied hangout on New York’s Upper East Side. This exhibition, curated by art director Bea Feitler brought Becker to the attention of Frank Zachary, editor-in-chief of Town & Country. Zachary invited Becker to work for the magazine, where the young photographer further developed his passion for journalistic portraiture alongside Slim Aarons, who, after Brassaï, became Becker’s guiding light. Becker was then enlisted by Bea Feitler to contribute portraits to the prototype of Vanity Fair’s 1983 re-launch. His participation led to a highly prolific association with the magazine as Contributing Photographer, continuing to this day. Becker has also contributed portraits and reportage to The New Yorker, Vogue, W, The Paris Review, amongst truly most major publications. In complement to his editorial work, Becker has accepted a limited number of private and family portrait commissions each year, some accompanied by privately published books, and in the course of his three-years-long project for the Rockefeller Foundation, Becker documented its vast array of philanthropic grant recipients on four continents abroad. Six trade books comprised entirely of Becker’s photographs have been published including Bright Young Things...

LINA SCHEYNIUS (*1981, Sweden) Untitled (Diary), 2002 Fibre-based silver gelatin print, hand proofed by the artist. Image 40 x 60 cm (15 3/4 x 23 5/8 in.) Sheet 50 x 70 cm (19 5/8 x ...