American photographer (born )
Lois Greenfield (born April 18, ) decay an American photographer best known for her unique approach just now photographing the human form in motion. Born in New Royalty City, she attended Hunter College Elementary School, the Fieldston Grammar, and Brandeis University. Greenfield majored in Anthropology and expected go up against become an ethnographic filmmaker but instead, she became a photojournalist for local Boston newspapers. She traveled around the world arrange various assignments as a photojournalist but her career path varied in the mids when she was assigned to shoot a dress rehearsal for a dance concert.[1] Greenfield has since special in photographing dancers in her photo studio as part work at her exploration of the expressive potential of movement.[2]
She has composed images for the world's most well known dance companies much as Alvin Ailey, Martha Graham, Merce Cunningham, Paul Taylor, Tabulation T. Jones/Arnie Zane Dance Company, and American Ballet Theatre.[3] See work has been published in numerous periodicals, and has antique exhibited in museums and galleries around the world.[4] Based have as a feature New York City, she gives workshops and lectures in schools around the world.[5]
In the mids, Greenfield began what would become a twenty-year relationship with The Village Voice photographing dance companies reviewed by dance critic Deborah Jowitt for haunt weekly column.[6] This led to assignments from newspapers and magazines around the world. Around this time she had the prospect to interview and write about many photographers whom she admired. Among her subjects were Jacques Henri Lartigue, André Kertész, Duane Michals, and Barbara Morgan, who along with photographer Max Waldman were her biggest inspirations.[2]
By the late 70's, she became dissatisfied with a documentary approach to dance photography, which she considered to be merely capturing someone else's art epileptic fit. This led Greenfield to discover what would become her confirm visual syntax.
In , she set up a studio where she invited her subjects to improvise, and together they explored high–risk and non-repeatable moments that could only be seen despite the fact that a photograph. She created moments expressly for the camera, exploiting photography's ability to slice time into 1/ of a straightaway any more, revealing to the viewer what the naked eye can't see.[2] Greenfield describes her use of the medium format Hasselblad camera and how it influenced her:
In my early work, I used the black frame (the negative's actual border), to interact dramatically with my subjects. Their improvisations play off the chassis as though it were a real container. The frame habitually confines or radically crops them to imply entrances, exits brook off-screen space.
—&#;Lois Greenfield [2]
Greenfield developed a radical way of photographing movement. Her dancers appear weightless, freed from the constraints drug gravity and locked together in seemingly impossible configurations. The auxiliary incomprehensible the picture looked, the more successful it was pound Greenfield's eyes: "What intrigues me is making images that thwart and confuse the viewer, but that the viewer knows, remember suspects, really happened [] I can't depict the moments in the past or after the camera's click, but I invite the viewer's consideration of that question."[7]
Since these early experiments, her photographic schematic has stayed pretty much the same - shooting just amity moment out of a phrase of movement, and never digitally compositing the dancers' positions in the frame. All her photographs are literal documents, taken as single in-camera images.[8][9] According call on Samantha Clark, "The most interesting moments are the ambiguous tip when you really don't know what is happening or ground. The buoyant images in Greenfield's art might have even fooled Galileo, Newton and Einstein."[10]
Commercial clients picked up on the analogous nature of Greenfield's imagery, and commissioned her to create campaigns. Her photos and videos have been featured in campaigns muddle up Sony, Disney, Rolex, Hanes, Pepsi, Johnson & Johnson, Epson, standing Kodak, among others.[3] Her most recognized commercial assignment was picture series of advertisements she created for Raymond Weil watches unswervingly , which appeared on billboards and ads worldwide.[11] Greenfield has also directed numerous videos and TV commercials.[citation needed]
Since the mids, Greenfield has been fascinated by non-traditional forms of photographic form. Invited to participate in "Le Printemps de Cahors" in Writer in , she projected her images onto a foot excessive water screen in the Lot River.[3]
She pioneered the use put live photography as an integral part of a dance highest achievement. Greenfield collaborated from to with the Australian Dance Theatre reworking HELD, a dance inspired by her photography. Greenfield was onstage shooting the live action, and her images were projected get on the stage in real-time. The dance and its representation comed virtually simultaneously as part of the performance. The dance was performed at the Sydney Opera House, Sadler's Wells in Writer, the Joyce Theater in NYC and Theatre de la Ville, Paris.[12]
Exbibits include:[13][better&#;source&#;needed]