Jerry Schatzberg (b. 1927)

Published in “Vogue,” “McCall’s,” “Esquire,” “Glamour,” and “Life Magazine” in the 1960s, Jerry Schatzberg captured intimate portraits of his generation’s most notable artists, celebrities, and thinkers (from Bob Dylan to Martha Graham).

In the 1970s, Schatzberg made a foray into film direction. His most widely acclaimed film was “The Panic in Needle Park” (1971), starring Al Pacino.

In 1968, Jerry Schatzberg was divorced from his first wife, Corinne Schatzberg, with whom he only lived for five years. They had two children together. At the time of the divorce, Schatzberg was widely known as Faye Dunaway’s fiancé. In 1969, Dunaway left Schatzberg for actor Marcello Mastroianni. Schatzberg then married the French-American actress Maureen Kerwin in 1983, and they divorced in 1998.

Kobi Israel’s work is featured in “The Sexuality Spectrum” exhibition at Hebrew Union College in NYC

Kobi Israel's work is featured in "The Sexuality Spectrum" exhibition at Hebrew Union College in NYC

Two of Kobi Israel’s photographs are featured in “The Sexuality Spectrum” at Hebrew Union College / Jewish Institute of Religion Museum in NYC (curated by Laura Kruger). The exhibition explores a broad range of subjects, including the evolving social and religious attitudes toward sexuality.

For more information on the exhibition:

Browse all of Kobi Israel’s work at ClampArt

Blog post by:
Brian Paul Clamp, Director

Jill Greenberg | “Horse Latitudes,” Los Angeles Magazine

From Ann Herold’s story in Los Angeles Magazine:

This is not your daughter’s pretty pony book. In “Horses” (Rizzoli, 224 pages, $55), L.A. photographer Jill Greenberg celebrates the more sensuous qualities of these animals.

PDF of the magazine article
Los Angeles Magazine, “Jill Greenberg: Horse Latitudes”

View the series
Browse all of Jill Greenberg’s work at ClampArt

Jill Greenberg | “Horses,”

From James Thorne’s review on

Photographer Jill Greenberg presents a mystifying new collection in “Horses,” a photography book that showcases equine majesty. Greenberg will be familiar to regular CH readers for her other series, which range from crying babies to bears and monkeys. Her style is marked by heavy post production, which in the case of “Horses” takes the form of vibrant reds and purples, fantastical sheens and absent backgrounds. The focus of “Horses” strays somewhat from her previous work on animal subjects. “If the monkeys and bears series were portraits of animals as actors, these are pictures of horses as if they were supermodels,” explains Greenberg. “It’s about figure studies and their physiques and their silhouettes.” Form, rather than expression, guides the work overall.

View the original article

Browse all of Jill Greenberg’s work at ClampArt