Mark Arbeit Born in Chicago in 1953, Arbeit was raised in Northern California. When Arbeit was 16, the family moved to Oahu, Hawaii, and the beauty of islands awakened Arbeit's senses.  At 18, Arbeit enrolled in the University of Hawaii to study art and photography. A few years later, he decided to focus solely on photography, and transferred to the prestigious Art Center College of Design in Pasadena. During his third year there, he met Helmut Newton through a mutual friend. Newton took Arbeit on as an assistant, and Arbeit looked to Newton as a 'photo guru’.

Upon finishing his studies, Arbeit moved to New York, and was hired by Irving Penn as a studio assistant. Again, Arbeit approached his work as an apprentice, taking everything in. 'Penn was Mr. Technique,' says Arbeit. 'Everything he did is so meticulous, so perfect”.

After working for Penn, Arbeit moved to Milan to launch his own fashion photography career, and shot regularly for Linea Italia, Donna and Vogue Bellezza. In 1985, he settled in Paris to further his career as well as expand his artistic boundaries. To explore the experimental side of photography Arbeit and a few ambitious photographer friends from the Art Center formed a group called 'The Cauldron.' Its mission was simple: to take pictures that had never been done before. Arbeit's first personal series of work with the Cauldron, 'In and Out of focus'.

Arbeit continued to work commercially, shooting fashion for French Vogue and Marie Claire, and portraits for In Style, People and Forbes. In 1992, he launched a second series, 'Artist Atelier,' of female nudes in Parisian artist ateliers. Following the Atelier series, Arbeit launched a project he calls 'Polajunk Constructions': a collection of photomontages made of all the material that comes in a Polaroid box. During vacations back to his adopted home, Arbeit has been working on a study of Hawaii. With an 8"x10" Deardroff camera, he has photographed Hawaiians in play and in thought, the stunning mountainous landscapes and the flawless beaches. 

After living in Paris for a fulfilling 19 years, in 2004 Arbeit returned to live in Hawaii with his wife Pattariya, daughter Jariya and son, Ocean. Arbeit continues to shoot editorial for both local and international magazines around the world.


Mark Arbeit-Artistic statement

The late 70’s was a great time in photography. The digital age hadn’t started yet; then, it was all about film, black & white printing and lighting technique. And we had no idea our lives would overlap in friendship and work, a connection for which Helmut Newton was an important catalyst.

I absorbed the images and mannerisms of photographers Erwin Blumenfeld, Man Ray, Helmut Newton and Irving Penn. Theirs was a visual dialogue through the nude and portraiture. I am seeking my own visual language and reference each one of them in my explorations.

Emphatically, throughout my career I’ve been drawn to Surrealism, to Paris at the beginning of the 20th century, a point of origin and aspiration for my photographic work. I lived in Paris for 19 years, for a while down the street from le Dôme café where, decades before, Man Ray would meet Marcel Duchamp and Meret Oppenheim and lived for 9 years off the same courtyard once occupied by Diego Rivera and Moise Kisling. I selected the ateliers of Bonnard, Man Ray, Picasso and Degas and other artists as locations for my studies. It is impossible not to be touched by such an exemplary legacy, such an outpouring of creative energy.

Each project exerts its demands. “In and out of Focus” is technically about the aperture of the lens, the diaphragm between the film and the subject, and about the tension between knowledge and imagination. Aperture wide-open, I bring a fraction of the image into focus while everything else remains out of focus, dream-like.

In the “Atelier” series I used the smallest possible aperture to inventory every tool, brush, and object – render every detail of the studio space in sharp definition and situated the nude there to extend my expression of the artistic place.

In “Polajunk”, I conceived of the Polaroid as a minute darkroom as well as a frame or window into a world of visual signs and references. I layered both the little print and its negative as a collage, reflecting on process and creating a complex interior space.

I continue to explore the vocabulary of Surrealism. My current series, “Torso”, influenced by Man Ray’s experiments from the 1920s, expresses both classical beauty and ambiguity. Using sleight of hand to conceal the extremities and bathing the torso in light from a single source, I emphasize volume and shape, leaving the viewer to wonder, is it flesh or a fragment of classical marble sculpture? 

CONTACT INFO:     Tel. 1 808.375.6269



GEORGE HOLZ George Holz’ photographic career has spanned fashion editorial for Harper’s Bazaar, Vogue Italia and InStyle, portraits of nearly every major celebrity of the past two decades, and several gallery retrospectives. A protégé of the legendary Helmut Newton, Holz has become known for beautiful black and white nudes, which he has been shooting since 1974. 

A native of Oak Ridge Tennessee, Holz received his first camera as a gift at age 15, a classic Minolta SR-T 101. After graduating from high school, Holz traveled to Europe and Israel, practicing travel and documentary photography. Holz traveled to California to continue his photographic studies at the Art Center College of Design in Pasadena. While there, he apprenticed with master photographer Helmut Newton, assisting him on the shoots for what would become iconic images. Newton encouraged Holz to go to Europe to further his education, and Holz spent several years at the beginning of his career in Milan, where his fashion editorials appeared in European publications such as Vogue Italia, Linea Italiana, Lei, Madame Figaro, and French Elle. He then returned to Los Angeles and focused on shooting album covers, including Madonna's Borderline in 1983.

After his success in Europe and LA, Holz moved to New York in the mid-80s, where he opened his  studio in Greenwich Village. He continued to shoot fashion editorial for Harper's Bazaar, Interview Magazine and the New York Times, and began celebrity portraiture as well; publishing his images in In Style, Glamour, Arena, Rolling Stone, Entertainment Weekly, GQ and Vanity Fair. Holz has shot countless celebrities from the world of music, film, sports and politics including President Clinton, Michael Jordan, Jack Nicholson, Angelina Jolie and Beyonce.

Holz’ advertising work included advertising campaigns for Elizabeth Arden, Bloomingdale's, DeBeers and Max Factor, in addition to a Clio Award-winning campaign for the International Gold Corporation. 

Holz continued to lens the artwork for a number of albums, including those of Mariah Carey, Joan Jett, Chaka Kahn and Shania Twain. In 1990, he won a Grammy for his artwork on Suzanne Vega's album Days of Open Hand. Holz also began shooting movie posters, including those for Face/Off, The General's Daughter, Along Came a Spider, and Glitter, as well as the print campaigns for TV shows House, Fringe, and Smash.

His first gallery shows took place in Europe, with solo exhibits in Budapets, Hungary, and at the University of Applied Arts in Vienna in 1990, and was part of a group show at Laforet  Museum in Tokyo in 1993. In 1997-98, his exhibition "Original Sin" was exhibited at the Fahey/Klein Gallery in Los Angeles, the Staley Wise Gallery in New York City the Gallery for Fine Photography in New Orleans, the John Cleary Gallery in Houston and the Robert Klein Gallery in Boston, also traveling to fine art galleries in New Orleans, Houston, and San Francisco. Holz' work is in the permanent collection of the Interantional Museum of Photoraphy and Film at the George Eastman House in Rochester, New York and the Centro Cultural/Arte Contemporaneo in Mexico City.

Today, Holz is based in New York City and his farm in Upstate New York. His monograph of celebrity portraits, HOLZ HOLLYWOOD, will be published by Damiani Editore in Spring 2013. 


ARTIST STATEMENT I believe I have a bit of Helmut Newton ingrained in my photographic DNA. It is not surprising that Helmut and June would be persistent influences on my creative life. Influence is not a bad thing. It’s the starting point.


The thread running through my personal work is the celebration, (the exaltation) of the female form, nuanced in many locations and shades of expression: extrovert, athletic, sexual, insular, somnolent. Most of the work in the show was photographed on film, which I still do. I am constantly chasing the light and love how it sculpts the body. I have always been a stickler for beautiful light, and for photographic technique and process - those fundamentals hammered into all of us during the formative years at Art Center. From inception to finished print, the commitment to technique remains paramount. And, in contrast to the large scale production required in my commercial jobs, I function alone with minimal equipment for my personal work - solitary, pared down to keep me photographically honest. 


Three years ago, I moved from a Manhattan studio to a farm in upstate New York, and the focus of my personal work has changed. I turned from engaging supermodels in exotic locations to photographing the girl next door in a natural setting. And thus, location itself became a character in each piece of work.  


A second turning point for me was the exhibition at the Helmut Newton Foundation in Berlin in 2010. I had been struggling to find time for personal work. Once June set the wheels into motion for the Berlin show, my priorities shifted and time opened up for the fine art sessions. 

I am on the road a lot for work and discovered that a hotel room in a strange place, fortuitously, becomes a “private world”, a little studio away from home. The light and décor, at once transitory and suggestive, help to catalyze the image, the posture of the sitter. 


I continue to explore the physical and expressive capacity of the human body. Some images strive to capture the physical extension of the body, its vulnerability and proximity to peril, to pain, while others suggest apotheosis and ecstasy. Looking to the future, I will be drawn to work in color, a consequence perhaps of living in the country full time, in an environment saturated by continually changing colors, light, shadows, texture. I am stretching to find the technique to accommodate the rich palette now available to me.


 CONTACT INFO:    212.229.0017



Just Loomis was born in Reno, Nevada. His first photographs in 1975 were of that purely  American western town. At the age of eighteen he was given a Christmas gift by his sister in law Suzanne…Newton’s “Sleepless Nights.” It “blew him away.” While in art school he had the opportunity to meet and work with Newton, beginning a long and important mentorship-friendship with the photographer and his wife June that lasted over twenty years.

Loomis’ photographs have appeared internationally in exhibitions, numerous publications and in advertisements. His solo exhibition appeared at Lincoln Center in New York, May of 2009.

German publisher Hatje Cantz is scheduled to release Loomis’ first book, a collection of contemporary American portraiture. An exhibition for the book will appear at the Hiltawsky Gallery in Berlin, October of 2010.

“No one is doing Americana like Just…”  June Newton


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