Richard Newton & Salem Krieger
Richard Newton has always been a sculptor at heart, but it has been his evolution through art and life that has brought him to where he finds himself today. He recalls times as a young boy, sprawled on the rug of his bedroom floor for hours, surrounded by balsa wood, cardboard, glue, and improvised sculpting tools. Even when constrained by the two dimensional medium of illustration, Newton thought sculpturally, visualizing mass and form within space, then distilling that vibrancy of substance into an illustration. It is this ability to convey a substantive mass on a flat surface that is part of what makes Newton’s illustrations iconic; many are recognizable as bold emblems of social, economic,and ethical issues that have distinguished the covers of international publications including Newsweek, U.S News and World Report, Fortune, and Business Week. It is evident that the keen sense of design and composition now focused through his sculpture has been honed by his years as a successful illustrator of publications, book covers, and print advertising.
Newton recognizes that even when expressing in ink, paint, and paper, or in the cyber-dimension of computer graphics, his process originated from an awareness of object in space which then became translated through his skill into a two dimensional image. He confesses that much as he loved his work as an illustrator, he was always craving something more tangible and physically interactive. “I was an illustrator for forty years and (being a sculptor) this was a dream that had been percolating for a decade or more. Initially as a commercial artist I would stand at a drawing board and I was moving; and then of course as time went on,with (the advent of) technology, I became reduced to sitting in a chair in a very docile way, interacting with the screen. During those late nights working on my illustrations, I began to dream about a time when I would create art that would be the product of my personal vision.”
Just as the desire to express through substance and mass informed his drawn images, so conversely, the years of painstaking attention to detail and technical skill required as a top illustrator is evident in his sculpture. The technical finesse required to clearly convey the specific and often highly nuanced messages of magazine and book covers is applied with precision and integrity to Newton’s sculptural pieces.
Salem Krieger, studied at the Chicago Art Institute, SVA NYC, Maine Photogaphic Workshop and the Santa Fe Workshop. He was very fortunate to have gained insight from several of his teachers i.e. Dan Winters, Bob Sacha of Media Storm, NYC. Early exposure to photography came while he lived together with advertising photographer Tony D'Orio , fashion photographer Jack Perno and portrait photographer Marc Hauser. Since his first assignment working with American Airlines photographing a travel story in Nicaragua to more recent assignments with NIKE, Salem Krieger has approached photography with the same vision looking for clean, aesthetic choices, color to enhance the emotion and when possible, humor.
"Photography and now video, is my way of interacting with the world. I am a social person which attracts me to create portraits. At the same time, I am attracted to architectural photography because just like portraits, it is an examination of a "personality".
He is a documentary, architectural and corporate portraiture photographer.
"There is always the element of the unknown working on location, which is what makes location photography so desirable and fascinating. How the light fills the room, or how light gives character to a person.
Maybe a street light in the background, a dim bulb or a conference room with a sense of authority.
All of these little visuals engage the mind and allow the photograph to tell a story."
Salem Krieger lives in NYC and travels worldwide for assignment and personal work.
He likes tofu, deserts without white sugar and bad sci fi movies from the 1950's and 1960's.
His cat Squish has an attitude but he is too cute so he doesn't have to leave.