{"id":4635,"date":"2021-10-08T19:11:32","date_gmt":"2021-10-08T18:11:32","guid":{"rendered":"http:\/\/www.artinbox.cz\/?page_id=4635"},"modified":"2021-10-08T19:11:33","modified_gmt":"2021-10-08T18:11:33","slug":"hella-hammid-1921-1992","status":"publish","type":"page","link":"https:\/\/www.artinbox.cz\/?page_id=4635","title":{"rendered":"Hella Hammid (1921 \u2013 1992)"},"content":{"rendered":"\n

Hella Hammid was a German American photographer, born to a Jewish family in Germany. After emigrating to the US, she briefly attended the short-lived experimental Black Mountain College and later worked as a freelance photographer, contributing to Life<\/em>, The Sun<\/em>, The New York Times<\/em> or the Los Angeles Times<\/em>. She taught photography at University of California in Los Angeles (UCLA) and her work was featured at many exhibitions, most prominently at the influential 1955 MoMA exhibition The Family of Man<\/em> or at The Camera as Witness <\/em>at Expo 67 in Montreal. Candid, black-and-white portraits of families are characteristic of her work and for many years her main focus was documentary photography of children. She also collaborated as a cinematographer with her husband, the avant-garde filmmaker of Czech origin, Alexander Hammid (originally Hackenshmied), and together they made experimental films such as At Land <\/em>(1944) and Ritual in Transfigured Time<\/em> (1945). Hammid had clairvoyant abilities and worked participated in several experiments in remote viewing led by CIA.\u00a0\u00a0<\/p><\/blockquote><\/figure>\n\n\n\n

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    \u00a0Hella Hammid byla n\u011bmecko-americk\u00e1 fotografka, narozen\u00e1 do \u017eidovsk\u00e9 rodiny v\u00a0N\u011bmecku. Po emigraci do Spojen\u00fdch st\u00e1t\u016f, Hammid kr\u00e1tce nav\u0161t\u011bvovala experiment\u00e1ln\u00ed \u0161kolu Black Mountain College a pot\u00e9 pracovala jako fotografka na voln\u00e9 noze a p\u0159\u00edsp\u00edvala nap\u0159\u00edklad do Life<\/em>, The Sun<\/em>, The New York Times<\/em> nebo Los Angeles Times<\/em>. Vyu\u010dovala fotografii na Kalifornsk\u00e9 Univerzit\u011b v\u00a0Los Angeles (UCLA) a jej\u00ed tvorba byla vystavena na mnoha v\u00fdstav\u00e1ch, z\u00a0nich\u017e je hodno vyzdvihnout nap\u0159\u00edklad v\u00fdznamnou v\u00fdstavu The Family of Man<\/em>, je\u017e se konala v\u00a0newyorsk\u00e9m Museum of Modern Art (MoMA) v\u00a0roce 1955 nebo na v\u00fdstav\u011b The Camera as Witness<\/em>, uspo\u0159\u00e1dan\u00e9 v\u00a0r\u00e1mci Expa 67 v\u00a0Montrealu. Pro jej\u00ed tvorbu jsou typick\u00e9 nearan\u017eovan\u00e9 \u010dernob\u00edl\u00e9 portr\u00e9ty rodin a mnoho let se zam\u011b\u0159ovala na dokument\u00e1rn\u00ed fotografii d\u011bt\u00ed. Se sv\u00fdm man\u017eelem, avantgardn\u00edm re\u017eis\u00e9rem s\u00a0\u010desk\u00fdm p\u016fvodem, Alexanderem Hammidem (roz. Hackenshmied), spolupracovala jako kameramanka. Spole\u010dn\u011b pracovali na experiment\u00e1ln\u00edch filmech jako je At Land <\/em>(1944) \u010di Ritual in Transfigured Time<\/em> (1945). Hammid m\u011bla jasnovidn\u00e9 schopnosti a \u00fa\u010dastnila se n\u011bkolika experiment\u016f d\u00e1lkov\u00e9ho vid\u011bn\u00ed, po\u0159\u00e1dan\u00fdch CIA.<\/p><\/blockquote><\/figure>\n<\/div>\n<\/div>\n<\/div><\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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