History about the artist
Lawrence D’Attilio had been a fine art photographer for forty years before reaching the current exciting point in his career. He decided early to be part of the vanguard of what’s possible in photography. At that time, he was fascinated by the compound images that art photographer Jerry Uelsmann was creating using darkroom techniques. In 1970, D’Attilio co-founded one of the earliest photography galleries, The Bathhouse, and that gallery’s third exhibition was of Uelsmann’s work. At age thirty, D'Attilio tried to use photos as raw material to create original compositions. However after a few years he didn't feel his inspirations had yet achieved significant value.
That was to change twenty-five years later. With so much more of life under his belt, there had been many more exciting discoveries. The answer to why this eventually worked out lies in his long-lived emphasis on involving self-interaction and other non-art efforts as a part of his life and emotional growth. He often pursued all of these drives simultaneously. His family life was quite complex and after divorcing and getting married for the second time, he also had four sons from the two marriages to add to the expansion of his experiences.
A dual career of fine art photography and symphony musicianship carried D'Attilio to substantial heights, expanding his knowledge and imaginative ideas. These careers dovetailed to create a sense of unlimited possibilities that continue to expand today.
Though that would have provided enough diversity of thinking and doing, he also had an interest in mechanical things, including those that involve electrical power or inventing and constructing things. Added to this was his seventeen years as an aviator, which besides the flying, involved his interest in the refurbishment of antique aircraft. He also felt an obligation to become a civic leader in some way. Earlier, one of his civic efforts was as a successful co-plaintiff in a U.S. Supreme Court Fast Trak civil liberties case
Taken together, these simultaneous passions exposed him to an unusually diverse and informative set of insights, while providing a lot of impetus to his inspirations for abstract constructions.
SCROLL DOWN FOR MORE BIO AND FILMS
From Vietnam, Malaysia, and China then around the world back to America, and with considerable international involvement, and multiple career backgrounds, the experiences have been a significany catalyst for his emotionally unique artworks.
R. - Point Lobos, California 2022
More on the Bio
Lawrence D’Attilio’s career in photography as an artist has been lengthy, and for that reason his artworks have covered a variety of concepts, applications, and mediums. His subjects have been in North America, Asia, and Europe.
Some other career insights are important and are included below.
1. Education Bachelor of Art – University of Louisville, studies with Ansel Adams in Yosemite, and further art studies at University of Wisconsin.
2. Teaching – starting in 1970 part time teacher at University of Wisconsin Madison, Cardinal Stritch University, and Milwaukee Center for Photography
3. Founder or Co-Founder of fine art photography institutions all in Milwaukee – 1970 Bathhouse Gallery, – 1978 Photography Collectors Investment Fund, 1880 Photography Collectors Gallery - Coalition for Photographic Arts (CoPA)
4. Political Impacts on the Arts – Vietnam National Government – National Ministry of Culture and Information – In 2007 D’Attilio was at first refused an opportunity to exhibit his Vietnam Street Photography at the Vietnam National Fine Arts Museum in Hanoi. His artwork was effectively censored because up to that time candid photos were only allowed to be seen in public if they were from news sources. With some discussion and the ministry’s open mind, D’Attilio presented reasons why they may want to reconsider that one policy so Vietnamese and Foreign artists could express the realities. (Though the subject matter could not refer in anyway to the country's politics). The artworks intended for the exhibit were only about daily life on the street. After a two week delay the ministry agreed that street photography was harmless and would not disturb the public and the exhibit took place as planned. This agreement was one of the first times a branch of the national government had allowed a foreigner to present his/her appeal regarding censorship of the arts. Within a few more years it became common to see street photography throughout Vietnam.
Copyright 2024 Lawrence D'Attilio - All Rights Reserved
Send message for licensing inquiries.
This website uses cookies.
We use cookies to analyze website traffic and optimize your website experience. By accepting our use of cookies, your data will be aggregated with all other user data.