{"id":16,"date":"2023-02-21T10:48:54","date_gmt":"2023-02-21T10:48:54","guid":{"rendered":"https:\/\/michaelsomoroff.org\/?page_id=16"},"modified":"2024-05-23T08:56:56","modified_gmt":"2024-05-23T08:56:56","slug":"english","status":"publish","type":"page","link":"https:\/\/michaelsomoroff.org\/index.php\/english\/","title":{"rendered":"Michael Somoroff Bio \/ English"},"content":{"rendered":"\n<div class=\"is-layout-flow wp-container-23 wp-block-group alignwide\">\n<figure class=\"wp-block-image aligncenter size-full is-resized\"><a class=\"&lt;div class=&quot;_df_book df-lite&quot; id=&quot;&quot;269&quot;&quot;  data-title=&quot;&quot; _slug=&quot;&quot; wpoptions=&quot;true&quot; thumbtype=&quot;bg&quot; &gt;&lt;p class=&quot;df-raw-loading&quot;&gt;Please wait while flipbook is loading. For more related info, FAQs and issues please refer to  documentation.&lt;\/p&gt;&lt;\/div&gt;\" href=\"https:\/\/michaelsomoroff.org\/michael-somoroff-retrato\/\" rel=\"CATALOGO\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/Michael-Somoroff-retrato.png\" alt=\"\" class=\"wp-image-59\" width=\"241\" height=\"362\" srcset=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/Michael-Somoroff-retrato.png 281w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/Michael-Somoroff-retrato-200x300.png 200w\" sizes=\"(max-width: 241px) 100vw, 241px\" \/><\/a><figcaption class=\"wp-element-caption\">Michael Somoroff.<\/figcaption><\/figure>\n\n\n<div class=\"_df_book df-lite\" id=\"df_737\"  data-title=\"portfolio-01\" _slug=\"portfolio-01\" wpoptions=\"true\" thumbtype=\"bg\" ><p class=\"df-raw-loading\">Please wait while flipbook is loading. For more related info, FAQs and issues please refer to <a href=\"https:\/\/wordpress.org\/plugins\/3d-flipbook-dflip-lite\/#installation\">DearFlip WordPress Flipbook Plugin Help<\/a> documentation.<\/p><\/div><script class=\"df-shortcode-script\" type=\"application\/javascript\">window.option_df_737 = {\"outline\":[],\"backgroundColor\":\"FFFFFF\",\"forceFit\":\"true\",\"autoEnableOutline\":\"false\",\"autoEnableThumbnail\":\"false\",\"overwritePDFOutline\":\"false\",\"direction\":\"1\",\"pageSize\":\"0\",\"pageMode\":\"2\",\"source\":\"https:\\\/\\\/michaelsomoroff.org\\\/wp-content\\\/uploads\\\/2023\\\/05\\\/Portfolio-.pdf\",\"wpOptions\":\"true\"}; if(window.DFLIP && window.DFLIP.parseBooks){window.DFLIP.parseBooks();}<\/script>\n\n\n\n<p><strong>Michael Somoroff<\/strong>&nbsp;is a communication strategist,&nbsp;multimedia artist, director,&nbsp;photographer, and teacher. Since 1980, he has directed&nbsp;projects, created successful communication concepts, given comment and made critically acclaimed content for Fortune 500 corporations, advertising agencies, magazines, media companies, museums and cultural institutions around the world. He has collaborated at educational and cultural institutions and is currently an artist in residence at the Wyss Translational Center in association with the&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/en.wikipedia.org\/wiki\/University_of_Zurich\" target=\"_blank\">University of Zurich<\/a>&nbsp;and ETH, Zurich. As a teacher and a cultural commentator, he has partnered with&nbsp;the State University of New York,&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/en.wikipedia.org\/wiki\/Stony_Brook_University\" target=\"_blank\">Stony Brook<\/a>,&nbsp;<a href=\"https:\/\/en.wikipedia.org\/wiki\/The_University_of_the_Arts\">the University of the Arts<\/a>,&nbsp;Philadelphia, Pennsylvania, the&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/en.wikipedia.org\/wiki\/Rothko_Chapel\" target=\"_blank\"><em>Rothko Chapel<\/em><\/a>,&nbsp;Houston,&nbsp;Texas, the<em>&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/en.wikipedia.org\/wiki\/International_Center_of_Photography\" target=\"_blank\">International Center of Photography<\/a><\/em>, New York City, the School of Visual Arts, New York City and the <em>Jung Center<\/em>, Houston, Texas. He is also the director of the Somoroff Archive consisting of historic photography, editorial content and advertising produced in New York City between 1940 through the turn of the millennium. <\/p>\n\n\n\n<p>Somoroff \u2019s work can be found in museums, art fairs, and exhibitions around the world. He is also the author of \ufb01ve books.\u00a0Journalist Elisabeth Bard referred to his creative approach in the <em>New York Times<\/em> as &#8220;<em><a rel=\"noreferrer noopener\" href=\"https:\/\/www.nytimes.com\/2007\/06\/17\/arts\/design\/17bard.html\" data-type=\"URL\" data-id=\"https:\/\/www.nytimes.com\/2007\/06\/17\/arts\/design\/17bard.html\" target=\"_blank\">Madison Avenue meets the Italian Renaissance.<\/a><\/em>&#8221; In the international advertising industry, he is recognized as one of the top commercial directors in the world, regularly contributing award-winning \ufb01lms and photography for companies seeking to enhance their brand identity and grow sales. He is the \ufb01rst artist to be exhibited directly on Piazza St. Marco, in Venice \u2013 on the occasion of the Venice Biennale 2011.\u00a0He is internationally represented in many perminant collections including: the <a rel=\"noreferrer noopener\" href=\"https:\/\/www.moma.org\" data-type=\"URL\" data-id=\"https:\/\/www.moma.org\" target=\"_blank\"><em>Museum of Modern Art<\/em><\/a>, New York City, the <a rel=\"noreferrer noopener\" href=\"https:\/\/hirshhorn.si.edu\" data-type=\"URL\" data-id=\"https:\/\/hirshhorn.si.edu\" target=\"_blank\"><em>Hirshorn Museum<\/em><\/a>, <a rel=\"noreferrer noopener\" href=\"https:\/\/www.si.edu\" data-type=\"URL\" data-id=\"https:\/\/www.si.edu\" target=\"_blank\"><em>Smithsonian\u00a0Institute<\/em><\/a>, Washington DC, the\u00a0<a rel=\"noreferrer noopener\" href=\"https:\/\/en.wikipedia.org\/wiki\/International_Center_of_Photography\" target=\"_blank\"><em>International Center of Photography<\/em><\/a>, New York City and <a rel=\"noreferrer noopener\" href=\"https:\/\/correr.visitmuve.it\" data-type=\"URL\" data-id=\"https:\/\/correr.visitmuve.it\" target=\"_blank\"><em>Museo Correr<\/em>,<\/a>\u00a0Venice, Italy.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" loading=\"lazy\" width=\"1024\" height=\"330\" src=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2024\/01\/NYTimes-profile-1-1024x330.jpg\" alt=\"\" class=\"wp-image-953\" srcset=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2024\/01\/NYTimes-profile-1-1024x330.jpg 1024w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2024\/01\/NYTimes-profile-1-300x97.jpg 300w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2024\/01\/NYTimes-profile-1-768x248.jpg 768w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2024\/01\/NYTimes-profile-1-1536x496.jpg 1536w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2024\/01\/NYTimes-profile-1-2048x661.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<h2 class=\"has-medium-font-size\"><strong>Early life and career<\/strong><\/h2>\n\n\n\n<p>Michael Somoroff, the son of eminent still life and product photographer Ben Somoroff, was born in New York City in the middle of the golden age of editorial design and analog photography; a time Milton Glaser referred to as &#8220;A Moment&#8221;. His father, is considered by many, together with <strong><a rel=\"noreferrer noopener\" href=\"https:\/\/es.wikipedia.org\/wiki\/Irving_Penn\" data-type=\"URL\" data-id=\"https:\/\/es.wikipedia.org\/wiki\/Irving_Penn\" target=\"_blank\">Irving Penn<\/a><\/strong>, one of the most important \ufb01gures in American still life photography. He is credited with being the \ufb01rst comprehensive, product \ufb01lm maker, establishing &#8220;tabletop&#8221; as a genre of \ufb01lm making. As a student of the legendary art director, <strong><a rel=\"noreferrer noopener\" href=\"https:\/\/en.wikipedia.org\/wiki\/Alexey_Brodovitch\" data-type=\"URL\" data-id=\"https:\/\/en.wikipedia.org\/wiki\/Alexey_Brodovitch\" target=\"_blank\">Alexey Brodovitch<\/a><\/strong>, at the <em>Pennsylvania Museum of Industrial Art<\/em> (now the University of the Arts), Ben Somoroff introduced Michael at an early age to Brodovitch\u2019s revolutionary and culturally foundational philosophy, de\ufb01ning creative work as a part of one\u2019s self-realization process. This idea went on to become a primary in\ufb02uence on a generation of photographers, artists, and designers that pioneered cultural media. It was to eventually become a bedrock philosophy in all areas of cultural expression through the second half of the twentieth century, with its inherent demand for authenticity.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-image alignwide size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"1024\" height=\"355\" src=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/05\/FOTO-BENSOMOROFF-BIO-1024x355-1.png\" alt=\"\" class=\"wp-image-582\" srcset=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/05\/FOTO-BENSOMOROFF-BIO-1024x355-1.png 1024w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/05\/FOTO-BENSOMOROFF-BIO-1024x355-1-300x104.png 300w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/05\/FOTO-BENSOMOROFF-BIO-1024x355-1-768x266.png 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Some Ben Somoroff\u00b4s works: ESQUIRE\u00b4s cover\/  Look Magazine Example \/ US National Postage Stamp commemorating Photography and BAZAAR\u00b4s magazine cover.<\/figcaption><\/figure>\n\n\n\n<h2 class=\"has-medium-font-size\"><strong><strong>Alexey Brodovitch as a Dominant Influence<\/strong><\/strong><\/h2>\n\n\n\n<p>Together with other students of Ben Somoroff\u2019s generation, including Richard Avedon, Irving Penn, Robert Frank, Arnold Newman, Lillian Bassman, Hiro, Louis Faurer, Ben Rose, Art Kane, Frank Zachary, Henry Wolf, Steve Frankfurt and many others, Michael\u2019s father encouraged Michael to make unexpected images and to push the boundaries of conventional ways of thinking and seeing. A practice Michael is well known for.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-large is-resized\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/brodovich-bio-foto-1024x355.png\" alt=\"\" class=\"wp-image-462\" width=\"869\" height=\"301\" srcset=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/brodovich-bio-foto-1024x355.png 1024w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/brodovich-bio-foto-300x104.png 300w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/brodovich-bio-foto-768x266.png 768w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/brodovich-bio-foto.png 1140w\" sizes=\"(max-width: 869px) 100vw, 869px\" \/><figcaption class=\"wp-element-caption\">Alexey Brodovitch\u00b4s laboratory postern the artist working at the Avedon studio.<\/figcaption><\/figure>\n\n\n\n<p>Brodovitch urged his students: &#8220;Show me something I haven\u2019t seen before. Astonish me!&#8221; Thus creating an important phase of experimentation and innovation in American media, \ufb01nally spreading throughout the world. Even today, the Brodovitch philosophy remains a dominant force in all areas of cultural production by making the demand for authenticity as a prerequisite to any serious, artistic endeavor. This is the driving force throughout both the elder and the younger, Somoroff careers, making them a unique bi-generational event from an art historical perspective and one of the longest operating studios surviving from the \u201cMad Men\u201d era of photography, editorial and advertising production. Michael continues his unique artistic practice connected to the foundations of 20th century art and communication problem solving internationally today.<\/p>\n\n\n\n<h2 class=\"has-medium-font-size\"><strong>The Onset of Professional Life: New York City<\/strong><\/h2>\n\n\n\n<div class=\"is-layout-flex wp-container-4 wp-block-columns\">\n<div class=\"is-layout-flow wp-block-column\">\n<p>Michael Somoroff spent a signi\ufb01cant part of his childhood in his father\u2019s studio located at <a rel=\"noreferrer noopener\" href=\"https:\/\/goo.gl\/maps\/goeUvXLUuva3TFQB6\" data-type=\"URL\" data-id=\"https:\/\/goo.gl\/maps\/goeUvXLUuva3TFQB6\" target=\"_blank\">421 East 54th<\/a> street in&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/en.wikipedia.org\/wiki\/New_York_City\" target=\"_blank\">New York City<\/a>, which was a hub for notable art directors, writers, artists, designers and musicians of the time. The young Somoroff had the opportunity to be mentored by many individuals in his parents\u2019 circle (his mother Alice Bruno was a well-known fashion model, among the \ufb01rst to be a part of the <a rel=\"noreferrer noopener\" href=\"https:\/\/www.fordmodels.com\" data-type=\"URL\" data-id=\"https:\/\/www.fordmodels.com\" target=\"_blank\"><strong>Ford Modeling Agency<\/strong><\/a>). His godfather was the legendary art director <a rel=\"noreferrer noopener\" href=\"https:\/\/es.wikipedia.org\/wiki\/Henry_Wolf\" data-type=\"URL\" data-id=\"https:\/\/es.wikipedia.org\/wiki\/Henry_Wolf\" target=\"_blank\">Henry Wolf<\/a> (Esquire Magazine, Harper\u2019s Bazaar,&nbsp; Show Magazine).<\/p>\n<\/div>\n\n\n\n<div class=\"is-layout-flow wp-block-column\">\n<figure class=\"wp-block-image aligncenter size-full is-resized\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/mother.png\" alt=\"\" class=\"wp-image-60\" width=\"252\" height=\"329\"\/><figcaption class=\"wp-element-caption\"><br>Alice Bruno; Revista LIFE en 1952.<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"is-layout-flow wp-block-column\">\n<p>Wolf is one of legends of American photography and design. Michael was required to contribute to the family business. He grew into a right hand assistant, contributing to many notable editorial and advertising assignments of the day, while working shoulder to shoulder with giants of analog photography and the golden age of Madison Avenue. He eventually became his father\u2019s studio manager and both color and black and white darkroom technician.<\/p>\n\n\n\n<p>&nbsp;<\/p>\n<\/div>\n<\/div>\n\n\n\n<p>As his technical prowess grew, the young Somoroff often did freelance work for many of his father\u2019s and mother\u2019s colleagues and friends, gaining a reputation as a skillful assistant. As an example, he frequented photographers Ben Rose, Sol Mednick, Louis Faurer, Melvin Sokolsky, Art Kane, Herman Landsoff and Andr\u00e9 Kert\u00e9sz. These and many other associations are documented in the book <strong>A<em> Moment. Master Photographers: Portraits by Michael Somoroff<\/em><\/strong> published by Damiani in 2012. He also attended the New School for Social Research in affiliation with the Parsons School of Design. He was given his \ufb01rst magazine assignment by renowned graphic designers Milton Glaser and Walter Bernard.&nbsp;In 1979,&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/en.wikipedia.org\/wiki\/Richard_Avedon\" target=\"_blank\">Richard Avedon<\/a>&nbsp;facilitated his first exhibition at the International Center of Photography, New York City, after reviewing Somoroff&#8217;s portfolio.&nbsp;The review at ICP was conducted personally by&nbsp;<a rel=\"noreferrer noopener\" href=\"https:\/\/en.wikipedia.org\/wiki\/Cornell_Capa\" target=\"_blank\">Cornell Capa<\/a> and William A. Ewing.<\/p>\n\n\n\n<h2 class=\"has-medium-font-size\">Photography<\/h2>\n\n\n\n<p>Michael Somoroff gained recognition as a photographer in the late seventies after his \ufb01rst major exhibition of still lives at the&nbsp;<a href=\"https:\/\/en.wikipedia.org\/wiki\/International_Center_of_Photography\"><em>International Center for Photography<\/em><\/a>&nbsp;in New York City. He then established his own studio&nbsp;and regularly contributed to America and European publications such as <em><a rel=\"noreferrer noopener\" href=\"https:\/\/www.stern.de\" data-type=\"URL\" data-id=\"https:\/\/www.stern.de\" target=\"_blank\">Stern<\/a>, <a rel=\"noreferrer noopener\" href=\"https:\/\/www.elle.fr\" data-type=\"URL\" data-id=\"https:\/\/www.elle.fr\" target=\"_blank\">Elle<\/a>, <a rel=\"noreferrer noopener\" href=\"https:\/\/www.vogue.com\" data-type=\"URL\" data-id=\"https:\/\/www.vogue.com\" target=\"_blank\">Vogue,<\/a> <a rel=\"noreferrer noopener\" href=\"https:\/\/www.life.com\" data-type=\"URL\" data-id=\"https:\/\/www.life.com\" target=\"_blank\">Life<\/a>, <a rel=\"noreferrer noopener\" href=\"https:\/\/www.harpersbazaar.com\" data-type=\"URL\" data-id=\"https:\/\/www.harpersbazaar.com\" target=\"_blank\">Harper&#8217;s Bazaar,<\/a> <a rel=\"noreferrer noopener\" href=\"https:\/\/www.spiegel.de\" data-type=\"URL\" data-id=\"https:\/\/www.spiegel.de\" target=\"_blank\">Der Spiegel<\/a>, <a rel=\"noreferrer noopener\" href=\"https:\/\/www.esquire.com\" data-type=\"URL\" data-id=\"https:\/\/www.esquire.com\" target=\"_blank\">Esquire<\/a>, <a rel=\"noreferrer noopener\" href=\"https:\/\/www.zeit.de\" data-type=\"URL\" data-id=\"https:\/\/www.zeit.de\" target=\"_blank\">Zeit<\/a> Magazine<\/em> and<em> <a rel=\"noreferrer noopener\" href=\"https:\/\/time.com\" data-type=\"URL\" data-id=\"https:\/\/time.com\" target=\"_blank\">Time<\/a><\/em>, as well as to international advertising agency\u2019s projects. His portraiture, nudes, and still life photography have garnered a worldwide audience, receiving critical acclaim on the walls of museums and galleries. He located to Europe in 1980 and today is based in both the U.S and Europe.<\/p>\n\n\n\n<figure class=\"wp-block-image alignwide size-large\"><img decoding=\"async\" loading=\"lazy\" width=\"1024\" height=\"227\" src=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/EJEMPLO-MICHAEL-FOTOGRAFIAwebsite-1024x227.png\" alt=\"\" class=\"wp-image-469\" srcset=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/EJEMPLO-MICHAEL-FOTOGRAFIAwebsite-1024x227.png 1024w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/EJEMPLO-MICHAEL-FOTOGRAFIAwebsite-300x67.png 300w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/EJEMPLO-MICHAEL-FOTOGRAFIAwebsite-768x170.png 768w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/EJEMPLO-MICHAEL-FOTOGRAFIAwebsite.png 1140w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Select examples of Michael Somoroff photography.<\/figcaption><\/figure>\n\n\n\n<p class=\"has-medium-font-size\"><strong>Motion Picture Directing<\/strong><\/p>\n\n\n\n<p>Following in the footsteps of his famous, director father Ben Somoroff, a pioneer in motion picture and product \ufb01lmmaking, commonly referred to as&nbsp;&#8220;Table Top&#8221;, Michael became a director after winning several awards at the&nbsp;<strong><a rel=\"noreferrer noopener\" href=\"https:\/\/en.wikipedia.org\/wiki\/Cannes_Lions_International_Festival_of_Creativity\" target=\"_blank\">Cannes Lions International Festival of Creativity<\/a>.<\/strong>&nbsp;His career as a commercial director was launched of\ufb01cially in London in collaboration with the famous <a rel=\"noreferrer noopener\" href=\"https:\/\/thedirectorstudio.tv\/studio\" data-type=\"URL\" data-id=\"https:\/\/thedirectorstudio.tv\/studio\" target=\"_blank\"><strong>Directors Studio<\/strong><\/a> production company created by Jim Baker, where the foundations of the commercial, production industry were solidified by transforming brand name photographers into commercial directors. Along with the introduction to film production given to him through his father, Michael Somoroff initially developed his directorial skills under the&nbsp;tutelage of more senior and accomplished directors in London, including his father\u2019s&nbsp;colleague&nbsp;and fellow Brodovitch alumni <a rel=\"noreferrer noopener\" href=\"https:\/\/en.wikipedia.org\/wiki\/Lester_Bookbinder\" data-type=\"URL\" data-id=\"https:\/\/en.wikipedia.org\/wiki\/Lester_Bookbinder\" target=\"_blank\"><strong>Lester Bookbinder<\/strong>.<\/a> Sought after for his unique lighting and composition skills, Somoroff began directing \ufb01lms primarily soon after returning to the U.S. In early 1989 at the invitation of the legendary Columbia Pictures executive George Cooney, CEO of EUE Screen Gems, he returned to New York and fully committed himself to directing \ufb01lms. Shortly after, Michael Somoroff went into partnership with the newly organized<strong> <\/strong><a rel=\"noreferrer noopener\" href=\"https:\/\/macguffin.com\" data-type=\"URL\" data-id=\"https:\/\/macguffin.com\" target=\"_blank\">D&amp;H Macguffin Films LTD<\/a>, which was re-organized as the present company, simply, <strong>Macguffin Films LTD<\/strong>. He remained a senior partner there until 2015.&nbsp;<\/p>\n\n\n\n<p>Sought after for his unique conceptual abilities, sense of compensation and lighting technique, Michael Somoroff has made a signi\ufb01cant impact on the commercial production industry particularly in the area of tabletop\/food and product \ufb01lm-making. He is credited for his role in establishing the aesthetics of food and drink imagery in advertising, and \ufb01lm-making specifically, pioneering slow-motion, close-up photography and various ways of amplifying image and appetite appeal. He has worked with major brands across the world, including <a rel=\"noreferrer noopener\" href=\"https:\/\/www.asahisuperdry.com\/age-gate\/?s=1\" data-type=\"URL\" data-id=\"https:\/\/www.asahisuperdry.com\/age-gate\/?s=1\" target=\"_blank\"><strong>Asahi<\/strong><\/a>, <a rel=\"noreferrer noopener\" href=\"https:\/\/www.diageo.com\/en\" data-type=\"URL\" data-id=\"https:\/\/www.diageo.com\/en\" target=\"_blank\"><strong>Diageo<\/strong><\/a>, <a rel=\"noreferrer noopener\" href=\"https:\/\/www.unilever.com\" data-type=\"URL\" data-id=\"https:\/\/www.unilever.com\" target=\"_blank\"><strong>Unilever<\/strong><\/a>, <a rel=\"noreferrer noopener\" href=\"https:\/\/www.pepsico.com\" data-type=\"URL\" data-id=\"https:\/\/www.pepsico.com\" target=\"_blank\"><strong>Pepsi<\/strong><\/a>, <strong><a rel=\"noreferrer noopener\" href=\"https:\/\/www.bk.com\" data-type=\"URL\" data-id=\"https:\/\/www.bk.com\" target=\"_blank\">Burger King<\/a>,<\/strong> and <strong>Proctor and Gamble<\/strong> to name a few. He is known for creating particularly sales effective, visual concepts and for his ability to analyze and find obstacles to people&#8217;s connection to a brand, offering in response, practicle, cost effective, solutions to over come these obsticles.<\/p>\n\n\n\n<div class=\"is-layout-flex wp-container-8 wp-block-columns are-vertically-aligned-center\">\n<div class=\"is-layout-flow wp-block-column is-vertically-aligned-center\">\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Olive Garden Italy\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/OoYD38-YkcA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n<\/div>\n\n\n\n<div class=\"is-layout-flow wp-block-column is-vertically-aligned-center\">\n<figure class=\"wp-block-image aligncenter size-medium\"><img decoding=\"async\" loading=\"lazy\" width=\"300\" height=\"200\" src=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/MAS6132website-300x200.png\" alt=\"\" class=\"wp-image-377\" srcset=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/MAS6132website-300x200.png 300w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/MAS6132website.png 425w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"is-layout-flow wp-block-column is-vertically-aligned-center\">\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Gallo Cabernet\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/fblYztzO0_E?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n<\/div>\n<\/div>\n\n\n\n<p class=\"has-medium-font-size\"><strong>The Art World<\/strong><\/p>\n\n\n\n<p>In addition to his photography and directing career, Somoroff is also known in the art world. He is recognized for his unique approach to creating content and his use of philosophical signi\ufb01ers to form new communication structures with his art. He is successful in both the \ufb01ne art and the commercial art world&#8217;s and is known for blurring the distinction between the two. His art is focused on creating all forms of wealth and personal growth. He is a \u201creality Architect\u201d, and an expert in creating communication that promotes sustainable community. In an article published in the <em>Arts and Leisure<\/em> section of <em>The Sunday New York Times<\/em>, the author described Somoroff\u2019s approach to creating content as&nbsp;\u201cbig budgets, large teams, high-tech tools and an artist-manager equally at ease with corporate sponsors and Chelsea gallerists.\u201d The Times went on to say, &#8220;Mr. Somoroff\u2019s technical know-how and visual instincts may come from his commercial backgrounds, but the focus of his art has always been a spiritual and philosophical inquiry&#8221;.&nbsp;Exhibition Director Richard Klein at the <em>Aldrich Museum<\/em>, in commenting about Somoroff said&nbsp;\u201cThe artist as entrepreneur is a model that is coming to the fore.\u201d&nbsp;John Lee of Bravin\/Lee projects, Chelsea New York City quoted \u201che (Michael Somoroff) is going to use every means possible to convince the viewer\u201d. Somoroff studied religion and philosophy in Jerusalem, Israel for over two decades and is a published teacher\/consultant on the subject.<\/p>\n\n\n\n<h4 class=\"has-x-large-font-size\" id=\"poryectos-seleccionados\">Selected Projects<\/h4>\n\n\n\n<p class=\"has-medium-font-size\" style=\"text-decoration:underline\"><strong>The Vegetable Series<\/strong>, <strong>ICP 1979<\/strong><\/p>\n\n\n\n<p>Michael Somoroff\u2019s \ufb01rst major, museum exhibition was held at the <a rel=\"noreferrer noopener\" href=\"https:\/\/en.wikipedia.org\/wiki\/International_Center_of_Photography\" target=\"_blank\"><em>International Center for Photography<\/em><\/a>&nbsp;in&nbsp;New York City&nbsp;in 1979.&nbsp;The exhibition was titled <em>The Vegetable Series<\/em> and was organized under the direction of Cornell Capa and William A. Ewing.<br>The young photographers\u2019 work was brought to the attention of the museum by Richard Avedon and Yasuhiro Wakabayashi<br>(HIRO), who served as mentors to the young Somoroff. The exhibition received positive attention and was pro\ufb01led in <a rel=\"noreferrer noopener\" href=\"https:\/\/en.wikipedia.org\/wiki\/The_New_York_Times\" target=\"_blank\"><em>The New York Times<\/em><\/a>&nbsp;by Suzanne Slesin, who introduced the then 21 year old, \ufb02edgling&nbsp;photographer to the world by stating \u201cHis mother was a model, his father a well-known still-life photographer, and by the time Michael Somoroff was 19, he&nbsp;had already opened his own studio\u201d. Following the success of the exhibition, Somoroff received many editorial and advertising assignments from international magazines, launching his career.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-large\"><img decoding=\"async\" loading=\"lazy\" width=\"1024\" height=\"355\" src=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/vegetables-series-1024x355.png\" alt=\"\" class=\"wp-image-472\" srcset=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/vegetables-series-1024x355.png 1024w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/vegetables-series-300x104.png 300w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/vegetables-series-768x266.png 768w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/vegetables-series.png 1140w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Two of <em>THE VEGETABLE SERIES<\/em> examples.<\/figcaption><\/figure>\n\n\n\n<p class=\"has-medium-font-size\" style=\"text-decoration:underline\"><strong>Matrix of Sensations, Donald Kuspit, 2004<\/strong><\/p>\n\n\n\n<div class=\"is-layout-flex wp-container-11 wp-block-columns alignwide\">\n<div class=\"is-layout-flow wp-block-column is-vertically-aligned-center\" style=\"flex-basis:71%\">\n<p>Singled out for being one of the \ufb01rst artists to bridge analog&nbsp;art with digital art at the turn of the millennium, [artnet, Kuspit: <em>The Matrix of Sensations 2005<\/em>] in 2004 Somoroff created  a commentary on the history of modern art by connecting&nbsp; Duchamp\u2019s  &#8220;Nude Descending Staircase\u201d (Duchamp, 1912)&nbsp;with Gerhard Richter\u2019s painting&nbsp;\u201cEma\u201d&nbsp; (Richter, 1992) through the creation of his digital version of the same subject matter called \u201cQuery\u201d, thus connecting the cultural development from analog to digital.&nbsp;The&nbsp;eminent&nbsp;art critic Donald&nbsp;Kuspit said of \u201cQuery\u201d:&nbsp;&nbsp;&#8220;<em><a rel=\"noreferrer noopener\" href=\"http:\/\/www.artnet.com\/magazineus\/features\/kuspit\/kuspit8-5-05.asp\" data-type=\"URL\" data-id=\"http:\/\/www.artnet.com\/magazineus\/features\/kuspit\/kuspit8-5-05.asp\" target=\"_blank\">Michael Somoroff\u2019s computer generated digital video&nbsp;Query&nbsp;(2004) is a consummate example of such esthetic-conceptual interdependence. Somoroff\u2019s work, which is modeled on Duchamp\u2019s famous painting&nbsp;Nude Descending a Staircase&nbsp;(1912) as well as on Gerhard Richter\u2019s 1960 photo-realist painting of the same subject matter, shows the transition from analogue to digital art <\/a>&#8212; and their ironic simultaneity &#8212; with epitomizing exactitude. The nude at the top of the staircase is an analogue representation; by the time she reaches the bottom of the staircase she is a digital representation, more particularly, a sensation-saturated digital representation-codification of the time it took her to descend the staircase.<\/em>&#8220;<\/p>\n<\/div>\n\n\n\n<div class=\"is-layout-flow wp-block-column\" style=\"flex-basis:29%\">\n<figure class=\"wp-block-video\" style=\"padding-top:var(--wp--preset--spacing--50);padding-right:var(--wp--preset--spacing--50);padding-bottom:var(--wp--preset--spacing--50);padding-left:var(--wp--preset--spacing--50)\"><video controls poster=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/stairs-alone-copyweb.png\" src=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/nude_descending_compressed4-1.mp4\" playsinline><\/video><\/figure>\n<\/div>\n<\/div>\n\n\n\n<p class=\"has-medium-font-size\" style=\"text-decoration:underline\"><strong>Illumination I at the Rothko Chapel, 2006<\/strong><\/p>\n\n\n\n<p>In 2006, Somoroff was invited by the <a rel=\"noreferrer noopener\" href=\"https:\/\/en.wikipedia.org\/wiki\/Rothko_Chapel\" data-type=\"URL\" data-id=\"https:\/\/en.wikipedia.org\/wiki\/Rothko_Chapel\" target=\"_blank\"><strong><em>Rothko Chapel<\/em><\/strong><\/a> in Houston, Texas, to create a large-scale outdoor installation, <em>Illumination I<\/em>. It was the first such invitation ever made by the Chapel, and the only installation since <strong><a rel=\"noreferrer noopener\" href=\"https:\/\/en.wikipedia.org\/wiki\/Broken_Obelisk\" data-type=\"URL\" data-id=\"https:\/\/en.wikipedia.org\/wiki\/Broken_Obelisk\" target=\"_blank\">Barnett Newman\u2019s <em>Broken Obelisk<\/em><\/a><\/strong>  (Newman, 1963) was placed there some thirty years prior.&nbsp;<em>Illumination I<\/em>&nbsp;\u2013 a 12 ton sculpture of light translated via computer programs using photography as their platform, stands over 20 feet high and weighs more than 22,000 pounds. It is a sculptural translation of light falling through the ruins of a composite mosque, a virtual relic of the war in Iraq. Somoroff found his original inspiration through his own experience at the <em>Rothko Chapel<\/em>. He imagined the chapel as a metaphysical stage wherein events from anywhere unfold on the horizon and matrix of eternity. Taking elements from photographs and using the original \ufb02oor plan of the <em>Rothko Chapel<\/em> as a foundation, he employed a 3D animation program to create a virtual, sacred space \u2013 a composite mosque. The \ufb01nished sculpture extends photography into the realm of sculpture \u2013 the \ufb01rst to do so. Particularly given it was produced at the onset of the millinium. It&nbsp;is a frozen ray of light captured as it would fall through the window of that virtual space. As the art historian <strong>David Anfam<\/strong> wrote in the exhibition catalog:&nbsp;\u201cSomoroff\u2019s project renews Rothko\u2019s artistic endeavor, which, in a nutshell, sought to combine perceptual immediacy with spiritual import.\u201d&nbsp;As Rothko said upon completing the Chapel paintings: &#8220;<em>I wanted to paint both the finite and the infinite.<\/em>&#8221; Mark Rothko\u2019s son, <strong>Christopher Rothko<\/strong>, has commented &#8220;<em>Illumination I is a very ambitious piece. Its scale is large-physically, of course-but also in all disparate elements that it aims to combine:sculpture, architecture, fresco and video all make the short list.&nbsp;And the thematic aspirations are even larger: politics, human rights, spirituality, sacredness, humanism. It is like a grand opera\u2026<\/em>&#8220;<\/p>\n\n\n\n<figure class=\"wp-block-image alignwide size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"973\" height=\"276\" src=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/IaR-1web-2.png\" alt=\"\" class=\"wp-image-426\" srcset=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/IaR-1web-2.png 973w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/IaR-1web-2-300x85.png 300w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/IaR-1web-2-768x218.png 768w\" sizes=\"(max-width: 973px) 100vw, 973px\" \/><figcaption class=\"wp-element-caption\">General view of the Rothko Chapel project. <\/figcaption><\/figure>\n\n\n\n<p class=\"has-medium-font-size\" style=\"text-decoration:underline\"><strong>Illumination at Bravin\/Lee Programs, Chelsea, New York City, 2007<\/strong><\/p>\n\n\n\n<p>In 2007,&nbsp;Illumination,&nbsp;a companion piece to the sculpture&nbsp;<em>Illumination I<\/em>, was exhibited as an environmental, video installation at the <strong>B<a rel=\"noreferrer noopener\" href=\"https:\/\/www.bravinlee.com\" data-type=\"URL\" data-id=\"https:\/\/www.bravinlee.com\" target=\"_blank\">ravinLee Programs<\/a>,<\/strong> ,&nbsp;Chelsea, New York City. The BravinLee show included \ufb01ve digital projections. Including the \ufb01rst single lens, three-hundred, sixty degree projection, creating an immersive, video installation using high de\ufb01nition technology. The installation was placed in a pavilion speci\ufb01cally built for this purpose on 5000 sq. feet on the ground \ufb02oor of the gallery\u2019s building. Somoroff collaborated with <strong>Emmy Award <\/strong>winning, production designer and childhood friend, <strong>Keith Raywood<\/strong>. The centerpiece was the single lens projection, animation of a virtual mosque, projected on a 280 degree curved 14 meter screen. <em>Illumination<\/em> was a synthesis of \ufb01lm, video, high-de\ufb01nition computer animation, and photography. These components experienced in concert, created an architectural environment that was deeply, spiritually impactful and disruptive. The project was described in <em><strong>Per Contra magazine<\/strong><\/em> as&nbsp;&#8220;<em>Michael Somoroff\u2019s unprecedented creations, which can be counted both separately and together, as groundbreaking and genre-defying. Each work generates a total immersion experience realized through the application of invented technologies. Each reflects the artist\u2019s passion for light and its provocative use as both a real and virtual medium\u2013for video that is sculpture, and sculpture that is architecture. It is a conversion experience that may be once in a lifetime, but will hopefully last for all time &#8211; will radically change one\u2019s perspective on life, one\u2019s basic attitude to one\u2019s own life as well as that of other human beings<\/em>.&#8221;<\/p>\n\n\n\n<figure class=\"wp-block-image alignwide size-large\"><img decoding=\"async\" loading=\"lazy\" width=\"1024\" height=\"332\" src=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/ultima-breweb-1024x332.png\" alt=\"\" class=\"wp-image-490\" srcset=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/ultima-breweb-1024x332.png 1024w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/ultima-breweb-300x97.png 300w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/ultima-breweb-768x249.png 768w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/ultima-breweb.png 1163w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">&#8220;llumination&#8221; in Chelsea (NYC).<\/figcaption><\/figure>\n\n\n\n<p class=\"has-medium-font-size\" style=\"text-decoration:underline\"><strong>Generali 2005<\/strong><\/p>\n\n\n\n<p>In 2005 Somoroff was invited personally by Generali CEO Dr. Walter Thiessen, to create art for the corporate head quarters in Cologne, Germany. Ever blurring the lines between art and commerce, Somoroff is long known for his provocative pursuit of collapsing the distinction between \ufb01ne art and commercial art.(see above reference) As a result, the CEO retained him directly as an artist\/creative director and communication strategist, to create an entire re-education and communication program targeted specifically at stimulating the company\u2019s productivity. Somoroff produced two internal publications: the \ufb01rst was a comprehensive analysis of the corporate logo, the history of its development and its re-alignment with the brand, <em><strong>The Symbolic Power of Art and the Corporation<\/strong><\/em>. The second was a training book designed for upper management and the sales force called: <strong><em>Creating Wealth Through Sharing<\/em>.<\/strong> Somoroff consulted the&nbsp;construction of the German head quarters to ensure that it became a visually stimulating&nbsp;environment, progressing out-of-box thinking and innovation on the part of the entire Generali work force. He was commissioned to create large-scale artworks, which were&nbsp;installed, as well as to work directly with the CEO, to create art placed throughout the Generali of\ufb01ces to grow productivity. He developed&nbsp;initial projects leveraging art as a way of interfacing with the public and workforce in order to integrate them and stimulate sales. Projects&nbsp;such as the creation of an&nbsp;initial art collection and a&nbsp;large-scale, traveling installation de\ufb01ned innovation within the company and were considered radical by many at the time. Somoroff suggested&nbsp;exhibitions, videos, publications and installations as a way of art-as-entertainment, rather than using classical, strategic marketing models, making him one of the \ufb01rst artists to recognize the cultural transition from advertising to&nbsp;entertainment as a&nbsp;contemporary sales&nbsp;mechanism. He achieved engaging results by&nbsp;reallocating&nbsp;annually, tax&nbsp;deductible, marketing&nbsp;budgets that included serious art in order to grow&nbsp;revenues and increase brand identi\ufb01cation. The results of his many innovations were rewarded with signi\ufb01cantly, increasing annual budgets for years.<\/p>\n\n\n\n<div class=\"is-layout-flex wp-container-15 wp-block-columns\">\n<div class=\"is-layout-flow wp-block-column\">\n<figure class=\"wp-block-image alignleft size-large is-resized\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/generalli2-edited-1024x640.png\" alt=\"\" class=\"wp-image-120\" width=\"364\" height=\"227\" srcset=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/generalli2-edited-1024x640.png 1024w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/generalli2-edited-300x187.png 300w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/generalli2-edited-768x480.png 768w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/generalli2-edited.png 1367w\" sizes=\"(max-width: 364px) 100vw, 364px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"is-layout-flow wp-block-column\">\n<figure class=\"wp-block-image aligncenter size-large is-resized\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/LION_RAYS-alone-w-logocenterweb-1-1024x575.png\" alt=\"\" class=\"wp-image-197\" width=\"398\" height=\"227\"\/><\/figure>\n<\/div>\n\n\n\n<div class=\"is-layout-flow wp-block-column\">\n<figure class=\"wp-block-image alignright size-large is-resized\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/generali-1-edited-1024x640.png\" alt=\"\" class=\"wp-image-119\" width=\"326\" height=\"227\"\/><\/figure>\n<\/div>\n<\/div>\n\n\n\n<p class=\"has-medium-font-size\" style=\"text-decoration:underline\"><strong>The Red Sea, Kunst Station St. Peter, Cologne, Friedhelm Mennekes, 2008<\/strong><\/p>\n\n\n\n<p>2008 Somoroff was honored with the invitation to create the finale, \u201cfarewell\u201d exhibition for celebrated curator Father <strong>Friedhelm Mennekes<\/strong> of <em><strong>St. Peter Art Station<\/strong><\/em>, Cologne, Germany. He created a sculpture named&nbsp;<strong><em>The Red Sea<\/em><\/strong>, which stood three stories tall and was made from thousands of pieces of wood. It was visited by several thousand people and culminated in a crowded, standing room only, Somoroff lecture before the Easter Mass. Reviewed in the <em>Kolner Stadt Anzeiger<\/em> &#8220;Somoroff stages this archaic story of belief and doubt, devotion and fear with humble simplicity.&nbsp;Simple slats pile up to form a mighty colossus, a gigantic wave that seems frozen, but which could collapse at any moment, dragging all life with it into the black seabed.&nbsp;A truly dramatic sculpture, breathtaking, which elicits a new dimension from the architecture of the church space.&#8221;<\/p>\n\n\n\n<blockquote class=\"wp-block-quote has-normal-font-size\">\n<p>\u201cThousands of pieces of split wood form a sculptural implementation of the division of the Red Sea, which, at ten meters long, takes up the entire central nave and at a height of twelve meters exceeds the galleries.&nbsp;Visitors have the opportunity to pass through the Red Sea through the narrow gap and thus enter the world of experience of the people of Israel, into the field of tension of the believer as known in the Judeo-Christian tradition: between fear and hope, doubt and belief, grumbling and confess.\u201d&nbsp;<\/p>\n<cite>Thomas Brill, <a rel=\"noreferrer noopener\" href=\"https:\/\/www.bild.de\/\" target=\"_blank\">Bildjournelist<\/a>.<br><\/cite><\/blockquote>\n\n\n\n<figure class=\"wp-block-image alignwide size-large\"><img decoding=\"async\" loading=\"lazy\" width=\"1024\" height=\"260\" src=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/bravinlee-web--1024x260.png\" alt=\"\" class=\"wp-image-484\" srcset=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/bravinlee-web--1024x260.png 1024w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/bravinlee-web--300x76.png 300w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/bravinlee-web--768x195.png 768w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/bravinlee-web-.png 1140w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Process; opening and final presentation of <em>The Red Sea<\/em>.<\/figcaption><\/figure>\n\n\n\n<p class=\"has-medium-font-size\" style=\"text-decoration:underline\"><strong><strong> August Sander and Michael Somoroff, On the Occasion of the Venice Biennale<\/strong>, 2011<\/strong><\/p>\n\n\n\n<p>In 2010 Somoroff \ufb01nished his work:&nbsp;<strong><em>Absence of Subject<\/em><\/strong>, which was exhibited on the occasion of the 2011 <strong><em>Venice Biennale<\/em><\/strong>.&nbsp;It was the \ufb01rst of its kind to be exhibited directly on Piazza San Marco, Venice, Italy. Michael Somoroff\u2019s project&nbsp;<em>Absence of Subject<\/em>, began as a way to reconsider August Sander\u2019s life work, <em>People of the 20th Century<\/em>, a typology of the human race begun in 1911. It took Somoroff seven months to complete the \ufb01rst image and seven years to speci\ufb01cally select forty works and then to \u2018excavate\u2019 the subjects from Sander\u2019s iconic images. In making the work, Somoroff questioned his own connections to Sander\u2019s subjects. By removing Sanders\u2019 subjects, enigmatic \ufb01gures to Somoroff, he revealed the fragility of mortality.&nbsp;<em>Absence of Subject<\/em>&nbsp;is an exercise in appropriation, but more astonishingly it stands as a document that re\ufb02ects the development of art in the 20th century. Amber Terranova in <em><strong>The New Yorker<\/strong><\/em> called it \u201can unconventional homage\u201d to legendary August Sander. <em>Absence of Subject<\/em>&nbsp;has toured extensively to many museums throughout Europe and the U.S. The entire body of the&nbsp;\u201cAbsence of Subject\u201d&nbsp;project, 40 black and white photographs, 7 video installations and a book by the same name, was acquired by the <em><strong>Museum of Fine Arts <\/strong><\/em>(Houston, Texas) under the direction of world renown, photography curator <strong>Anne Wilkes Tucker,<\/strong> who said of the work: \u201cby offering comparison between presence and absence, he (Somoroff) imitates the experience of loss, something rarely achieved through photographs.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image alignwide size-large\"><img decoding=\"async\" loading=\"lazy\" width=\"1024\" height=\"260\" src=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/absent-of-subject-web-1024x260.png\" alt=\"\" class=\"wp-image-481\" srcset=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/absent-of-subject-web-1024x260.png 1024w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/absent-of-subject-web-300x76.png 300w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/absent-of-subject-web-768x195.png 768w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/absent-of-subject-web.png 1140w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">On the occasion of the 2011 Biennale, a tribute to the master photographer August Sander by Somoroff<\/figcaption><\/figure>\n\n\n\n<p class=\"has-medium-font-size\" style=\"text-decoration:underline\"><strong><strong>Giannina Braschi Recitation Videos, 2011<\/strong><\/strong><\/p>\n\n\n\n<p>In 2011, Somoroff produced a series of short videos of poet&nbsp;<a href=\"https:\/\/en.wikipedia.org\/wiki\/Giannina_Braschi\"><strong>Giannina Braschi<\/strong><\/a>&nbsp;reading from <a href=\"https:\/\/en.wikipedia.org\/wiki\/United_States_of_Banana\">United States of Banana<\/a>, a work of&nbsp;<a href=\"https:\/\/en.wikipedia.org\/wiki\/Postcolonial_literature\">Postcolonial literature<\/a>;. Novelist <strong>Mircea Cartarescu<\/strong> referred to Braschi\u2019s postmodern masterpiece as \u201cThe best work of art on the subject of September 11th that I have ever experienced.\u201d<\/p>\n\n\n\n<div class=\"is-layout-flex wp-container-19 wp-block-columns\">\n<div class=\"is-layout-flow wp-block-column\" style=\"flex-basis:25%\"><\/div>\n\n\n\n<div class=\"is-layout-flow wp-block-column\" style=\"flex-basis:50%\">\n<figure class=\"wp-block-video\"><video controls poster=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/DOTB-pt.png\" src=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/DOTB-pt.mp4\" playsinline><\/video><figcaption class=\"wp-element-caption\">Giannina Braschi  <em><a rel=\"noreferrer noopener\" href=\"https:\/\/en.wikipedia.org\/wiki\/United_States_of_Banana\" target=\"_blank\">&#8220;United States of Banana<\/a><\/em>&#8220;<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"is-layout-flow wp-block-column\" style=\"flex-basis:25%\"><\/div>\n<\/div>\n\n\n\n<p class=\"has-medium-font-size\" style=\"text-decoration:underline\"><strong>A Moment. Master Photographers: Portraits by Michael Somoroff<\/strong><\/p>\n\n\n\n<p>In 1978, as an assistant, Somoroff began photographing twenty-\ufb01ve of his heroes, mentors and the legends of analog photography. As an assistant to many of photography\u2019s giants, known to him as colloquies and friends of his parents, these photo sessions granted to Michael were deeply personal, and the body of&nbsp;work&nbsp;re\ufb02ects a mutual respect between artists.&nbsp;Nearly 45 years after the \ufb01rst photo session, this historic body of work was published in 2012 in the book&nbsp;<em><strong>A Moment: Master Photographers, Portraits by Michael Somoroff.<\/strong><\/em><br><em>American Photo Magazine<\/em> noted \u201cIn a series of evocative portraits, Somoroff shows us photographic legends whose names are more familiar than their faces, including such elusive \ufb01gures as <a rel=\"noreferrer noopener\" href=\"https:\/\/es.wikipedia.org\/wiki\/Andr\u00e9_Kert\u00e9sz\" data-type=\"URL\" data-id=\"https:\/\/es.wikipedia.org\/wiki\/Andr\u00e9_Kert\u00e9sz\" target=\"_blank\"><strong>Andr\u00e9 Kert\u00e9sz<\/strong><\/a>, <strong><a rel=\"noreferrer noopener\" href=\"https:\/\/es.wikipedia.org\/wiki\/Brassa\u00ef\" data-type=\"URL\" data-id=\"https:\/\/es.wikipedia.org\/wiki\/Brassa\u00ef\" target=\"_blank\">Brassa\u00ef<\/a><\/strong>, <strong><a rel=\"noreferrer noopener\" href=\"https:\/\/es.wikipedia.org\/wiki\/Robert_Doisneau\" data-type=\"URL\" data-id=\"https:\/\/es.wikipedia.org\/wiki\/Robert_Doisneau\" target=\"_blank\">Robert Doisneau<\/a>,<\/strong> <strong>Arnold Newman<\/strong>, <a rel=\"noreferrer noopener\" href=\"https:\/\/es.wikipedia.org\/wiki\/Horst_P._Horst\" data-type=\"URL\" data-id=\"https:\/\/es.wikipedia.org\/wiki\/Horst_P._Horst\" target=\"_blank\"><strong>Horst<\/strong><\/a> and others.\u201d Lucy Davies in <em>The Telegraph<\/em> wrote: \u201cExtraordinary to look into eyes that have shaped the way we have seen the 20th century.\u201d <em>Stern<\/em> magazine went on to say&nbsp;\u201cthe total of 30 large format, black and white photographs, make the inclusion of Michael Somoroff\u2019s self portrait a must.\u201d Acclaimed as one of the best photography books, worldwide of the year 2012 (<em>Pop Photo<\/em>) and Best Photography Book of the Year award from <em>American Photographer.<\/em><\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" loading=\"lazy\" width=\"1024\" height=\"260\" src=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/master-foto1-1024x260.png\" alt=\"\" class=\"wp-image-488\" srcset=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/master-foto1-1024x260.png 1024w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/master-foto1-300x76.png 300w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/master-foto1-768x195.png 768w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/02\/master-foto1.png 1140w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em>Frances Mclaughlin-Gill, Andr\u00e9 Kert\u00e9sz, BRASSA\u00cf and Jacques Henri Lartigue<\/em>&#8230; Some of Masters.<\/figcaption><\/figure>\n\n\n\n<p class=\"has-medium-font-size\"><strong>Selected Collections<\/strong><\/p>\n\n\n\n<p>Somoroff&#8217;s work is held in museum and art collections around the world including the&nbsp;<a href=\"https:\/\/en.wikipedia.org\/wiki\/Museum_of_Modern_Art\">Museum of Modern Art<\/a>, New York City, Museum of Fine Arts, Houston, Texas, Smithsonian Institution, Washington, D.C.; and Museo Correr, Venice Italy, The International Center for Photography, New York City.<\/p>\n\n\n\n<p>Somoroff is an official &#8220;artist in residence&#8221; at the Wyss Translational Center, in association with the University of Zurich and ETH, Zurich.<\/p>\n\n\n\n<p><strong>Selected Publications<\/strong><\/p>\n\n\n\n<p><\/p>\n\n\n\n<ul>\n<li><em>The Vegetable Series<\/em>, International Center of Photography, New York, 1985<\/li>\n\n\n\n<li><em>Kinder in Europa.<\/em>&nbsp;Nicolai, 1988&nbsp;<a href=\"https:\/\/en.wikipedia.org\/wiki\/ISBN_(identifier)\">ISBN<\/a>&nbsp;<a href=\"https:\/\/en.wikipedia.org\/wiki\/Special:BookSources\/9783875842227\">9783875842227<\/a>.<\/li>\n\n\n\n<li><em>Image of the Not-Seen: Search for Understanding.<\/em>&nbsp;The Rothko Chapel Art Series, 2005.&nbsp;<a href=\"https:\/\/en.wikipedia.org\/wiki\/ISBN_(identifier)\">ISBN<\/a>&nbsp;<a href=\"https:\/\/en.wikipedia.org\/wiki\/Special:BookSources\/0945472048\">0945472048<\/a>.<\/li>\n\n\n\n<li><em>Michael Somoroff: Illumination I,<\/em>&nbsp;<a href=\"https:\/\/en.wikipedia.org\/wiki\/Rothko_Chapel\">Rothko Chapel<\/a>, Rothko Chapel Books, 2008.&nbsp;<a href=\"https:\/\/en.wikipedia.org\/wiki\/ISBN_(identifier)\">ISBN<\/a>&nbsp;<a href=\"https:\/\/en.wikipedia.org\/wiki\/Special:BookSources\/9780979091605\">9780979091605<\/a>.<\/li>\n\n\n\n<li><em>Absence of Subject.<\/em>&nbsp;Walter K\u00f6nig, 2011.&nbsp;<a href=\"https:\/\/en.wikipedia.org\/wiki\/ISBN_(identifier)\">ISBN<\/a>&nbsp;<a href=\"https:\/\/en.wikipedia.org\/wiki\/Special:BookSources\/978-0983615606\">978-0983615606<\/a>.<\/li>\n\n\n\n<li><em>A Moment. Master Photographers, Portraits by Michael Somoroff.<\/em>&nbsp;Damiani, 2012.&nbsp;<a href=\"https:\/\/en.wikipedia.org\/wiki\/ISBN_(identifier)\">ISBN<\/a>&nbsp;<a href=\"https:\/\/en.wikipedia.org\/wiki\/Special:BookSources\/9788862082112\">9788862082112<\/a>.<\/li>\n\n\n\n<li><em>Two Crowns of The Egg.<\/em>&nbsp;Michael Somoroff,&nbsp;<a href=\"https:\/\/en.wikipedia.org\/wiki\/Donald_Kuspit\">Donald Kuspit<\/a>,&nbsp;<a href=\"https:\/\/en.wikipedia.org\/wiki\/Giannina_Braschi\">Giannina Braschi<\/a>, Damiani, 2014.&nbsp;<a href=\"https:\/\/en.wikipedia.org\/wiki\/ISBN_(identifier)\">ISBN<\/a>&nbsp;<a href=\"https:\/\/en.wikipedia.org\/wiki\/Special:BookSources\/9788862083539\">9788862083539<\/a>.<\/li>\n\n\n\n<li>The Eyes magazine special publication, Michael Somoroff, Absence of Subject, PhotoPlastik, 2014<\/li>\n<\/ul>\n\n\n\n<figure class=\"is-layout-flex wp-block-gallery-20 wp-block-gallery has-nested-images columns-default is-cropped\">\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" loading=\"lazy\" width=\"1024\" height=\"243\" src=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/05\/Screen-Shot-2023-05-25-at-10.30.36-AM-1024x243.jpg\" alt=\"\" class=\"wp-image-604\" srcset=\"https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/05\/Screen-Shot-2023-05-25-at-10.30.36-AM-1024x243.jpg 1024w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/05\/Screen-Shot-2023-05-25-at-10.30.36-AM-300x71.jpg 300w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/05\/Screen-Shot-2023-05-25-at-10.30.36-AM-768x183.jpg 768w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/05\/Screen-Shot-2023-05-25-at-10.30.36-AM-1536x365.jpg 1536w, https:\/\/michaelsomoroff.org\/wp-content\/uploads\/2023\/05\/Screen-Shot-2023-05-25-at-10.30.36-AM-2048x487.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/figure>\n\n\n\n<p><strong>Selected Exhibitions<\/strong>[<a href=\"https:\/\/en.wikipedia.org\/w\/index.php?title=Michael_Somoroff&amp;action=edit&amp;section=6&amp;editintro=Template:BLP_editintro\">edit<\/a>]<\/p>\n\n\n\n<ul>\n<li>2021: Absence of Subject, UnSeen, Amsterdam, Netherlands<\/li>\n\n\n\n<li>2015: Installation Video: Inauguration of the Wyss Z\u00fcrich Translational Center ETH Z\u00fcrich and University of Z\u00fcrich<\/li>\n\n\n\n<li>2015: Master Photographers, \u200bSol Mednick Gallery at the University of the Arts in Philadelphia<\/li>\n\n\n\n<li>2015: Absence of Subject, Ruth Leuchter gallery, D\u00fcsseldorf, Germany<\/li>\n\n\n\n<li>2015: Absence of Subject, Villa Vauban, Luxembourg City Museum<\/li>\n\n\n\n<li>2014: Paris Photo Los Angeles, mixed collection, Julian sander Gallerie<\/li>\n\n\n\n<li>2014: Retrospective, MIA Art Fair, Milan, Italy<\/li>\n\n\n\n<li>2014: Absence of Subject, Benaki Museum, Athens, Greece<\/li>\n\n\n\n<li>2014: Absence of Subject, Sirius Arts Centre, Cork, Ireland<\/li>\n\n\n\n<li>2014: Absence of Subject, Encuentros Abiertos in Buenos Aires, Argentina<\/li>\n\n\n\n<li>2014: Absence of Subject, Museo Nacional des Artes Visuales, Montevideo, Uruguay<\/li>\n\n\n\n<li>2014: Portraits and Nudes, Paris Photo, Feroz Gallery, Paris, France<\/li>\n\n\n\n<li>2013; Master Photographers, Fondazione Francesco Fabbri, Treviso, Italy,<\/li>\n\n\n\n<li>2013:&nbsp;Master Photographers, Galerie Julian Sander, Bonn, Germany,&nbsp;<\/li>\n\n\n\n<li>2013: Absence of Subject, Sala Municipal de Exposiciones de las Francesas, Valladolid, Spain<\/li>\n\n\n\n<li>2013: Absence of Subject, Tenerife Espacio de las Artes, Tenerife, Spain,&nbsp;<\/li>\n\n\n\n<li>2013: Absence of Subject, Centro de Arte la Regenta, Las Palmas de Gran Canaria, Spain<\/li>\n\n\n\n<li>2013: Absence of Subject, Fondazione Stelline, Milan, Italy<\/li>\n\n\n\n<li>2012:&nbsp;Tefillah I, Galerie Thomas Schulte, Berlin, Germany<\/li>\n\n\n\n<li>2012: Absence of Subject, Gallerie Image, Aarhus, Denmark<\/li>\n\n\n\n<li>2012: Absence of Subject, Villa Brandolini F4 Un\u2019Idea di Fotografia, Solighetto-Treviso, Italy,<\/li>\n\n\n\n<li>2012: Tefillah 1, Art Basel, Galerie Thomas Schulte, Basel, Switzerland<\/li>\n\n\n\n<li>2008:&nbsp;Absence of the Subject, Fotofest Houston, Offsite, Houston, Texas, 2008; 2011: Absense of Subject, Piazza San Marco, on the occasion of the&nbsp;Venice Biennale, Venice, Italy<\/li>\n\n\n\n<li>2008-2015: Illumination 1, OMI International Art Center, Sculpture park, Ghent, NY<\/li>\n\n\n\n<li>2008:&nbsp;Genesis, Video Animation during Easter Mass, Kunst-Station Sankt Peter, K\u00f6ln, Germany<\/li>\n\n\n\n<li>2008:&nbsp;The Red Sea,&nbsp;Kunst-Station Sankt Peter, K\u00f6ln, Germany<\/li>\n\n\n\n<li>Abu Dhabi Art Fair, Collective Work, Abu Dhabi, Emirates Palace<\/li>\n\n\n\n<li>2007:&nbsp;Vitamin W, The Wonder Factor, Newark, New Jersey, USA<\/li>\n\n\n\n<li>2006:&nbsp;Illumination,&nbsp;Rothko Chapel, Houston, Texas, 2006;&nbsp;Illumination, The Aldrich Contemporary Art Museum, Ridgefield, CT, 2007; BravinLee Programs, Chelsea, New York City, NY, 2007;&nbsp;Illumination, OMI International Art Center, Sculpture park, Ghent, NY, 2008-2012<\/li>\n\n\n\n<li>2005: Michael Rees, Michael Somoroff, Yael Kanarek &amp; Manfred Mohr: Consciousness and Process, The Digital in Sculpture, Photography, Animation Deborah Colton Gallery, Houston, Texas<\/li>\n\n\n\n<li>2005: Integrating the Digital Consciousness, Art Houston, Houston, Texas, USA, Deborah Colton Gallery, in collaboration with Steven Sacks.<\/li>\n\n\n\n<li>2005: Touch and Temperament, Steve Sacks\/Bitforms Gallery, ARCO, Madrid<\/li>\n\n\n\n<li>\u201cThe Physics of Spirituality\u201d, Westwood Gallery, Soho, New York City, USA.<\/li>\n\n\n\n<li>\u201cDigital Consciousness, Michael Somoroff, Michael Rees\u201d during Art Cologne Dieter Zeibig, K99, K\u00f6ln, Germany<\/li>\n\n\n\n<li>2003: \u201cConsciousness and Process, The Digital in Sculpture, Photography, Animation.\u201d Michael Rees &amp; Michael Somoroff, Silvermine Guild Art Center, New Canaan, CT, USA.<\/li>\n\n\n\n<li>Mucsarnok Palace of Art, Budapest.<\/li>\n\n\n\n<li>Museum of Design and the ARCHA Theatre, Prague, Czech Republic. State Gallery of Art, Sopot, Poland.<\/li>\n\n\n\n<li>State Museum of Technique and Design, Warsaw, Poland.<\/li>\n\n\n\n<li>Honolulu Academy of Arts, Honolulu, HI, USA.<\/li>\n\n\n\n<li>High Museum of Art, Atlanta, GA, USA.<\/li>\n\n\n\n<li>Museum of Contemporary Art, Chicago, IL, USA.<\/li>\n\n\n\n<li>The San Francisco Museum of Modern Art, San Francisco, CA, USA. Detroit Institute of Art, Detroit, MI, USA<\/li>\n\n\n\n<li>Los Angeles County Museum of Art, Los Angeles, CA, USA.<\/li>\n\n\n\n<li>1996: AICP Exhibiton (Association of Independant Commercials Producers)<\/li>\n\n\n\n<li>Mucsarnok Palace of Art, Budapest.<\/li>\n\n\n\n<li>State Gallery of Art, Sopot, Poland.<\/li>\n\n\n\n<li>State Museum of Technique and Design, Warsaw. Museum of Design and the ARCHA Theatre, Prague.<\/li>\n\n\n\n<li>Honolulu Academy of Arts, Honolulu, HI, USA.<\/li>\n\n\n\n<li>High Museum of Art, Atlanta, Ga, USA.<\/li>\n\n\n\n<li>Museum of Contemporary Art, Chicago, IL, USA.<\/li>\n\n\n\n<li>1994: AICP Exhibition (Association of Independant Commercials Producers) Los Angeles, County Museum of Art, Los Angeles, CA, USA. Detroit Institute of Art, Detroit, MI, USA.<\/li>\n\n\n\n<li>1986: SOMOROFF: Moving Nudes, Perrain Gallerie, Paris, France<\/li>\n\n\n\n<li>1986: Frankfurt Kunstverein, Men Seeing Men, Frankfurt, Germany<\/li>\n\n\n\n<li>1985: The Vegetable Series, Olympus Galerie, Amsterdam, Netherlands<\/li>\n\n\n\n<li>1985: Photokina, Modern Color Photography, curated by Manfred Heiting, K\u00f6ln, Germany<\/li>\n\n\n\n<li>1985: The Vegetable Series, Olympus Galerie, Hamburg, Germany&nbsp;<\/li>\n\n\n\n<li>1980: Photokina, Sixty years of Photography, Cologne, Germany<\/li>\n\n\n\n<li>1980: The Vegetable Series, The International Center for Photography, New York City<\/li>\n\n\n\n<li>1978: Rizzoli International, Michael Somoroff, New York City<\/li>\n<\/ul>\n\n\n\n<p><strong>Awards<\/strong><\/p>\n\n\n\n<ul>\n<li>1987 Kodak book Prize, Best Photography Book of the Year, <em>Kinder of Europe<\/em><\/li>\n\n\n\n<li><em>1994 <\/em>Association of Independent Commercial Producers (AICP) Gold Metal, Museum of Modern Art, New York, USA<\/li>\n\n\n\n<li><em>1996 <\/em>Association of Independent Commercial Producers (AICP) Gold Metal, Museum of Modern Art, New York, USA<\/li>\n\n\n\n<li>1984-1985 Bronze and Gold Lions, <a href=\"https:\/\/en.wikipedia.org\/wiki\/Cannes_Lions_International_Festival_of_Creativity\">Cannes Lions International Festival of Creativity<\/a><\/li>\n\n\n\n<li>2012: American Photo Best Photo Books of the Year prize, <em>A Moment. Master Photographers: Portraits by Michael Somoroff<\/em><\/li>\n\n\n\n<li>Clio, Andy Awards,CA Awards, Mobius Awards, Canadian Besse Award, New York Art Directors Club, Society of Publication Designers Award<\/li>\n<\/ul>\n\n\n\n<p><strong>Honors<\/strong><\/p>\n\n\n\n<ul>\n<li>Official \u201cartist in residence\u201d at the Wyss Translation Center, University of Zurich and a communications consultant collaborating with ETH (Swiss Federal Institute of Technology)<\/li>\n\n\n\n<li>Executive Director, New Light Foundation, Jerusalem, Israel<\/li>\n\n\n\n<li>New York City Board Member, The Sculptor\u2019s Guild of America<\/li>\n\n\n\n<li>Honorary Executive Committee Member, Sculpture Center, Queens, New York<\/li>\n\n\n\n<li>Honorary Member of the judging committee, Director\u2019s Guild of America Film Festival Member of the Director\u2019s Guild of America<\/li>\n<\/ul>\n\n\n\n<p><strong>Grants<\/strong><\/p>\n\n\n\n<ul>\n<li>1979: Eastman Kodak Co. \u2013 <em>The Philharmonic Project<\/em><\/li>\n\n\n\n<li>1979: Nikon Corporation, \u2013 <em>The Philharmonic Project<\/em><\/li>\n\n\n\n<li><em>1980: <\/em>Spring Mills Corporation Installation<\/li>\n<\/ul>\n\n\n\n<p><strong>Publishing Collaborations<\/strong><\/p>\n\n\n\n<ul>\n<li><em>Abschied von der Realit\u00e4t<\/em>, by Joachim Koch, Rowohlt Verlag 1988<\/li>\n\n\n\n<li>2006: <em>You Should See Yourself, Jewish Identity in Post Modern American Culture<\/em> by Vincent Brook, Rutgers University Press, 2006<\/li>\n\n\n\n<li><em>Art Kane <\/em>by Jonathan Kane, Holly Anderson, Michael Somoroff, Peter Doggett<\/li>\n\n\n\n<li><em>Maripol Polaroids<\/em>, by Maripol, forward by Michael Somoroff<\/li>\n<\/ul>\n\n\n\n<p><strong>Art Fairs<\/strong><\/p>\n\n\n\n<p>Arco, Art Basil, Mia, the Armory, Paris Photo, Photokina, Photofest Houston, UnSeen Amsterdam&nbsp;<\/p>\n\n\n\n<p class=\"has-medium-font-size\"><\/p>\n\n\n\n<ul>\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-1\"><strong>^<\/strong><\/a>&nbsp;<em>Terranova, Amber (April 2014).&nbsp;<\/em><a href=\"https:\/\/www.newyorker.com\/culture\/photo-booth\/the-subject-of-no-subject\"><em>&#8220;The Subject of No Subject&#8221;<\/em><\/a><em>.&nbsp;The New Yorker. Retrieved&nbsp;2020-04-29.<\/em><\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-2\"><strong>^<\/strong><\/a>&nbsp;<em>Segal, David (2011-10-08).&nbsp;<\/em><a href=\"https:\/\/www.nytimes.com\/2011\/10\/09\/business\/in-food-commercials-flying-doughnuts-and-big-budgets.html\"><em>&#8220;Grilled Chicken, That Temperamental Star&#8221;<\/em><\/a><em>.&nbsp;The New York Times.&nbsp;<\/em><a href=\"https:\/\/en.wikipedia.org\/wiki\/ISSN_(identifier)\"><em>ISSN<\/em><\/a><a href=\"https:\/\/www.worldcat.org\/issn\/0362-4331\"><em>0362-4331<\/em><\/a><em>. Retrieved&nbsp;2020-04-29.<\/em><\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-3\"><strong>^<\/strong><\/a>&nbsp;<a href=\"http:\/\/galeriejuliansander.de\/artists\/ben-somoroff\/\"><em>&#8220;Ben-somoroff&#8221;<\/em><\/a><em>. 8 February 2017.<\/em><\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-4\"><strong>^<\/strong><\/a>&nbsp;<a href=\"https:\/\/www.moma.org\/artists\/61627\"><em>&#8220;Ben Somoroff&#8221;<\/em><\/a><em>.&nbsp;The Museum of Modern Art. Retrieved&nbsp;2020-04-29.<\/em><\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-5\"><strong>^<\/strong><\/a>&nbsp;<em>Selsin, Suzanne (10 October 1979).&nbsp;<\/em><a href=\"https:\/\/www.nytimes.com\/1979\/10\/10\/archives\/one-mans-view-of-cutup-vegetables.html\"><em>&#8220;One Man&#8217;s View Of Cut\u2010Up Vegetables&#8221;<\/em><\/a><em>.&nbsp;The New York Times.<\/em><\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-:0_6-0\"><strong>^<\/strong><\/a>&nbsp;<a href=\"https:\/\/www.icp.org\/content\/somoroff-the-vegetable-series\"><em>&#8220;Somoroff, the vegetable series&#8221;<\/em><\/a><em>.&nbsp;International Center of Photography. 2016-05-17. Retrieved&nbsp;2020-04-29.<\/em><\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-7\"><strong>^<\/strong><\/a>&nbsp;<a href=\"https:\/\/www.loenke.com\/interviews-en\/a-moment-with-michael-somoroff\/\"><em>&#8220;&#8221;A Moment&#8221; with Michael Somoroff&#8221;<\/em><\/a><em>.&nbsp;LOENKE magazine. 2016-06-05. Retrieved&nbsp;2020-04-29.<\/em><\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-8\"><strong>^<\/strong><\/a>&nbsp;<em>Segal, David (8 October 2011).&nbsp;<\/em><a href=\"https:\/\/www.nytimes.com\/2011\/10\/09\/business\/in-food-commercials-flying-doughnuts-and-big-budgets.html\"><em>&#8220;In Food Commercials, Flying Doughnuts and Big Budgets&#8221;<\/em><\/a><em>.&nbsp;The New York Times.<\/em><\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-9\"><strong>^<\/strong><\/a>&nbsp;<a href=\"https:\/\/www.ai-ap.com\/publications\/article\/4174\/master-photographers-by-michael-somoroff.html\"><em>&#8220;AI-AP | DART&nbsp;\u00bb Master Photographers by Michael Somoroff&#8221;<\/em><\/a><em>.&nbsp;www.ai-ap.com. Retrieved&nbsp;2023-02-15.<\/em><\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-Bard_2007_10-0\"><strong>^<\/strong><\/a>&nbsp;<em>Bard, Elizabeth (June 17, 2007).&nbsp;<\/em><a href=\"https:\/\/query.nytimes.com\/gst\/fullpage.html?res=9A00E0D7173FF934A25755C0A9619C8B63\"><em>&#8220;ART; A 50-Year-Old Upstart Redefines &#8216;Emerging'&#8221;<\/em><\/a><em>.&nbsp;The New York Times. Retrieved&nbsp;May 31,&nbsp;2016.<\/em><\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-11\"><strong>^<\/strong><\/a>&nbsp;<a href=\"http:\/\/ilicensemusic.com\/license\/rrich-illum\"><em>&#8220;License a song from the album &#8220;Illumination&#8221; by Robert Rich&#8221;<\/em><\/a><em>.&nbsp;ilicensemusic.com. Retrieved&nbsp;2020-04-29.<\/em><\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-12\"><strong>^<\/strong><\/a>&nbsp;<a href=\"https:\/\/www.gettyimages.com\/detail\/news-photo\/somoroff-michael-artist-usa-in-front-of-his-wooden-news-photo\/545016673\"><em>&#8220;Somoroff, Michael &#8211; Artist, USA &#8211; in front of his wooden sculpture&#8230;&#8221;<\/em><\/a><em>Getty Images. Retrieved&nbsp;2020-04-29.<\/em><\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-Terranova_2014_13-0\"><strong>^<\/strong><\/a>&nbsp;<em>Terranova, Amber (March 1, 2014).&nbsp;<\/em><a href=\"http:\/\/www.newyorker.com\/culture\/photo-booth\/the-subject-of-no-subject\"><em>&#8220;The Subject of No Subject&#8221;<\/em><\/a><em>.&nbsp;The New Yorker. Retrieved&nbsp;May 31,&nbsp;2016.<\/em><\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-14\"><strong>^<\/strong><\/a>&nbsp;<em>Dyer, Geoff (2017-10-11).&nbsp;<\/em><a href=\"https:\/\/www.nytimes.com\/2017\/10\/11\/magazine\/the-photographer-who-saw-americas-monuments-hiding-in-plain-sight.html\"><em>&#8220;The Photographer Who Saw America&#8217;s Monuments Hiding in Plain Sight&#8221;<\/em><\/a><em>.&nbsp;The New York Times.&nbsp;<\/em><a href=\"https:\/\/en.wikipedia.org\/wiki\/ISSN_(identifier)\"><em>ISSN<\/em><\/a><a href=\"https:\/\/www.worldcat.org\/issn\/0362-4331\"><em>0362-4331<\/em><\/a><em>. Retrieved&nbsp;2020-04-29.<\/em><\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-15\"><strong>^<\/strong><\/a>&nbsp;<a href=\"https:\/\/wsimag.com\/art\/2284-sander-and-somoroff-absence-of-subject\"><em>&#8220;Sander and Somoroff. Absence of Subject&#8221;<\/em><\/a><em>.&nbsp;Wall Street International. 2013-03-01. Retrieved&nbsp;2020-04-29.<\/em><\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-Arts_16-0\"><strong>^<\/strong><\/a>&nbsp;<em>Arts, The Museum of Fine.&nbsp;<\/em><a href=\"https:\/\/web.archive.org\/web\/20160701214830\/https:\/collections.mfah.org\/art\/search?nationality=American&amp;artist=Michael+Somoroff\"><em>&#8220;The Museum of Fine Arts&#8221;<\/em><\/a><em>.&nbsp;MFAH. Archived from&nbsp;<\/em><a href=\"https:\/\/collections.mfah.org\/art\/search?nationality=American&amp;artist=Michael+Somoroff\"><em>the original<\/em><\/a><em>&nbsp;on July 1, 2016. Retrieved&nbsp;May 31,&nbsp;2016.<\/em><\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-17\"><strong>^<\/strong><\/a>&nbsp;Evergreen Review video&nbsp;<a href=\"https:\/\/web.archive.org\/web\/20150402121638\/http:\/www.evergreenreview.com\/128\/review_us_of_banana.shtml\"><em>&#8220;Evergreen Review&#8221;<\/em><\/a><em>. Archived from&nbsp;<\/em><a href=\"http:\/\/www.evergreenreview.com\/128\/review_us_of_banana.shtml\"><em>the original<\/em><\/a><em>&nbsp;on 2015-04-02. Retrieved&nbsp;2015-03-27.<\/em>, New York, 2011<\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-18\"><strong>^<\/strong><\/a>&nbsp;<a href=\"https:\/\/upittpress.org\/books\/9780822946182\/\"><em>&#8220;Poets, Philosophers, Lovers: On the Writings of Giannina Braschi&#8221;<\/em><\/a><em>.&nbsp;upittpress.org. Retrieved&nbsp;2020-04-29.<\/em><\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-19\"><strong>^<\/strong><\/a>&nbsp;<a href=\"http:\/\/www.wysszurich.uzh.ch\/people\/faculty\/\"><em>&#8220;Faculty&#8221;<\/em><\/a><em>.<\/em><\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-Dispatch_20-0\"><strong>^<\/strong><\/a>&nbsp;<em>Feran, Tim (February 9, 2015).&nbsp;<\/em><a href=\"http:\/\/www.dispatch.com\/content\/stories\/business\/2015\/02\/09\/longaberger-president-exits.html\"><em>&#8220;Longaberger president exits after 6 months&#8221;<\/em><\/a><em>.&nbsp;Columbus Dispatch. Retrieved&nbsp;May 9,&nbsp;2017.<\/em><\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-Stelline_2013_21-0\"><strong>^<\/strong><\/a>&nbsp;<a href=\"http:\/\/www.stelline.it\/it\/la-fondazione\/mostre\/archivio-mostre\/august-sander-michael-somoroff-assenza-di-soggetto.html\"><em>&#8220;August Sander e Michael Somoroff. Absence of Subject&#8221;<\/em><\/a><em>.&nbsp;Stelline&nbsp;(in Italian). January 1, 2013. Retrieved&nbsp;May 31,&nbsp;2016.<\/em><\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-22\"><strong>^<\/strong><\/a>&nbsp;<a href=\"https:\/\/web.archive.org\/web\/20150812104029\/http:\/www.benaki.gr\/index.asp?lang=en&amp;id=20205&amp;sid=1425\"><em>&#8220;Benaki Museum&nbsp;: VISIT \/ EXHIBITIONS&#8221;<\/em><\/a><em>. Archived from&nbsp;<\/em><a href=\"http:\/\/www.benaki.gr\/index.asp?lang=en&amp;id=20205&amp;sid=1425\"><em>the original<\/em><\/a><em>on 2015-08-12. Retrieved&nbsp;2016-05-31.<\/em><\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-Somoroff_2015_23-0\"><strong>^<\/strong><\/a>&nbsp;<em>Somoroff, Michael (September 13, 2015).&nbsp;<\/em><a href=\"http:\/\/villavauban.lu\/en\/exhibition\/august-sander-michael-somoroff\/\"><em>&#8220;Absence of Subject&#8221;<\/em><\/a><em>.&nbsp;Villa Vauban. Retrieved&nbsp;May 31,&nbsp;2016.<\/em><\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-24\"><strong>^<\/strong><\/a>&nbsp;<a href=\"http:\/\/ilicensemusic.com\/license\/rrich-illum\"><em>&#8220;License a song from the album &#8220;Illumination&#8221; by Robert Rich&#8221;<\/em><\/a><em>.&nbsp;ilicensemusic.com. Retrieved&nbsp;2023-02-15.<\/em><\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-25\"><strong>^<\/strong><\/a>&nbsp;<a href=\"https:\/\/www.gettyimages.com\/detail\/news-photo\/somoroff-michael-artist-usa-in-front-of-his-wooden-news-photo\/545016673\"><em>&#8220;Somoroff, Michael &#8211; Artist, USA &#8211; in front of his wooden sculpture&#8230;&#8221;<\/em><\/a><em>Getty Images. Retrieved&nbsp;2020-04-29.<\/em><\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-Terranova_20142_26-0\"><strong>^<\/strong><\/a>&nbsp;<em>Terranova, Amber (March 1, 2014).&nbsp;<\/em><a href=\"http:\/\/www.newyorker.com\/culture\/photo-booth\/the-subject-of-no-subject\"><em>&#8220;The Subject of No Subject&#8221;<\/em><\/a><em>.&nbsp;The New Yorker. Retrieved&nbsp;May 31,&nbsp;2016.<\/em><\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-27\"><strong>^<\/strong><\/a>&nbsp;<em>Dyer, Geoff (2017-10-11).&nbsp;<\/em><a href=\"https:\/\/www.nytimes.com\/2017\/10\/11\/magazine\/the-photographer-who-saw-americas-monuments-hiding-in-plain-sight.html\"><em>&#8220;The Photographer Who Saw America&#8217;s Monuments Hiding in Plain Sight&#8221;<\/em><\/a><em>.&nbsp;The New York Times.&nbsp;<\/em><a href=\"https:\/\/en.wikipedia.org\/wiki\/ISSN_(identifier)\"><em>ISSN<\/em><\/a><a href=\"https:\/\/www.worldcat.org\/issn\/0362-4331\"><em>0362-4331<\/em><\/a><em>. Retrieved&nbsp;2020-04-29.<\/em><\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-28\"><strong>^<\/strong><\/a>&nbsp;<a href=\"https:\/\/wsimag.com\/art\/2284-sander-and-somoroff-absence-of-subject\"><em>&#8220;Sander and Somoroff. Absence of Subject&#8221;<\/em><\/a><em>.&nbsp;Wall Street International. 2013-03-01. Retrieved&nbsp;2020-04-29.<\/em><\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-Arts2_29-0\"><strong>^<\/strong><\/a>&nbsp;<em>Arts, The Museum of Fine.&nbsp;<\/em><a href=\"https:\/\/web.archive.org\/web\/20160701214830\/https:\/collections.mfah.org\/art\/search?nationality=American&amp;artist=Michael+Somoroff\"><em>&#8220;The Museum of Fine Arts&#8221;<\/em><\/a><em>.&nbsp;MFAH. Archived from&nbsp;<\/em><a href=\"https:\/\/collections.mfah.org\/art\/search?nationality=American&amp;artist=Michael+Somoroff\"><em>the original<\/em><\/a><em>&nbsp;on July 1, 2016. Retrieved&nbsp;May 31,&nbsp;2016.<\/em><\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-:02_30-0\"><strong>^<\/strong><\/a>&nbsp;<a href=\"https:\/\/www.icp.org\/content\/somoroff-the-vegetable-series\"><em>&#8220;Somoroff, the vegetable series&#8221;<\/em><\/a><em>.&nbsp;International Center of Photography. 2016-05-17. Retrieved&nbsp;2020-04-29.<\/em><\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-31\"><strong>^<\/strong><\/a>&nbsp;Evergreen Review video&nbsp;<a href=\"https:\/\/web.archive.org\/web\/20150402121638\/http:\/www.evergreenreview.com\/128\/review_us_of_banana.shtml\"><em>&#8220;Evergreen Review&#8221;<\/em><\/a><em>. Archived from&nbsp;<\/em><a href=\"http:\/\/www.evergreenreview.com\/128\/review_us_of_banana.shtml\"><em>the original<\/em><\/a><em>&nbsp;on 2015-04-02. Retrieved&nbsp;2015-03-27.<\/em>, New York, 2011<\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-32\"><strong>^<\/strong><\/a>&nbsp;<a href=\"https:\/\/upittpress.org\/books\/9780822946182\/\"><em>&#8220;Poets, Philosophers, Lovers: On the Writings of Giannina Braschi&#8221;<\/em><\/a><em>.&nbsp;upittpress.org. Retrieved&nbsp;2020-04-29.<\/em><\/li>\n\n\n\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Somoroff%23cite_ref-33\"><strong>^<\/strong><\/a>&nbsp;<a href=\"http:\/\/www.wysszurich.uzh.ch\/people\/faculty\/\"><em>&#8220;Faculty&#8221;<\/em><\/a><em>.<\/em><\/li>\n<\/ul>\n\n\n\n<div class=\"is-layout-flex wp-block-buttons\"><\/div>\n\n\n\n<p><\/p>\n<\/div>\n\n\n\n<p>\ufeff<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Michael Somoroff&nbsp;is a communication strategist,&nbsp;multimedia artist, director,&nbsp;photographer, and teacher. Since 1980, he has directed&nbsp;projects, created successful communication concepts, given comment and made critically acclaimed content for Fortune 500 corporations, advertising agencies, magazines, media companies, museums and cultural institutions around the world. He has collaborated at educational and cultural institutions and is currently an artist in [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/michaelsomoroff.org\/index.php\/wp-json\/wp\/v2\/pages\/16"}],"collection":[{"href":"https:\/\/michaelsomoroff.org\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/michaelsomoroff.org\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/michaelsomoroff.org\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/michaelsomoroff.org\/index.php\/wp-json\/wp\/v2\/comments?post=16"}],"version-history":[{"count":112,"href":"https:\/\/michaelsomoroff.org\/index.php\/wp-json\/wp\/v2\/pages\/16\/revisions"}],"predecessor-version":[{"id":975,"href":"https:\/\/michaelsomoroff.org\/index.php\/wp-json\/wp\/v2\/pages\/16\/revisions\/975"}],"wp:attachment":[{"href":"https:\/\/michaelsomoroff.org\/index.php\/wp-json\/wp\/v2\/media?parent=16"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}