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Eva Mallis
Eva Mallis
Eva Mallis

Eva Mallis

Country: United States

Eva Mallis was born in New York City to Greek immigrant parents. Her elementary school years were spent in Queens, New York - the most ethnically diverse area in the U.S. - where she was immersed in a hardworking population striving for the American dream. Pursuing that dream, Eva earned a BA and an MBA and has had a career that encompassed investment banking and real estate.

Eva's love of photography surfaced post-college while living in Washington, D.C. and attending photography classes at the Smithsonian Institute. Her passion for street photography grew as she often roamed the streets of downtown Washington, D.C. taking pictures during her lunch hour. After family and career, Eva resumed her passion for photography by taking several classes at the International Center of Photography (ICP) and numerous workshops around the globe.

Eva is a New York City based street and documentary photographer. Her photography is best characterized as urban documentary. Eva's work has been shown in numerous group exhibitions in New York City. She has won PDN Magazine's 'Taste' Photo Competition, has received several International Photography Award (IPA) Honorable Mentions and has participated in many juried shows.

Statement
"I am driven to photograph the human reality, taking a moment to observe, assess and capture sometimes insignificant moments in time. Photography sharpens my awareness of the mundane and the unnoticed. By capturing slivers of time - people going about their every day - my visual slant forces the viewer to recognize the themes of life. I am attempting to thoughtfully communicate that which is too often unseen."

Websites

www.evamallisphoto.com

@evamallis

 

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Alfred Stieglitz
Alfred Stieglitz
United States
1864 | † 1946
Through his activities as a photographer, critic, dealer, and theorist, Alfred Stieglitz had a decisive influence on the development of modern art in America during the early twentieth century. Born in 1864 in New Jersey, Stieglitz moved with his family to Manhattan in 1871 and to Germany in 1881. Enrolled in 1882 as a student of mechanical engineering in the Technische Hochschule (technical high school) in Berlin, he was first exposed to photography when he took a photochemistry course in 1883. From then on he was involved with photography, first as a technical and scientific challenge, later as an artistic one. Returning with his family to America in 1890, he became a member of and advocate for the school of pictorial photography in which photography was considered to be a legitimate form of artistic expression. In 1896 he joined the Camera Club in New York and managed and edited Camera Notes, its quarterly journal. Leaving the club six years later, Stieglitz established the Photo-Secession group in 1902 and the influential periodical Camera Work in 1903. In 1905, to provide exhibition space for the group, he founded the first of his three New York galleries, The Little Galleries of the Photo-Secession, which came to be known as Gallery 291. In 1907 he began to exhibit the work of other artists, both European and American, making the gallery a fulcrum of modernism. As a gallery director, Stieglitz provided emotional and intellectual sustenance to young modernists, both photographers and artists. His Gallery 291 became a locus for the exchange of critical opinions and theoretical and philosophical views in the arts, while his periodical Camera Work became a forum for the introduction of new aesthetic theories by American and European artists, critics, and writers. After Stieglitz closed Gallery 291 in 1917, he photographed extensively, and in 1922 he began his series of cloud photographs, which represented the culmination of his theories on modernism and photography. In 1924 Stieglitz married Georgia O'Keeffe, with whom he had shared spiritual and intellectual companionship since 1916. In December of 1925 he opened the Intimate Gallery; a month later Duncan Phillips purchased his first works from Stieglitz’s gallery, paintings by Dove, Marin, and O'Keeffe. In 1929 Stieglitz opened a gallery called An American Place, which he was to operate until his death. During the thirties, Stieglitz photographed less, stopping altogether in 1937 due to failing health. He died in 1946, in New York. The Collection contains nineteen gelatin-silver photographs of clouds by Stieglitz.Source: The Phillips Collection My photographs are a picture of the chaos in the world, and of my relationship to that chaos. My prints show the world’s constant upsetting of man’s equilibrium, and his eternal battle to reestablish it. -- Alfred Stieglitz In early June 1918, O'Keeffe moved to New York from Texas after Stieglitz promised he would provide her with a quiet studio where she could paint. Within a month he took the first of many nude photographs of her at his family's apartment while his wife Emmy was away, but she returned while their session was still in progress. She had suspected something was going on between the two for a while, and told him to stop seeing her or get out. Stieglitz left and immediately found a place in the city where he and O'Keeffe could live together. They slept separately for more than two weeks, but by the end of July they were in the same bed together. Once he was out of their apartment Emmy had a change of heart. Due to the legal delays caused by Emmy and her brothers, it would be six more years before the divorce was finalized. During this period Stieglitz and O'Keeffe continued to live together, although she would go off on her own from time to time to create art. Stieglitz used their times apart to concentrate on his photography and promotion of modern art. O'Keeffe was the muse Stieglitz had always wanted. He photographed O'Keeffe obsessively between 1918 and 1925 in what was the most prolific period in his entire life. During this period he produced more than 350 mounted prints of O'Keeffe that portrayed a wide range of her character, moods and beauty. He shot many close-up studies of parts of her body, especially her hands either isolated by themselves or near her face or hair. O'Keeffe biographer Roxanna Robinson states that her "personality was crucial to these photographs; it was this, as much as her body, that Stieglitz was recording." In 1920, Stieglitz was invited by Mitchell Kennerly of the Anderson Galleries in New York to put together a major exhibition of his photographs. In early 1921, he hung the first one-man exhibit of his photographs since 1913. Of the 146 prints he put on view, only 17 had been seen before. Forty-six were of O'Keeffe, including many nudes, but she was not identified as the model on any of the prints. In 1922, Stieglitz organized a large show of John Marin's paintings and etching at the Anderson Galleries, followed by a huge auction of nearly two hundred paintings by more than forty American artists, including O'Keeffe. Energized by this activity, he began one of his most creative and unusual undertakings – photographing a series of cloud studies simply for their form and beauty. He said: "I wanted to photograph clouds to find out what I had learned in forty years about photography. Through clouds to put down my philosophy of life – to show that (the success of) my photographs (was) not due to subject matter – not to special trees or faces, or interiors, to special privileges – clouds were there for everyone…" By late summer he had created a series he called "Music – A Sequence of Ten Cloud Photographs". Over the next twelve years he would take hundreds of photographs of clouds without any reference points of location or direction. These are generally recognized as the first intentionally abstract photographs, and they remain some of his most powerful photographs. He would come refer to these photographs as Equivalents. Stieglitz's mother Hedwig died in November 1922, and as he did with his father he buried his grief in his work. He spent time with Paul Strand and his new wife Rebecca (Beck), reviewed the work of another newcomer named Edward Weston and began organizing a new show of O'Keeffe's work. Her show opened in early 1923, and Stieglitz spent much of the spring marketing her work. Eventually, twenty of her paintings sold for more than $3,000. In the summer, O'Keeffe once again took off for the seclusion of the Southwest, and for a while Stieglitz was alone with Beck Strand at Lake George. He took a series of nude photos of her, and soon he became infatuated with her. They had a brief physical affair before O'Keeffe returned in the fall. O'Keeffe could tell what had happened, but since she did not see Stieglitz's new lover as a serious threat to their relationship she let things pass. Six years later she would have her own affair with Beck Strand in New Mexico. In 1924, Stieglitz's divorce was finally approved by a judge, and within four months he and O'Keeffe married in a small, private ceremony at Marin's house. They went home without a reception or honeymoon. O'Keeffe said later that they married in order to help soothe the troubles of Stieglitz's daughter Kitty, who at that time was being treated in a sanatorium for depression and hallucinations. For the rest of their lives together, their relationship was, as biographer Benita Eisler characterized it, "a collusion ... a system of deals and trade-offs, tacitly agreed to and carried out, for the most part, without the exchange of a word. Preferring avoidance to confrontation on most issues, O'Keeffe was the principal agent of collusion in their union." In the coming years O'Keeffe would spend much of her time painting in New Mexico, while Stieglitz rarely left New York except for summers at his father's family estate in Lake George in the Adirondacks, his favorite vacation place. O'Keeffe later said "Stieglitz was a hypochondriac and couldn't be more than 50 miles from a doctor." The great geniuses are those who have kept their childlike spirit and have added to it breadth of vision and experience. -- Alfred Stieglitz At the end of 1924, Stieglitz donated 27 photographs to the Boston Museum of Fine Arts. It was the first time a major museum included photographs in its permanent collection. In the same year he was awarded the Royal Photographic Society's Progress Medal for advancing photography and received an Honorary Fellowship of the Society. In 1925, Stieglitz was invited by the Anderson Galleries to put together one of the largest exhibitions of American art, entitled Alfred Stieglitz Presents Seven Americans: 159 Paintings, Photographs, and Things, Recent and Never Before Publicly Shown by Arthur G. Dove, Marsden Hartley, John Marin, Charles Demuth, Paul Strand, Georgia O'Keeffe and Alfred Stieglitz. Only one small painting by O'Keeffe was sold during the three-week exhibit. Soon after, Stieglitz was offered the continued use of one of the rooms at the Anderson Galleries, which he used for a series of exhibitions by some of the same artists in the Seven Americans show. In December 1925, he opened his new gallery, The Intimate Gallery, which he nicknamed The Room because of its small size. Over the next four years, he put together sixteen shows of works by Marin, Dove, Hartley, O'Keeffe and Strand, along with individual exhibits by Gaston Lachaise, Oscar Bluemner and Francis Picabia. During this time, Stieglitz cultivated a relationship with influential new art collector Duncan Phillips, who purchased several works through The Intimate Gallery. In 1927, Stieglitz became infatuated with the 22-year-old Dorothy Norman, who was then volunteering at the gallery, and they fell in love. Norman was married and had a child, but she came to the gallery almost every day. O'Keeffe accepted an offer by Mabel Dodge to go to New Mexico for the summer. Stieglitz took advantage of her time away to begin photographing Norman, and he began teaching her the technical aspects of printing as well. When Norman had a second child, she was absent from the gallery for about two months before returning on a regular basis. Within a short time, they became lovers, but even after their physical affair diminished a few years later, they continued to work together whenever O'Keeffe was not around until Stieglitz died in 1946. In early 1929, Stieglitz was told that the building that housed The Room would be torn down later in the year. After a final show of Demuth's work in May, he retreated to Lake George for the summer, exhausted and depressed. The Strands raised nearly sixteen thousand dollars for a new gallery for Stieglitz, who reacted harshly, saying it was time for "young ones" to do some of the work he had been shouldering for so many years. Although Stieglitz eventually apologized and accepted their generosity, the incident marked the beginning of the end of their long and close relationship. In the late fall, Stieglitz returned to New York. On December 15, two weeks before his sixty-fifth birthday, he opened An American Place, the largest gallery he had ever managed. It had the first darkroom he had ever had in the city. Previously, he had borrowed other darkrooms or worked only when he was at Lake George. He continued showing group or individual shows of his friends Marin, Demuth, Hartley, Dove and Strand for the next sixteen years. O'Keeffe received at least one major exhibition each year. He fiercely controlled access to her works and incessantly promoted her even when critics gave her less than favorable reviews. Often during this time, they would only see each other during the summer, when it was too hot in her New Mexico home, but they wrote to each other almost weekly with the fervor of soul mates. In 1932, Stieglitz mounted a forty-year retrospective of 127 of his works at The Place. He included all of his most famous photographs, but he also purposely chose to include recent photos of O'Keeffe, who, because of her years in the Southwest sun, looked older than her forty-five years, in comparison to Stieglitz's portraits of his young lover Norman. It was one of the few times he acted spitefully to O'Keeffe in public, and it might have been as a result of their increasingly intense arguments in private about his control over her art. Later that year, he mounted a show of O'Keeffe's works next to some amateurish paintings on glass by Becky Strand. He did not publish a catalog of the show, which the Strands took as an insult. Paul Strand never forgave Stieglitz for that. He said, "The day I walked into the Photo-Secession 291 [sic] in 1907 was a great moment in my life… but the day I walked out of An American Place in 1932 was not less good. It was fresh air and personal liberation from something that had become, for me at least, second-rate, corrupt and meaningless." In 1936, Stieglitz returned briefly to his photographic roots by mounting one of the first exhibitions of photos by Ansel Adams in New York City. The show was successful and David McAlpin bought eight Adams photos. He also put on one of the first shows of Eliot Porter's work two years later. Stieglitz, considered the "godfather of modern photography", encouraged Todd Webb to develop his own style and immerse himself in the medium. The next year, the Cleveland Museum of Art mounted the first major exhibition of Stieglitz's work outside of his own galleries. In the course of making sure that each print was perfect, he worked himself into exhaustion. O'Keeffe spent most of that year in New Mexico. In early 1938, Stieglitz suffered a serious heart attack, one of six coronary or angina attacks that would strike him over the next eight years, each of which left him increasingly weakened. During his absences, Dorothy Norman managed the gallery. O'Keeffe remained in her Southwest home from spring to fall of this period. In the summer of 1946, Stieglitz suffered a fatal stroke and went into a coma. O'Keeffe returned to New York and found Dorothy Norman was in his hospital room. She left and O'Keeffe was with him when he died. According to his wishes, a simple funeral was attended by twenty of his closest friends and family members. Stieglitz was cremated, and, with his niece Elizabeth Davidson, O'Keeffe took his ashes to Lake George and "put him where he could hear the water." The day after the funeral, O'Keeffe took control of An American Place.Source: Wikipedia Image:All images © Library of Congress, Prints & Photographs Division, The Alfred Stieglitz Collection, Gift of Georgia O'Keeffe
Fern L. Nesson
Fern L. Nesson
United States
Fern L. Nesson is a graduate of Harvard Law School. She received an M.A. in American History from Brandeis and an M.F.A in Photography from the Maine Media College. She lives in Cambridge, Massachusetts. She practiced law in Boston for twenty years and subsequently taught American History and Mathematics. Nesson's photographs have been shown internationally in solo exhibitions at the Politecnico University in Torino, Italy, Les Rencontres de la Photographie in Arles, France, Ph21 Gallery in Budapest, Hungary and at The University of the West Indies in Kingston, Jamaica. In the United States, Nesson has had solo exhibitions at the Griffin Museum of Photography, at MIT and Harvard, and at the Beacon Gallery in Boston, Massachusetts, the Pascal Gallery in Rockport, and Maine, and Through This Lens Gallery in Durham, NC. Additionally, her work has been selected for numerous juried exhibitions in the U.S., Barcelona, Rome and Budapest. Nesson's photobooks, Signet of Eternity and WORD, won the 10th and the 12th Annual Photobooks Award from the Davis-Orton Gallery. Her photography can be found at www.fernlnesson. Statement ''Art should not be copies of living things but... [itself] be [a] living thing – a real living form.'' Malevich (1916) My photographs capture the moment when mass becomes energy. My goal is to create living works of art that offer energy to the viewer. I shoot from reality; my images are never constructed, only sparingly edited. They distill a scene or an object it to its essence. Photographs that embody energy rely upon the camera to record a specific moment but, if they hit their mark, they escape and float free of it. The energy from the moment of capture enlivens these images. Like Cezanne's paintings, they are alive, they breathe. An energetic image expresses interconnectedness, visualizes movement and flow. It constitutes a moment of transcendence and teaches us that, although everything changes form, nothing is ever destroyed. It lives on, resonating with the past, celebrating the present, pointing to the future, embodying the universal, iconically representing the eternal. As Whitman’s wrote in Leaves of Grass, it can “chant the [viewer] into a new state of being, get him psychically airborne, boost him up to that height where he can identify with the past and commune with the future.”
Donald Graham
Donald Graham
United States
Donald Graham is an internationally recognized portrait, fashion and fine art photographer whose work is in the Metropolitan Museum of Art in New York and the International Center of Photography. He has exhibited his photography in numerous exhibitions and his photographs are held by many collectors. He is well known for his work photographing everyday people, celebrities and fashion for magazine and advertising clients including Vogue, Vanity Fair, Sports Illustrated and Time. Donald began his career in Paris as a fashion photographer. He then moved to New York and Los Angeles where he broadened his work to include portraiture for the movie, music, editorial and advertising industries and began devoting significant time to his personal fine art work. During his career, Donald has photographed in more than forty countries, with extensive travels in India, Asia, Africa, Latin America and Europe. A book of his portraits, entitled ONE OF A KIND, was published by Hatje Cantz in 2021. After 20 years in New York City, Donald is currently based in Los Angeles, California and Taos, New Mexico. Statement "My portraits are about honest moments that display qualities of the human character including wisdom and sensitivity, peace and vulnerability, both joy and tragedy. I seek to make portraits that are driven by one's inner dialog. I'm not interested in poses or performances for the benefit of the camera. I'm interested in what a person is like when they are their most authentic." Authenticity, honesty, and trust characterize Donald Graham's portraits. They are not simply photographic recordings. Looking at them is like seeing human beings in the flesh, revealed to us by Graham with his virtuoso technique and sensibilities. His exquisite, strongly contrasting black-and-white photographs are evidence of attitude, rather than studied gestures. Eyes and faces are not model-like masks; instead, they express the unique nature of those portrayed. Inevitably, viewers find themselves in a dialogue with the images. You wonder about the stories behind these faces; though unfamiliar, they are nevertheless an emotional experience. One of A Kind
Benoit Segalen
Benoit Segalen
France
1974
As a French amateur photographer, I've had a camera since I was 8 years old. However, it was only in 2011, when my work involved frequent travel, that I began capturing moments from around the world, especially in the streets. I am self-taught, learning through books and studying the works of renowned photographers. My passion lies in immortalizing human behaviors in their environments. I am always on the lookout for the decisive moment, patiently waiting to capture the photo that will endure.
Arno Rafael Minkkinen
Arno Rafael Minkkinen
Finland
1945
Arno Rafael Minkkinen is a Finnish-American photographer who works in the United States. Published and exhibited worldwide, Minkkinen's work can be found in the collections of the Museum of Fine Arts, Boston and the Finnish Museum of Photography. Seven solo monographs on his work have been published: Frostbite (1978), Waterline (1994, winner of the 25th Rencontres d'Arles Book Prize), Body Land (1999), SAGA: The Journey of Arno Rafael Minkkinen, 35 Years of Photographs (2005), Homework: The Finnish Photographs (2008), Swimming in the Air (2009), and Balanced Equation (2010). The retrospective survey SAGA premiered at the DeCordova Museum in Lincoln, MA, in 2005. The 120-print retrospective toured to Romania, Slovakia, Finland, Italy, China, and Canada. Minkkinen was made a Knight of the Order of the Lion of Finland of the first class by the Finnish government in 1992, and awarded the Finnish State Art Prize in Photography in 2006. Minkkinen was born in Helsinki, Finland in 1945 and emigrated to the United States in 1951. He graduated from Wagner College with a Bachelor of Arts in English Literature and began taking self-portraits in 1971, while working as an advertising copywriter on Madison Avenue in New York. He later studied with Harry Callahan and Aaron Siskind at Rhode Island School of Design and earned his Master of Fine Arts degree in photography in 1974. Over the past four decades, Minkkinen has been engaged as a teacher, curator, and writer while continuing to devote his photographic research and energies to the self-portrait. Minkkinen is a Professor of Art at the University of Massachusetts Lowell, and also serves as lecturer at Aalto University of Art & Design Helsinki. Earlier in his teaching career, he served as Assistant Professor at M.I.T., Visiting Artist at Philadelphia College of Art (now University of the Arts (Philadelphia)), the École d'Arts Appliqués in Vevey, Switzerland, and as graduate faculty at Maine Media College in Rockport, Maine. Since joining UMass Lowell in 1987, Minkkinen has taken students to Finland and Russia (1988), and Czechoslovakia (1989). In 1996, in a collaborative UMass Lowell/Lahti Institute of Design (Lahti, Finland) exchange program called Spirit Level, thirty Finnish, American, and Swiss students toured through Finland, Russia, and Eastern Europe for three weeks with Minkkinen and photo department head at Lahti, Timo Laaksonen. Among the students at the time was Mark Eshbaugh who later became an adjunct professor at UMass Lowell. Seven years after the first Spirit Level, together with Timo Laaksonen and Mark Eshbaugh a professor at Umass Lowell at that time, Tuscany in Italy (2003) and Oaxaca, Mexico (2007) were added to the program. [9] Later Minkinnen organized collaborations with Aalto University in Helsinki, Finland and the Foundation Studio Marangoni in Florence, Italy (2010) as well as the Bilder Nordic School of Photography in Oslo and the École Supérieure d'Arts & Medias de Caen/Cherbourg in France (2012) for an American Road Trip to the studio farmlands of American photographer Sally Mann.[10][11] The first three workshops resulted in the publication of a book commemorating those first three experiences. Minkkinen has taught workshops worldwide, particularly at the Maine Photographic Workshops (now Maine Media Workshops), Maine Media College (as part of the graduate faculty), the Art Institute of Boston at Lesley University, Anderson Ranch in Colorado, Santa Fe Workshops in New Mexico, the Friends of Photography in Carmel, California, and in Europe at the Rencontres d'Arles in Arles, France, the Toscana Photographic Workshops in Tuscany, Italy, as well as workshop programs in Finland, Norway, Luxembourg, and China. Minkkinen served a second four-year term as national board member of the Society of Photographic Education (2008 to 2016). Since 2009, Minkkinen has developed a growing interest in feature filmmaking and screenwriting. In 2010, he received a first-round of support from the Finnish Film Foundation for a screenplay he had written and will be directing. It will be shot in Finnish Karelia and Finntown, Brooklyn. The demo preview of The Rain House was screened at the Film Society of Lincoln Center's Elinor Bunin Munroe Film Center in connection with the Dance Films Association's 41st Dance on Camera Festival (2013).Source: Wikipedia Finnish-American photographer Arno Rafael Minkkinen has been capturing self-portraits of his nude body in natural surroundings for the better part of five decades. More than just existing in these scenic locations, Minkkinen fully merges his limbs and torso like a chameleon, blurring the lines between where the world ends and his body begins. The methods used to create these bold and uninhibited shots pre-date the use of Photoshop by decades, instead of relying on a simple 9-second shutter release that allows Minkkinen to quickly pose for each shot. He usually works completely alone, and won’t let anyone else look through his camera’s viewfinder, lest they instead be labeled ‘the photographer.’ What may appear as a simply composed photo with fortuitous timing, is often the result of Minkkinen taking dangerous risks as he submerges himself in strong currents, buries himself in ice, or balances precariously on the edge of a cliff.Source: Colossal
Florian Bouziges
Florian Bouziges
France
1986
Florian Bouziges is a French architect, 3D artist, and photographer specializing in architectural visualization. After years of creating virtual pictures of buildings, Florian transitioned to capturing real-world architecture through photography. 
His work plays with framing and post-production to create surreal, dreamlike images where humans are often hidden or dwarfed by their surroundings. 
He blurs the line between photography, CGI, and painting, leaving viewers questioning the reality of his creations. His style emphasizes minimalism and the abstract beauty of architectural forms. 

Pentti Sammallahti
Pentti Sammallahti
Finland
1950
Pentti Sammallahti was born in 1950 in Helsinki, Finland. Growing up, he was surrounded by the works of his grandmother, Hildur Larsson (1882-1952), a Swedish-born photographer, who worked for the Helsinki newspaper Kaiku in the early 1900s. After visiting The Family of Man exhibition at Helsinki Art Hall (1961) Sammallahti made his first photographs at age eleven. Pentti joined the Helsinki Camera Club in 1964. His first solo exhibition was in 1971. Sammallahti has travelled widely as a photographer, from his native Scandinavia, across the Soviet Republics through Siberia, to Japan, India, Nepal, Morocco, Turkey, across Europe and Great Britain, and even to South Africa. Sammallahti’s travels and interest in fine printing and lithography has led him to publish numerous portfolios of which the largest and most well known is “The Russian Way” (1996). As a benchmark figure in contemporary Finnish photography, his work has a supernatural sense of a moment in time with the sensitivity and beauty of the world displayed through its animalistic existence. His particular use of dogs, which reflects the human existential experience, shows the shared nature of the earth with a gentle humor and fleeting attitude. Sammallahti describes himself as a wanderer who likes the nature of the great north, the silence, the cold, and the sea. He likes the people and the animals of far off places and he records the relationships between them and their environment. As a master craftsman, he meticulously tones his prints, which come in various formats, from 4 by 5 inches in image size to panoramas of 6 by 14 inches. In 2010 for his retrospective exhibition in Helsinki he created large format pigment prints, about 9 by 21 inches and 15 by 35.5 inches in size. As a passionate seeker of the perfect mechanical printing method, his own innovative printing techniques and reintroduction of the portfolio form have re-awakened broader interest in published photographic art. Influenced by the idea of ‘artist books’ – individual works in which the artist is responsible for the whole: photography, the making of prints, layout, design and typography, reproduction and often the actual printing process either with the offset or the gravure method. Since 1979, Pentti Sammallahti has published thirteen books and portfolios and has received awards such as the Samuli Paulaharju Prize of the Finnish Literature Society, State Prizes for Photography, Uusimaa Province Art Prize, Daniel Nyblin Prize, and the Finnish Critics Association Annual. From 1974 to 1991 Sammallahti taught at the University of Art and Design in Helsinki, retiring when he received a 15-year grant from the Finnish government, an unusually long endowment, which is no longer awarded. Both as a photographer and a teacher, he has had an enormous influence on a whole generation of documentary photographers in Scandinavia. Sammallahti had a solo exhibition at Paris' Mois de la Photographie in 1996 and another in 1998 at Houston Fotofest, Texas. In 2001 the Helsinki University of Art and Design awarded Pentti Sammallahti the title of Honorary Doctorate in Art. In 2004, the famous French photographer Henri Cartier-Bresson ranked Sammallahti among his 100 favorite photographers for his Foundation's inaugural exhibition in Paris. The French Photo Poche book series published his book edited by Robert Delpire in 2005, and the same year, Sammallahti had a personal exhibition at the International Photography Festival in Arles. His second exhibition at Recontres d'Arles was a major retrospective in 2012 accompanied by the release of the first retrospective monograph Here Far Away, published in six languages (German, French, English, Italian, Spanish, and Finnish). Among museum collections Sammallahti’s work can be found at the Victoria & Albert Museum, London, England; Museum of Fine Arts, Houston, Texas, USA; Bibliothèque Nationale, Paris, France; Stedelijk Museum, Amsterdam, the Netherlands; Museum fur Kunst und Gewerbe, Hamburg, Germany; Moderna Museet / Fotografiska Museet, Stockholm, Sweden; and The Finnish State Collections and the Photographic Museum of Finland.Source: Nailya Alexander Gallery Sammallahti has been photographing the world around him with a poetic eye since the age of eleven. At the age of nine he visited "The Family of Man" exhibition at Helsinki Art Hall, confirming at a young age his photographic path in life. Featured in solo exhibitions by the age of 21, Sammallahti continued to exhibit and teach at the Helsinki University of Art and Design until receiving the Finnish State's 15-year artist grant in 1991. Sammallahti describes himself as a nomad who enjoys the nature of the great north: the darkness, the cold, and the sea. Sammallahti is a master craftsman, carefully toning his prints, to create a poetic atmosphere of desolate silence.

 Sammallahti was honored to be included among the 100 favorite photographs in the personal collection of Henri Cartier-Bresson, which was the inaugural exhibition for the Foundation Henri Cartier-Bresson in 2003. Since 1979, Pentti Sammallahti has published thirteen books and portfolios and has received awards such as the Samuli Paulaharju Prize of the Finnish Literature Society, State Prizes for Photography, Uusimaa Province Art Prize, Daniel Nyblin Prize, and the Finnish Critics Association Annual.Source: Peter Fetterman Gallery
Veronica Alkmim
Veronica Alkmim
Brazil/Sweden
1959
Verônica Alkmim França is a multidisciplinary artist and photographer who has lived in Sweden and Brazil for many years. With a background in Fine Arts, Photography, and Communication, her portfolio includes sculptures, wearables, photographs, scenarios, and textiles, all of which reflect her cultural identity. Her frequent travel between Brazil and Sweden has led her to move away from conventional artistic venues. Born in Brazil, she emerged in the 1990s as one of the pioneers of wearable art in the country, sparking discussions on the fine line between design, art, and fashion, and inspiring new generations. Verônica’s work is also known for its photographic documentation of her art and her recent exploration as an authorial photographer. Her approach critiques mass consumption and the aesthetics of excess, while her collaborations with disadvantaged communities aim to give these groups visibility and support cultural social initiatives. She has been recognized internationally, winning awards such as the Female in Focus International Photography Award 2022 from the British Journal of Photography, the Brasília Photo Show 2022, the Chromatic International Photo Awards, and the Monochrome Photo International Awards. She has also been nominated for RE-Focus International Awards and Color International Photo Awards, won second place in Photomanipulation at FAPA (Fine Art Photography Awards), participated in the Women in Photography exhibition in Glasgow in 2023, and earned distinctions in the PX3 Prix de la Photographie de Paris, IPA International Photography Awards, Budapest Photo Awards, Aesthetica Magazine Prize, PISPA-Paris International Street Photo Awards, and Prix de la Photographie de Paris in 2024. Recently, she collaborated with WIEGO (Women in Informal Employment) and Sheffield University on the CATA project—Climate Change and Waste Pickers—featured at Memorial Minas Gerais Vale in Brazil and The Mind Festival in Sheffield, England.
Elaine Mayes
Elaine Mayes
United States
1936
Elaine Mayes has been an active visual artist since 1960. A main focus and emphasis for her work has been investigations of ‘seeing’ and documentary forms in photography. This interest led to a number of projects and seeking out various close at hand situations in the world as subject material for her photographs. Elaine majored in painting and art history at Stanford University and then studied at the San Francisco Art Institute with John Collier, Jr. Paul Hassel, Minor White, Nathan Oliviera and Richard Diebenkorn. Between 1961 and 1968 she was an independent photojournalist working in San Francisco for magazines and graphic designers. During 1967 and 1968 she was a rock and roll photographer and photographed the ‘Summer of Love’ and scene in the Haight Ashbury District of San Francisco. One of her assignments was to photograph the Monterey Pop Festival. This work was published in her book called, It Happened In Monterey. Elaine taught photography for thirty-five years, beginning at the University of Minnesota in 1968. Then she taught at Hampshire College from 1971 to 1981, at Bard College during 1982 and 1983, and at New York University’s Tisch School of the Arts from 1983 until 2001. Elaine was Chair of the Tisch Photography Department from 1997 until her retirement from teaching. Currently, she is Professor Emeritus and is living in the Catskill Mountains of New York actively continuing her work. Elaine’s photography has been exhibited extensively, with recent exhibitions connected with The Fiftieth Anniversary of the Summer of Love and The Monterey Pop Festival and includes the de Young Museum, The California Historical Society, The SFO Museums United Airlines Terminal, The Monterey Art Museum, The Grammy Musuem, Spazio Gerra - Comune di Reggio Emilia, Italy and the Joseph Bellows Gallery in La Jolla. Elaine has received a number of awards including three grants from the National Endowment for the Arts and a Guggenheim Fellowship. She also was awarded funding from The Atherton Foundation for her Hawaiian images and book production for a limited edition handmade book called, Ki i ‘no Hawai’i. Her newest publication is, Recently, Daylight Press, 2013. Elaine is affiliated with Getty Images, Joseph Bellows Gallery, Morrison Hotel Galleries, and Liberal Arts Roxbury.Source: www.elainemayesphoto.com
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Exclusive Interview with Jan Janssen
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Exclusive Interview with Marijn Fidder
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