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Mario Algaze
Mario Algaze

Mario Algaze

Country: Cuba / United States
Birth: 1947

Mario Algaze (born 1947 in Havana, Cuba) is a Cuban-American photographer whose work celebrates the culture of Latin America. At the age of thirteen he was forced to exile Cuba in 1960 and relocated to Miami, Florida. Miami offered a rich cultural mecca and a vibrant melting pot of culture which encouraged him to travel to Central and South America where he worked as a freelance photojournalist for national and international publications. These trips allowed him a glimpse of belonging within a familiar culture.

In finding his identity after exile, he began photographing Latin America in the 1970’s while reconnecting with the feeling of home. His photographs embody the everyday of Latin life. Between his travels in the late 70’s, Algaze studied visual art at Miami Dade College. Algaze’s masterful command of light illuminates his street scenes that detail the struggles and victories of Latin culture.

Mario Algaze is the recipient of various acclaimed awards, including the Florida Artist Fellowship from the Florida Arts Council (1985), the Cintas Foundation Fellowship in Photography (1991), the Visual Arts Fellowship and the SAF Artist Fellowship sponsored by the National Endowment for the Arts. In 1992, he received the National Endowment for the Arts Fellowship in Photography.

A retrospective collection of his work is showcased in the important monograph, Mario Algaze: Portfolio, published by Di Puglia Publisher, 2010. Additional monographs by the artist include, Mario Algaze: Portafolio Latinamericano, Mario Algaze: Cuba 1999-2000, and A Respect for Light: The Latin American Photographs: 1974-2008.

Algaze's documentary work is highly sought after by institutions and collectors worldwide. His work can be found in permanent collections at every corner of the world including the Museum of Fine Arts, Houston; Museo Tamayo, Mexico City; Santa Barbara Museum; Museum of Photographic Arts, San Diego; Victoria and Albert Museum, London, DePaul University, Chicago and the Cleveland Museum of Art.

Source: PDNB Gallery


Mario Algaze was born in Havana, Cuba but emigrated to the United States in 1960, settling in Miami, Florida. In 1971, at the age of 24, he began a career as a freelance photojournalist. Although Algaze left Cuba as a teenager he has frequently turned to Latin America as the subject of his photographs, traveling extensively throughout the region. In his carefully composed black and white photographs, he captures people alone or in small groups on the streets and in cafes and parks. Many of his photographs of these everyday settings are infused with a soft light and marked by shadows, giving them a serene or mysterious quality, or evoking the passage of time. The region's conflicts and political activities, frequent subjects of photojournalism, are largely absent in his imagery; instead, he lends quiet insight into the cultural diversity of Latin America and the shape of daily life in countries as far spread as Mexico, Ecuador, and Argentina.

Source: Museum of Contemporary Photography


Selected Books on Available on Amazon
A Respect for Light: The Latin American Photographs 1974-2008
A Respect for Light: The Latin American Photographs 1974-2008
Mario Algaze

Galleries

PDNB Gallery

Peter Fetterman Gallery

Throckmorton Fine Art

Exhibition

Mario Algaze: Focus

 

Mario Algaze's Video

Selected Books

A Respect for Light: The Latin American Photographs 1974-2008
A Respect for Light: The Latin American Photographs 1974-2008
Mario Algaze

Inspiring Portfolios

Jesús Umbría Brito
© Jesús Umbría Brito
Nanda Hagenaars
© Nanda Hagenaars
Carole Mills Noronha
© Carole Mills Noronha
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Bob Richardson
Bob Richardson
United States
1928 | † 2005
Robert George Richardson was an American fashion photographer. He was born in Long Island, New York, to an Irish Catholic family. Originally a graphic designer in New York City, Bob Richardson did not pick up a camera until age 35. His rise to fashion fame was swift, although not without some battle on his part: "I wanted to put reality in my photographs. Sex, drugs and rock 'n' roll. That's what was happening. And I was going to help make it happen. Boy they did not want that in America. Some of those editors were still wearing white gloves to couture." Richardson developed a reputation for being very difficult to work with. He brought his personal life, which was tumultuous, into his art. He battled with bouts of schizophrenia throughout his life. After making it to the top of the often catty and vicious world of fashion, getting paid up to $15,000 for a single image, he succumbed to his illness and ended up homeless on the streets of San Francisco. In 1989, an art historian researching fashion photography tracked Richardson down living in a flophouse, opening the door to Richardson's reestablishing contact with his son and eventually returning to New York City, where with the help of Richard Avedon and Steven Meisel, he was able to obtain teaching positions at International Center of Photography and the School of Visual Arts. Richardson restarted his career in his sixties, once again working for such magazines as Italian Vogue and British GQ. He was the father of photographer Terry Richardson and Margaret "Meg" Richardson (9/30/1957-5/8/2015).Source: Wikipedia Bob Richardson, a fashion photographer of the 1960's and 70's who transmitted the excitements and regrets of a generation of free spirits before disappearing into a shadow land of mental illness and homelessness, died on Dec. 5 at his home in Manhattan. He was 77. He died of natural causes, said his son, Terry. Robert George Richardson, born to Irish-Catholic parents on Long Island, was attracted to the messy, tempestuous, desolating quality of human relations. He was one of the first photographers to recognize that these emotions were not outside the world of 60's fashion but were in fact vital to it. In a 16-page spread in French Vogue in 1967, he evoked the sex idyll, the gloom and the sudden all-obliterating passions of two lovers on a Greek island. In one shot, the model Donna Mitchell is seen crying; in another she lies on a rocky shore, her face turned away, with her nude lover in the water before her. Mr. Richardson's pictures were radical because, more than showing youthful fashion in a liberated way, they sought to expose the life dramas that were then consuming young people. "Which were not about being applauded as you made your entrance to the opera," said Joan Juliet Buck, the writer and fashion editor, who first met Mr. Richardson in 1969 and later introduced him to her friend Anjelica Huston, with whom he had an intense four-year relationship. "They were about crying in your room, feeling lonely, hoping for sex." To photographers like Bruce Weber, Steven Meisel and Peter Lindbergh, Mr. Richardson was a pathfinder. As Mr. Weber said, describing his influence: "There's no textbook, no award, but there is this Bob Richardson school of photography. And it's an anti school. He was the first guy who said it was O.K. to underexpose the film, to not show the clothes." Mr. Weber added: "So many photographers when I first started out idolized Bob. He was sort of an underground figure." In a 1995 profile in The New Yorker, when Bob Richardson had resurfaced after more than a decade of drifting around Southern California and living in cheap motels or at times on the beach, he told the writer Ingrid Sischy: "I wanted to put reality in my photographs. Sex, drugs, and rock 'n' roll -- that's what was happening. And I was going to help make it happen. Boy, they did not want that in America. Some of those editors were still wearing white gloves to couture." Bob Richardson was as overbearing and opinionated as he was seductive and handsome. Terry Richardson said his father's schizophrenia was diagnosed in the 1960's. Years of drug and alcohol abuse added to his instability and increasing rootlessness, especially in the 80's, when he had mostly cut off ties with his family. Terry Richardson, also a photographer, said he first helped get his father off the streets in 1984, and by then he had been homeless for two years. "He had lost everything," his son said. After growing up in Rockville Centre, N.Y., Mr. Richardson studied art at the Parsons School of Design and Pratt Institute without graduating. His first marriage, to Barbara Mead, produced a daughter, Margaret, but soon collapsed; according to The New Yorker article, Mr. Richardson did not maintain contact with them. (Terry Richardson said he had not seen his half-sister in a decade and did not know her whereabouts. There are no other immediate survivors.) By the early 60's, Bob Richardson was taking fashion photographs and had resolved, he told Ms. Sischy, to "photograph my kind of woman." Harper's Bazaar gave him his first commission in 1963, and the magazine's art directors, Ruth Ansel and Bea Feitler, seemed especially attuned to his loose, unencumbered style. Around this time, he married an actress named Norma Kessler (from whom he was later divorced), and Terry, their only child, was born in 1965. Norma served as the assistant for the Greek island shoot two years later. "It was just my mom, Dad and me with a bag of clothes," Terry said. "They just went off together and did these pictures." By 1970, Richardson was deeply involved with Ms. Huston, who was 18 when they met, and together they would produce some of the most wistful portraits of the era. Certainly no photographer ever made Ms. Huston look more beautiful. Terry Richardson said the two last saw each other at an airport in 1973, when they went their separate ways. With much of Mr. Richardson's original work lost or buried in magazine archives, a number of individuals, including Mr. Meisel and the art historian Martin Harrison, tried to help restore at least his reputation as an groundbreaking photographer. And in the 90's he received some new assignments from magazines like Italian Vogue. But Mr. Richardson could be hardest on the people who loved him. "It was his way or the highway," his son said. Early this year, Bob Richardson, who had been living in Los Angeles, decided to return to New York, driving across the country in an old Mercedes with his dog, Mick, and taking pictures. He had a publishing deal to produce his first monograph, with Greybull, but through some orneriness, it fell through. Terry Richardson said he would do the book, which includes an autobiography. And in deference to his father's wishes, it will not have any color pictures: "My dad always said, 'I see the world in black and white.' "Source: The New York Times
Sonya Noskowiak
Sonya Noskowiak
Germany/United States
1900 | † 1975
Sonya Noskowiak was a 20th-century German-American photographer and member of the San Francisco photography collective Group f/64 that included Ansel Adams and Edward Weston. She is considered an important figure in one of the great photographic movements of the twewntieth century. Throughout her career, Noskowiak photographed landscapes, still lifes, and portraits. Her most well-known, though unacknowledged, portraits are of the author John Steinbeck. In 1936, Noskowiak was awarded a prize at the annual exhibition of the San Francisco Society of Women Artists. She was also represented in the San Francisco Museum of Art’s Scenes from San Francisco exhibit in 1939. Ten years before her death, Noskowiak's work was included in a WPA exhibition at the Oakland Museum in Oakland, California. Noskowiak was born in Leipzig, Germany. Her father was a landscape gardener who instilled in her an awareness of the land that would later become evident in her photography. In her early years, she moved around the world while her father sought work in Chile, then Panama, before finally settling in Los Angeles, California, in 1915. In 1919, she moved to San Francisco to enroll in a secretarial school. Interested in photography from an early age, in 1925, at age 25, Noskowiak became a receptionist in Johan Hagemeyer's photographic studio in Los Angeles County. Upon expressing her interest in photography to him, Hagemeyer wrote off her dream as a joke in his diary. In early April 1929, Noskowiak met photographer Edward Weston at a party, and the two began a relationship immediately; she eventually became his model, muse, pupil, and assistant. Weston first taught her to "spot" photos—touching up flaws in prints—before giving her her first professional camera. This camera contained no film, and for several months Noskowiak worked with Weston, pretending to photograph while he taught her the mechanics of photography. During her time with Weston, Noskowiak's photography developed greatly, suggesting her understanding of craftsmanship as well as expressing her own style. Several of Weston's works, such as Red Cabbage Halved and Artichoke Halved, were inspired by Noskowiak's early negatives. Weston once said: "Any of these I would sign as my own." Dora Hagemeyer (sister-in-law of Johan Hagemeyer) wrote that while Noskowiak's photographic style was clean and direct like Weston's, she "put into her work something which is essentially her own: a subtle and delicate loveliness." Art photography in the late 1800s and early 1900s was defined by pictorialism, a style that refers to a photographer's manipulation of an otherwise straightforward photograph as the means of 'creating' the final work. This was in response to claims that photography was not an art but merely scientific or mechanical documentation. Weston and other photographers began to turn away from pictorialism, with many having growing concerns about their place in photography. In 1932 Noskowiak became an organizing member of the short-lived Group f/64, which included such important photographers as Ansel Adams, Imogen Cunningham, and Willard Van Dyke, as well as Weston and his son Brett. Noskowiak's works were shown at Group f/64's inaugural exhibition at San Francisco's M. H. de Young Museum; nine photographs of hers were included in the exhibit – the same number as Weston. In the summer of 1933, Noskowiak, along with Weston and Van Dyke, traveled to New Mexico to photograph the scenery. Her photographs Cottonwood Tree - Taos, New Mexico, and Ovens , Taos Pueblo, New Mexicowere taken on this trip and differ from her previous work. Cottonwood Tree is not nearly as intimate as her other works, while Ovens is the earliest of her work to focus on human-made culture. Later that summer, she had her first solo show at Denny-Watrous Gallery in Carmel. The exhibition included a series of photographs from New Mexico. She had another solo exhibition at 683 Brockhurst in November. Between 1933 and 1940, she participated in a few of Group f.64 exhibitions, including shows such as those at the Fine Arts Gallery in San Diego, Fresno State College, and the Portland Art Museum in Oregon. Noskowiak and Weston broke up in 1935, and Group f. 64 disbanded shortly thereafter—perhaps because of to her frayed relationship with Weston and perhaps because other members of the group were going their separate ways. Although Noskowiak's writing began to diminish during this time, her photographic career did not. Noskowiak moved to San Francisco and opened a portrait studio that year on Union Street. In 1936, she was one of eight photographers, including Weston, selected from the California region of the Federal Art Project to document California during the Great Depression. Noskowiak also engaged in commercial work and commissions to make a living. After Groupf.64 dissolved, she spent the next year photographing California artists and their paintings, sculptures, and murals. These images then toured to a variety of public institutions. Though she continued to photograph as an artist, Noskowiak's livelihood from the 1940s on was based on portraiture, fashion and architectural images. Noskowiak photographed many prominent figures such as painter Jean Charlot, dancer Martha Graham, composer Edgard Varèse, teenage violinist Isaac Stern, and writers Langston Hughes and John Steinbeck. The portrait of Steinbeck is particularly powerful and is one of only a handful of images of the writer in the 1930s. It is still used extensively to represent him. She continued commercial photography up until the 1960s, photographing images for manufacturers of lamps and stoves, as well as for architects. Noskowiak primarily focused on landscapes and portraits between the 1930s and 1940s. Noskowiak embraced straight photography and used it as a tool to give newer meaning to her photographs. She emphasized the forms, patterns, and textures of her subject, to enrich the documentation of it. Her earliest works reflect the work of photographers of her period and their thoughts on pictorialism. In her earliest works, such as City Rooftops, Mountains in Distance (the 1930s), there is a graphic quality to how she abstracted the piece. There is a dark, strong industrial structure that contrasts with the light sky. There are almost no logs seen on the buildings as if they are they are blurred beyond readability. This is an example of the New Objectivity movement, which focused on a harder, documentary approach to photography. Noskowiak often composed her photographs to intersect her subjects, which gave a more dynamic feel to her photographs. Examples of these are provided by her works Kelp (1930) and Calla Lily (1932). The composition crops the boundaries of the kelp plant and flower and draws the viewer's eye to the texture of the plants. The kelp is so abstracted that if not for the title it would be unrecognizable. In Calla Lily, her use of chiaroscuro gives a luminous, almost floating feeling to the photograph. Her photograph Agave (1933) is an intimate viewing of the cactus plant—another example of a composition separating the object from what is made visible shown and emphasizing the plant's beautiful pattern. Noskowiak utilized the same technique of straight photography in her pictorial portraits and commercial works. The same intimacy shown in Agave can be seen in portrait works such as John Steinbeck (1935) and Barbara (1941). In both, she creates an intimate atmosphere, in which the viewer feels as though they are there interacting with the subjects. Even in her more commercial works, Noskowiak's style and technique still remained important. In her untitled 1930s photograph, you have a model with a broad-brimmed hat that conceals her face. The composition of the piece relieves viewers from thinking about the photograph as an advertisement. The cropping and position of the model offer closeness, and viewers get the feeling of being in the moment with the model more than simply responding to the photo as an advertisement. In 1965, Noskowiak was diagnosed with bone cancer, and she ended her photographic work. She lived another ten years before passing away on April 28, 1975, in Greenbrae, California. It is hard to say what legacy Noskowiak left behind, as the discussion of her work began to dwindle after her breakup with Weston; nevertheless, some observers, such as Richard Gadd, the director of the Weston Gallery in Carmel, who believe that Noskowiak forged a path for young photographers. In recent years, Noskowiak's work has been included in group shows at the Weston Gallery, the Oakland Museum in California, and the Portland Museum of Art in Maine. In 2011, thirty-six years after her death, Noskowiak shared an exhibition with Brett Weston at the Phoenix Art Museum. In 2015, eight of Noskowiak’s works were on view at the Allentown Art Museum in Pennsylvania. The exhibition, named Weston's Women, however, acknowledges Noskowiak and other female artists only in their relation to Weston. Her archives, including 494 prints, hundreds of negatives, and many letters to Edward Weston, are now housed at the Center for Creative Photography in Tucson, Arizona.Source: Wikipedia
Nadar
Nadar
France
1820 | † 1910
Nadar was the pseudonym of Gaspard-Félix Tournachon. Nadar was born in April 1820 in Paris (though some sources state Lyon). He was a caricaturist for Le Charivari in 1848. In 1849 he created the Revue comique and the Petit journal pour rire. He took his first photographs in 1853 and in 1858 became the first person to take aerial photographs. He also pioneered the use of artificial lighting in photography, working in the catacombs of Paris. Around 1863, Nadar built a huge (6000 m³) balloon named Le Géant ("The Giant"), thereby inspiring Jules Verne's Five Weeks in a Balloon. Although the "Géant" project was initially unsuccessful Nadar was still convinced that the future belonged to heavier-than-air machines. Later, "The Society for the Encouragement of Aerial Locomotion by Means of Heavier than Air Machines" was established, with Nadar as president and Verne as secretary. Nadar was also the inspiration for the character of Michael Ardan in Verne's From the Earth to the Moon. On his visit to Brussels with the Géant, on 26 September 1864, Nadar erected mobile barriers to keep the crowd at a safe distance. Up to this day, crowd control barriers are known in Belgium as Nadar barriers. In April 1874, he lent his photo studio to a group of painters, thus making the first exhibition of the Impressionists possible. He photographed Victor Hugo on his death-bed in 1885. He is credited with having published (in 1886) the first photo-interview (of famous chemist Michel Eugène Chevreul, then a centenarian), and also took erotic photographs. From 1895 until his return to Paris in 1909, the Nadar photo studio was in Marseilles (France). Nadar died in 1910, aged 89. He was buried in Père Lachaise Cemetery in Paris. Source: Wikipedia
Jet Long
Jet Long
United States
1965
Growing up in the dense, vertical landscape of Hong Kong, Jet Long was captivated by the interplay of light, shadow, and form that defined his urban environment. Surrounded by modern architecture and the constant hum of city life, he developed a deep sensitivity to the structures and rhythms that shape the world around us. After working in Information Technology, he transitioned to photography, channeling his analytical mindset into an artistic pursuit. Now based in Los Angeles, his work involves the abstract forms of modern buildings, capturing the minimalist lines and textures that transform everyday structures into visual narratives. A passionate traveler, he is deeply inspired by the cultures, landscapes, and people he encounters along the way. From remote natural environments to the vibrant street life of cities, he seeks to capture not only the natural beauty of the world but also the rich tapestry of human stories woven into each place.
Kristina Lerner
Kristina Lerner
Russia
1986
Kristina Lerner(b. 1986) was born and raised in Moscow, Russia. In 2008 she graduated from Russian New University, majoring in World Culture. A few years later she moved to St. Petersburg, where she still lives and works as a freelance photographer. She also leads photo workshops in St. Petersburg photography schools.Kristina grew up in a creative family. Father was a musician and her mother worked as a model. So she was in love with art since childhood. At age 10 she began studying painting, which eventually led her to photography. Now Kristina Lerner does not divide her work into genres. She photographed the streets, people, nature and expressing herself in art photography.That's what she says about her works: "The main thing for me - is to feel the point of coincidence of external and internal and to be able to catch it in time and bring in photography. Every moment has it's own feeling and it’s own sound. No matter what I photograph: a portrait or the city’s scene - the picture should be filled with emotion and atmosphere of this unique second."Kristina Lerner has been photographing since 2008. She had many of her work published in international photography magazines and books, including Eyemazing New Collectible Art Photography - that brought together a selection of the best work published in Eyemazing magazine over the last ten years. Kristina took part in numerous art exhibitions and festivals, and in 2011 she became a finalist of the international Vilnius Photo Circle photography festival.
Viviane Sassen
Viviane Sassen
Netherlands
1972
Viviane Sassen was born in 1972 in Amsterdam, and lives and works there. She first studied fashion design followed by photography at Hogeschool voor Kunsten Utrecht and fine art at Ateliers Arnhem. Sassen grew up in East Africa and has been taking photographs on the continent since her first return visit in 2002. Selected solo exhibitions have taken place at Forma in Milan (2009) and Foam in Amsterdam (2008). Sassen was one of six artists selected for the annual New Photography exhibition at the Museum of Modern Art, New York, in 2011. Recent group exhibitions include The Encyclopedic Palace at the 55th Venice Biennale (2013); No Fashion, Please! Photography between Gender and Lifestyle at the Vienna Kunsthalle (2011); Figure and Ground: Dynamic Landscape at the Museum of Contemporary Canadian Art in Toronto as part of the Contact Photography Festival (2011); and Six Yards: Guaranteed Dutch Design at the Museum voor Moderne Kunst Arnhem (2012). In 2007 Sassen received the first prize of the Prix de Rome, and in 2011 she won the International Center of Photography Infinity Award for Applied/Fashion/Advertising Photography. Source: www.stevenson.info
Kim Kyung Soo
Kim Kyung Soo
Korea
1975
Born in Seoul, Korea in 19752002 Bachelor Degree in photography, Sangmyung University, Seoul, KoreaLives and Works in Seoul, Korea When Vogue Korea asked Kim Kyoungsoo, a renowned fashion photographer to realize a series of fashion portraits that would (re-actualize) the traditionnal Korean costum (Hanbok), he also decided to realize his series Full Moon Story. His models are elegantly staged, wearing somptuous Hanbok, with their haircuts and make-up done perfectly. There is a serenity, poetry and softness which emanates from the pictures that astonishes and instantly puts the viewer in a contemplative state of mind. "During the National traditionnal festivities called 'Chuseok', many Korean people used to wear the hanbok. I wanted to show this typical ambiance with both a lyric and modern touch. I wanted a neutral stage; only shadows and reflections mattered to me: Colours, faces and models were enhanced by cold and light tones creating an almost surreal feeling." Source: www.galerieparisbeijing.com
Joan Haseltine
Joan Haseltine
United States
Joan Haseltine is a lens-based artist residing in Big Timber, MT and Los Angeles. Born in Chicago, IL, her work explores alienation and loneliness through a feminine gaze, using a cinematic approach. She received a BS in Accounting from Florida State University. She comes to photography after motherhood and a career on Wall Street. Her first camera was purchased in 2015. She has studied at the Los Angeles Center of Photography and The International Center of Photography. The Girl Who Escaped and Other Stories The Girl Who Escaped and Other Stories is a staged narrative of alienated women whose outwardly immaculate appearance disguise their vulnerability, insecurity and possible treachery. As women, we confine ourselves and limit our mobility in our attempt to be attractive. We become prey. I seek to make the viewer a complicit voyeur to these lonely women.
Chiara Felmini
Chiara Felmini
Italy
Born in Turin in 1965, I have been a photographer since the age of 8, when I received my first camera as a gift (which I still own); since then I have never stopped looking at the world from behind a lens with an ever growing interest in travel and the environment. Animals have been part of my life, professionally and otherwise, for over 30 years and photographing them has been an absolutely natural path. Only later did my love for travel lead me to discover a passion for documentary and reportage photography. Photographer to tell stories, for an aesthetic and emotional research; the constant search for light, for color, for the moment, but above all for the interaction with the people I meet, gives me a great boost to sharing and understanding human nature and it is an activity that is now indispensable for me.
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