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Jesse Alexander
Jesse Alexander

Jesse Alexander

Country: United States
Birth: 1929 | Death: 2021

Jesse Alexander is an American photographer that covers motorsports, portraits, birds and travel. He also published several books. One of his first photo expeditions was in 1953 to the Carrera Panamericana race in Mexico. Since 1954, he covered large European races such as 24 Hours of Le Mans in France, and the Mille Miglia and Targa Florio of Italy. While in Europe he also photographed culture celebrities for New York Times, and was the European editor for Car and Driver magazine.

He has exhibited at the Birmingham Museum of Art, the Akron Art Museum, and the Santa Barbara Museum of Art.

Source: Wikipedia


Jesse Alexander has been involved in photography and especially motorsports photography since the early 1950s when he covered the original Mexican Road Race. He then spent many years in Europe covering Formula One and the famous long distance sports car races, the 24 Hours of Le Mans, the Mille Miglia and Targa Florio. In that period of time he also photographed theater and music personalities for the New York Times.

“As a young boy growing up during World War II, I was captivated by the imagery that came out of the war through the eyes of legendary photographers like Edward Steichen and W. Eugene Smith. My other heroes include Henri Cartier-Bresson, Jacques Henri Lartigue, Mary Ellen Mark, Bruce Davidson and Robert Capa, he said.

Jesse’s current body of work includes travel photographs of Iceland, the Galapagos Islands, and birds.

Source: Fahey/Klein Gallery


In the wake of World War II, a golden age of motor sports emerged in Europe, pitting competing countries against each other on the racetrack instead of the battlefield. A young photographer at the time, Jesse Alexander followed "the circus" and captured on film the adventure, glamour and innocence of this influential period in racing. In one image, Phil Hill waves after winning the 1960 Italian Grand Prix in his Ferrari; in another, Piero Taruffi celebrates his 1957 victory at the Mille Miglia in Brescia, Italy. Since then, Jesse Alexander has remained one of the most acclaimed and commercially successful racecar photographers in the history of the sport. Jesse Alexander's photographs have been exhibited in numerous museums and galleries in the United States, including the Birmingham Museum of Art, the Akron Art Museum, and the Santa Barbara Museum of Art.

Source: Robert Klein Gallery


 

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Diana Markosian
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1989
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Alice De Kruijs
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1981
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Pierrot Men
Malagasy
1954
At first, I wanted to be a painter, and I pursued this path for 17 years. In my third year of middle school, a painter came to present his profession, and I decided to leave school to follow this path. My father, who was a merchant, would have preferred me to become a grocer like him. He cut oA my financial support, so I left home for the “big city,” Antananarivo, with my childhood friend Léon Fulgence. In a coAee plantation, we made a blood pact, promising each other to become artists—he as a painter and I as a photographer. We experienced poverty and hunger in Antananarivo. After returning to my hometown following the political events of 1972, I worked in the family grocery store. After some time, to show my determination to my father, I drew a counterfeit banknote that he mistook for a real one. He was furious, but he also realized I had artistic potential. After doing various small jobs, I was able to buy an enlarger and, in 1974, opened my first photo lab. I worked on weddings, baptisms, and family portraits to support my family. I used a Soviet Zenit E camera with a 50mm lens, a gift from my sister. My first camera was my father’s old Kodak 6x9, which I used for a long time. I also used contact sheets as models for my paintings, and sometimes even postage stamps, as magazines and books rarely reached the provinces. At the same time, I developed my personal photography, following in the footsteps of my African colleagues Seydou Keita and Malick Sidibé. Today, I have achieved my dream and have been a photographer for nearly 50 years. Statement My name is Pierrot Men, and I'm a Madagascan artist-photographer with a passion for my country, Madagascar, which is rich in human and natural diversity. Photography is not just my job, it's my life. I was born here, I grew up here, and the whole essence of my being is deeply rooted in the culture and landscapes of this fascinating island. My passion for photography finds its purest essence in capturing people in their environment, at the heart of the everyday lives of the people who live in my country. My artistic approach stems from an intimate connection with the people of Madagascar. Every click of my camera is an act of love and a testimony to the Malagasy soul, an immersion in the everyday experiences that shape our lives. By photographing the people of my country, I feel as if I am photographing myself, frozen in situations that I have experienced myself. It's an act of personal exploration as much as it is a visual testimony to the richness of our culture. My favourite tool is a 35mm lens, which allows me to get closer to their intimacy, to feel the warmth of their smiles, the depth of their eyes and the sincerity of their gestures. Each shot becomes a moment frozen in time that reveals the very essence of their existence. When I set out to find my subjects, I don't have any predefined themes in mind. I let my emotions guide me. I photograph everything that evokes a deep feeling in me, whether it's the bright joy of a bustling market, the melancholy of a gaze lost in the horizon or the palpable inspiration of a craftsman creating his art with passion... Each image I capture is imbued with the vital energy of Madagascar, with the love I have for this country and its people. Beyond the lens of my camera, there's communication. I like to immerse myself in the daily lives of the people I photograph. I take the time to get to know them, to listen to their stories, to understand their dreams and struggles. These conversations, often fleeting but always meaningful, allow me to create a bond, a connection that transcends the camera lens. It is in these moments of sharing that I discover the true essence of my subjects, which makes each image even more precious. I admit that writing is not my strong point. My photographic language finds its true expression through my camera. Each image I capture speaks for me, tells a silent story. In conclusion, my images are born of this fusion between my love for Madagascar, my deep connection with its people and my ability to capture the essence of the human being through my lens. Each photograph is the result of a passionate exploration, a total immersion in the daily life of my country. Each one tells a story, not only of those I have photographed, but also of myself, of my own experience as a Malagasy individual. This is how my images come to life, through the prism of my lens, freezing the Malagasy soul in eternal moments.
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