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Miguel Rio Branco
Miguel Rio Branco

Miguel Rio Branco

Country: Brazil
Birth: 1946

Miguel Rio Branco (born 11 December 1946) is a Brazilian photographer, painter, and filmmaker (director and cinematographer). His work has focused on Brazil and included photojournalism, and social and political criticism. Rio Branco is an Associate Member of Magnum Photos. His photographs are included in the collections of the Museum of Modern Art and Metropolitan Museum of Art in New York.

Rio Branco was born in Las Palmas, Gran Canaria, in the Canary Islands. His parents were diplomats and he spent his childhood in Portugal, Switzerland, Brazil and the United States. In 1976 he moved to New York City, where he earned a BA, and took a one-month vocational course at the New York Institute of Photography. In 1978, he moved to Rio de Janeiro and studied at the Industrial Design College.

He has been an Associate Member of Magnum Photos since 1980. He lives and works in Rio de Janeiro.

Rio Branco's Silent Book (1997) is included in Parr and Badger's The Photobook: A History, Volume II.

Source: Wikipedia


Miguel Rio Branco (born in Las Palmas in 1946) is a Brazilian artist (photographer, painter, filmmaker and creator of multimedia installations) living and working in Rio de Janeiro. In 1966 he studied at the New York Institute of Photography and in 1968 he left to study at the School of Industrial Design in Rio de Janeiro. Between 1970 and 1972, he worked in New York as a director and cinematographer, and in the following years directed several experimental feature and short films. At the same time, he began exhibiting his photographs in 1972.

From 1980 he became a correspondent for Magnum Photos and his photographic work was published in numerous magazines (Aperture, Stern, Photo Magazine). Considering the book as an essential medium of expression, he conceived many books including Sudor Dulce Amargo (Fondo de Cultura Económica, Mexico City, 1985), Natka (Fundação Cultural de Curitib, 1996), Silent Book (Cosac & Naify, 1997), Miguel Rio Branco (Aperture, 1998) and Maldicidade (Taschen, 2019).

His work has been the subject of numerous solo exhibitions, including Beauty, the Beast at the Art Institute of Boston in 2003; Plaisir de la douleur at the Maison Européenne de la Photographie in Paris in 2005; Solo at Kulturhuset Stockholm in 2011; Miguel Rio Branco: Nada Levarei quando morrer at the Museu de Arte de São Paulo in 2017 and Miguel Rio Branco at the Moreira Salles Institute in São Paulo in 2020.

His works can be found in many European and American public and private collections, including: Museu de Arte Moderna do Rio de Janeiro; Museu de Arte de São Paulo; Centre Georges Pompidou, Paris; San Francisco Museum of Modern Art; Stedelijk Museum, Amsterdam; Museum of Photographic Arts, San Diego; MoMA, New York.

Source: LE BAL


 

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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. 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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
Germaine Krull
Germany
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Germaine Krull was a photographer, political activist, and hotel owner. Her nationality has been categorized as German, Polish, French, and Dutch, but she spent years in Brazil, Republic of the Congo, Thailand, and India. Described as "an especially outspoken example" of a group of early 20th-century female photographers who "could lead lives free from convention", she is best known for photographically-illustrated books such as her 1928 portfolio Métal. Germaine Luise Krull was born in Wilda, Poznan, then on the border between Germany and Poland in East Prussia, of an affluent German family. In her early years, the family moved around Europe frequently; she did not receive a formal education, but instead received homeschooling from her father, an accomplished engineer and a free thinker but a bit of a ne'er-do-well. Her father may have influenced her in at least two ways. First, he let her dress as a boy when she was young, which may have contributed to her ideas about women's roles later in her life. Second, his views on social justice "also seem to have predisposed her to involvement with radical politics." Between 1915 and 1917 or 1918 she attended the Lehr- und Versuchsanstalt für Photographie, a photography school in Munich, Germany, at which Frank Eugene's teaching of pictorialism in 1907-1913 had been influential. She opened a studio in Munich in approximately 1918, took portraits of Kurt Eisner and others, and befriended prominent people such as Rainer Maria Rilke, Friedrich Pollock, and Max Horkheimer. Krull was politically active between 1918 and 1921. In 1919 she switched from the Independent Socialist Party of Bavaria to the Communist Party of Germany, and was arrested and imprisoned for assisting a Bolshevik emissary's attempted escape to Austria. She was expelled from Bavaria in 1920 for her Communist activities, and traveled to Russia with her lover Samuel Levit. After Levit abandoned her in 1921, Krull was imprisoned as an "anti-Bolshevik" and expelled from Russia. She lived in Berlin between 1922 and 1925 where she resumed her photographic career. She and Kurt Hübschmann (later to be known as Kurt Hutton) worked together in a Berlin studio between 1922 and 1924. Among other photographs, Krull produced in Berlin were nudes that one reviewer has likened to "satires of lesbian pornography." Having met Dutch filmmaker and communist Joris Ivens in 1923, she moved to Amsterdam in 1925. After Krull returned to Paris in 1926, Ivens and Krull entered into a marriage of convenience between 1927 and 1943 so that Krull could hold a Dutch passport and could have a "veneer of married respectability without sacrificing her autonomy." In Paris between 1926 and 1928, Krull became friends with Sonia Delaunay, Robert Delaunay, Eli Lotar, André Malraux, Colette, Jean Cocteau, André Gide and others; her commercial work consisted of fashion photography, nudes, and portraits. During this period she published the portfolio Métal (1928) which concerned "the essentially masculine subject of the industrial landscape." Krull shot the portfolio's 64 black-and-white photographs in Paris, Marseille, and Holland during approximately the same period as Ivens was creating his film De Brug ("The Bridge") in Rotterdam, and the two artists may have influenced each other. The portfolio's subjects range from bridges, buildings (e.g., the Eiffel Tower), and ships to bicycle wheels; it can be read as either a celebration of machines or a criticism of them. Many of the photographs were taken from dramatic angles, and overall the work has been compared to that of Laszlo Moholy-Nagy and Alexander Rodchenko. In 1999–2004 the portfolio was selected as one of the most important photobooks in history. By 1928 Krull was considered one of the best photographers in Paris, along with André Kertész and Man Ray. Between 1928 and 1933, her photographic work consisted primarily of photojournalism, such as her photographs for Vu, a French magazine. also in the early 1930s, she also made a pioneering study of employment black spots in Britain for Weekly Illustrated (most of her ground-breaking reportage work from this period remains immured in press archives and she has never received the credit which is her due for this work). Her book Etudes de Nu ("Studies of Nudes") published in 1930 is still well-known today. Between 1930 and 1935 she contributed photographs for a number of travel and detective fiction books. From 1935–1940, Krull lived in Monte Carlo where she had a photographic studio. Among her subjects during this period were buildings (such as casinos and palaces), automobiles, celebrities, and common people. She may have been a member of the Black Star photojournalism agency which had been founded in 1935, but "no trace of her work appears in the press with that label." In World War II, she became disenchanted with the Vichy France government, and sought to join the Free French Forces in Africa. Due to her Dutch passport and her need to obtain proper visas, her journey to Africa included over a year (1941–1942) in Brazil where she photographed the city of Ouro Preto. Between 1942 and 1944 she was in Brazzaville in Republic of the Congo, after which she spent several months in Algiers and then returned to France. After World War II, she traveled to Southeast Asia as a war correspondent, but by 1946 had become a co-owner of the Oriental Hotel in Bangkok, Thailand, a role that she undertook until 1966. She published three books with photographs during this period and also collaborated with Malraux on a project concerning the sculpture and architecture of Southeast Asia. After retiring from the hotel business in 1966, she briefly lived near Paris, then moved to Northern India and converted to the Sakya school of Tibetan Buddhism. Her final major photographic project was the publication of a 1968 book Tibetans in India that included a portrait of the Dalai Lama. After a stroke, she moved to a nursing home in Wetzlar, Germany, where she died in 1985.Source: Wikipedia
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