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Mona Singh
Mona Singh
Mona Singh

Mona Singh

Country: India

Gurgaon, (India) based street/ travel photographer. Capturing emotions is one of the key ingredients in Mona Singh’s work. She firmly believes in making photographs that she resonates with. Even though it is the emotions of her subjects that she is documenting, she finds a reflection of herself in them. Her love for the unexpected and candid moments gives her the ability to find visual order within the chaos of the world and an unparalleled creative vision.

She loves to creatively capture the weird and wonderful fleeting moments as they unfold in front of her eyes. She beautifully fuses emotions and art to tell stories through her pictures. Photography for her has been a life-transforming experience. Photography is the love of her life and traveling is like blood in her veins. She loves waking up to new horizons, making new friends and exploring the world.

Silent Colors:
"Who doesn't like colors? Well, we all do... but these women are considered a curse and have lost the joy and privilege of having colors in their lives. These are the widows of Vrindavan, the abandoned and forgotten souls in one of the holiest cities of India. Thousands of them have made this city their home and the place is known as 'The city of widows'. Sitting cross-legged in a dingy room with a noisy fan, plaster peeling off the walls, watching her favorite Bengali serial on an old T.V. set, Purba (name changed) greeted me by saying 'Radhe Radhe', the only popular way to greet in Vrindavan.

She left her family in Bengal and came to the Widows Ashram in Vrindavan after her husband’s death. Many others like her in the room have either been abandoned by their families or have decided to stay away from the societal pressures and people ostracizing them. Breaking the age-old rigid Indian tradition, these widows celebrate Holi, the vibrant festival of colors at the ancient Gopinath temple. Soaked in colors, they throw rose and marigold flower petals at each other and dance with joy. It is a blissful experience for all. It is mesmerizing to see such a sight. Their white saris turn bright and colorful. It is like getting revived in the most tender way."

Websites

@monasinghphotography

monasinghphotography.com

 

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More Great Photographers To Discover

Joel Sternfeld
Joel Sternfeld
United States
1944
Joel Sternfeld (born June 30, 1944) is an American fine-art color photographer. He is noted for his large-format documentary pictures of the United States and helping establish color photography as a respected artistic medium. Sternfeld's work is held in the collection of the Museum of Modern Art in New York. Sternfeld earned a BA from Dartmouth College and teaches photography at Sarah Lawrence College in New York. He began taking color photographs in 1970 after learning the color theory of Johannes Itten and Josef Albers. Color is an important element of his photographs. American Prospects (1987) is Sternfeld's most known book and explores the irony of human-altered landscapes in the United States. To make the book, Sternfeld photographed ordinary things, including unsuccessful towns and barren-looking landscapes. On This Site: Landscape in Memoriam (1997), is about violence in America. Sternfeld photographed sites of recent tragedies. Next to each photograph is text about the events that happened at that location. From 1991 to 1994 Sternfeld worked with Melinda Hunt to document New York City's public cemetery on Hart Island, resulting in the book Hart Island (1998). Sternfeld has also published books about social class and stereotypes in America: Stranger Passing (2001), an abandoned elevated railway in New York: Walking the High Line (2002), and Sweet Earth: Experimental Utopias in America (2006). When It Changed (2007) contains close-up portraits of delegates debating global warming at the 2005 United Nations Climate Change Conference in Montreal.Source: Wikipedia Joel Sternfeld is an artist-photographer whose work is concerned with utopic and dystopic possibilities of the American experience. Ever since the publication of his landmark study, American Prospects in 1987 his work has maintained conceptual and political aspects, while also being steeped in history, art history, landscape theory and attention to seasonal passage. It is a melancholic, spectacular, funny and profound portrait of America. The curator Kevin Moore has claimed that the work embodies the “synthetic culmination of so many photographic styles of the 1970s, incorporating the humor and social perspicacity of street photography with the detached restraint of New Topographics photographs and the pronounced formalism of works by so many late-decade colorists” (Kevin Moore, Starburst: Color Photography in America 1970-1980). On This Site (1996) examines violence in America while simultaneously raising significant epistemological questions about photographs as objects of knowledge. Sweet Earth: Experimental Utopias in America (2006) “can be seen as a generous respite from the traumatic history in On This Site... It is a survey of American human socialization, alternative ways of living, of hopeful being” (Elin O’Hara Slavik, 2018). All his subsequent work has sought to expand the narrative possibilities of still photography primarily through an authored text. All of his books and bodies of work converse with each other and may be read as a collective whole. His work represents a melding of time and place that serves to elucidate, honor, and warn. The images hold a certain urgency, as their histories survive solely through their photographic representation— they are an archive for the future. Sternfeld is the recipient of two Guggenheim Fellowships and spent a year in Italy on a Rome Prize. He teaches at Sarah Lawrence College, where he holds the Noble Foundation Chair in Art and Cultural History.Source: www.joelsternfeld.net Joel Sternfeld is well known for large-format color photographs that extend the tradition of chronicling roadside America initiated by Walker Evans in the 1930s. Sternfeld's projects have consistently explored the possibility of a collective American identity by documenting ordinary people and places throughout the country. Each project he embarks on is bound by a concept that imbues it with subtle irony, often through insightful visual juxtapositions or by pairing images with informational text. Another characteristic aspect of Sternfeld's work is that color is never arbitrary; it functions in highly sophisticated ways to connect elements and resonate emotion. Sternfeld earned a BA in Art from Dartmouth College in 1965. He began making color photographs in the 1970s after learning the color theory of Johannes Itten and Josef Albers. He initially made street photographs with small- and medium-format cameras, but by the time he produced what would become a seminal project, American Prospects (1987), he was working with an eight-by-ten-inch camera. This enabled him to achieve the crisp details his work is known for. Sternfeld's style-his careful attention to visual qualities combined with an insightful and often ironic view of his subjects was first articulated in American Prospects. One of his best-known images, for example, depicts a fireman shopping for a pumpkin as a house burns in the background. The pumpkins' vibrant oranges match the autumnal colors of the countryside, and ironically, the fire's flames.Source: The J. Paul Getty Museum
Anais Perry
Anais Perry
France/Germany
1986
I was born in Burgundy, France where I also grew up. For the study of Photojournalism at the Hochschule Hannover I moved to Germany. After 2 years, I changed to the HAW Hamburg to develop a more personal photography. The studies of Communication Design with the focus on photography offered me the possibility to discover a large scale of this art and to construct an own picture language. 2013 I earned the BA of Photography in the Class of Prof. Vincent Kohlbecher and Prof Ute Mahler and in 2016 the Master in Photography with Prof. Gesa Lange and Prof Linn Schröder. In 2018, I won the Juror's Pick at the Lensculture Street Photography Award 2018, and in the same year appears a self-published edition of my work "What remains at the end?". To create my works, I find inspiration in the cinema art. The fiction is my starting point to capture the reality and to build a strange or an artificial atmosphere. I'm living and working currently in Hamburg.
Burk Uzzle
Burk Uzzle
United States
1938
Burk Uzzle is an American photojournalist, previously member of Magnum Photos and president from 1979 to 1980. Burk Uzzle has spent his life as a professional photographer. Initially grounded in documentary photography when he was the youngest contract photographer hired by Life magazine at age 23, his work continues to reflect the human condition. For sixteen years during the 1970s and 1980s, he was an active contributor to the evolution of Magnum and served as its President in 1979 and 1980. While affiliated with the cooperative, he produced the iconic and symbolic image of Woodstock (showing Nick Ercoline and Bobbi Kelly hugging), helped people grasp an understanding of the assassination and funeral of Dr. Martin Luther King Jr., and powerfully projects comprehension of what it means to be an outsider - from Cambodian war refugees to disenfranchised populations without voice or agency to portraits of communities not identified on a roadmap. His life, philosophy, and continuing work was explored in the critically acclaimed 2020 documentary feature film F11 and Be There by director Jethro Waters. His archive spans more than six decades and captures much of the history of analog and digital photography. His current bodies of work rest deep in issues of social justice. A dozen years ago, Uzzle returned to North Carolina and now lives and works in two-century-old industrial buildings located in downtown Wilson not far from where he was born.Source: Wikipedia Burk Uzzle’s career, like his pictures, is a nuanced composition blending American culture, individual psyches of particular places and people, and an atypical way of seeing ourselves, our values, and our community. Always respectful yet locating the poignant or quirky, the history of his narrative belongs to all of us. Initially grounded in documentary photography when he was the youngest photographer hired by LIFE magazine at age 23, his work grew into a combination of split-second impressions reflecting the human condition during his tenure as a member of the prestigious international Magnum cooperative founded by one of his mentors Henri Cartier-Bresson. For 15 years, Uzzle was an active contributor to the evolution of the organization and served as its President in 1979 and 1980. During the 16 years, he was associated with Magnum, he produced some of the most recognizable images we have of Woodstock (album cover and worldwide reproduction of its iconic couple hugging at dawn) to the assassination and funeral of Martin Luther King Jr. to our comprehension for the experience of Cambodian war refugees. His archive spans almost six decades. His current work rests deep in photographic appreciation of the quiet, strong, and eloquent beauty he discovers in America’s small towns and its people. It is along small back roads, limned with feelings and a surety of surprise for the heart wide open, that continue to support his understanding of how America keeps its personality out on a limb. Uzzle’s current bodies of work are artful and constructed reflections of his subjects, many of whom are African-American residents proximal to his studio in North Carolina — a 100-year-old industrial building that hosted the production of automobiles to the manufacture of caskets. Their shared layers of experience are representatives of the now. In this space, individual transcendence offers history a look at contemporary life. Conjoined with Uzzle’s fundamental appreciation for unseen characteristics, he ably captures each in a collaborative, interpretive context with his eye and his heart. On the road and between the walls, his hope is for a graphic presentation of something universal within the particular, and all the better when involving a gentle chuckle and knowing smile.Source: www.burkuzzle.com
Anna Biret
Anna Biret
Poland/France
| † 2025
I was born in Soviet Poland, where I found my calling in spatial perception and geometric patterns of architecture. After graduating from architectural studies, I moved to Paris, where I live to this day. I discovered street photography in November 2018, when I decided to take part in one of Maciej Dakowicz's workshops in Myanmar. It was the first spark that started a whole series of workshops and photography trips, from Bolivia to the Bay of Bengal in India, my photos are inspired by the people I meet on every adventure. Statement I live for spontaneous encounters that can only take place in the streets, looks, compositions and colors lead me to create portraits through contact and empathy. A woman blindfolding her eyes from the sun, a shadow flooding the edges of a fruit stand, a scarf carried away by a sudden gust of wind, these ordinary scenes become extraordinary fragments that make up my photos. When I go to the streets with my camera, I have no specific idea of ​​what I will be photographing... street, light, colors and most of all ordinary people inspire me. I feel that something magical is happening with me, witch the world around me as I take pictures. I don't think about art when I work, I think about life. - Jean Michel Basquiat Awarded Photographer of the Week - Week 18
Marek Boguszak
Marek Boguszak
Czech Republic
1952
Marek Boguszak is an abstract photographer from Prague. His major subject is the perfect order and harmony of windblown sand dunes created by Newton's laws of physics. His abstraction is rooted in his academic background in mathematics. Together with his wife Magda, Marek transforms the original depictive content into a narrative space of new associations. Boguszak has received multiple awards and honorable mentions and showed his works at solo and group exhibitions in Prague, Zurich, London, New York, Barcelona, Madrid, Lisbon, Campione and Milan. ARTIST STATEMENT "Shooting digital photography of sand dunes has brought me to a rare world of magnanimous and dignified calmness. Our sight is hardly compromised by other senses; all distractions of our reality disappear, all defects, all noises are no more. Being there is an abstraction from the continuous entropy of life, resulting in a simple and clean harmony. Sand dunes were created by obeying the laws of physics, their geometrical shapes, smooth and perfect, are a visible representation of an almost flawless balance, and without visible traces of any kind of life, they become themselves a pure form, filled in with sunshine. As the recognizable world dissolves in abstraction, the image comes to work on one’s mind like a fragrance or a piece of music, eluding rational understanding and revealing itself fully only as a feeling."
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
Victor Moriyama
Victor Moriyama
Brazil
1984
Victor Moriyama is a freelance Brazilian photographer based in São Paulo that covers the region of South America and the problems concerning the Amazon Rainforest for the international press, mainly for The New York Times. His work discloses an humanist kind of photography, committed to document the processes of violence that prevail in social and environmental relations in Brazil and the Amazonian region. Agrarian Conflicts, the deforestation and conservation of the Amazon Rainforest, the genocide of the indigenous populations, the acceleration of climate change and the violation human rights have been guiding themes of his career in the last few years. Victor also collaborates regularly with NGOs, such as Greenpeace, Instituto Socioambiental, iCRC and UNHCR. Concerned with the shortage of reported on the conflicts in the Amazon, Victor has created, in 2019, the project @historiasamazonicas a community of Latin American photographers committed to document the current processes that are taking place in the Amazon, with the objective of defining and changing the present. The idea is to expand the world's knowledge concerning the conflicts that surround the Amazon and to engage the global society into thinking and fighting the deforestation of the greatest rainforests in the world. Victor is also a member of the @everydayclimatechange, a group of photographers from the five continents engaged and committed to climate change. Mr. Moriyama is also a photography columnist for the Brazilian edition of the Spanish Newspaper El País. About Amazon Deforestation "'Nature will die in embers', told me Davi Yanomami, one of Brazil's greatest indigenous leaders, during the 70 days I spent doing field work in the Amazon Rainforest. The greatest rainforest in the world is dying. The year of 2019 was the worst in history for the Amazon Forest. The deforestation of the vegetation cover set a record and increased 29.5% in relation to 2018, adding up to a total loss of 9.762km² of forest. However, this process isn't new: the deforestation of the Amazon Rainforest has been going on for decades, with the connivance of the rulers of the South American countries, whose actions are utterly inefficient when it comes to trying to reverse this context of destruction. This situation became even more severe, after the elected right-wing government took office in 2019. Stimulated by official speech, deforestation agents set thousands of hectares on fire, with the certainty of impunity. As an immediate reaction, thousands of young people started protesting against the destruction of the rainforest, in dozens of cities worldwide, headed by Greta Thunberg. This series of images is the result of my immersive work in the heart of the Amazon Rainforest, where I have documented the advances of the deforestation in a special piece for The New York Times." -- Victor Moriyama
Arne Strømme
Arne Strømme
Norway
1954
Arne Strømme is a Norwegian photographer, born and raised in Trondheim, now living in Molde. He was early attracted to photography, but when it came to choosing a profession, he trained as a landscape architect. About his photography Arne writes: ''My first pictures with a camera struck like lightning, half a century ago. Photography as a creative expression manifested itself immediately, and has been an important part of my life ever since. I wanted to keep photography as a passion and trained as a landscape architect. The combination of architect and photographer is rewarding, with different approaches to my creative urge. Now I can photograph whatever I want, whenever I want, wherever I want. As a photographer, I have a passion for people and the presence of people, despite my great interest in nature. For three decades I have traveled all over the world in search of adventure and magical moments. The process of photography, and the encounters with foreign people and cultures, are as important, perhaps more important, than the result itself. Still, if a decisive moment turns into a successful photograph, I will be happy.'' Strømme's photos have been presented in a number of exhibitions and decorations - and have won many awards. Among other things, Strømme has been named "Photographer of the Year" a total of 15 times in Norway and Sweden.
Thierry Cohen
Thierry Cohen
France
1963
Thierry Cohen was born in Paris in 1963. He began his professional career in 1985 and is seen as one of the pioneers of digital photography. His work has been shown at the Palais de Tokyo, and the Musee de l”Homme in Paris, and in 2008 was an official selection of the Mois de la Photo. Since 2010 he has devoted himself to a single project – “Villes Enteintes” (Darkened Cities) – which depicts the major cities of the world as they would appear at night without light pollution, or in more poetic terms: how they would look if we could see the stars. Cohen’s method is original and precise and harkens back to the methodologies employed by early 19th century photographers like Gustave Le Grey. He photographs the world’s major cities, seeking out views that resonate for him and noting the precise time, angle, and latitude and longitude of his exposure. As the world rotates around its axis the stars that would have been visible above a particular city move to deserts, plains, and other places free of light pollution. By noting the precise latitude and angle of his cityscape, Cohen is able to track the earth’s rotation to places of atmospheric clarity like the Mojave, the Sahara, and the Atacama desert. There he sets up his camera to record what is lost to modern urban dwellers. Compositing the two images, Cohen creates a single new image full of resonance and nuance. The work is both political and spiritual questioning not only what we are doing to the planet but drawing unexpected connections between disparate locations. Equally importantly it asks: what do we miss by obscuring the visibility of stars? As the world's population becomes increasingly urban, there is a disjunction with the natural world which both Cohen and science posit causes both physical and psychological harm. Cities that never sleep are made up of millions of individuals breaking natural cycles of work and repose. Cohen’s photographs attempt to restore our vision, and in beautifully crafted prints and images offer the viewer a possibility - to re-connect us to the infinite energy of the stars.Source: Danziger Gallery
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Interview
Exclusive Interview with Tommi Viitala
Tommi Viitala, winner of AAP Magazine #44: Street, is a Finnish photographer celebrated for his striking and cinematic street photography. With a keen eye for atmosphere and composition, he captures fleeting urban moments that reveal the poetry of everyday life. His work often explores the tension between solitude and connection within contemporary cityscapes, blending documentary realism with artistic sensibility. Viitala’s photographs have been exhibited internationally and recognized for their strong visual storytelling and emotional depth. We asked him a few questions about his life and work.
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Exclusive Interview with Robert Mack
Interview
Exclusive Interview with Robert Mack
Robert Mack is a California-based visual artist, photographer, and filmmaker. His fine art photography and films have been exhibited widely in the United States and Europe, with major shows at the Baltimore Museum of Art and the Reiss-Engelhorn Museum in Mannheim, Germany. Both institutions hold his work in their permanent collections. Working across different media, Mack has built a career exploring the complexities of human presence and representation. In 1981, while living in Baltimore, he produced The Perkins Project: Not Guilty by Reason of Insanity, a rare photographic and film study inside Maryland’s hospital for the criminally insane. These stark yet compassionate black-and-white portraits remain one of his most powerful and controversial bodies of work.
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AAP Magazine #55 Women
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© Ilaria Miani
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