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Win a Solo Exhibition in April 2026 + An Exclusive Interview!
Win a Solo Exhibition in April 2026 + An Exclusive Interview!
Dennis Stock
Dennis Stock

Dennis Stock

Country: United States
Birth: 1928 | Death: 2010

Dennis Stock (July 24, 1928 – January 11, 2010) was an American photojournalist and documentary photographer and a member of Magnum Photos. He was born in New York City and died in Sarasota, Florida. Stock served in the United States Army from 1947-1951. Following his discharge, he apprenticed under photographer Gjon Mili. In 1951, he won a first prize in a Life magazine competition for young photographers. That same year, he became an associate member of the photography agency Magnum. He became a full partner-member in 1954. In 1955, Stock met the actor James Dean and undertook a series of photos of the young star in Hollywood, Dean's hometown in Indiana and in New York City. He took a photograph of Dean in New York's Times Square in 1955 (the year Dean died) that became an iconic image of the young star. It appeared later in numerous galleries and on postcards and posters and was one of the most reproduced photographs of the post-war period. The black and white photograph shows the actor with a pulled up collar on a casual jacket and a cigarette in his mouth on a rain-soaked, gray day. From 1957 until the early 1960s, Stock aimed his lens at jazz musicians, photographing such people as Louis Armstrong, Billie Holiday, Sidney Bechet, Gene Krupa and Duke Ellington. With this series of photographs he published the book Jazz Street. In 1962, he received the first prize at the International Photo Competition in Poland. In 1968, Stock left Magnum to start his own film company, Visual Objectives Inc., and made several documentaries, but he returned to the agency a year later, as vice president for new media and film. In the mid-1970s, he traveled to Japan and the Far East, and also produced numerous features series, such as photographs of contrasting regions, like Hawaii and Alaska. In the 1970s and 1980s he focused on color photography of nature and landscape, and returned to his urban roots in the 1990s focusing on architecture and modernism.

(Source: en.wikipedia.org)

Dennis Stock was born in 1928 in New York City. At the age of 17, he left home to join the United States Navy. In 1947 he became an apprentice to Life magazine photographer Gjon Mili and won first prize in Life's Young Photographers contest. He joined Magnum in 1951. Stock managed to evoke the spirit of America through his memorable and iconic portraits of Hollywood stars, most notably James Dean. From 1957 to 1960 Stock made lively portraits of jazz musicians, including Louis Armstrong, Billie Holiday, Sidney Bechet, Gene Krupa and Duke Ellington for his book Jazz Street. In 1968 Stock took a leave of absence from Magnum to create Visual Objectives, a film production company, and he shot several documentaries. In the late 1960s he captured the attempts of California hippies to reshape society according to ideals of love and caring. Then throughout the 1970s and 1980s he worked on color books, emphasizing the beauty of nature through details and landscape. In the 1990s he went back to his urban origins, exploring the modern architecture of large cities. His recent work was mostly focused on the abstraction of flowers. Stock generated a book or an exhibition almost every year since the 1950s. He taught numerous workshops and exhibited his work widely in France, Germany, Italy, the United States and Japan. He worked as a writer, director and producer for television and film, and his photographs have been acquired by most major museum collections. He served as president of Magnum's film and new media division in 1969 and 1970.

(Source: Magnum Photos)

 

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Graeme Williams
South Africa
1961
I grew up in the whites-only suburbs of Cape Town, South Africa during the apartheid era when South African law decreed that 92% of the population were regulated to the status of second-class citizens. My interest in photography began at the age of twelve, but I soon realized that a Kodak Instamatic was never going to produce the results that I wanted. I worked for three years in a bookshop and eventually bought myself a Fujica ST701. It was a real thing of beauty; a single reflex camera with a basic zoom lens, that provided me with the means to control how light formed itself onto the surface of the silver halide film. Sunsets and silhouettes held my attention for a few months, but I had already begun to explore the complex tradition of photographic expression. Life Magazine was for me, at that time, the Holy Grail. Over the years, my enthusiasm for exploring the photographic medium has never diminished. My photographic momentum was temporarily diverted after school by parental pressure to obtain a 'proper' qualification. In my final school year, I was both the Dux scholar as well as a first-team sportsman, which resulted in me being offered a De Beers bursary to study Geology and Statistics at the University of Cape Town. After graduating, I broke the news to my unnerved parents that I was giving up this career path and instead of becoming a property photographer at the local newspaper. In the hierarchy of photographic jobs, this is very close to the bottom. My immediate aim was to gain access to unlimited amounts of film and the time to work on my own projects. In 1987 I began photographing a conscientious objector and medical doctor, Ivan Toms, who refused to comply with the apartheid government's military service requirements. He was sentenced to 21 months in prison. The essay highlighted the absurdity of the political system. Renowned photographer, David Goldblatt, took an interest in this work and this interaction led to a three-decade relationship in which he became both a mentor and a friend. The rights to my essay on Ivan Toms were bought by Life magazine the following year. Much of my work during this period was motivated by the desire to expose the social inequalities and racial divisions within my country. I eventually joined the strongly anti-apartheid collective, Afrapix, and later became a founding member and manager of the documentary collective, South Photographs. In 1989, the beginning of the end of apartheid was evident. I was eager to situate myself in a position that would afford me the best opportunities to witness the transition to democracy. I joined Reuters News Agency as a permanent stringer and for the next five years, I became immersed in the events, both violent and momentous, that led up to the inauguration of Nelson Mandela as president in 1994. Many of my photographs from this period have taken on a life of their own. The image of Nelson Mandela walking out of prison with his wife, Winnie, has been exhibited and published worldwide. In 2008, as Barack Obama fought John McCain for the presidency, Newsweek magazine ran a story asking each candidate to choose an image that best personified their worldview. Obama's team chose an image that I photographed in Thokoza township in 1991. Last year the same photograph became central in a high-profile image-appropriation dispute between me and New York artist, Hank Willis Thomas. There was a massive groundswell of support from colleagues and media from around the world. An amicable settlement was reached. Since 1994 I have concentrated on producing personalized and contemporary bodies of work that reflect this complex country and the continent as a whole. These essays have been shown in solo exhibitions in New York, London, Paris, Cape Town, and Johannesburg as well as numerous photo festivals around the world. (Including China, Singapore, Brazil, Cambodia, France, and the USA). I have been privileged to have been included in major international exhibitions showcasing contemporary South African photography; including Figures and Fictions at London's Victoria and Albert Museum, Apartheid and After at Huis Marseille in Amsterdam, Earth Matters at the Smithsonian in New York, The Rise and Fall of Apartheid at the ICP in New York and Being There, at the Louis Vuitton Foundation in Paris. Awards include the CAP Prize for Contemporary African Photography (Basel) in 2013 and the Ernest Cole Award (South Africa) in the same year. I have continued working on commissioned assignments and traveling to over fifty countries. My photographs have appeared on the cover of Time magazine twice, and have been published in The New York Times Magazine, National Geographic, Newsweek, Stern, and many others. Whilst working on my long-term projects, I try to bear in mind how the work will be exhibited and published. So, therefore, during the planning and photographing stages, I attempt to create a broad context for my essays, that includes a general look and feel while creating the space for each image to convey its individual complexity. This need to develop a dual awareness in my personal work has benefitted me from a long-term interest in designing and producing photobooks. I have created over 20 publications, some of them winning awards and many being shortlisted in dummy book competitions. During the past five years, I have felt a need to shift my attention from South Africa to the American social, political, and physical landscape. Some of my motivations for this change in direction have been outlined within the 'Plan' document. In 2016 I was granted a residency in the US by the Ampersand Foundation, giving me an opportunity to develop a body of work that interrogated the social strata within the greater community of Harrisburg, Pennsylvania. I designed and produced a book called, Diverging Dreamlines that included, portraits, urban landscapes as well as multi-image, digital, illustrations. The publication was chosen as "best of the show" in the Annual Photobook Exhibition at the Griffin Museum of Photography in Winchester, Massachusetts. The work was also included in the Unmasked exhibition at Axis Gallery, New York in 2017. Earlier this year (2019) I co-presented a paper, Over Time, at the International Psychoanalytical Association (IPA) Congress held in London. Four of my personal essays were incorporated into the presentation, allowing a psychoanalytical exploration into the parallels between this photographic record and South Africa's dynamics and process of change. I have participated in various mentorship programs, supporting students from South African photographic institutions: Tierney Fellowship winners from the University of the Witwatersrand (2018/2019) and the Market Photo Workshop (2015/2016). As well as candidates from the Photographer incubator Program in 2016. Learn more about Graeme Williams on videos: Victoria and Albert Museum Photography and Democracy South African Studios Dwell in Possibility opening Check out Graeme Williams's interview about his latest project America Revisited
Stephen Albair
United States
1942
Stephen Albair was born in Massachusetts and raised in New Hampshire. He currently lives and works in San Francisco. Educated at Illinois State University in Design, he is a self-taught photographer, lecturer and a college teacher, for over 40 years. His work in tableau photography began in 1974 with the purchase of a 35mm Nikkormat, which has remained the only camera for his work. Numerous exhibitions and installations have been staged in the US and Thailand. He has authored three books with a fourth book currently in progress. The images are mostly rooted in memoir built on found objects with Art Historical references. The focus is not so much on a series of images but rather a board range of subject matter, from early memories, to the current political landscape. His photos represent intuitive responses to ideas through self-reflection. By mastering the techniques of tableaux photography he has created a significant body of work that have enhanced his skill as an artist and storyteller. Statement Photography is a unique way of seeing the world. Life's ambiguities, love, loss, and longing, are my subject matter. These ideas evolve through a meaningful search for content, with no specific audience in mind. Ultimately, an audience perceives all content based on their own personal experiences. Familiar objects trigger our memory, reminding us of how we understand the world. I constantly search for unique objects that speak to me. My set-ups are arranged to illustrate an intention, an action that something has just happened -or is about to. Tableau photography provides the stage, much like actors in a play. The procedure of building a photograph creates an air of playfulness that allows for a different way of thinking about common human experiences. The audience is delivered thought-provoking ideas tinged with humor in a fabricated world. This process playfully exposing the surreal nature of reality and questions what is real or simply realistic—leaving the viewer to decide. Articles: Hidden Gardens - Secret Views SPECTACLES: A Memoir of Jewelry and Photography Miss Nude World For the Love of DOGS
Margarita Mavromichalis
Margarita Mavromichalis comes from a family of Greek diplomats and has spent her life living and traveling all over the world. She speaks five languages and studied translation and interpreting. She likes to think that photography is her second language, as it's a universal language, one that is understood by all across the world and conveys messages in the most powerful way. Margarita moved to New York in 2009. She continued her studies for three years at the International Center of Photography where she also served as a Teaching Assistant for several classes. She moved back to Greece from 2013 to 2016 where she devoted most of her work covering the refugee crisis as it developed on the island of Lesvos. She currently lives and works in London. Margarita is mostly attracted to street photography and the elements that evoke emotions and surprise in our everyday life. Furthermore she is passionate about documenting current events that she feels very strongly about, highlighting their social impact. Her work has been displayed in exhibitions in New York, Boston, San Diego, The Museum of the City of New York, the Brooklyn Historical Society and most recently in Budapest, Athens, Paris, Berlin, Barcelona and London. Selected images are part of the permanent collections of the Museum of the City of New York and the Brooklyn Historical Society. She is the winner of the 9th Pollux Awards (2016) and the winner of the 12th edition of the Julia Margaret Cameron Awards (2018) and has been nominated for the 2019 Prix Pictet Hope Award and was recently awarded the 15th edition of the Julia Margaret Cameron Award (2020). In 2021, she won a Gold Medal at the Budapest International Foto Awards, a Silver Medal at the Prix de la Photographie Paris and is an official selection and top 5 at the Tokyo International Foto Awards.
Maia Flore
France
1988
Maia Flore was born in 1988, in France. She is currently living in Paris. Graduated from Ecole des Gobelins in 2010, she joined Agence VU' in 2011. Her approach fits into a research of coincidences between reality and her imagination. Her world is a complete fabrication in form of touching and enchanting narrations, even surrealistic. This is in Sweden she begins her first series "Sleep Elevations", a journey that indulges in childhood memories. During the summer of 2012, while her first residence in Finland, Maia Flore explores new methods of representation and narration. These researches will then continue at the Arts Center of Berkeley, California. Resulting two series (Situations and Morning Sculptures) that continue to explore the feelings of confusion in which the photographer places her characters as her audience. She is exposed for the first time in February 2011 at the festival Circulation (s) of the Young European Photography in Paris. More recently, as part of a White Card from Atout France and the French Institute, Maia Flore depicts the French heritage through her dreamy world in the series "Imagine France – Le voyage fantastique" exposed in Bercy Village until September 2014. In 2015, she wins Le prix HSBC pour la photographie. Source: Agence VU Situations (2012) In the Situations series, a girl runs through varyingly weathered landscapes donning a striking red outfit. In search of a sublime freedom, she travels to find fleeting moments of communion with nature. Draped in red, she catches the light of the sun or buries herself in the fog. As though she were attempting to rediscover this space, she roams on land-locked clouds that evaporate into the landscape upon the return of the sun as it chases away their mystery. Like a game between reality and fantasy, the clash between clairvoyance and a moment of madness, the girl is amused by her emotional confusion. Sleep Elevation (2010) "Those who dream by day are cognizant of many things which escape those who dream only by night," Edgar Allan Poe. This is how these girls, carried away in the air by objects, let themselves travel through boundless landscapes. Flying towards dreamed lands, making real a complete attraction between the character, his ideal universe and the world they live in: that is where these girls lead us. Their contorted movements are merging with the shape of the one revealing their passion. Mix of an imaginary realism and childhood memories, these beings in levitation invite us to dream, limitlessly.
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