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Alberto  del Hoyo Mora
Alberto  del Hoyo Mora
Alberto  del Hoyo Mora

Alberto del Hoyo Mora

Country: Spain
Birth: 1979

Alberto del Hoyo is a Spanish photographer living in Tenerife. He holds an MBA from the Instituto de Empresa Business School and is a graduate in Business Administration and Photography.

His own curiosity about the different forms of life has taken him to remote tribal territories in Asia, South America and Africa in search of the distinctive beauty and variety of his people.

In 2016, after 2 years of incursions into the Omo Valley of Ethiopia, he founded Pics 4 Pills. Modest fundraising initiative for the people of the Omo Valley

Three years later, at the end of 2018 he published the book Mystic Valley. Photographic travel notebook fruit of 4 years of photographic incursions in the Omo Valley. 100% of the revenues from sales are destined to solidarity projects in the different photographed tribal areas.

Also in 2018, Alberto presented the Fine Art portrait exhibition with the same name "Mystic Valley", as a complement of the book. The objective is responsible photographic dissemination. Show the beauty of heterogeneity and cultural identity.

About Mystic Valley

Nadoria is a 13 years old girl of the Suri tribe in Ethiopia, lives in a small mountain village near the border with Sudan. She is the daughter of one of the elders of the tribe. The size of her ear plate indicates the extent of her dowry. "The bigger my ear plate, the higher number of cows my family will get from my marriage".

Barduri, is a young man of 17 years of the same Suri tribe in Ethiopia. He has lost vision in his right eye as a result of a wound during the celebration of the "stick fight", ancestral ceremony consisting of an unprotected one-on-one stick fight battle against young members of the neighboring tribes. The fights can be furious and can result in death. A ritual for the transition of young stars to men.

Far from feeling sorry Barduri feels pride, he has shown his family that he is a brave man, he has become a man, a warrior of honor. He has won his right in the tribe to be able to choose his wife and that she respect him.

From the beginning of history the human race is composed of a large number of cultures, people and tribes. Each one has its own way of life, values and social rituals. The portraits of these people invite our conscience to remember the importance of understanding cultural identities in all their variety.

Portraits of the fragility of a female childhood subrogated to warriors of honor.

Portraits of his reality.

It is vast, silent. Magical. Omo Valley
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More Great Photographers To Discover

Matthew Pillsbury
United States / France
1973
Matthew Pillsbury is a French-born American photographer, living in New York City. The Screen Lives series, inspired by Sugimoto's movie theater photos, features black and white, long-exposure photographs of family and friends sitting in their apartments interacting with their computer and television screens. In 2004 The New York Times Magazine commissioned him to do a portfolio of photos of New York museums after hours. One such photo was taken at the Guggenheim Museum: An installation in progress in the Ronald O. Perelman Rotunda (Oct. 1, 2004.) In addition to New York, he continued to shoot within museums in both London and Paris, including the Musée du Louvre. At the Louvre he photographed the Mona Lisa. The New York Times and the Aperture Foundation published New York Times Photographs in the fall of 2011, featuring one of his photos of the American Museum of Natural History's Rose Center For Earth and Space. In the Dec 11, 2011 issue of New York Magazine, Pillsbury's works were published as part of their "Reasons to Love New York 2011" feature. The photos included four shots from City Stages, which included Occupy Wall Street protesters in Zuccotti Park, as well as Jing Fong dim sum, Fausto in Washington Square Park and High Line. His series, City Stages initially ran from February 23, 2012 to April 28, 2012 at the Bonni Bunrubi Gallery in New York City. The exhibition opened in Atlanta, GA on September 13, 2012 and ran until November 17, 2012 at The Jackson Fine Art gallery. In September 2013, the Aperture Foundation published a monograph that includes a retrospective of his works, titled, City Stages. The New York Times Magazine published one of Pillsbury's City Stages photos as part of their Manhattanhenge feature in July 2013. Art Relish conducted an interview in October 2012 with him discussing his City Stages works. In the Oct 1, 2012 edition of Time Magazine, High Line photo, featuring a park in Manhattan constructed of abandoned train tracks, was highlighted as part of his exhibit at the Jackson Fine Art gallery. The Screen Lives series, inspired by Sugimoto's movie theater photos, features black and white, long-exposure photographs of family and friends sitting in their apartments interacting with their computer and television screens. On the CNN Photos Blog, Pillsbury's Screen Lives series was featured in a post about the School of Visual Arts "Myths & Realities" show, which took at the Visual Arts Gallery in New York, Aug 29-Sept 29, 2012. On November 27, 2011, New York Times Magazine featured two of Pillsbury's photos of Jane's Carousel from "City Stages." In April 2014, Pillsbury was one of 11 photographers awarded with the John Simon Guggenheim Memorial Foundation Fellowship. Approximately 200 Fellowships are awarded each year through two annual competitions that receive between 3,500 and 4,000 applications. Guggenheim Fellowships are grants awarded to "advanced professionals in mid-career" who have demonstrated exceptional ability by publishing a significant body of work within the fields of natural sciences, social sciences, humanities and the creative arts, excluding the performing arts. In 2014, Pillsbury photographed various cities in Japan, with the focus being in and around Tokyo. Recent photographs from his work in Tokyo were revealed in a photo essay published on July 18, 2014 in The New York Times Magazine and include images from Tokyo Disneyland, Robot Restaurant and the CupNoodles Museum in Yokohama. In April 2014, The New York Times Magazine first ran a photo essay of Pillsbury's work that centered around the hanami parties that occur during the week when the cherry blossoms are at peak bloom. An exhibition of His new Tokyo work opened Sept 10, 2014 and closed November 15, 2014 in New York City at Benrubi Gallery. A portfolio of Pillsbury's new images was featured in The New Yorker in September 2015, and showcased locations that include the High Line, the American Museum of Natural History, Astoria Park Pool and the Coney Island Boardwalk. He has also widened the project's focus to include locations outside of Manhattan, after a move to Brooklyn in January 2015 that inspired him to shoot urban life in the outer boroughs. In a redesign and relaunch in the February 22, 2015 issue, The New York Times Magazine published a photograph Of his on its cover. The long exposure image featured an illuminated spinning globe, which he took in his basement. He is represented exclusively by Edwynn Houk Gallery in New York.Source: Wikipedia
Alessandro Puccinelli
My earliest professional experience dates from 1993 when I moved to Australia, as an assistant in advertising photography. Returning to Italy a few years later, I chose to concentrate my attention on commercial photography and personal work. At the age of 16 I had the great good fortune, especially living in Italy, a country not widely known for big waves, of discovering the joy of surfing. From that moment forward was born a strong link with the sea that still today profoundly influences my life choices, both professionally and personally. The presence of the sea in my daily life represents something extremely important to me onto which I project fear, dreams, hope and receiving in return inner strength and mental clarity. The choice of placing the sea centre stage in my life positively affects my personal work which, in truth, is born from this choice. In short, it is the place above all other places where I prefer to be. In an entirely natural way, in my personal work there has evolved a current of romanticism, reflected above all others in my love of the work of J.W Turner. This does not surprise me as with the sea I co habit with the virtues of force, elegance and simplicity. I recognise the sea in front of me as my ancestral home, it’s force and vastness make me feel small and vulnerable, yet, at the same time, it indicates to me a pathway, an example to follow or even a point of arrival. In 2008, motivated by the desire to remain in close contact with the ocean, I decided to divide my time between Italy and Portugal. Attracted by this country, bathed by a stupendous and vigorous sea, I found a good balance between a European lifestyle and a strong contact with nature. Today, I principally divide my time between Tuscany, Lisbon and the southern coast of Portugal where frequently I take refuge in my motorhome hideaway in search of intimacy with the ocean. My works have been recognized in many photography awards including, Sony World Photography Awards, International Photography Awards, Black and White Photography Awards, Hasselblad Masters and others.
Jean Karotkin
United States
1949
Documentary/portrait photographer Jean Karotkin began making black and white portraits of breast cancer survivors in 2001, as she herself was undergoing treatment for the disease. Her images garnered recognition from the Dallas Morning News, Texas Monthly, CNN and NPR, among others, and were exhibited at The Houston Center for Photography and the Amon Carter Museum of American Art. Karotkin's subsequent portrait series, Mirrors - featuring drag queens, burlesque dancers, and the inmates of Chowchilla women's prison - also highlight and disrupt prevailing notions of beauty. In November 2021, Karotkin was featured in FotoNostrum magazine, which highlighted an array of the artist's portraits, including images from her most personal body of work: Disappearing Soul: Self Portraits in the time of Covid, for which the artist turned the camera on herself to capture the languishing effects of Covid-related isolation. The series was awarded an honorable mention from the Julia Margaret Cameron Competition, recognized by the L'OEIL de la PHOTOGRAPHIE and ARTDOC, featured in the April 2022 issue of Lens magazine and spotlighted by the Los Angeles Center of Photography. Karotkin recently completed a second collection of self-portraits, entitled West Shore Motel, for the Disappearing Soul series. For this body of work, which was shot at a Long Island roadside Motel, the artist continued to address the human need for companionship. However, here, she added an implicitly sexual element to the narrative that distinguishes it from the series' initial installment and boldly implies the type of desire that women ''of a certain age'' are traditionally denied. Karotkin's portfolio also features an expansive commercial series of botanical prints, entitled Gymnopédies, many of which were featured in the March 2023 issue of Lens magazine. Ninety-one of these prints were acquired by and installed in The Park Belvedere, an Upper West Side New York condominium, at 101 West 79th. The Museum of Arts and Design also added one to the art collection featured in their restaurant, Robert. Along with her growing botanical series, Karotkin is currently working on a monograph entitled (In)sight: Women Who Work Behind the Lens, a collection of black and white portraits of some of the most eminent female photographers and curators working today. In April 2022, images from the series were exhibited as part of a group show at the Soho Photo Gallery in New York, NY. Born in Dallas, TX, Jean Karotkin lives in New York City.
Eric van den Brulle
United States
1961
Eric van den Brulle began his photographic journey studying fashion photography under legendary image-maker William Klein at Parsons, followed by training in cinematography with Oscar-winning director of photography Gordon Willis at the School of Visual Arts in New York City. He launched his career assisting iconic celebrity photographer Annie Leibovitz during her celebrated GAP portraits era. Eric’s own career has spanned an impressive roster of clients, including MoMA, Michael Kors, Mexx, Lionel, Cole Haan, architect Robert Stern for The 7th Art, luxury kitchen designer St. Charles, Fox & Fowle Architects, EYP Architects, Jonathan Taylor Design, designers Brad Ford and Carolyne Roehm for Wantful Magazine, and designer Craig van den Brulle, among many others. His work has been featured in Travel + Leisure, Vogue, Men’s Journal, Paper, Roomplanners, ForbesLife, and The New York Times. His architectural series Structures was reviewed by ARTnews contributor Barbara Pollack, and he has exhibited in New York at Clic Gallery, Mary Gearhart Gallery, and the Puffin Gallery. Eric’s photography has earned recognition from top creative industry publications such as Communication Arts, Graphis, and American Photography. A passionate supporter of Tibet House, he contributed images to its annual benefit auction following a photographic expedition through Tibet with singer-songwriter James Taylor. His work is held in notable private collections, including those of fashion icon Donna Karan, Academy Award-winning director Robert Benton, contemporary artist Takashi Murakami, and model Frederique van der Wal. Statement In my journey as a portrait photographer, I strive to capture the essence of individuals through the lens of my camera. Each portrait is a visual narrative, a unique story frozen in time. I am fascinated by the intricate dance between light and shadow, using it to sculpt and define the personality of my subjects. Through careful composition and an acute awareness of the emotional subtleties, I aim to create images that resonate on a profound level. AAP Magazine: AAP Magazine 37: Travels AAP Magazine 49: B&W
Carrie Mae Weems
United States
1953
Considered one of the most influential contemporary American artists, Carrie Mae Weems has investigated family relationships, cultural identity, sexism, class, political systems, and the consequences of power. Determined as ever to enter the picture—both literally and metaphorically—Weems has sustained an on-going dialogue within contemporary discourse for over thirty years. During this time, Carrie Mae Weems has developed a complex body of art employing photographs, text, fabric, audio, digital images, installation, and video. In a New York Times review of her retrospective, Holland Cotter wrote, ''Ms. Weems is what she has always been, a superb image maker and a moral force, focused and irrepressible." Weems has participated in numerous solo and group exhibitions at major national and international museums including the Metropolitan Museum of Art, The Frist Center for Visual Art, Solomon Guggenheim Museum in New York, and the Centro Andaluz de Arte Contemporáneo in Seville, Spain. Weems has received numerous awards, grants, and fellowships, including the prestigious Prix de Roma, The National Endowment of the Arts, The Alpert, The Anonymous was a Woman, and The Tiffany Awards. In 2012, Weems was presented with one of the first US Department of State’s Medals of Arts in recognition for her commitment to the State Department’s Art in Embassies program. In 2013 Weems received the MacArthur “Genius” grant as well as the Congressional Black Caucus Foundation’s Lifetime Achievement Award. She has also received the BET Honors Visual Artist award, the Lucie Award for Fine Art photography, was one of four artists honored at the Guggenheim’s 2014 International Gala, a recipient of the ICP Spotlights Award from the International Center of Photography, The WEB Dubois Award from Harvard University, as well as Honorary Degrees from: California College of the Arts, Colgate University, Bowdoin College, the School of Visual Arts and Syracuse University. She is represented in public and private collections around the world, including the Metropolitan Museum of Art, NY; The Museum of Fine Arts, Houston; the Museum of Modern Art, NY; Museum of Contemporary Art, Los Angeles; and The Tate Modern, London. Weems has been represented by Jack Shainman Gallery since 2008, and is currently Artist in Residence at the Park Avenue Armory. She lives in Syracuse, New York, with her husband Jeffrey Hoone who is Executive Director of Light Work.
Lalla Essaydi
Morocco
1956
Lalla Essaydi (Lalla A. Essaydi) is a Moroccan-born photographer known for her staged photographs of Arab women in contemporary art. She currently works in Boston, Massachusetts, and Morocco. Her current residence is in New York. Essaydi was born in Marrakesh, Morocco in 1956. She left to attend high school in Paris at 16. She married after returning to Morocco and moved to Saudi Arabia where she had two children and divorced. Essaydi returned to Paris in the early 1990s to attend the École nationale supérieure des Beaux-Arts. She moved to Boston in 1996 and earned her BFA from Tufts University in 1999 and her MFA in painting and photography from the School of the Museum of Fine Arts in 2003. Influenced by her experiences growing up in Morocco and Saudi Arabia, Essaydi explores the ways that gender and power are inscribed on Muslim women's bodies and the spaces they inhabit. She has stated that her work is autobiographical and that she was inspired by the differences she perceived in women's lives in the United States versus in Morocco, in terms of freedom and identity. She explores a wide range of perspectives, including issues of diaspora, identity, and expected location through her studio practice in Boston. She also looks at the ways of viewing reality while questioning limits of other cultures and challenging Orientalist art, engaging tradition, history, art, and technology. Her Grand Odalisque from the series Les Femmes du Maroc (2008), for example, cites the French painter Jean-Auguste-Dominique Ingres' painting La Grande Odalisque (1814), although her model is dressed. She also presents the resistance of stereotypes maintained by Western and Eastern societies. The inspiration for many of her works came from her childhood, in the physical space where she, as a young woman, was sent when she disobeyed. She stepped outside the permissible behavioral space, as defined by Moroccan culture. Essaydi said her works will become haunted by spaces she inhabited as a child. Several pieces of her work (including Converging Territories) combine henna, which is traditionally used to decorate the hands and feet of brides, with Arabic calligraphy, a predominantly male practice. While she uses henna to apply calligraphy to her female subjects' bodies, the words are indecipherable in an attempt to question authority and meaning. According to Essaydi, "Although it is calligraphy that is usually associated with 'meaning' (as opposed to 'mere' decoration), in the visual medium of my photographs, the 'veil' of henna, in fact, enhances the expressivity of the images. Yet, by the same token, the male art of calligraphy has been brought into a world of female experience from which it has traditionally been excluded." The women depicted in her exhibition of photographs, Les Femmes du Maroc, are represented as decorative and confined by the art of henna. Essaydi thus poses her subjects in a way that exemplifies society's views of women as primarily destined for mere beauty. Henna, however, is extremely symbolic, especially to Moroccan women. It is an association with familial celebrations of a young girl reaching puberty and transitioning into a mature woman. The use of henna in her work creates a silent atmosphere of the women "speaking" to each other through a quality of femininity. It is predominantly a painting process where women who are discouraged to work outside the home find a profitable work in applying a tattoo-like material. Beyond creating powerful pieces revolving around the art of henna, Essaydi includes interpretations of traditional Moroccan elements, including draped folds of cloths adorning women's bodies, mosaic, tiles, and Islamic architecture. Lalla Essaydi’s photo series, Les Femmes du Maroc comments on contemporary social structures, as well as acknowledges the history that has aided in constructing representations of Arab female identity. Les Femmes du Maroc is one of her three major photographic series, which is influenced by nineteenth-century European and American Orientalist art. However, Essaydi appropriates Orientalist paintings by incorporating a new subject & style derived from her own personal history and experiences to emancipate Arabian women and to demonstrate a tradition that is misunderstood by a Western audience. The title of the series is an appropriation of a painting by the French Romantic Artist Eugène Delacroix. Therefore, each photo in the series is influenced by Orientalist art that is then appropriated. Essaydi's photographic series include Converging Territories (2003–2004), Les Femmes du Maroc (2005–2006), Harem (2009), Harem Revisited (2012–2013), Bullets, and Bullets Revisited (2012–2013). Her work has been exhibited around the world, including at the National Museum of African Art, and is represented in a number of collections, including the Art Institute of Chicago; the Museum Fünf Kontinente Munich/ Germany; the San Diego Museum of Art; the Cornell Fine Arts Museum, Winter Park, Florida; the Fries Museum in Leeuwarden, The Netherlands; the Museum of Fine Arts, Boston; and the Williams College Museum of Art in Williamstown, Massachusetts. She was named as #18 in Charchub's "Top 20 Contemporary Middle Eastern Artists in 2012-2014". In 2015, the San Diego Museum of Art mounted the exhibition, Lalla Essaydi: Photographs. Source: Wikipedia Lalla A. Essaydi grew up in Morocco and now lives in USA where she received her MFA from the School of the Museum of Fine Arts/TUFTS University in May 2003. Essaydi’s work is represented by Howard Yezerski Gallery in Boston and Edwynn Houk Gallery in New York City. Her work has been exhibited in many major international locales, including Boston, Chicago, Minneapolis, Texas, Buffalo, Colorado, New York, Syria, Ireland, England, France, the Netherlands, Sharjah, U.A.E., and Japan and is represented in a number of collections, including the Williams College Museum of Art, The Art Institute of Chicago, the Fries Museum, the Netherlands, and The Kodak Museum of Art. Her art, which often combines Islamic calligraphy with representations of the female body, addresses the complex reality of Arab female identity from the unique perspective of personal experience. In much of her work, she returns to her Moroccan girlhood, looking back on it as an adult woman caught somewhere between past and present, and as an artist, exploring the language in which to “speak” from this uncertain space. Her paintings often appropriate Orientalist imagery from the Western painting tradition, thereby inviting viewers to reconsider the Orientalist mythology. She has worked in numerous media, including painting, video, film, installation, and analog photography. "In my art, I wish to present myself through multiple lenses -- as artist, as Moroccan, as traditionalist, as Liberal, as Muslim. In short, I invite viewers to resist stereotypes."Source: lallaessaydi.com
Peter Harlow
Australia
1948
Peter was born and educated to first degree standard in the UK. He gained a private pilot license in 1970. His career spans aerial photography, corporate communication and management development. After emigrating to Australia in 2001 he ran his own company providing small light aircraft to farmers, flying schools and private clients. Recently he took up commercial drone flying – which combines his love of photography and views from the sky. He currently lives in Melbourne with his artist partner. As a photographer, I have always been fascinated by the interplay of light, shadows and shapes that exist in both the natural and human-made world. For many years, as a pilot I saw the landscape from a small aeroplane. With the advent of drone technology, which enables the camera platform to remain static and fly much closer to the surface, I can now explore the landscape from new angles and perspectives, capturing images that were impossible from an aeroplane. Artist statement: One of the key elements of abstract art is the process of abstraction, where artists take familiar objects and break them down into their essential components. Similarly, my photographs capture landscapes from above, abstracting the natural world into a series of shapes, colours and textures that are sometimes quite different from their original form. By removing the context of the wider landscape, I want to encourage the viewer to see the world in a new light, as a collection of abstract forms that are both beautiful and intriguing. In abstracting the landscape, my aim is to create a body of work that challenges your perceptions and invites you to see the beauty and charm that exists all around us.
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