b&w photography in Antibes

Bryan Adams Unveils the Hear the World Ambassadors Photo Exhibit in Zurich

2008-09-24T02:25:00.000-07:00

Bryan Adams Unveils the Hear the World Ambassadors Photo Exhibit in Zurich

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Bryan Adams standing besides his photograph of Lindsay Lohan at the opening of the exhibition a few months ago in New York.

ZURICH.- Bryan Adams, famous musician and official photographer of Hear the World, an initiative by Phonak, introduced the «Hear the World Ambassadors» photography collection Tuesday evening in Zurich. Adams photographed world-famous musicians such as Mick Jagger, Annie Lennox and Rod Stewart in an iconic hearing pose exclusively for Hear the World. Numerous Swiss celebrities from show business, the art world and the world of business joined Bryan Adams and the approximately 500 invited guests at the grand opening. Following successful exhibitions in New York and Berlin, the collection will be on display at PULS 5 in Zurich-West from September 24-28, 2008. Hear the World is a global Phonak initiative to raise awareness about the importance of good hearing and the impact of hearing loss. Approximately 500 million people around the world suffer from hearing loss.

Together with Valentin Chapero, CEO of Sonova Holding AG (which includes the main brand Phonak), Adams opened the Zurich exhibition and reaffirmed his commitment to Hear the World. «As a musician, I’m naturally sympathetic to an initiative dedicated to helping people appreciate and preserve an individual’s sense of sound,» said Adams. «I hope that our exhibit will help remind people of the tremendous value of their hearing.»

«Bryan has devoted a tremendous amount of time and talent to the initiative,» said Chapero, when thanking Adams for his invaluable contribution. «He has helped us to bring the Hear the World message to as many people as possible. We’re lucky to have him as a partner. His photos are helping us get our initiative ’heard.’ With the Hear the World campaign we are assuming social responsibility as the industry leader, while helping to increase understanding of the importance of good hearing and the impact of hearing loss.»

«After having my own hearing loss diagnosed a year ago, I became acutely aware of the importance of the ability to hear,» said Kurt Aeschbacher, a Swiss Hear the World ambassador who moderated the grand opening. «I felt compelled to support Hear the World.»

Portraits for a good cause
Bryan Adams has been the official Hear the World photographer since the start of the initiative. He photographed initiative ambassadors such as Harry Belafonte, Plácido Domingo and Joss Stone cupping their ear, in a conscious pose of hearing. The resulting images are fascinating portraits for the senses that are now on display in Zurich from September 24 to 28 after being exhibited in New York and Berlin.

St. Stephen's College - Stanley, H.K.('61-'65)

2008-09-24T01:27:00.000-07:00

A Fine Collector's Car

2008-07-22T08:55:00.000-07:00

Make a Smilebox slideshow

The Sixties: Photographs By Robert Altman At Idea Generation Gallery

2008-07-19T01:35:00.000-07:00

The Sixties: Photographs By Robert Altman At Idea Generation Gallery

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Robert Altman, The Sixties. © Robert Altman. The Sixties: Photographs by Robert Altman, will be at the Idea Generation Gallery from 16th July - 29th August 2008. 11 Chance Street, London E2, 020 7749 6851. Admission: Free. www.ideageneration.co.uk

LONDON.- This summer, Idea Generation Gallery invites you to take a trip…down Memory Lane, through Haight-Ashbury and across Golden Gate Park to turn on, tune in, drop out at the naked love-ins and anti-war sit-ins; at the psychedelic be-ins and the politicised happenings and meditate upon the spirit, body and soul of The Sixties - the first UK exhibition from Robert Altman, chief staff photographer of Rolling Stone, at Idea Generation Gallery (on view through 29th August.)

The exhibition brings together 60 of the most powerful images from Altman’s extensive portfolio. As one of the lead Rolling Stone photographers in the magazine’s heyday of the late sixties and early seventies, Altman’s exquisitely candid shots capture the luminaries of every sphere of influence – from politics and music through to the everyday revolutionaries and children of free love – and creates an extraordinary photographic journey through the historic moments of political; social and cultural revolution that have come to define ‘The Sixties’.

Altman’s images provide the ultimate visual narrative to the era; when the contradictory forces & emotions of nascent hippy idealism and free love ran parallel to revolution, radicalism and civil unrest, all of it underscored by an unerring optimism, and a belief - born out of frustration at the status quo, the government and The Man - that change was both necessary and within their grasp.

Altman takes us on a journey through his Sixties - from the very epicentre of the scene as a Rolling Stone photographer - introducing us to the key players on the way. Whether getting us a front row seat at some of the best gigs (including many iconic Rolling Stone front covers); or rallying us to march alongside the protesters; or letting it all hang out with the flower children indulging in some free-love to boot, Altman’s Sixties is the one we all wish we had lived through.

FREE LOVE - Flowers in their hair; wandering free in the Elysian fields of California – the ‘free love’ ideal of the 60’s is one of the most resonant and revered legacies of the period. In a world often consumed with violence and anger, Flower Children – or hippies – put love and sex at the core of everything natural and harmonious. Altman’s own portraits are a testament to the age of innocence, beauty and joy that hippies have come to represent.

THE POLITICS - If there was one thing the Sixties taught its children, it was that they had the power to change the world. And change it they did. As millions of people rose up in protest to fight for what they believed was right across the world, the spirit of revolution manifested itself in a very specific way in America. With their men fighting an unwanted war in Vietnam; and their own racial segregation; the young of the U.S. picked up on the revolu sweeping through the students and streets of Europe and ran with it in their own unique way.

From Jane Fonda at an anti-war rally; to the mass throngs staging be-ins, Altman captures the spirit of revolution as it surged through the country, showing these moments of anarchy and rebellion as they were – passionate; dedicated; thunderous; and in so many cases, effective.

THE PEOPLE The infamous ‘counter-culture’ that has come to define the Sixties in America wouldn’t have existed without certain key people that were making it happen.

Jann Wenner, the founder and publisher of Rolling Stone pioneered journalism that tackled what was happening in the world head on; throwing aside diplomacy and reverence and giving voice to every concern, agitation and protest that its readers felt.

Dennis Hopper’s performance in Easy Rider immortalised the drug culture that was taking place in film, whilst Ken Kesey was living it. Bobby Seale and Kathleen Cleaver fought for rights for African-American’s, while Cesar Chavez led the way for farm workers.

Altman’s images are a catalogue of the influencers, opinion formers and icons of the Sixties, capturing them as they did their bit to shape the increasingly extraordinary world they were living in.

THE MUSIC - If the Sixties were about revolution and rebirth, there was no greater evidence of this than on the music scene.

The British invaded America; psychedelia reigned on the West Coast; Beat poets and avant-garde artists took to the stage at Andy Warhol’s Factory and The Beatles, Jimi Hendrix and Bob Dylan changed the face of popular music for good.

The Sixties contains landmark images – many of which made the front cover of Rolling Stone - of some of music’s biggest stars, including Mick Jagger; Joni Mitchell, Roger Daltrey, Aretha Franklin, Ray Charles, Eric Clapton, Tina Turner; Elton John and numerous others in performance; in conversation.

As artists realised their music could influence people’s hearts and minds, festivals such as Woodstock brought millions of people together in harmony while the chords of popular song responded to the discord in society. Music was the universal medium that transcended generation, class and creed – and, as future generations would realise, time. Altman’s selection of images capture the musical revolution in all its glory.

“For me, The Sixties is the time of Sgt Pepper, Woodstock, the Summer of Love, be-ins, anti-war protests, and everything else in between,” comments Altman. “Part of the magic of The Sixties was that we knew there were thousands and thousands, perhaps millions, of us spread beyond the United States and all across the world,” observes Altman. “I absolutely knew that this was something different and something very special. Those days were unlike any our generation had even heard of before, much less experienced. You might say we lit the fuse to the Roaring Twentieth Century.”

"Having grown up in a what was by contrast a very grey, cold and damp Britain during the 70's & 80's, the idea of late sixties California has always had an almost mythical, dreamy quality – driven, no doubt by the power of Hollywood on an impressionable young mind,’ comments Hector Proud, managing director of Idea Generation Gallery.

“Robert’s images, though, are very much a first person narrative. Of course, he’s a sympathetic observer – he’s photographing his own – but this is nevertheless a true portrayal of his age. The passion for what he was shooting is wonderfully clear, but there’s more to it than that. It’s almost as if he’s distilled the essence of the era - you get a real sense of the drama, excitement, hope, anger, idealism of the time. It makes for some iconic images.

“It's said that The Sixties, and much of what it stood for, began to unravel at the Altamont gig in ‘69 - and that's probably not far from the truth. However, when you look at Robert's images, you realise that the spirit of the sixties will always be alive in these images. He’s captured so many aspects of the era so cleanly, that you practically feel you are there. And I think that's the greatest compliment that you can pay to him; he's ensured that the sixties and what it represented to him & his contemporaries, will endure for as long as we look at these pictures.”

Jeu de Paume Opens Richard Avedon: Photographs 1946-2004

2008-07-01T01:28:00.000-07:00

Jeu de Paume Opens Richard Avedon: Photographs 1946-2004

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PARIS.- This exhibition is the first major retrospective of the artist’s work since his death in 2004. After the Louisiana Museum (24 August 2007 to 13 January 2008), it is being presented this summer at the Jeu de Paume Concorde, where it will occupy the entire space.

The exhibition brings together 270 works spanning Richard Avedon’s career from 1946 to 2004. There are of course fashion photographs, but above all there are photographs of figures from the worlds of politics, literature, the arts and show business.

In Paris, at the initiative of Marta Gili, director of the Jeu de Paume, this selection will be enriched by some forty large-format prints from In the American West, the series produced by Avedon from 1979 to 1984.

Richard Avedon started working for Harper’s Bazaar in 1945. He joined Vogue in 1966. His pictures metamorphosed fashion photography, which he found too static and stuffy, by emphasising movement and capturing his models in public spaces such as parks nightclubs and shops. Avedon set out to recreate everyday and social situations, and to give the impression that, as in photojournalism, his photographs were taken spontaneously, on the spur of the moment.

After the Second World War the supremacy of New York meant that its fashion photographers were sent over to Paris to photograph the European collections. Avedon regularly photographed the designs of the major Parisian couture houses through to 1984.

In the 1960s Avedon went back to the studio and the neutral background in order highlight the beauty and mobility of his subjects.

In parallel to his fashion photographs, Richard Avedon made numerous portraits, radically transforming the codes of genre, as did that other great American photographer, Irving Penn.

But Avedon went even further than Penn. He shattered the iconic images of the stars of show business, literature, the arts and the political elite in the United States. His portraits show all the facets of his models’ personality, however great their mastery of the codes of representation. The use of white grounds, the bareness of the compositions, helped to bring a searching psychological dimension to each subject.

Generally speaking, Avedon sought to capture the true nature of things rather than to reproduce them superficially. During his photography sessions, he sought out that very special moment when he could capture and set down the psychological intensity emanating from the sitter. For, to photograph someone “meant looking beyond the charm of the face and establishing a relation between the vital presence of the other and his own, that is to say, finding the moment when everything converged and happened.”

“(…) In the American West was the result of a commission from the Amon Carter Museum of Fort Worth, in Texas. From 1979 to 1984, Avedon photographed men and women in the American West, most of them working folk. In the process, he travelled across several states of the Great Plains and the Rockies, paying special attention to specific sites and events such as ranches, coalmines, cattle fairs, oil wells, slaughterhouses, truck stops, modest diners and offices. He photographed the homeless, housewives, cowboys, miners, prisoners and rodeo riders. His strategy was to build up a network of portraits, weaving a series of psychological, sociological, physical and familial connections between these individuals who had never met. All the photos in this series were taken in broad daylight and outdoors, looking for a certain quality of shadow, against a simple white paper backdrop hung on the side of a truck.

The uncompromising photographs that resulted caused quite a controversy when they were first shown in Texas because of Avedon’s “demystifying” vision of that Promised Land, the American West, that land of pioneers and conquerors.” (Marta Gili, from the preface to the catalogue)

Richard Avedon put his talent as a photographer at the service of the social causes and political evens that shook American society in the 1960s and 70s. He made several reports on the Civil Rights movements in the South (1963), the Ku Klux Klan, and psychiatric hospitals.

A pacifist, he photographed hippies demonstrating against the Vietnam War in 1969, and travelled to the country in 1971 to make portraits of the army leaders and of napalm victims.

For the French magazine Égoïste he covered the meeting of East and West Berliners at the Brandenburg Gates on 31 December 1989 and 1 January 1990, less than two months after the fall of the Wall.

Rong Rong & inri: The Power of Ruins. Between Destruction and Construction at Casa Asia

2008-06-13T01:16:00.000-07:00

Rong Rong & inri: The Power of Ruins. Between Destruction and Construction at Casa Asia

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Rong Rong, We are Here, Beijing 2002. No. 1.

MADRID.- The exhibition that Casa Asia presents aims at displaying part of the photographic route of the work of the Chinese artist Rong Rong (1968, Zhangzhou, province of Fujian, China), between 2000 and 2008. He is one of the most relevant figures of the avant-gardes of the end of the eighties and beginning of the nineties of last century.

Rong Rong's work begun in the East Village, where he coexisted with artists such as Zhang Huan or Ma Liumin. Exceptional witness of his contemporaries, such as the aforementioned artists, Rong Rong specialised in photography from a beginning, going from the register of the actions and performances of the artists -who made the main contributions to the development of contemporary Chinese art- to the registers of domestic and everyday life in a country and city that began a process of unstoppable mutation.

2008-05-31T01:39:00.000-07:00

Photographs by Helmut Newton on View at Weserburg Museum fur Moderne Kunst

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The Arielle Portfolio I-X, 1982-1999, © Helmut Newton Estate

BREMEN.- “Bullshit! I love the girls; that’s nothing but a feminist misunderstanding.” This was how Helmut Newton several years ago countered the reproach from Alice Schwarzer, the editor-in-chief of Emma, who claimed that he and his nude photographs were sexist, even racist. Newton was used to rejection. His precisely staged photographs, with their deliberately presented sexuality, were acts of social provocation right from the beginning. In the nineteen-sixties, his pictures burst the borders of traditional fashion photography, summoned up a new image of woman and, for that precise reason, made him one of the most famous and highly paid photographers of the twentieth century. From May 31 to December 31, 2008, the Weserburg, Bremen’s Museum for Modern Art, honors Newton’s pioneering artistic production with a comprehensive exhibition: To be seen upon some 750 square meters of exhibition surface are 120 works from numerous private and museum collections.

Helmut Newton—Photographs covers the wide spectrum of this revolutionary specialist in fashion- and nude-photography. In addition to the large-format, life-sized Big Nudes, for which Newton derived inspiration from police-investigation photos of the RAF terrorists, there are also on display works from the various photographic series in which the artist laid out the defining motifs of his artistic imagination. Suspenseful nocturnal scenes in a big-city hotel, which give the impression of being part of a film narration, are situated alongside portraits of the stars from the dazzling world of glamour. The photographer of the beautiful and famous, who worked regularly for major fashion magazines throughout the world, never kept to the narrow confines of commissioned work; instead he used the fashion industry as a stage. “With his photographic stagings, Newton gave a visual rendition of woman’s self-aware sexuality in a revolutionary manner,” comments Carsten Ahrens, the director of the Weserburg. “In these photographs, woman never appears as an object of masculine power, but instead as the mistress of her own sexuality. In defiance of all the hostility heaped upon him, not only from clerical and bourgeois quarters but also from leading feminists, he conjured up a new image of woman, one that is characterized by emancipated self-awareness.”

Moreover, the exhibition provides insights into the turbulent life of Helmut Newton who—born in Berlin in 1920 as the son of Jewish parents—was able, thanks to his dauntless mother, to flee from Germany in 1938, traveling first to Singapore and then to Australia. At the end of the nineteen-fifties, Newton returned to Europe with his wife June, with little money and grand dreams, first to London and then to Paris, where he began his career as a photographer for Vogue, Elle and Queen. He discovered the decisive motifs for his work in the red-light districts of the city. The nineteen-seventies saw the appearance, with White Women, Sleepless Nights and Big Nudes, of the first books of photographs by Newton, which established his status as a photographic artist. The married couple lived in Monaco and Los Angeles until a tragic automobile accident in January 2004 brought an abrupt end to the life of Helmut Newton.

Bonhams will sell Photographs of Kate Moss made by Tracey Emin, Banksy and Albert Watson

2008-04-14T07:27:00.000-07:00

Bonhams will sell Photographs of Kate Moss made by Tracey Emin, Banksy and Albert Watson

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Albert Watson (American, born 1942) 'Kate Moss, Marrakech', 1993. Signed, dated, titled and numbered '3/10' on seperate sheet, gelatin silver print
sheet 158.5 x 122cm

LONDON.-The iconic British supermodel, Kate Moss portrayed by three popular artists, Tracey Emin, Banksy and Albert Watson will be sold at Bonhams Vision 21 in Knightsbridge on April 16.

Works by Albert Watson include a gelatin silver print of Kate Moss in Marrakech produced in 1993 - estimate £5,000 - 7,000 and a C-Type print on aluminium, Marrakech, 1993 - estimate £3000 - 5,000. Watson is one of the most successful and sought-after fashion and commercial photographers who has produced photographs for magazines such as Vogue, The Face, Rolling Stone and Newsweek. He won various prizes, including a Grammy Award in 1975 for the best design for an LP cover. His crowning achievements include his unprecedented 250 cover images for Vogue - perhaps the ultimate barometer of success for a fashion photographer.

A screenprint of Kate Moss by the renowned urban artist, Banksy produced in 2005 is estimated at £30,000 - 50,000, while Tracy Emin, one of the leading YBA (Young British Artists) has produced a plymer gravure etching of the supermodel (estimate £600-800).

A unique 'self-portrait' of Andy Warhol (1928-1987) printed by the artist in 1967, in black and blue synthetic polymer and screenprint ink on red graphic art paper is also a fascinating highlight in the Vision 21 sale.

Warhol only ever printed a very small number of early works. As his career took off he was able to employ professional printers to assist him. The present work is particularly rare as it is one of the few that Warhol printed himself. Though other examples do exist, on various different sized sheets of coloured and white papers, the print was never properly editioned. This rare work is estimated at £15,000-20,000.

Striking portraits of Faye Dunaway and Elton John are among the photographs by Terry O'Neil - the famous British photographer who achieved his greatest success documenting the fashion style and celebrities of the 1960's. Shots include Dunaway sitting relaxed in a chair by the pool with an Oscar on the breakfast table and newspapers scattered around her (£600-800).

A photograph by Philippe Halsman, a Latvian-born American photographer, of Sammy Davis Jr. will also be sold (£600-800. Davis is perhaps best known for his 1950's hits such as “Candy Man” and “What Kind of Fool I am” and for his connections with the infamous Brat Pack. Halsman became famous in the 1940's, where he started a thirty-year collaboration with surrealist artist Salvador Dali.

Further stars in the sale include Uma Thurman, photographed by Albert Watson in New York in 1993 (£5,000 - 7,000) and Tilda Swinton, shot by the Douglas Brothers (Andrew & Stewart), which is expected to fetch £600 - 800. Each work is signed.

A diverse mix of art and design is offered at Vision 21 with work by up and coming artists as well as more established name such as Agnes Martin, Roy Lichtenstein, Jean-Michel Basquiat, Takashi Murakami, Marc Newson, Philippe Starck and Ron Arad.

Vision 21 is an innovative sale that delivers great design and diverse style and inspiration from 1945 to the present day. Conceived four years ago, Vision 21 encompasses Post War Paintings, Prints, Photographs, Sculpture and Modern Design. Bonhams in Knightsbridge has a long-held reputation for innovative ideas and, over the years, has introduced many new areas of collecting - such as Contemporary Ceramics and Rock and Pop Memorabilia, which have challenged traditional categories. The Vision 21 continues to attract a young fashionable crowd of both serious collectors, and those just looking to furnish a modern home.

Groundbreaking Modern Photography on view at the Baltimore Museum of Art

2008-04-14T07:21:00.000-07:00

Groundbreaking Modern Photography on view at the Baltimore Museum of Art

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Edward Weston, Nude, 1934, gelatin silver print.

BALTIMORE.-The Baltimore Museum of Art opened the exhibit Looking Through the Lens: Photography 1900–1960 through June 8. Discover more than 150 striking vintage prints in this extraordinary exhibition showcasing groundbreaking modern photography. Peruse some of the world’s best-known 20th century photographers including iconic images by European and American artists such as Man Ray, Alfred Stieglitz, Edward Weston, Paul Strand, Dorothea Lange, and Gordon Parks. Drawn from the BMA’s outstanding collection, these rarely shown photographs were produced during a pivotal period in the history of the medium—when photography became fully recognized as an art form.

Organized thematically, Looking through the Lens both showcases the work of great artists and illuminates some of the most significant movements and techniques of the first half of the century. Highlights of the exhibition include soft-focus Pictorialist-style photogravures published in Alfred Stieglitz’s ground-breaking journal Camera Work (1903–17), a rare print of Paul Strand’s Bottle, Book and Orange (1916); and brilliant experimental images produced between the wars such as Max Burchartz’s Lotte’s Eye (c. 1928) and Edward Weston’s Pepper (1929). A large selection of works by Man Ray demonstrates the influence of Surrealism, while Edward Steichen’s dramatic images of movie stars and Paul Outerbridge’s vivid carbro color prints of cropped nudes and festive still lifes show the cross-fertilization between art, film, and advertising.

Compelling documentary photographs and examples of photojournalism from the late 1930s include Dorothea Lange’s images of migrant farmers in California and Aaron Siskind’s Photo League chronicles of Harlem, as well as works commissioned for Life magazine by Margaret Bourke-White and Gordon Parks. Post-war images by New York School photographers Robert Frank and William Klein capture fleeting moments in America—from parade-goers in Hoboken, New Jersey, to a group of teenagers on the run. The exhibition concludes with Harry Callahan and other teachers at the progressive Institute of Design in Chicago whose work extended the influence of European modernism and anticipated some of the new directions photography would take in the second half of the century.

Chris Beetles Presents Patrick Lichfield's Photography

2008-04-11T01:46:00.000-07:00

Chris Beetles Presents Patrick Lichfield's Photography

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Patrick Lichfield. Copyright Lichfield Studios Ltd.

LONDON.- Chris Beetles presents Lichfield. Patrick Lichfield’s photography has graced the world’s media for over forty years. Chris Beetles announces the first-ever selling show of his remarkable work.

Lichfield’s photography for the 'Queen Magazine', and 'Life' helped crystallise the 1960s visual aesthetic. So much so that Diana Vreeland, the influential editor of American 'Vogue', summoned him work for her. He capitulated in 1968, and became one of only five British photographers to be retained by the magazine since its foundation (Bailey, Beaton, Parkinson and Snowdon being the others).

Lichfield’s archive is a rich seam of culturally important photography, much of which has become synonymous with our perception of the celebrated and fashionable in the late 20th century. Since his death in 2005 his archive has been extensively catalogued, and we will show a selection of these well-known images alongside recent discoveries made public for the first time.

Comprising of over 70 images, our exhibition will reassess his archive and reveal him to be one of the most influential photographers of the 20th century. The exhibition will be on view 14th May – 4th June 2008, Monday – Saturday 10am – 5.30pm. A fully illustrated catalogue will be on sale, and all images will be featured on the website www.chrisbeetles.com.

Nude Carla Bruni Photograph to be auctioned at Christies

2008-03-28T02:14:00.000-07:00

Nude Carla Bruni Photograph to be auctioned at Christies

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Carla Bruni, photographed by Michel Comte. EFE.

NEW YORK.- Swiss photographer Michel Comte, author of the image of Carla Bruni in the nude says he has more explicit pictures but that he will not sell them. In an interview published today in Le Matin, Comte, who now resides in New York, says that he does not know how the picture got to Christie’s where it will be auctioned on April 10, "I must have made a gift to someone. I make very few copies, three to five at the most, he points out. In fact, the photographer assures that he got word of the auction when a reporter from Le Matin called him on the phone. He remembers that he took the picture at the end of a photo shoot for Vogue in Paris or New York.

I worked with Carla for approximately 10 years. We have shot thousands of pictures together, fashion photos, pictures in her house in Italy. We were close friends and spent a lot of our time aboard the Concorde”, he remembers. In his opinion, the black and white photo which is expected to fetch at least $3,000 US DLS.”It’s her, it’s Carla, with her fantasy.

Comte says that Nicolas Sarkozy’s wife is “naked in this picture but at the same time shows her masculine side. And even goes on to say that it could even be a man. “It seems as if she is touching or hiding her sex: she plays. She looks afraid, with her feet pointing inside and her face has the expression of a mask, as if it was torn from her body, he continued.

According to an online bio, Bruni signed with City Models at age nineteen. In the 1990's she was pulling in about seven million dollars a year modeling and she dated a list of famous men including Eric Clapton, Mick Jagger and Donald Trump.

Une belle voiture

2008-03-06T06:38:00.001-08:00

Make a slideshow - it's easy!

2008-03-01T02:12:00.000-08:00

Chris Beetles Presents Patrick Lichfield

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LONDON.-Chris Beetles presents Lichfield. Patrick Lichfield’s photography has graced the world’s media for over forty years. Chris Beetles announces the first-ever selling show of his remarkable work.

Lichfield’s photography for the 'Queen Magazine', and 'Life' helped crystallise the 1960s visual aesthetic. So much so that Diana Vreeland, the influential editor of American 'Vogue', summoned him work for her. He capitulated in 1968, and became one of only five British photographers to be retained by the magazine since its foundation (Bailey, Beaton, Parkinson and Snowdon being the others).

Lichfield’s archive is a rich seam of culturally important photography, much of which has become synonymous with our perception of the celebrated and fashionable in the late 20th century. Since his death in 2005 his archive has been extensively catalogued, and we will show a selection of these well-known images alongside recent discoveries made public for the first time.

Comprising of over 70 images, our exhibition will reassess his archive and reveal him to be one of the most influential photographers of the 20th century. The exhibition will be on view 14th May – 4th June 2008, Monday – Saturday 10am – 5.30pm. A fully illustrated catalogue will be on sale, and all images will be featured on the website www.chrisbeetles.com.

Theresa LoSchiavo's Premiere Artist Portfolio

2008-02-15T01:02:00.000-08:00

Theresa LoSchiavo's Premiere Artist Portfolio

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Welcome to Theresa LoSchiavo's Portfolio. Browse LoSchiavo's body of work: I photograph women because they are visually and emotionally stimulating. The image produced by the light that falls upon their shape is as varied as is their personality.
To communicate what is inside by capturing what is outside is a journey the woman, myself, and the viewer, travels on the road to acceptance and appreciation....

Guy Hepner Contemporary Presents Guido Argentini

2008-02-13T00:42:00.000-08:00

Guy Hepner Contemporary Presents Guido Argentini

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Guido Argentini . Yelena and a Pink Choker.

LONDON.- Guy Hepner Contemporary presents Guido Argentini. Guido Argentini was born and raised in Florence, Italy. He spent three years attending medical school before deciding, at age 23, to follow his passions and pursue a career as a photographer. He currently lives between Italy and U.S.A., spending the majority of his time in Los Angeles.

In 2003, Guido Argentini's first book, Silvereye, presented an exquisite series of studio and landscape nudes. That work was a reflection of the artist's great personal passion for sculpture and dance.

His second book, Private Rooms, published in 2005, offers an entirely different type of personal journey, one where eroticism and beauty are clearly inseparable. This second book is the result of ten years of photographs, all taken in the intimacy of closed rooms that become the theaters of the artist's self-directed voyeuristic fantasies. His latest book Reflections was released fall 2007.

Lucien Clergue - The Poet With The Camera" in Vienna

2007-12-07T02:02:00.000-08:00

Lucien Clergue - The Poet With The Camera" in Vienna

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Lucien Clergue, Nu zebré, New York, 1997. © Lucien Clergue, Arles, 2007.

VIENNA.- KunstHausWien presents a retrospective with more than 200 works by French photographer Lucien Clergue. These masterpieces are exhibited in Austria for the first time and on view through February 17.

His friend Pablo Picasso, who acknowledged the value and artistic quality of Lucien Clergue's work at a very early stage, compared his nudes with the works of the famous painters Renoir, Manet and Velázquez in the 1950s. Jean Cocteau described Clergue as the "poet with the camera".

Lucien Clergue's roots remain in his birthplace Arles in the South of France, where he still lives and works; his homeland and the Mediterranean culture have inspired his artistic work from the very beginning. The photographer always has insisted on his artistic freedom. Even when he was 20 years old, he turned down tempting offers and assignments from media like Vogue, Paris Match and others. He has renounced popularity, star-status and money from the beginning, in order to maintain his artistic independence and individuality.

Lucien Clergue's photographs have a permanent artistic validity and represent an important work of contemporary photographic art. He is a pioneer, an individualist, a versatile artist, who goes his own way unswervingly and who, in his photographs, tells us about love, life, transience and death, commenting these focal topics in his photographic work and adding his personal vision and interpretation. Lucien Clergue creates "images of reality" not submitting to any passing fashion, and whose contents are the existential topics - the conditions of humanity, the relation between nature and man.

Elipsis: Chantal Akerman, Lili Dujourie, Francesca Woodman

2007-09-27T01:32:00.000-07:00

Elipsis: Chantal Akerman, Lili Dujourie, Francesca Woodman

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Chantal Akerman, Mirror Still, 1971-2007, Mirror, 16 mm transfered to DVD
14´ 21². Courtesy Marian Goodman Gallery, Paris.

MEXICO CITY.- Museo Tamayo Arte Contemporáneo presents Elipsis: Chantal Akerman, Lili Dujourie, Francesca Woodman, on view October 4, January 6, 2008. The exhibit will present together works by Chantal Akerman (Brussels, 1950), Lili Dujourie (Lovendegem, 1941) and Francesca Woodman (Denver, 1958 – New York, 1981), for the first time. During the 1970’s the artists did performance art in front of a camera. The artist’s proposals refer to the alienated relationship of woman in the world. Their worries relate to the construction and representation of the identity.

Lynne Cooke, the exhibition’s curator, places for the first time photographs and videos of these three artists who were born in different contexts and 10 years apart, but whose work present affinities and parallels that may not have been recognized.

Akerman, Dujourie and Woodman used photography and other technologies like film and video during the late 1960’s. Their point of departure was themselves, as artists and models with their bodies as subjects and objects.

Spencer Tunick Photographs 600 Strip Naked on Glacier

2007-08-20T01:08:00.000-07:00

Spencer Tunick Photographs 600 Strip Naked on Glacier

US-Installation artist Spencer Tunick and Greenpeace present a living sculpture: hundreds naked volunteers symbolise the vulnerability of the glaciers under climate change. © Greenpeace / Wuertenberg.

ALETSCH GLACIER, SWITZERLAND.- An emergency provokes extreme responses: human beings in danger will abandon social niceties, etiquette, and the norms of acceptable behaviour to raise an alarm any way they can when lives are in danger. Today, six hundred people shed their clothes on a glacier in the Swiss Alps to bodily cry out for help against a planetary emergency: global warming.

The nude volunteers posed for us and renowned naked "installation" artist Spencer Tunick on the Aletsch Glacier.

Without clothes, the human body is vulnerable, exposed, its life or death at the whim of the elements. Global warming is stripping away our glaciers and leaving our entire planet vulnerable to extreme weather, floods, sea-level rise, global decreases in carrying capacity and agricultural production, fresh water shortages, disease and mass human dislocations.

If global warming continues at its current rate, most glaciers in Switzerland will completely disappear by 2080, leaving nothing but valleys and slopes strewn with rock debris. Over the last 150 years, alpine glaciers have reduced in size by approximately one third of their surface and half of their mass, and this melting is accelerating. The Aletsch Glacier retreated 115 meters (377 feet) in a single year from 2005 to 2006.

According to the Intergovernmental Panel on Climate Change (IPCC) the world only has eight years remaining to take the urgent action needed to curb catastrophic climate change. Without swift action, the damage could become irreversible. Never before has humanity been forced to grapple with such an immense environmental crisis.

Climate change now requires fast and courageous political decisions to radically cut green-house gas emissions and stabilise global warming. Governments around the world must know that the people they represent expect and demand them to take action.

Known around the world for his installations, Spencer Tunick wants people to know that global climate change is not an abstract issue, but a hazardous threat which affects us all.

"I want my images to go more than skin-deep. I want the viewers to feel the vulnerability of their existence and how it relates closely to the sensitivity of the world's glaciers", he said.

Philip Trager: A Retrospective at The Allen Memorial

2007-07-26T01:52:00.000-07:00

Philip Trager: A Retrospective at The Allen Memorial

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Philip Trager (b. 1935), John J. Kelly, 1988, Gelatin silver print.

OBERLIN, OH.- The Allen Memorial Art Museum presents Philip Trager: A Retrospective, on view through August 5, 2007 at the John N. Stern Gallery. Philip Trager's luminous and compelling photographs—both of architecture and of dancers—reveal a distinctly personal approach to form and place. This exhibition of nearly 100 gelatin silver, platinum and Iris prints includes evocative images of New England in the 1960s and New York City in the 1970s, elegiac portraits of the villas of Palladio in the 1980s, and glimpses of the ever-changing face of Paris in the 1990s. Trager's architectural photographs capture the subtleties of our built environment with singular nuance and skill. They have become landmarks in architectural photography and standard documents for architectural and art historians as well as architects. Since the 1980s, Trager has collaborated extensively with contemporary dancers and choreographers to photograph the most evanescent of arts. His expressionistic images of dancers in outdoor settings capture the essence of many of the best contemporary choreographers and dancers. On view are photographs of John Kelly, the Mark Morris Dance Group, Bill T. Jones/Arnie Zane & Co., and many others.

This exhibition, organized by AMAM director Stephanie Wiles and Clare Rogan, curator of the Davison Art Center, Wesleyan University, is accompanied by the catalogue Philip Trager co-published by Steidl Publishing.

Michael Hoppen Gallery Presents Alfred Eisenstaedt

2007-07-02T08:06:00.000-07:00

Michael Hoppen Gallery Presents Alfred Eisenstaedt

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VJ Day, Times Square, New York, August 14, 1945 by Alfred Eisenstaedt. © Time
Inc. used with permission courtesy Michael Hoppen Gallery.

LONDON.- The Michael Hoppen Gallery presents Alfred Eisenstaedt, on view through August 1, 2007. This is an exhibition of vintage photographs by Alfred Eisenstaedt - “the father of photojournalism”. In a photographic career spanning sixty years Eisenstaedt was the first photographer to consistently practice candid photography, and in his own words, “photographed more people than any other photographer.” His photographs have featured on the front cover of LIFE magazine 92 times and he travelled the world on more than 2500 assignments. Most importantly, his photographs are a testimony to seminal events and key people who in turn shaped the contemporary world.

Born in 1898 in West Prussia, Alfred Eisenstaedt was given his first camera at the age of 14 and sold his first photograph in 1927 to the newspaper Der Weltspiegel at a time when photojournalism was at its very infancy. Narrowly escaping the Holocaust in Europe Eisenstaedt emmigrated to the United States. He was soon hired along with three other photographers, Margaret Bourke-White, Thomas McAvoy and Peter Stackpole by Time founder Henry Luce, for a secret start-up known only as “Project X.” After six months of testing the mystery venture, it premiered as LIFE magazine on November 23, 1936.

Over his career Eisenstaedt photographed a diverse range of subjects ranging from the first meeting between Hitler and Mussolini, the aftermath of the Hiroshima bomb, and post depression America, to portraits of John F Kennedy, Albert Einstein, and Marilyn Monroe, to enduring photographs of ordinary people across America and Europe. Eisenstaedt’s most famous image VJ Day (a sailor kissing a nurse in Times Square, pictured on the front of this release) is known to millions of people across the world, although few could name the man who took this iconic photograph in 1945. As diverse and disparate as Eisenstaedt’s photographs are all of these images are unified by Eisenstaedt’s continually fresh eye and talent for capturing pivotal moments in the human experience.

Up until his death in 1995, Eisenstaedt was still shooting and adding to his inventory of over 100,000 negatives in his personal office at LIFE magazine. The son of a merchant, he was drafted into the German army aged 17 and not destined to be a photographer. The only survivor of an offensive just one year later he was sent home with shrapnel through both of his legs. His time in recovery reawakened his youthful interest in photography that did not wane until his death at the age of 96. Eisenstaedt’s first major retrospective exhibition did not come until age 88 when the International Center of Photography in New York presented 125 of his prints. Since then he has been granted many awards – including the Presidential Medal of Arts bestowed by President Bush, and the ICP Master of Photography award in 1988.

Miao Xiaochun: H2O in Berlin

2007-06-20T05:43:00.000-07:00

Miao Xiaochun: H2O in Berlin

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Miao Xiaochun, The Fountain of the Youth, 2007, C-Print, Ed. 12, 170 x 269 cm
Courtesy Alexander Ochs Galleries Berlin I Beijing.

BERLIN.- Alexander Ochs Galleries Berlin presents Miao Xiaochun: H2O. Miao Xiaochun has come back, down to earth. Back from the spheres of heaven, with figures floating in the detached and airy space that he so closely explored in his last large picture-series "The Last Judgement". And yet, it is not so much the firm and solid ground of earth that the Chinese photo-artist is interested in. He rather turns his attention towards an element which, at first sight, seems about as hard to grasp as the atmospheric range of the sky: water. However, the framework that he chose for his explorations (investigations) consistently remains the same: the array of Western art-history. He furthers his forays through the world of art and painting. And he leaves many enthralling hints for the observer, allowing him to follow.

Masterly in his use of digital visual media, Miao Xiaochun time and again lets us dive down deeply into a perfectly animated parallel world. Into the modern, artificially created imagery of cyberspace - new, and yet strangely familiar. For the artist uses our knowledge, the history of our world-view, our painting, our space of image and imagination - all reflected in the mirror of famous works of art. The allusion to this frame of reference allows him to phrase and convey his thoughts. We know the models for his pictures. And exactly because we know them, we can't help but think of them parallel to the process of perception and artistic reception.

Miao's works function as picture puzzles, in which we newly discover well-known aspects. The famous artistic prototypes are not simply converted 1:1. Miao subtly varies the perspective and noticeably modifies the formal design and construction, bringing on a perceptible shift of meaning. The artist did not choose his points of origin at random. Unifying element within the rooms of reference for his new works is the motif of water. As visible expression of the flowing of time and power of life, and full of symbolic implications, the element of water again and again becomes a metaphor. A source of creation and signification, and a source of art - continuously changing and flowing, and yet always present, just as art itself.

Special Auction Photography at Hampel Fine Art

2007-06-18T01:27:00.000-07:00

Special Auction Photography at Hampel Fine Art

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Bert Stern, 1929, New York, Last Sitting – Marilyn Monroe, Taken 1962. Copyright-Stempel Bert Stern und Datierung von 2006.

MUNICH, GERMANY.- Hampel Fine Art Auctions will hold a Special Auction Photography on Saturday 23rd June 2007, 12.30 pm. Hampel Fine Art Auctioneers offers a variety of photographs from historical to contemporary examples. A fine example of historical photography is the collection of 8 large-sized albumin prints by James Anderson with views of famous historical architectures in Italy (about 1860, Estimate 45.000-60.000 Euro). Exponents of classical photography as Marc Riboud, Robert Doisneau, Horst P. Horst and André Villers should be mentioned (Estimates up to 6.000-8.000 Euro). Viller's photographs show different portraits of Pablo Picasso. Furthermore Hampel presents a number of portraits of numerous Hollywood-Stars, among them Marilyn Monroe, by Bruno Bernard and Bert Stern from the forties, fifties and sixties of the 20th century (Estimates up to 2.000-2.800 Euro). Architectural photographs come from Lucien Hervé, Julius Shulman and Klaus Kinold (Estimates up to 13.000 Euro). An important section of the sale will be photographs with erotic motifs by important exponents of this genre. Helmut Newton´s "Big Nude Una" is offered with an estimate of 8.500 to 11.000 Euro, moreover also photographs by Herb Ritts, Ralph Gibson and Bettina Rheims (Estimate up to 3.000-4.500 Euro). The German photographer Günter Blum, who died ten years ago, is represented with 24 photographs which come from his estate in den United States. Sylvie Blum, formerly model, afterwards wife of Günter Blum and currently herself photographer, handed over these photographs for the auction. Different contemporary photographs feature in this sale including works by following artists: Andreas Gursky, Julia Kissina, Shirin Neshat, Roger Newton, Thomas Ruff, Cindy Sherman and Alexander Timtschenko (Estimates up to 4.000 - 6.000 Euro).

Artists at Auction: James Anderson | Klaus Behr | Bruno Bernard | Günter Blum | Sylvie Blum | Wolfgang Boese | Jean-Marie Bottequin | Robert Doisneau | Ralph Gibson | Abe Frajndlich | T. Fukasawa | Andreas Gursky | Philippe Halsman | Lucien Hervé | Horst P. Horst | Bill Jones | Paul W. John | Willy Kessels | Klaus Kinold | Julia Kissina | Willy Maywald | Ralph Morse | Shirin Neshat | Helmut Newton | Roger Newton | Niklas Nitschke | Irene Peschick | Rudolf Rattinger | Man Ray | Marc Riboud | Herb Ritts | Bettina Rheims | Thomas Ruff | Diane Schmidt | Cindy Sherman | Julius Shulmann | Bert (Bertram) Stern | Alexander Timtschenko | André Villers | George T. Zimbel et.al.

Open House, Christie's Sale of Post-War & Contemporary Art

2007-06-07T02:28:00.000-07:00

Open House, Christie's Sale of Post-War & Contemporary Art

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Thomas Ruff, Nude NK 12, 2000, Chromogenic c-print. Estimate: $1,800-2,500. © Christie’s Images Ltd. 2007.

NEW YORK.-This season, there is one more reason to return to New York after the Fourth of July break – Open House, Christie’s sale of Post-War & Contemporary Art on July 10 which is not going to break records, not going to cause a major shift in investment portfolios, not going to make headlines on the financial news. Open House instead will offer a range of original, fun and affordable art, maybe slightly eccentric on certain occasions, but with the enormous appeal of the ‘real’ thing with a ‘do-able’ price. Estimates vary from $1,000 up to $50,000 and several works will be offered without reserve.

Open House is nothing if not different. With price levels for Post-War & Contemporary Art rising at breakneck speed, this refreshing summertime auction shows that there is life – and a lot of it – at other levels of the market. Very well-known names – as in Joseph Beuys, Michelangelo Pistoletto, Robert Mapplethorpe and Cindy Sherman – will sail alongside artists who are more opaque, more unexplored and more discover-able such as Tomory Dodge, Rita Ackermann, and Kim McCarty. Auction: Open House July 10 at 10 a.m. Viewing: Christie’s Galleries at Rockefeller Center July 5 - 9.

PhotoGallery / Marilyn Monroe: Life as a Legend at The Dayton Art Institute

2007-05-02T08:53:00.000-07:00

PhotoGallery / Marilyn Monroe: Life as a Legend at The Dayton Art Institute photolover808






Milton H. Greene, Marilyn Monroe, New York City, “Ballerina” sitting, 1954, Fine Art Inkjet printed on Designjet 5000PS UV printer made by Hewlett Packard on Albrecht Durer media manufactured by Hahnemuhle, Artoma Collection, Hamburg © 1994, Milton H. Greene Archives, Inc., www.archivesmhg.com.

Bert Stern, "Here's to you" from "The Last Sitting," 1962, Colour print (Kodak Professional), edition 11/250, Artoma Collection, Hamburg © Bert Stern, 1982.



After Andy Warhol, Marilyn, published by Sunday B Morning, 1967, Screenprint, Artoma Collection, Hamburg © Andy Warhol Foundation for the Visual Arts/ARS, New York.



Frank Powolny, Marilyn Monroe, 1953, Silver gelatin print, Artoma Collection, Hamburg © Shaw Photo Collection.

Do Not Refreeze - Photography Behind the Berlin Wall

2007-04-14T03:47:00.000-07:00

Do Not Refreeze - Photography Behind the Berlin Wall

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Sibylle Bergemann, Kirsten, Hoppenrade, 1975.

MANCHESTER, UK.- Cornerhouse presents Do Not Refreeze - Photography Behind the Berlin Wall with artists Ursula Arnold, Sibylle Bergemann, Arno Fischer, Helga Paris, Evelyn Richter, Maria Sewcz, Erasmus Schroeter, Gundula Schulze-Eldowy,and Ulrich Wüst. The exhibition will be on view through June 17, 2007 and was curated by Matthew Shaul. Do Not Refreeze brings together a group of photographers whose extraordinary contribution to European photography has been 'frozen out' by the Cold War. Almost completely unknown in Britain, these artists developed their practice in the former East Germany negotiating its omnipresent secret police to create imagery, increasingly compared to that of luminaries such as Henri Cartier-Bresson, Diane Arbus and Paul Strand.

Disparate in background and experience, their works use an unforgiving documentary aesthetic to convey both the harsh realities and remarkable richness of life behind the iron curtain. The stunning images convey a glimpse of day-to-day life and evoke the claustrophobia, rage, envy and ideological pomp of the Communist era as well as its unexpected personal warmth, tenderness and exoticism.

Sticking closely to the mantra of 'realism' - the state-directed creed that defined what was artistically acceptable - these photographers circumnavigated a rigid system of censorship to produce the most insightful and openly critical visual arts output in East Germany's forty-year history. Had they been painters, sculptors, authors or playwrights, these photographers would have been arrested or imprisoned for their brazen portrayals of the underbelly of the socialist experiment. However, as photography was not considered by the East German authorities to be 'art', these artists were, incredibly, not only able to work and have ongoing professional contact with their western contemporaries such as Robert Frank and Henri Cartier Bresson, but sometimes also to publish and exhibit in this police state.

All these photographers had at their disposal were the pared down range of motifs, locations and subject matter, of East Germany, the Soviet Union and its satellite states. The resulting images reveal the humour, stoicism and resignation with which East Germany's citizens dealt with their lives.

Do Not Refreeze is a touring exhibition from the University of Hertfordshire Galleries. Funded by the Arts and Humanities Research Council, Arts Council England, and IFA - the German Government's Institute for Foreign Relations. With support from Goethe Institut, Manchester and Staatliche Galerie, Moritzburg Halle, Landeskunstmuseum, Saxony-Anhalt.

Sale of Photographs at Sotheby's New York

2007-04-03T01:13:00.000-07:00

Sale of Photographs at Sotheby's New York

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Edward Weston, Nude on Sand, 1936, est. $200/300,000. © Sotheby's 2007.

NEW YORK.- Sotheby’s April 26th sale of photographs from various-owners will feature a selection of outstanding works by many 20th-century photographers, including work from the early part of the century, fashion photography, as well as an assortment of notable contemporary photographs. The sale is expected to bring $3.7/5.5 million*. Two additional single-owner sales of photographs will also be held in April: An Important Collection of Photographs by Eugène and Adalbert Cuvelier (April 13) and Photographs from the Private Collection of Margaret W. Weston (April 25-26).

Among the 20th-century works on offer is an impressive selection of photographs by Diane Arbus. Most notable among these are two prints of exceptional rarity. The first, an early print of what may be the artist’s most famous image, Identical Twins, Roselle, New Jersey, 1967 (est. $400/600,000), is dedicated ‘for Harold’ by the photographer in the margin. The inscription is to Harold P. Hayes, the architect of the New Journalism movement and legendary editor of Esquire who, with art director Robert Benton, assigned Arbus her first photographic essay, published in the July 1960 issue of the magazine. The other is an early print of Triplets, New Jersey, 1963 (est. $150/250,000), which comes originally from the collection of Ann Ray Martin, a reporter for Newsweek who interviewed Arbus for the magazine in 1967. Also offered in the sale is a selection of posthumous prints made by Neil Selkirk, including a print of Child with a toy hand grenade in Central Park, N.Y.C., 1962 (est. $100/150,000), among others.

Also on offer are works by early 20th-century masters. Among these is a mounted and fully-signed early print of a particularly rare image from 1936 by Edward Weston from his series of nude studies of Charis on the dunes at Oceano (est. $200/300,000). This print comes originally from the collection of famed gossip-columnist and screenwriter Louella Parsons. Another early 20th-century highlight of the sale is an early print of Laszlo Moholy-Nagy’s Berlin (from the Radio Tower), 1928 (pictured here, est. $120/180,000). Early examples of this important image are rare, and the present print shows more of the original negative than is seen in most other versions. In addition, it has an exceptional provenance, coming originally from the photographer Moï Ver.

Another highlight of the sale will be a portfolio of 302 photographs by Bob Seidemann, The Airplane as Art, 1986-97 (est. $200/300,000). This impressive group of images documents the history of the airplane and its creators. It includes photographs of abandoned aircrafts, planes in flight, and portraits of the most important men in the history of aviation, many of which are signed by the sitters.

A number of Irving Penn’s most desirable images are represented in this sale, including platinum-palladium prints of Woman in a Moroccan Palace, 1951 (est. $200/300,000), Cuzco Children, 1960 (est. $200/300,000), Girl Drinking (Mary Jane Russell), 1949 (est. $80/120,000), and a mural-sized, four-section, platinum-palladium print of Cigarette #37, 1972 (est. $120/180,000), among others.

Among the late 20th-century and Contemporary pieces on offer are several unique Peter Beard works, including an oversized print of Natives with Crocodile Skin, 1970s (est. $60/90,000). Other artists represented in this group are Henry Wessel, Sally Mann, Hiroshi Sugimoto, Christopher Bucklow, Adam Fuss, and Thomas Struth, among others.

Personal Best: Photographs by Elliott Erwitt

2007-03-03T02:20:00.001-08:00

Personal Best: Photographs by Elliott Erwitt

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PORTLAND.- The Portland Art Museum presents Personal Best: Photographs by Elliott Erwitt, on view through April 29, 2007. World-renowned photographer Elliott Erwitt is best known for his black and white candid images of ironic and absurd situations within everyday settings - the master of the "indecisive moment." Personal Best: Photographs by Elliott Erwitt, opening January 22, 2007, will present 88 images picked by the artist as his "personal best." The Portland Art Museum is the first venue to host this intimate retrospective of the acclaimed photographer’s work.

Born in Paris to Russian immigrant parents in 1928, Elliott Erwitt moved to New York in 1948. He studied film at the New School for Social Research, and from the outset his work focused on the day-to-day lives of ordinary people. A talent to capture the poignant ironies of life seemingly without effort distinguishes his work and has earned him the respect of other photographers, critics, and devoted fans, distinguishes his work. A member of Magnum Photo since the 1950s, Erwitt’s photography has been the subject of several books and many one-man exhibitions at such museums as the Smithsonian Museum of American Art, the Museum of Modern Art, and the Chicago Art Institute.

One of the finest image-makers of his generation, Elliott Erwitt describes himself as "a professional photographer by trade and an amateur photographer by vocation." He sprung to fame through the kitchen debate photograph, taken in 1959, of Khrushchev and Nixon arguing in front of a Westinghouse refrigerator and he has since become one of the best loved observers of life. With unmistakable style and wit, his work captures the famous and the ordinary, the strange and the mundane, during more than half a century.

2007-03-03T02:11:00.000-08:00

PhotoGallery / Marilyn, La Dernière Séance at Musée Maillol photolover808






Bert Stern, Marilyn nue sur le lit, Tirage couleur, 48,3 x 48,3 cm. Collection Léon et Michaela Constantiner. © Bert Stern.

Photojournalisme - Mémoire collective et photographie

2007-02-22T03:07:00.000-08:00

Photojournalisme - Mémoire collective et photographie [févr. 07]

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Le marché du photojournalisme est en pleine effervescence avec un produit de ventes en progression de 250% en 10 ans ! Cet engouement se manifeste avec force aux Etats-Unis, en France et en Grande-Bretagne. Le photojournalisme à longtemps été considéré comme une pratique annexe au champ de l´art, de même que la photo scientifique ou ethnographique. Depuis les années 50, il a pourtant gagné ses lettres de noblesse via le World Press Photo, qui récompense chaque année les meilleures photographies de reportage, et via les diverses expositions qui ont validé leur valeur de témoignage et leurs qualités esthétiques. Les plus grands photo-reporters dont Cecil BEATON, Henri CARTIER-BRESSON, Robert CAPA, Raymond DEPARDON, Robert DOISNEAU, Walker EVANS, Dorothea LANGE ou Marc RIBOUD, ont témoigné de leur temps en saisissant des images sensibles dont le poids culturel est indéniable. A la valeur iconique des clichés et à l´engagement des photographes s´ajoutent généralement des considérations d´ordre esthétique (ultra définition de l´image, importance du cadrage, etc.) qui ont contribué à leur entrée dans diverses institutions culturelles.

Aux Etats-Unis, Walker Evans et Dorothea Lange, engagés par la Farm Security Administration durant le New Deal, ont magistralement témoigné de la misère rurale des années 30. Ils affichent une cote plus gonflée que celle des français et une ascension étonnante : la cote de Walker Evans a pris plus de 100% depuis 2005 et celle de Lange 200% depuis 2004 !
Le cliché le plus coté de l´histoire du photojournalisme est White Angel Bread Line de Lange, saisissant la situation alarmante de la crise américaine de l´entre-deux-guerres. Le 11 octobre 2005, la maison Sotheby's NY adjugeait l´épreuve 720.000 dollars (près de 600 000 euros). Le même sujet était proposé lors de la vacation Phillips, de Pury & Company NY du 19 octobre dernier mais le tirage daté vers 1955 n´a pas réitéré l´exploit et partit pour une estimation haute à 45 000 dollars (35 897 euros). Jusqu'alors, l'enchère la plus élevée de la photographe n'était que de 120.000 dollars pour Migrant Mother, Nipomo, California (22 octobre 2002, Christie´s NY). Ces adjudications records ne doivent cependant pas masquer le fait que 50% en moyenne des clichés (tirages tardifs) de Lange et Evans sont accessibles pour moins de 5 000 €.

L´américain d´adoption Robert Capa, qui fonda l´agence Magnum avec Cartier-Bresson, David Seymour et George Rodger, fut armé de son appareil photographique lors de la Guerre civile espagnole de 1936. Sur place, il a saisit sur le vif La Mort d´un soldat républicain, cliché qui fit le tour du monde pour devenir le symbole de cette guerre dans la mémoire collective. Malgré la notoriété de ce cliché, ses tirages postérieurs sont souvent ravalés. Les amateurs sont extrêmement sélectifs et préfèrent débourser entre 5 000 et 10 000 € pour un tirage d´époque plutôt que d´enchérir sur un tirage tardif qui perd la consistance historique du sujet.
Deux ans plus tard, Capa couvre la seconde guerre sino-japonaise pour Life, puis le débarquement allié en Normandie le 6 juin 1944. Auprès des soldats, il a réalisé 119 clichés dont 108 furent détruits par la maladresse d´un laborantin de Life. Les maisons de ventes proposent régulièrement des épreuves du D-Day tirées entre 1960 et 1990. Celles-ci qui trouvent preneurs entre 3 000 et 7 000 € en moyenne. Etrangement, les enchères records de Capa ne sont pas détenues par des clichés témoignant de son engagement journalistique mais par deux autoportraits réalisés vers 1938 qui triplèrent leur estimation pour s´envoler entre 15 000 et 17 000 € en avril 2003 (Phillips, De Pury & Luxembourg, 25 avr. 2003, New-York).

Les prix de Cartier-Bresson ont amorcé une très nette progression depuis son décès en 2004. De nombreux amateurs se sont rués sur ses photos, si bien que le nombre de clichés invendus en ventes publiques est passé de 50% en 2002 à 10% en 2004. Si la majorité des transactions s´effectue dans une fourchette de 1000 à 5000 euros, les ventes de 2005 ont confirmé sa place dans les résultats records : Christie´s adjugeait On the banks of the Marne pour 110 000 dollars le 10 octobre 2005 (90 827 euros). La photo témoigne d´une scène pittoresque, un pic-nic au bord de la Marne, et reflète les mutations de la société française des années 1930. Le cliché date de 1938, soit deux ans après les premiers congés payés. Le tirage est pourtant postérieur (vers 1955) et les amateurs, exigeants dans ce domaine, recherchent en priorité les tirages vintage des années 30-50. La cote s´effondre pour un retirage des années 70 et 80 : comptez alors entre 4 000 et 7 000 euros.

Luxembourgeois émigré aux Etats-Unis, Edward Steichen fut directeur de la photo aérienne des forces alliées pendant la première guerre mondiale. Cependant, ses travaux portent essentiellement sur les portraits de personnalités (Garbo, Churchill, etc.) ou des mises en scène. Plébiscité par les américains, la majorité de ses œuvres s´échangeaient entre 1000 et 10 000 euros avant la hausse amorcée en 2005 (+240%). Le 14 février 2006, son Balzac de Rodin culminait à 550 000 dollars, signant son nouveau record (462 330 euros chez Sotheby´s NY). Ses photogravures suscitent moins d´enthousiasme. L´amateur peut acquérir ces « morceaux d´histoire » pour moins de 1000 euros. Aujourd´hui, la porosité des frontières entre reportage et photographie « artistique » s´est enrichit de quelques plasticiens s´intéressant de prêt au terrain journalistique. Citons par exemple : Sophie Ristelhueber, Paul Seawright ou encore Jean-Luc Moulène.

Photojournalism - Collective memory and photography [févr. 07]

The photojournalism market is booming. Turnover at auction has risen by more than 250% in 10 years, and the trend is strong in the USA, France and the UK. For many years photojournalism was considered a secondary form of art, much like scientific or ethnographic photography. Since the 1950s however it has become well established, partly thanks to World Press Photo, with its annual contest celebrating the year´s best journalistic photographs, and a number of exhibitions underlining the news photo´s dual role as documentary testimony and aesthetic artefact. The great names of photojournalism, Cecil BEATON, Henri CARTIER-BRESSON, Robert CAPA, Raymond DEPARDON, Robert DOISNEAU, Walker EVANS, Dorothea LANGE and Marc RIBOUD, all documented their times through sensitive images of undeniable cultural significance. Many of these are now finding their way into cultural institutions, prized for a combination of the iconic value of the shots and the photographers´ commitment, as well as aesthetic considerations (definition of the image, framing, etc.).

In the 1930s, Walker Evans and Dorothea Lange were hired by the US Farm Security Administration and produced a magisterial record of rural poverty during the New Deal. Their index has outstripped that of the French photographers in an astonishing rally: Walker Evans´s index has more than doubled since 2005 and Lange´s has tripled since 2004. The highest priced photojournalism picture ever is White Angel Bread Line by Lange, which captures the depth of America´s crisis between the wars. On October 11, 2005, Sotheby´s NY knocked down the print for USD 720,000 (nearly EUR 600,000). Another print of the same subject was offered at New York´s Phillips, de Pury & Company sale on October 19, but this one, from around 1955, failed to command the same interest and sold for its high estimate of USD 45,000 (EUR 35,897). Prior to that, the highest price paid at auction for a photograph was a relatively modest USD 120,000 for Migrant Mother, Nipomo, California (October 22, 2002, Christie´s NY). Despite these record sales, though, around half the Lange and Evans pictures that come up are later prints and can be bought for less than EUR 5,000.

Naturalised American Robert Capa, joint-founder of the Magnum agency along with Cartier-Bresson, David Seymour and George Rodger, carried his camera through the Spanish civil war in 1936. There, he captured live the Death of a Republican Soldier, an image that was picked up and reprinted worldwide and came to symbolise this war in the collective memory. Despite the picture´s fame, subsequent prints are often bought in. Photojournalism collectors are highly selective and would rather pay EUR 5,000 or EUR 10,000 for a contemporary print than bid up a print from a later historical period than its subject.

Two years after that, Capa reported on the second Sino-Japanese war for Life, before going on to record the allied landings in Normandy on June 6, 1944. Mingling with the soldiers, he took 119 pictures of which 108 were accidentally destroyed by an unfortunate Life lab worker. Auction houses regularly put up D-Day images printed between 1960 and 1990. These tend to find buyers for an average EUR 3,000 to EUR 7,000. Oddly, Capa´s records at auction were not set by images stemming from his committed journalism but by two self-portraits taken around 1938 that went for three times their estimate at EUR 15,000 to EUR 17,000 in April 2003 (at Phillips, De Pury & Luxembourg, April 25, 2003, New York).

Cartier-Bresson prices have risen sharply since his death in 2004. Enthusiasts rushed to buy his pictures and the rate of bought-in prints fell from 50% in 2002 to 10% in 2004. While the majority of transactions range between EUR 1,000 and EUR 5,000, his work generated record sales at auctions in 2005. Christie´s sold On the banks of the Marne for USD 110,000 on October 10, 2005 (EUR 90,827). The photo depicts a picturesque picnic scene along the Marne River and shows the changing French society of the 1930s. It dates from 1938, just two years after the French won the right to annual holidays. The print itself is a later version (1955), and collectors – who are demanding about print dates – tend to prefer vintage prints dating from between 1930 and 1950. Prices fall steeply for 1970s and 1980s reprints to between EUR 4,000 and EUR 7,000.

The Luxembourg-born American emigrant Edward Steichen was director of aerial photography for the allied forces during World War I. However, he spent most of his career working on portraits of well-known figures (Garbo, Churchill, etc.) and genre scenes. He is popular among Americans, and most of his works were selling for between EUR 1,000 and EUR 10,000 even before his index began a spectacular rally in 2005 (+240%). On February 14, 2006, his photo of Rodin´s Balzac reached USD 550,000 (EUR 462,330) setting a new record at Sotheby´s New York. Steichen's photo engravings are less popular. Collectors can buy a “piece of history” for less than EUR 1,000. Today, the boundaries between photo-reportage and art photography are becoming blurred, as visual artists such as Sophie Ristelhueber, Paul Seawright and Jean-Luc Moulène move onto what was previously considered journalistic territory.

2006-11-16T03:09:00.000-08:00

Les photographes de mode [nov. 06]

Pour l´ouverture du salon Paris Photo, sous le marteau de Maître Thierry de Maigret, une vente publique entièrement consacrée aux différentes facettes de la photographie de mode se tiendra à Drouot le 16 novembre.

Mode et photographie forment une alliance commerciale et créative depuis le début du XXeme siècle. La photographie de mode est rapidement diffusée via des revues telles que Vogue ou Harper´s Bazaar et flirte déjà avec l´art lorsque, par exemple, MAN RAY utilisait des mises en scènes surréalistes pour honorer ses commandes commerciales. Les connivences entre l´art, la mode et la publicité sont vieilles d´un siècle et, depuis les années 1980, une véritable fusion entre les deux univers s´est imposée. Certains photographes de mode ont su créer des univers esthétiques forts. Leurs clichés ont désormais pénétré les galeries et les musées.

Les photographes de mode sont en vogue. A titre d´exemple, citons la progression spectaculaire de la cote d´Helmut NEWTON : +100 % depuis 2000. Détesté par certains, adulé par d´autres, l´artiste, qui magnifiait le nu féminin, affiche un record à 150 000 £, soit plus de 220 000 € pour Big Nude III, Paris ! (200 x 120 cm, Christie´s Londres, le 01 nov. 2005). Newton demeure le plus célèbre et le mieux coté de ce marché avec 90% des transactions réalisées par les maisons de ventes anglo-saxonnes. Nombre de photographes contemporains prennent des libertés avec leurs sujets si bien que le produit à vendre et les " people " à immortaliser deviennent prétexte à d´étranges mises en scènes, décalées et insolentes. Les spécialistes de ces univers fictifs sont Inez LAMSWEERDE van, David LACHAPELLE, Guy BOURDIN ou Jean-Baptiste MONDINO. Au-delà des commandes purement commerciales, ils réalisent des épreuves au " format-tableau " de plus d´un mètre de côté qui cotent entre 10 000 et 15 000 € pour les signatures d´Inez Van Lamsweerde et de David La Chapelle. Suite à une demande croissante des collectionneurs pour les photographies monumentales, de grands formats de David La Chapelle sont apparus en ventes publiques en 2005. Son univers baroque déclenche la surenchère tel que le 19 juin 2006 pour Say it with Diamonds qui a triplé son estimation pour décrocher 18 000 £ (26 368 € chez Sotheby's Olympia, Londres). Des clichés de formats classiques (entre 20 et 60 cm de côté) du même artiste, de Van Lamsweerde et de Patrick DEMARCHELIER, demeurent accessibles entre 1 000 et 2 000 € en moyenne.

Les top modèles les plus prisés et autres célèbres personnages déclenchent le feu des enchères à l´instar du cliché de Peter LINDBERGH titré Cindy Crawford, Tatjana Patitz, Helena Christensen, Linda.... qui a doublé son estimation le 17 mai dernier pour partir à 17 000 £ (24 963 €, chez Christie´s Londres), tandis que d´autres épreuves sont accessibles pour moins de 5 000 € comme Joaquin Cortès, Vogue Italy, El Pais qui ne trouvait pas preneur malgré une estimation à 3 500 € le 30 avr. 2005 (chez Lempertz, Köln). De même, un tirage vintage de Cecil BEATON, Fashion Shot for Vogue, réalisé vers 1945 trouvait preneur pour 700 € le 31 mai 2006 chez Bassenge à Berlin, tandis qu´il fallait compter 32 000 € (46 570 €) pour trois portraits de Francis Bacon dispersés chez Christie's-South-Kensington à Londres le 10 févr. 2006 !

Bénéficiant de l´engouement de ces 5 dernières années pour la photographie de mode, Jean-Baptiste MONDINO a fait une entrée timide dans la maison de ventes Briest à Paris en 2001 : sa première œuvre présentée le 23 juin était un Autoportrait de grand format (90 x 60 cm) et un tirage unique : il fut enlevé pour 2 100 Frs, soit 320 €. Le marché de Mondino est encore balbutiant (seules 3 photos ont été proposé jusqu´à présent) mais sa notoriété en tant qu´artiste photographe pourrait atteindre celle de ses talents de réalisateur. Abordables encore, les clichés de Bourdin adjugés entre 1 000 et 6 000 € en moyenne ou ceux de Karl LAGERFELD, autour de 500 €.

De grands photographes se sont également prêtés à l´exercice de la photographie de mode dont Irving PENN et Richard AVEDON. Certains clichés d´Avedon atteignent des sommets comme Stephanie Seymour, Model, New York City partie pour 220 000 $, soit plus de 180 000 € le 10 oct. 2005 chez Christie's NY. Cependant, la photographie de mode est parfois une occasion unique d´acquérir une grande signature pour une modeste somme. En effet, des retirages de Penn et Avedon sont accessibles autour de 5 000 €, tels que Penelope Tree, Suit by Ungaro, Paris, photo prise par Avedon en 1968 dont le tirage de 1981 décrochait 6 000 $ (4 786 €) dans la même maison de ventes.

Au delà de ces artistes au rayonnement international, le 16 novembre, Maître Thierry de Maigret va proposer aux amateurs une incroyable sélection de pièces de photographes de mode qui seront présentés pour la première fois en ventes publiques. Parmi les nouveaux venus dans le monde des enchères, notons Bensimon Gilles, Canino Patricia, Carly Jean-François, Demarquest Thierry, Dou Oleg, Gizolme Thomas, Gayte Pierre, Imbert Frédéric, Jacquot Bertrand, Meneguzzo Toni, Niedermair Brigitte, Pavesi Manuela, Vivier Camille, Wenig Ralph, Zambaldi Paolo, Zimmermann Gilles. Une grande majorité de leur clichés seront mis en vente entre 1000 et 2000 €.

Fashion photographers [nov. 06]

To mark the opening of Paris Photo, a selection of works encapsulating the various facets of fashion photography will come under Thierry de Maigret´s hammer in an auction to be held at Drouot on 16 November.

The commercial and creative alliance between fashion and photography was first forged back in the early years of the 20th century. Fashion photography then rapidly gained in popularity thanks to magazines such as Vogue and Harper´s Bazaar and was already flirting with art by the time MAN RAY began using surrealist backdrops for his commercial orders. Art, fashion and advertising have now been intricately linked for more than a century and, since the 1980s, the boundaries between these previously distinct universes have become increasingly blurred. Some fashion photographers have managed to craft a striking aesthetic signature and their work is now carving out a niche in galleries and museums.

Fashion photographers are in vogue. To see this, we need look no further than the spectacular increase in the price of works by Helmut NEWTON - up 100% since 2000. Hated by some, adored by others, this artist, who magnified the female nude, achieved a record GDP 150,000, (more than EUR 220,000), for his Big Nude III, Paris (200cm x 120cm) at Christie´s London on 1 November 2005. Newton remains the best known and the highest priced artist in this market, accounting for 90% of sales at UK and US auction houses. Many contemporary photographers take such liberties with their subjects that the works offered for sale and the "models" immortalised in them serve as a pretext for creating bizarre, other-worldly scenes tinged with a touch of arrogance. The stars of this fanciful universe are Inez LAMSWEERDE van, David LACHAPELLE, Guy BOURDIN and Jean-Baptiste MONDINO. In addition to their purely commercial work, these artists produce mural-style works, more than a metre square, that can fetch between EUR 10,000 and EUR 15,000 in the case of Inez Van Lamsweerde and David LaChapelle. In response to growing demand for monumental photographs, large-format works by David LaChapelle first appeared at auction in 2005. These baroque images triggered such a price surge that on 19 June his Say it with Diamonds sold for three times its estimate at Sotheby's Olympia, London, fetching GBP 18,000 (EUR 26,368). Traditionally-sized photographs (between 20cm and 60cm per side) by David LaChapelle, Van Lamsweerde and Patrick DEMARCHELIER are still accessible, however, fetching average prices of EUR 1,000 to EUR 2,000.

Portraits of the most sought-after models and other top celebrities command high prices at auction - Peter LINDBERGH´s photograph of Cindy Crawford, Tatjana Patitz, Helena Christensen, Linda Evangelista, Claudia Schiffer, Naomi Campbell, Karen Mulder and Stephanie Seymour, for example, sold for double its estimate at GBP 17,000 (EUR 24,963) when it went under the hammer on 17 May at Christie´s London - whilst prints of the less feted can be snapped up for less than EUR 5,000. Lindbergh´s portrait of Joaquin Cortès, Vogue Italy, El Pais, for example, failed to find a buyer at auction on 30 April 2005 (Lempertz, Cologne) despite an estimate of EUR 3,500. Similarly, a vintage image by Cecil BEATON, Fashion Shot for Vogue, shot in 1945, sold for EUR 700 on 31 May 2006 at Bassenge in Berlin, whilst the buyer of three portraits of Francis Bacon sold at Christie's South Kensington, London on 10 February 2006 had to part with EUR 32,000 (EUR 46,570).

Riding the wave of enthusiasm for fashion photography that has built up over the past five years, Jean-Baptiste MONDINO made a modest entrance to the market at Briest´s auction house in Paris in 2001. His first work under the hammer, on 23 June, was a large-format, single print self portrait (90cm x 60cm) that sold for FRF 2,100, equivalent to EUR 320. The market for Mondinos is still very much a fledgling one (just three photos have been sold at auction to date) but his renown as a photographic artist could soon match his reputation as a music video director. Also affordable are works by Guy Bourdin, which fetch between EUR 1,000 and EUR 6,000 on average, and those of Karl LAGERFELD, which sell for around EUR 500. Big names of photography such as Irving PENN and Richard AVEDON have also turned their hand to fashion photography. Some of Avedon´s shots have achieved huge prices; Stephanie Seymour, Model, New York City, for example, was knocked down for USD 220,000 (more than EUR 180,00) at Christie's NY on 10 October 2005. On occasions, however, fashion photography can provide an opportunity to acquire works by leading names at a modest price; prints of photographs by Penn and Avedon can be picked up for around EUR 5,000. For example, a 1981 print of Penelope Tree, Suit by Ungaro, Paris, a photograph taken by Avedon in 1968, sold for USD 6,000 (EUR 4,786) at the same auction house.

In addition to these internationally-renowned artists, on 16 November Thierry de Maigret will also be offering collectors an amazing selection of images by fashion photographers whose works will be coming under the hammer at public auction for the very first time. These newcomers to the auction world include Gilles Bensimon, Patricia Canino, Jean-François Carly, Thierry Demarquest, Oleg Dou, Thomas Gizolme, Pierre Gayte, Frédéric Imbert, Bertrand Jacquot, Toni Meneguzzo, Brigitte Niedermair, Manuela Pavesi, Camille Vivier, Ralph Wenig, Paolo Zambaldi, and Gilles Zimmermann. Most of their images will be priced for sale at between EUR 1,000 and EUR 2,000.

2006-06-14T05:03:00.000-07:00

June 7th, 2006

Blog your b&w photographer Sigi W SCHULZ

After working 30 years as an architect in Paris, Sigi W. SCHULZ decided to realize his second profession to his first. Up to now his photographic topics are more combined with architectural aspects (Rome, Paris, New York and Berlin), but he did not want to stick with any rules as an so-called “photographer of architecture”, and changed his mind more to human aspects. Finally the documentation and report of “the German doctors” gave him the best relevant possibility to follow the right way.

Sigi W. SCHULZ was born in 1949 in Ansbach/Bavaria. At the age of 7 he got his first “Adox 6×6″. First photo laboratory experiences during the grammar school time followed. In 1977, after studying, he began to work as an architect in Paris. parallel to his national and international projects, he took photographs around Africa, Germany, Paris, Moscow and U.S.A.; first photo reports were created since 2000. Photography is now his first main activity.

exhibitions

2000	july - september: maison robert doisneau, gentilly/paris: “cercle photo de gentilly” (group show)
2001	march - april: centre culturel gentilly: “zig zag” (group show)
2001	may: bibliotheque pablo-neruda, malakoff/paris: “artistes pour la paix” / künstler für den frieden (group show)
2001	may: rathaus malakoff: “etendards pour san san nweeh”, ausstellung und versteigerung für “reporter ohne grenzen” (group show)
2002	march - april: centre culturel gentilly/paris: “zig zag” (group show)
2002	may - june: bibliotheque pablo-neruda, malakoff/paris: “artistes pour la paix” / künstler für den frieden (group show)
2002	november: bibliotheque pablo-neruda, malakoff/paris: “rom”
2003	january - february: rathaus gentilly/paris “art’mosph`eres” (group show)
2003	april - may: salon d’art contemporain, montrouge/paris “saigon flou”
2003	may: bibliotheque pablo-neruda, malakoff/paris: “artistes pour la paix” / künstler für den frieden (group show)
2003	may: centre culturel gentilly/paris: “zig zag” and “paris metro”(group show)
2003	august: ‘amandier, chatenay-malabry/paris “metro”
2003	october: salon d’art contemporain, paris, thiais “paris metro”, 1. preis sektion foto (group show)
2004	march - may: stadt- und bergbaumuseum, freiberg-thüringen/germany: “das sehen von aussen” (group show)
2004	march-may: ärztekammer salzburg/austria: “german doctors” of calcutta
2004	october: syndicat d’initiative, choise-le-roy, paris: “structures, architectures, reportages”
2004	december: maison robert doisneau, gentilly/paris: “le regard de l’exterérieur” (group show)
2005	august - october: goethe institut mannheim-heidelberg/germany: “german doctors” of calcutta
2006	may - july: galerie “autour de l’art” antibes/france

Q. You have exhibited widely in Europe. Whch is your most popular subject, and why?

A. Although my former professional job was as an architect; most people know me through my ‘geometric’ composition in my photographs. I do not take photos of buildings anymore these days; but I find my lens still lead me to compose my photographs in a pseudo-architecural way. I like taking candid photos in the metro of Paris. I like this photo because of the ‘tenderness’ captured in the moment.

Q. Do you think that even when we are living in a modern integrated Europe; there are vast regional preferences in photography?

A. It’s easy to dwell on the regional preferences like that you’ll find in cuisine. However, generally speaking; each region presents its own story to tell the viewers. I just use my camera to present what I find during my travel and I let the photos speak their stories. However, I must confess that I do like to select my subject based upon my own preference first. This is the prerogative of the author.

Q. Who are your main influences in b & w photography?

A. I have many many photographers whom I regard as ‘great’; people like Cartier-BRESSON & DOISNEAU etc; but I also like to create my own influence based upon my training as a professional architect. In fact, it’s more of a choice I seek in technique than style in my photos. I hope my viewers will appreciate the symmetry found in my subjects being captured in a frame. I quite like an organised way of existence rather than playing by chance.

Q. Apart from showing your current work of the Paris “Metro” at “Autour-de-l’art” in Antibes, where else can we go to see your other work?

A. I travel around Europe a lot on different assignments. However, people could also reach me and my work at the following website:-

www.rallefotoagentur.de/fotografen_schulz.html