PARIS CITY OF PHOTOGRAPHY

In the early 1920s Paris emerged as a new centre of avant-garde art and, without a doubt, as the hub for the new photography in Europe. If the French capital became a forum for photographers from so many different countries and backgrounds, this was because it stood as a model of modernity and a beacon of economic hope in the aftermath of the First World War, but also because it was a haven of political and religious freedom for those forced into exile. This is the first exhibition on this scale of work from this decisive period. It brings together more than 200 vintage prints by some forty-odd photographers who worked in Paris between 1920 and 1939 as well as original documents from the time (magazines, books, etc.). It offers an informed and passionate perspective on the formal richness of this “New Photographic Vision in France.”

http://www.hotels-paris-rive-gauche.com/blog/2009/02/06/paris-city-photography-1920-1940-christian-bouqueret-collection-jeu-paume/

RAYOGRAPHS

Man Ray is considered as one of the most important pioneers in the contemporary photography, he took his first important photo in 1918. Together with Lee Miller created Ray experimental trailblazing work, they developed together the solarisation; melting the positive in the negative. His rayographs gave a new important creative impulse to the photography world.

http://www.clubcultura.com/clubfoto/expovalencia/prensa.htm

LAYERED SOCIETY

Michael Karcz' early fascinations of painting and photography were combined into one piece, with use of digital tools. This digital photography and software gave him the opportunity to generate unique realities that are impossible to create with ordinary dark room techniques. There's always a dark layer in his work, a dark layer about our society.

http://afhakers.nl/media.asp?x=8232

COLORING

Jan Saudek's best-known work is noted for its hand-tinted portrayal of painterly dream worlds, often inhabited by nude or semi-nude figures surrounded by bare plaster walls or painted backdrops, frequently re-using identical elements (for instance, a clouded sky or a view of Prague's Charles Bridge). In this they echo the studio and tableaux works of mid nineteenth century erotic photographers, as well as the works of the painter Balthus, and the work of Faucon. His early art photography is noted for its evocation of childhood. Later his works often portrayed the evolution from child to adult (re-photographing the same composition/pose, and with the same subjects, over many years).

http://www.saudek.com/

TONK

Taiyo Onorato and Nico Krebs, alias Tonk, have taken American Landscape and all of its vast array of interlinked details and massive wide open spaces and trompe l'oeil'ed them into a spider web of connected submission. They have turned the landscape inside out and let you see what-it-is-that-couldn't-be. They have constructed a network of elements that lead you gently and forcefully down a path that leads to somewhere and nowhere, to everywhere and anywhere. Handmade photoshop.

http://www.tonk.ch/main_einzeln.php?n=4

COMPOSED PAST

Memories of the past rely on life in the present to become the memories of the future, created by Jackie Cytrynbaum. Thus memory, life, and death are interdependent: the continuance- the Eternal Continuum. Those structures that are composed of tiny grains of sand, hardened into form and shape, imperceptibly change in response to their environment, to our being. We become one with the past. 

http://www.jackiecytrynbaum.com

STROBOSCOPICS

Harold Edgerton is generally credited with pioneering the use of the stroboscope to freeze fast motionStroboscope photography refers to the technique of photographing a moving subject with camera’s shutter open to yield multiple stationary exposures of successive movement phases, with pulsed flash illumination or mechanical devices that intermittently allow the light passing into the camera. The old fashioned way of the technigue we use nowadays in studio photography.

http://www.joseflebovicgallery.com/Catalogue/Archive/Cat-122-2006/Pages/pg16.html