A pioneer of color photography, Mr. Epstein has been making pictures, films, and photographic books for 35 years. His Vietnam pictures from the 1990s offer the artist's characteristic balance of formal rigor and nuanced wit; and they are a vivid example of what critic Joanna Lehan calls Epstein's "jaw-dropping use of color." These photographs are also an important marker in Epstein's evolution as an artist, a bridge between his early street work and his large format work to come.
The pictures in this exhibition are a poetic odyssey through post war Vietnam. These photographs suggest that under beauty lies violence; and under the remnants of war is a society grappling with new freedoms and continued censorship.
Between 1992 and 1995, as Vietnam started to open its borders to outsiders after two decades of isolation, Mitch Epstein made six trips there. He collaborated on a book with a dissident Vietnamese novelist, thereby gaining an understanding of and access to the country that few outsiders had. In 1995, however, Epstein learned he would have to submit his pictures to the Vietnamese government for censorship. In the name of artistic freedom, Epstein broke the collaboration and his book, Vietnam: A Book of Changes, was published with a text by the artist. These photographs are still virtually unseen in the country from which they emerged, except by the intelligentsia that smuggled in the book.
This exhibition illuminates a pivotal point in Epstein's career. In Vietnam, the artist's method became more deliberate and painterly. He mastered and reinvigorated the still life. His slower, increasingly formalist approach naturally led to the 8x10 view camera he now uses. Vietnam also signaled a new period where politics would indirectly, yet significantly affect Epstein's work. His next projects all evoke--as the Vietnam photographs do--a keen sense of society's machinations. In Vietnam, The City, Family Business, and the ongoing American Power, Epstein subtly conveys that the power of a patriarch, a city, or a nation leaves its mark on private lives and the public landscape.
DIEHL starts its “Flaneur” selection with 42 works of the Soviet photo journalist Dmitry Baltermants. Best known for his pictures of the Soviet battlefield during World War II.
During World War II, Baltermants covered major battles for Izvestia and for the Red Army newspaper Na Razgrom Vraga. He fought and photographe...
Le 24 mars 1976, le peuple argentin subit un coup d’état militaire. C’est le début d’une ère de répression sanglante, où quelque 30 000 personnes disparaissent et près de 500 bébés sont volés. Mais s’ouvre également une période d’ultralibéralisme d&ea...
Blindspot Gallery is pleased to present Coastline featuring emerging Chinese photographer Zhang Xiao’s award-winning series Coastline that focuses on the continuous 18,000 kilometres of China’s coastline. The series does not merely capture the seaside landscape of these coastal areas, but also witnesses the changes o...
Du dépouillement des clichés de Catherine Lambermont se dégage une poésie narrative. Ses images composent une suite d’instants d’observation libre. Son travail réhabilite le continuum qui caractérise chaque frontière. La frontière est le lieu du lien. Entre le corps et l’es...
Eric Rondepierre a choisi de montrer au sein d'un travail multiforme, certaines des oeuvres qui ont partie liée au cinéma, depuis ses débuts en 1992. Sur un parcours de vingt ans, 56 pièces ont été prélevées dans dix séries : Excédents, Annonces, Précis...
Simone Nieweg is a photographer of gardens and landscapes. Her work, as it has manifested itself over the past thirty years, knows no other interest. At the same time, a certain serenity hovers over her pictures. In them, nature seems entirely focused on itself. One immediately notices that human beings are absent. The allure of colors and shapes...
« Je ne peux m’empêcher, atteste Gérard Uféras, d’associer la pratique de l’Art à la notion d’amour et de partage ». (extrait de son livre Etats de grâce, éditions du Fantom)
«Egyptian pack» evokes many associations - here are both Petersburgers favorite topic of werewolves (see the movie of E. Yufit «Corpsmen werewolves») and references to the Perm animal style.
Also we can recall British film «The Wicker Man» (1973) with its ritual procession of the man-beasts, ho...
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