Galerie Camera Obscura is proud to show a selection of fifty color photographs by Saul Leiter (in cooperation with Howard Greenberg Gallery).
Saul Leiter was born in 1923 in Pittsburgh (USA). Son of a renowned rabbi, he was intended to follow in his footsteps, but he decided, to the despair of his father, to become a painter, and, in 1946, established himself in New York where he continues to live.
His friendship with Eugene Smith and the discovery of the works of Henry Cartier-Bresson lead him to begin photography.
In 1948, he started to take experimental color photographs in the streets of New York. This work, continued through the fifties, is undoubtedly a great masterpiece of photography, but remained confidential. During the sixties, Leiter entered a successful carrer of fashion photography, which certainly occulted the early and most personal part of his work (and indeed Leiter did nothing to promote it).
The rediscovery of this early color work, with an exhibition at Howard Greenberg Gallery in 2005 and the publication of a monograph (Steidl) in 2006, was largely acclaimed and makes us reconsider the emergence of an artistic color photography in the US before the masters of the seventies (Eggleston, Shore, Meyerovitz ...)
The colour photographs of Leiter where radically innovative for an epoch when artistic photography was expected to be in black and white.
His compositions, using the fragmentation of the subject, often viewed through various obstacles, filters or reflections, blurs the anecdote, and, sometimes close to abstraction or including large areas of colors, have a painterly quality achieved by a great colorist.
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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