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Gregory Dargent
Gregory Dargent
Gregory Dargent

Gregory Dargent

Country: France
Birth: 1977

Gregory Dargent is a French musician and photographer born in 1977 in Argenteuil. A graduate of the Strasbourg Conservatoire, he has an international career as a musician (electric guitar and oud) as well as a composer. His creations have taken him all over the world, from the Berlin Philharmonic to a small place in the Itabuna Church in Brazil, from the Doha Oud Festival to the "Poisson Rouge" in New York, from the Jazz Festival in Cairo to the auditorium of Warsaw Radio.

Somewhat belatedly fascinated by photography he discovered it accidentally the day of his 38th birthday, anchored in the temporality of film, committed to the abstraction of black and white and advocating its subjectivity, he created in 2018 the Book H., published by Saturn, his first photographic work.

It is an echo in images to the disc H (contemporary trio setting to music the French nuclear tests in the Sahara). This book tells his feelings and his personal awareness during 3 short trips around the seventeenth ground zero French atomic explosions in the 60s, in Reggane and Tamanrasset, Algeria.

His book is acclaimed by the press (Christmas selection Telerama for the book + CD, L'Humanité, L'Oeil de la Photographie, L'Interval, "Par les temps qui courent" on France Culture) and became the subject of his very first exhibition as part of the collective exhibition "Le Rêve d'un mouvement" in Paris in January 2019, alongside, among others, Gilles Roudière, Damien Daufresne, Stephane Charpentier and Gael Bonnefon. This exhibition then travelled to Studio Spiral (Grenoble) in March/April 2019, at Retine Argentique (Marseille) in April/May 2019, Sharjah Art Foundation (E.A.U), Galerie VU'(Paris), Dar Abdelaatif in Algiers and will be on view at Studio Baxton (Brussels) in 2020.

He is selected in 2019 as a "young talent photographer in residence" as part of the Festival Planche (s) Contact of Deauville for which he will create a new exhibition, L'Echappée, and is currently working on his next personal projects, mixing photography, video super 8 and music. The first project is about spirituality and poetry in Haiti, "Black Venus", the second one is about the feeling of underground life mixed with ancient mythologies in Cairo (with musician and photographer Frederic D. Oberland).

Website

www.gregory-dargent.com

 

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Robert Demachy
Robert Demachy
France
1859 | † 1936
Robert Demachy (1859–1936) was a prominent French Pictorial photographer of the late 19th and early 20th century. He is best known for his intensely manipulated prints that display a distinct painterly quality. Léon-Robert Demachy was born in the home of his grandmother in Saint-Germain-en-Laye, on the outskirts of Paris, on 7 July 1859. His parents, Charles Adolphe Demachy (1818–1888) and Zoé Girod de l’Ain (1827–1916), had two other sons, Charles Amédée (1852–1911) and Adrien Édouard (1854–1927), and a daughter, Germaine (1856-1940?). The elder Charles had started the highly successful financial enterprise of Banque Demachy, and by the time Demachy was born the family was very wealthy. He had no need to earn a living, and there is no record of his having ever been employed anywhere. He dropped the first part of his name in his childhood and was always known as "Robert". After his birth his family returned to their mansion at 13 Rue François Premier in Paris, where Demachy continued to live for the next fifty years. His early years were quite idyllic, and each year his family would spend several months at their summer villa near Villers-sur-Mer in Normandy. The rest of the year he was educated in Jesuit schools in Paris, and he became fluent in English by the time he was a teenager. His education also included extensive musical lessons, and he became an accomplished violin player. About 1870, Demachy, his mother and his siblings left Paris for Brussels due to the increasing dangers of the Franco-Prussian War. His father stayed in Paris as part of the Commune and the Banque Demachy played an important role in financing the resistance efforts. When he turned eighteen Demachy briefly served a year as an army volunteer, but he soon returned to his life of comfort. In the mid-1870s he began frequenting the artists’ cafés and, perhaps in rebellion to his gentrified life, he became involved in the growing bohemian culture that was beginning to take hold in Paris. He began making sketches of café patrons and people on the street, a practice he continued throughout his life.Source: Wikipedia Robert Demachy was considered by many to be the most influential Pictorialist photographer across the whole of Europe. He was a man of independent means allowing him to focus completely on photography and international travel for it. He was a strong advocate of gum bichromate to enhance Pictorialist photography, for which he coined the term ‘ Photo-Aquatint’ associating it with intaglio printmaking. It is obvious when studying his work closely that his enjoyment of this process was from the artistic freedom it gave him. His gum prints were very successful, with their greatly softened detail quite deliberately reminiscent of impressionist art. Demachy became a strong and vocal defender of manipulated printing techniques. He is most famous for the prominent brushstrokes and rough-textured papers. Although these were greatly manipulated, he was able to bring an air of naturalism and poise to his work. He wrote “Do not say that nature being beautiful, and photography being able to reproduce its beauty, therefore photography is Art. This is unsound. Nature is often beautiful, of course, but never artistic ’per se’, for there can be no art without intervention of the artist in the making of the picture. Nature is but a theme for the artist to play upon. Straight photography registers the theme, that is all - and, between ourselves, it registers it differently” Quoted in Robert Demachy: Photographs and Essays. Bill Jay, 1974. Robert Demachy was a leader in French Pictorialist photography at the turn of the last century. He was elected to the Société française de photographie in 1882 and co-founded the Photo-Club de Paris with Maurice Bucquet in 1888. He had his first exhibition of gum prints in 1895 at the Photo-Club de Paris, which helped to promote his increasingly international status: the same year he was elected to The Linked Ring in London and made an honorary member of the Royal Photographic Society.Source: Edward Draper
Lise Sarfati
Lise Sarfati
France
1958
Lise Sarfati has lived and worked in the United States since 2003. She has realized six important series of photographs there. They have been followed by exhibitions and publications. Each of her works makes clear the identity of an approach focused on the intensity of the rapport established with the person photographed, and of that person with the context. A vision in which the individual is environment, a map outlining a perilous cultural geography. The richness of perception is constructed without effects. The compositions are flawless in the simplicity and unity of the image – the style tends to be elementary and clean, avoiding all qualifications, but the traits of each thing and each person trace a hundred thousand folds. The dimension of the interplay of postures is that of a solemn immaturity: the scenery formed by the people and places is the silent crumpling of a dream in which each risks his or her skin. A feminine seduction tinged with fateful coincidences; the beauty of the adolescents looks like a magic spell. Their solitude and strangeness in the world turn the image into an echo chamber inhabited by the photographer, her subject and the viewer. The earlier period of a photographic work carried out in Russia (continuously from 1989 to 1999) confirms the tendency of this research. She identifies a very precise and endless psychological spectrum. The projections, the ambitions associated with the immense space, the way in which they compose these figures, play an essential role: the supporting roles are incandescent. A determinism of the heroic, inevitably tragic figure, as if not even we really have another choice.
Isaiah West Taber
Isaiah West Taber
United States
1830 | † 1912
Isaiah West Taber was an American daguerreotypist, ambrotypist, and photographer who took many pictures of noted Californians, which he donated to the California State Library "that the state may preserve the names and faces, and keep alive the memory of those who made it what it is." He was also a sketch artist and dentist. His studio also produced a series of stereoscopic views of west coast scenery. Taber was born in New Bedford, Massachusetts and between 1845 and 1849 he worked at sea on a whaler. He first moved to California in 1850., then returned East in 1854 and opened his first photography studio in Syracuse, New York. In 1864, Taber returned to California, where he worked in the studio of Bradley and Rulofson until 1873. In 1871, Taber opened his own studio, where he gained fame for reproducing the photos of Carleton Watkins after Watkins went bankrupt, although the reproductions were published without credit to Watkins. In 1880, Taber made a six-week photographic trip to the Hawaiian Islands where, among other subjects, he photographed the Hawaiian King Kalākaua, completing a commission for three full-length portraits. The following year Kalākaua visited Taber's studio in San Francisco. At this time the Japanese photographer Suzuki Shin'ichi (1855–1912) was studying photographic techniques with Taber; Suzuki also photographed King Kalākaua (in 1881) and may have been the source of some views of Japan included in Taber's stock. By the 1890s, Taber had expanded his operations to include studios in London, England and in elsewhere Europe. However, the 1906 San Francisco earthquake destroyed his San Francisco studio, gallery, and negative collection, ending his photographic career.Source: Wikipedia Massachusetts native, he was one of the most successful 19th century photographers and photographic publishers. He worked as a gold miner, rancher, and dentist before learning the daguerreotype process and opening one of the first photographic studios in Syracuse, New York. Taber moved to San Francisco in 1864 and joined the photographic publishing firm of Bradley & Rulofson. In 1871 he opened his own studio and photographic publishing company and soon was operating a successful portrait, landscape, and urban photography business. Like photographers promoting other cities, Taber linked much of his work to the tourist trade. His landscapes and views of San Francisco appeared in publications such as Hartwell and Mitchell's souvenir city-view book and his own two-album set, California Scenery and California Scenery and Industries. The albums were part of a commercial endeavor and contained images from Taber's extensive files, surrounded by advertising text. Taber employed numerous staff photographers whose work he published under his own name. He also published under the Taber imprint, images by Carleton Watkins after acquiring negatives from the bankrupt photographer in 1876. By the 1890's Taber was internationally famous, with studios in London and on the Continent.Source: Fine Arts Museums of San Francisco
Arne Wesenberg
Arne Wesenberg
Germany
1974
Arne Wesenberg (born 1974 in Stralsund, Germany) studied communications design at the Werkkunstschule Lübeck, Germany and history of art in Hamburg, Germany. Between 2010 and 2017, he has been working on his photography project "Im UnRuhestand" ("The Unretired"). From 2010 to 2015 he went to photography classes at the Ostkreuzschule - School for Photography and Design in Berlin. He photographs exclusively with a large format analog camera. The book "Im UnRuhestand" was awarded bronze at the German Photo Book Award 2018/19.
André Adolphe-Eugène Disdéri
André Adolphe-Eugène Disdéri
France
1819 | † 1889
André-Adolphe-Eugène Disdéri (French: 28 March 1819 - 4 October 1889) was a French photographer who started his photographic career as a daguerreotypist but gained greater fame for patenting his version of the carte de visite, a small photographic image which was mounted on a card. Disdéri, a brilliant showman, made this system of mass-production portraiture world famous. Disdéri began his working life in a number of occupations, while also studying art. He started as a daguerreotypist in Brest in 1848 or 1849 but in December 1852 or January 1853 he moved to Nîmes. There he received assistance from Édouard Boyer and Joseph Jean Pierre Laurent with his photography-related chemistry experiments. After a year in Nîmes he moved to Paris, enabling easy access to people who would be the subjects of his cartes de visite. Photographs had previously served as calling cards,[6] but Disdéri's invention of the paper carte de visite (i.e. "visiting card") photograph second enabled the mass production of photographs. On 27 November 1854 he patented the system of printing ten photographs on a single sheet (although there is no evidence that a system printing more than eight actually materialized). This was the first patent ever for a carte de visite. Disdéri's's cartes de visite were 6X9 cm, about the size of conventional (nonphotographic) visiting cards of the time, and were made by a camera with four lenses and a sliding plate holder; a design inspired by the stereoscopic cameras. The novelty quickly spread throughout the world. According to a German visitor, Disdéri's studio became "really the Temple of Photography - a place unique in its luxury and elegance. Daily he sells three to four thousand francs worth of portraits". The fact that these photos could be reproduced inexpensively and in great quantity brought about the decline of the daguerreotype and ushered in a carte de visite craze as they became enormously popular throughout Europe and the United States. So great was the publicity that all of Paris wanted portraits. Disdéri also invented the twin-lens reflex camera. The great French photographer Nadar, who was Disdéri's competitor, wrote about the new invention in his autobiographical "Quand j'étais photographe", "about the appearance of Disdéri and Carte de Visite... It spelled disaster. Either you had to succumb - that is to say, follow the trend - or resign." At the pinnacle of his career, Disdéri was extremely wealthy and renowned; but like another famous photographer, Mathew Brady, he is reported to have died in near poverty. By the end of his life, Disdéri had become penniless. He died on 4 October 1889 in the Hôpital Ste. Anne in Paris, "an institution for indigents, alcoholics, and the mentally ill". He was a victim of his own invention. The system which he invented and popularized was so easy to imitate that photographers all over the world took advantage of it.
Alexey Titarenko
Alexey Titarenko
Russia/United States
1962
Alexey Titarenko is a Russian-born photographer and visual artist best known for his black-and-white photos that investigate the link between time, location, and memory. He was born in Leningrad (now Saint Petersburg) in 1962 and grew up in the Soviet Union during a period of rapid political and cultural change. Before pursuing photography as a fine art form, Titarenko studied journalism at Leningrad State University and worked as a writer and photographer for a local newspaper. He was drawn to photography because of its ability to record and preserve moments in time, as well as reveal the nuances of the world around us. In the early 1990s, Alexey Titarenko moved to the United States and continued to develop his unique style of photography. He is best known for his series The City is a Novel, which was created in the early 1990s and was inspired by the architecture, history, and atmosphere of St. Petersburg. In these images, Titarenko employs a slow shutter speed to create a dream-like quality, blurring the movement of people and objects in the city's busy streets and squares. The result is a series of haunting and evocative images that capture the feeling of the city as well as its history and identity. Titarenko's work has been widely exhibited and published, and he has received numerous awards and accolades for his contributions to the field of photography. He has continued to explore themes of time, memory, and identity in his work, and has been particularly interested in the idea of "hauntology" – the study of the way that past experiences and events continue to influence our present and future. One of Titarenko's most significant contributions to the field of photography is his use of the technique of layering. In many of his images, he blends multiple exposures of the same scene, creating a complex and layered image that is both abstract and representational. This layering technique allows Titarenko to express his ideas about the relationship between time and memory, as well as to create images that are visually stunning and emotionally resonant. Titarenko's work has had a profound influence on the field of photography, and he is widely regarded as one of the most innovative and original photographers of his generation. His images are powerful and thought-provoking, and they invite us to contemplate the world around us in new and meaningful ways. Alexey Titarenko is a world-renowned photographer and visual artist whose work continues to inspire and enchant audiences worldwide. He has made an important contribution to the field of photography, and his photos will definitely continue to inspire and thrill future generations.
Kim Kyung Soo
Kim Kyung Soo
Korea
1975
Born in Seoul, Korea in 19752002 Bachelor Degree in photography, Sangmyung University, Seoul, KoreaLives and Works in Seoul, Korea When Vogue Korea asked Kim Kyoungsoo, a renowned fashion photographer to realize a series of fashion portraits that would (re-actualize) the traditionnal Korean costum (Hanbok), he also decided to realize his series Full Moon Story. His models are elegantly staged, wearing somptuous Hanbok, with their haircuts and make-up done perfectly. There is a serenity, poetry and softness which emanates from the pictures that astonishes and instantly puts the viewer in a contemplative state of mind. "During the National traditionnal festivities called 'Chuseok', many Korean people used to wear the hanbok. I wanted to show this typical ambiance with both a lyric and modern touch. I wanted a neutral stage; only shadows and reflections mattered to me: Colours, faces and models were enhanced by cold and light tones creating an almost surreal feeling." Source: www.galerieparisbeijing.com
Ludovica Limido
Ludovica Limido
Italy
1995
Born in 1995 in Varese, Italy, Ludovica Limido is a documentary photographer whose work centers on countercultures and human connection. After graduating from art school, her travels through Australia and Southeast Asia deepened her need for photography. In 2019, Ludovica was awarded a photography scholarship at Milan’s John Kaverdash Academy, which led to new collaborations and recognition. Her projects explore diverse themes, from life in small Italian villages to European body suspension subcultures, folklore, and the experiences of adolescence in provincial settings. Her work delves into the complexities of belonging, identity, and the interplay between individuality and group dynamics. In 2023, she discovered an online community in the world of love dolls, inspiring her project The Doll Next Door, which focuses on the companionship between humans and their synthetic counterparts. Her photography has earned her recognition in several competitions and festivals. In 2024, Ludovica was a finalist at the InCadaqués Photo Festival, the Indian Photo Festival, the ND Awards, the Golden Shot Awards, Les Boutographies, and was shortlisted for the 2024 Un/Fund Artist Grant. In addition, she received honorable mentions at both the Passepartout Photo Prize and the International Photography Awards, and was a finalist at the Gomma Grant Awards. The Doll Next Door: For centuries, humanity has been intrigued by the idea of artificial companionship. Rumors suggest that as far back as the 1600s, sailors carried early versions of sex dolls crafted from cotton and fabric on their long sea voyages. Despite the ambiguity surrounding their origins, the allure of these synthetic companions has persisted through time. In the modern era, the landscape of synthetic relationships has undergone a profound transformation. Since 2018, catalyzed further by the upheavals of the Covid era, the adult doll market has seen rapid growth, fostering a global community of individuals who opt for “synthetic” relationships. Far from fitting the stereotype of isolated introverts, doll owners defy easy categorization. They come from diverse backgrounds, span various age groups, and pursue a range of professions, challenging societal norms with their embrace of unconventional connections. Their homes become gateways to a secret, private world dedicated to their dolls; neat, compact spaces filled with accessories, clothes, jewelry, shoes—everything their dolls might need if only they were alive. Despite the undeniable significance of these relationships, most remain shrouded in secrecy. Fueled by societal stigma and misconceptions, many who are part of this subculture often find themselves hiding it from even their closest friends and family. Through private forums, blogs, and social media, doll enthusiasts build connections, share advice, and celebrate the intricacies of their lives. These online networks serve as lifelines, offering a sense of belonging in a world that often fails to understand their reality. As technology advances, love dolls represent the brink of a new era—the emergence of genuine robot companionship. With each innovation, the line between fantasy and human reality blurs, offering a glimpse into a future where the boundaries of intimacy are redefined. “The Doll Next Door” explores the deep emotional connections formed between individuals and their synthetic counterparts, revealing how companion dolls serve as confidants, companions, and even surrogate family members. Moreover, it delves into the concept of identity for both doll owners and their synthetic companions. Through this project, I aim to highlight the depth within these unconventional relationships and bring to life a contemporary, romantic story that reflects something deeply human: our need for connection, acceptance, and the desire to feel understood.
Frederick Sommer
Frederick Sommer
United States
1905 | † 1999
Frederick Sommer (September 7, 1905 – January 23, 1999), was an artist born in Angri, Italy and raised in Brazil. He earned a M.A. degree in Landscape Architecture (1927) from Cornell University where he met Frances Elizabeth Watson (September 20, 1904 – April 10, 1999) whom he married in 1928; they had no children. The Sommers moved to Tucson, Arizona in 1931 and then Prescott, Arizona in 1935. Sommer became a naturalized citizen of the United States on November 18, 1939. Considered a master photographer, Sommer first experimented with photography in 1931 after being diagnosed with tuberculosis the year prior. Early works on paper (starting in 1931) include watercolors, and evolve to pen-and-ink or brush plus drawings of visually composed musical score. Concurrent to the works on paper, Sommer started to seriously explore the artistic possibilities of photography in 1938 when he acquired an 8×10 Century Universal Camera, eventually encompassing the genres of still life (chicken parts and assemblage), horizonless landscapes, jarred subjects, cut-paper, cliché-verre negatives and nudes. According to art critic Robert C. Morgan, Sommer's "most extravagant, subtle, majestic, and impressive photographs—comparable in many ways to the views of Yosemite Valley’s El Capitan and Half Dome by Ansel Adams—were Sommer’s seemingly infinite desert landscapes, some of which he referred to as 'constellations.'" The last artistic body of work Sommer produced (1989–1999) was collage-based largely on anatomical illustrations. Frederick Sommer had significant artistic relationships with Edward Weston, Max Ernst, Aaron Siskind, Richard Nickel, Minor White, and others. His archive (of negatives and correspondence) was part of founding the Center for Creative Photography in 1975 along with Ansel Adams, Harry Callahan, Wynn Bullock, and Aaron Siskind. He taught briefly at Prescott College during the late 60s and substituted for Harry Callahan at IIT Institute of Design in 1957–1958 and later at the Rhode Island School of Design. In 1934, Frederick Sommer visited Los Angeles. Walking through the art museum one day, he noticed a display of musical scores. He saw them not as music, but as graphics, and found in them an elegance and grace that led him to a careful study of scores and notation. He found that the best music was visually more effective and attractive. He assumed that there was a correlation between music as we hear it and its notation; and he wondered if drawings that used notational motifs and elements could be played. He made his first “drawings in the manner of musical scores” that year. (After reviewing this text, Fred asked that the author refer to his scores “only” in this way. When the author suggested that it was perhaps too long to be repeated throughout the text, he laughed and said, “Well, use it at least once.”) Although people knew of his scores, and occasionally brought musicians to his house to play them, no one ever stayed with it for long. In 1967, both Walton Mendelson and Stephen Aldrich attended Prescott College, Prescott, Arizona, where Sommer was on the faculty. They barely knew of his reputation as a photographer, and nothing of the scores. Towards the end of September he invited them to his house for dinner, but they were to come early, and Mendelson was to bring my flute. “Can you play that?” he asked, as they looked at one of the scores, framed, and sitting atop his piano. With no guidance from him, they tried. Nervous and unsure of what they were getting into, they stopped midway through. Mendelson asked Aldrich where he was in the score: he pointed to where Mendelson had stopped. They knew then, mysterious though the scores were, they could be played. On May 9, 1968, the first public performance of the music of Frederick Sommer was given at Prescott College. Sommer had no musical training. He didn't know one note from another on his piano, nor could he read music. His record collection was surprisingly broad for that time, and his familiarity with it was thorough. What surprised Mendelson and Aldrich when they first met him were his visual skills: he could identify many specific pieces and almost any major composer by looking at the shapes of the notation on a page of printed music. Of Sommer's known works, his drawings, glue-color on paper, photographs, and writings, it is only these scores that have been a part of his creative life throughout the entirety of his artistic career. He was still drawing elegant scores in 1997. And like his skip reading, they are the closest insight to his creative process, thinking and aesthetic. Bruce Silverstein Gallery is the New York representative of the Frederick & Frances Sommer Foundation.Source: Wikipedia Frederick Sommer was an artistic polymath, with deep interests in painting, drawing, photography, sculpture and collage. With his work he intended to engage the world formally, to harvest its chance gifts, decontextualizing and rearranging found images and objects according to often shocking visual affinities. The artist played with a wide variety of forms, textures and scale to create startling compositions amid objects and sites others found too insignificant to notice. Sommer was intent on expanding the limits of where beauty could be found, and after viewing a display of original musical scores, he began to formulate his own theories correlating the graphic design to the sound of musical scores. Alongside many great artists of the period including Edward Weston, Max Ernst, Man Ray and Aaron Siskind, Sommer created a unique and avant-garde body of work formulated from his interest in Surrealism. His works have been exhibited by the world’s most important institutions, including the George Eastman House, Rochester; The J. Paul Getty Museum, Los Angeles; Delaware Art Museum; Serpentine Gallery, London; Charles Egan Gallery, New York; Philadelphia College of Art; Washington Gallery of Modern Art, Washington D.C.; Pasadena Art Museum, California; Museum of Modern Art, New York; Institute of Design, Chicago; Zimmergalerie Franck, Germany; and the Los Angeles County Museum of Art. Work by the artist is represented in major museum collections internationally such as the Metropolitan Museum of Art, New York; Smithsonian Institution, Washington D.C.; Art Institute of Chicago; Museum of Modern Art, New York; Los Angeles County Museum of Art; Museum of Fine Arts, Boston; National Gallery of Art, Washington D.C.; Maison Européenne de la Photographie; George Eastman House, Rochester; and the Victoria and Albert Museum, London. Sommer’s work has been published widely. Noteworthy publications include Frederick Sommer: Photography, Drawing, Collage (2005), The Mistress of the World Has No Name: Where Images Come From (1987), Frederick Sommer at Seventy Five, a Retrospective (1980), and Venus, Jupiter and Mars: The Photographs of Frederick Sommer (1980).Source: Bruce Silverstein Gallery
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Interview
Exclusive Interview with Alan Schaller About Irys
Alan Schaller is a London-based photographer best known for his striking black-and-white street photography and as co-founder of Street Photography International, one of the largest online communities dedicated to the genre. With years of experience both behind the camera and in building platforms that give visibility to photographers, Schaller has now turned his focus to creating a new digital space for photography itself. His latest venture, Irys, is a photography app designed by photographers, for photographers, with the aim of offering a dedicated platform where images are respected as works of art rather than treated as disposable content.
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