Filtering by Category: Evelyn Hofer

Art Rant: Photo London

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West coast flower power: Rose Shoshana; The Mother of photography dealers, always enthusiastic and generous with her time was stuck in a badly lit overly warm corner. Her booth shows magnificent and rare Evelyn Hofer and William Eggleston dye transfer prints going for approximately the same price ($40k or less) as the uninventive pretentious void of a Jean-Baptiste Huynh print. Hello! Dye transfer prints are pure magic! This rare and complicated technique is the most vibrant expression at the heart of the historical renaissance of American color photography. Why have they not sold out?

Source: artwise

Exhibition Review, Evelyn Hofer in "Strange and Familiar" at the Barbican Centre

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Martin Parr curated exhibition Strange and Familiar: Britain as Revealed by International Photographers at the Barbican Centre features the work of 23 Photographers, all of whom spent time and created images in England.  From the London Review of Books, Liz Jobey spoke on the works by Evelyn Hofer:

"The German-born photographer Evelyn Hofer came to London in the early 1960s to make a series of portraits of the city and its people for V.S. Pritchett’s book London Perceived. Her subjects stand or sit patiently for her camera, willing but unsmiling, recalling, though without quite the same compositional rigour, the portraits of August Sander, which she knew and admired. Her Crossing Guard portrays solid reliability in her (yellow?) calf-length coat and peaked cap, her lollipop sign held upside-down at her side. The Bus Conductress and Postman, taken in 1977, might have stepped out of Sander’s taxonomy, People of the 20th Century, were it not for their local insignia."

Strange and Familiar is on view at the Barbican Centre until 16 June, 2016.

Read the entire review from L. Jobey on lrb.co.uk

Photo London 2016 opening 19 May, 2016 - ROSEGALLERY stand B7

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Photo London 2016 will be open to the public from the 19th to the 22nd of May, 2016 at Somerset House.  Visit ROSEGALLERY at Stand B7 to view selected works by Bruce Davidson, William Eggleston, Evelyn Hofer and Martin Parr.  

Martin Parr,  Sand   Bay , c. 1997

Martin Parr, Sand Bay, c. 1997

Public Hours:
THR 19 May,  12:00 - 8:30 pm
FRI 20 May,  12:00 - 7:30 pm
SAT 21 May,  12:00 - 6:00 pm
SUN 22 May,  12:00 - 6:00 pm

PHOTO LONDON 2016 ARTSY PREVIEW

 

Visit photolondon.org for full fair details.

'The view of Britain to foreign eyes', Martin Parr curated exhibition "Strange and Familiar"

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"What is the British national character, and why do we think that there is one? In his influential book "Imagined Communities", Benedict Anderson wondered at the fact that "the members of even the smallest nation will never know most of their fellow-members, meet them, or even hear of them, yet in the minds of each lives the image of their communion." Anderson argued that this sense of community had been conjured by the rise of homogenised mass media and increased literacy in the 19th century, with newspapers cultivating a national identity and delivering it to a larger number of people than ever before."
As The Economist writes, it is an valid point to note that media shapes identity from inside borders and outside borders.  Martin Parr curated exhibition Strange and Familiar at the Barbican tries to explore this.  Each photographer explores what "Britishness" is since the 1930s.

Evelyn Hofer, Untitled, [Band, Wales], 1965

Read The Economist article in full HERE.

Visit barbican.org.uk for exhibition details.

 

Source: http://www.economist.com/blogs/prospero/20...

Iris Veysey Focuses on Evelyn Hofer

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Iris Veysey discusses the work of Evelyn Hofer as part of her ongoing series Women Photographers in Focus.

Evelyn Hofer ,  Dublin , 1966.

Evelyn Hofer, Dublin, 1966.

The New York Times art critic Hilton Kramer once aptly described Evelyn Hofer as ‘the most famous unknown photographer in America.’ Hofer was a prolific photographer whose work appeared in publications including LIFE, The New York Times Magazine, and Vogue.  Her work frequently illustrated literary travel writing and she was one of the first practitioners to adopt colour for fine art photography. In spite of this, Hofer has not been granted the attention afforded her male peers. –Iris Versey

From the Iris Veysey online posting from 2 September 2015.

For more about Evelyn Hofer visit her artist page.

Evelyn Hofer Featured in Art Collection German Stock Exchange

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The Art Collection German market is one of the most important collections of contemporary photography in Europe and includes in its 15th year now around 1,600 works by more than 100 international artists. It is dedicated to various key issues of contemporary photography from the mid-20th century and spans an arc of artists who are now known even as a classic, right down to very young positions. Artistic and conceptual work will be complemented in the collection by extensive groups of works of reportage photography. XL Photography 5 documented as the fifth picture book collection of the acquisitions over the past four years impressively. In large format and elaborately furnished he shows more than 20 artistic positions. Among them are not only exciting work groups very young photographers like Mike Brodie, Lucas Foglia, Richard Mosse or Regine Petersen, but also of established names of an older generation, such as Diane Arbus, Ernst Haas, Evelyn Hofer or Vivian Maier.

Source: Art Books Heidelberg

PASSING THROUGH on exhibit

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Featuring works by twenty artists from our gallery roster, Passing Through pays homage to the transience of all things and the power of the photographer to immortalize experience with the click of the camera shutter. The exhibition celebrates the essential magic of the medium, which allows us to give pause in a world of rushing and inescapable impermanence.  Together, the disparate photographs and imagery of Passing Through form a journey with its own unique pace, one that mirrors the ebbs and flows of life’s seasons from the youthful rush of possibility through the expectations and trials of middle age and beyond. It is a trip by car across the American landscape, a bicycle excursion through the city, a waltz across a romantically lit room, the shifting sky-scape with ever-changing clouds, an unexpected and devastating automobile crash. The physical world traversed and inhabited by the artists in the exhibition echoes the topography of our internal worlds in that both are subject to the great equalizer of time over which we can never exert power.  To hold onto what invariably slips past, and give undeniable presence to a subject even as it begins to fade, is the photographer’s attempt to counter the fundamental dissolution of existence, out of which the most profound beauty, loss and aspirations materialize.

passingthrough