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Laurence Leblanc
Laurence Leblanc
Laurence Leblanc

Laurence Leblanc

Country: France
Birth: 1967

Laurence Leblanc was born in Paris in the early days of June 1967. Starting her artistic training early on, she studied drawing, painting, and gravure as a child at the Musée du Louvre’s Ecole des arts décoratifs. Later on Leblanc studied visual art at the Academie Charpentier, at its historic La Grande Chaumiere workshop located in Paris.

"Each of us has to tell something that nobody else can tell"
-- Wim Wenders.

Leblanc always had a deep desire to convey her world a little differently and it was in that spirit that she covered Peter Gabriel’s Secret World Tour in the 90’s, travelling large parts of the world with the British musican over the next two years.

In 1999, Leblanc came to the attention of art critic and curator Régis Durand who described her work as : « It exists in these pictures a kind of familiar fantastic, a mix of ordinary poetry and some strangeness » Whatever the medium, the act of creation for Laurence Leblanc comes after gradual impregnation with the subject and his or her environment. The results are often carefully thought-out and reflect both the expansive and minute of the subject and, their context.

Cambodian filmmaker Rithy Panh said of Leblanc that: « Her pictures look like souls… the fuzzyness is not fuzzy, the grainy asppearance is not grain, life is not exactly life. Yet it is not death either, and I like being led on this narrow territory between the two » Leblanc is the winner of awards such as the Villa Médicis Hors–Les–Murs scholarship in 2000, and the HSBC Fondation prize in photographie in 2003. In 2003, Peter Gabriel wrote in the preface of her first book Rithy, Chéa, Kim Sour et les autres "Laurence has continued to explore new areas in her work, and I have watched her develop into an extraordinary artist"

Leblanc’s second book Seul l’air was published in 2009 by Actes Sud. At the same time her exhibition Seul l’air consisting of work from Africa was presented at the 40th International Photography Festival in Arles.

Always expanding her range of learning and creating, Leblanc responded to radio producer and writer Frank Smith’s proposition to create a sound piece for the Atelier de Création Radiophonique. The final 53 minute sound piece was broadcast on France Culture in July 2008. Leblanc also collaborated on the « Sometimes I think Sometimes I don’t think » project with the Domaine de Chamarande.

Bulles de silence, a 19 minutes film, written, produced and directed by Leblanc, was selected and premiered at the Museum’s Night in the Niepce’s Museum in May 2015.

Laurence Leblanc silently follows her own solitary artistic path which leads her to the field of contemporary photographic creativity, yet her strongest ally is time, the time given (and taken by the artist) to observe and to mature.

Represented by the Claude Samuel gallery in 1999 then by the VU’ gallery from 2001 to 2015 Leblanc is a regular at: Art Paris, Art genève, and at Paris Photo since her début there in 1998.

Leblanc’s works can be found in collections ranging from the prestigious National Trust for Contemporary Art in France, the Niépce Museum in Chalon-sur Saône, the French National Library, the HSBC Fondation & Collection, as well as in various private collections includng that of Marin Karmitz. We can see one of her picture in the exhibition « Etranger résident » Marin Karmitz’s collection from 15 october 2017 to 21 january 2018 in la maison rouge – fondation Antoine de Galbert.

Source: laurenceleblanc.com

 

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More Great Photographers To Discover

Lalla Essaydi
Morocco
1956
Lalla Essaydi (Lalla A. Essaydi) is a Moroccan-born photographer known for her staged photographs of Arab women in contemporary art. She currently works in Boston, Massachusetts, and Morocco. Her current residence is in New York. Essaydi was born in Marrakesh, Morocco in 1956. She left to attend high school in Paris at 16. She married after returning to Morocco and moved to Saudi Arabia where she had two children and divorced. Essaydi returned to Paris in the early 1990s to attend the École nationale supérieure des Beaux-Arts. She moved to Boston in 1996 and earned her BFA from Tufts University in 1999 and her MFA in painting and photography from the School of the Museum of Fine Arts in 2003. Influenced by her experiences growing up in Morocco and Saudi Arabia, Essaydi explores the ways that gender and power are inscribed on Muslim women's bodies and the spaces they inhabit. She has stated that her work is autobiographical and that she was inspired by the differences she perceived in women's lives in the United States versus in Morocco, in terms of freedom and identity. She explores a wide range of perspectives, including issues of diaspora, identity, and expected location through her studio practice in Boston. She also looks at the ways of viewing reality while questioning limits of other cultures and challenging Orientalist art, engaging tradition, history, art, and technology. Her Grand Odalisque from the series Les Femmes du Maroc (2008), for example, cites the French painter Jean-Auguste-Dominique Ingres' painting La Grande Odalisque (1814), although her model is dressed. She also presents the resistance of stereotypes maintained by Western and Eastern societies. The inspiration for many of her works came from her childhood, in the physical space where she, as a young woman, was sent when she disobeyed. She stepped outside the permissible behavioral space, as defined by Moroccan culture. Essaydi said her works will become haunted by spaces she inhabited as a child. Several pieces of her work (including Converging Territories) combine henna, which is traditionally used to decorate the hands and feet of brides, with Arabic calligraphy, a predominantly male practice. While she uses henna to apply calligraphy to her female subjects' bodies, the words are indecipherable in an attempt to question authority and meaning. According to Essaydi, "Although it is calligraphy that is usually associated with 'meaning' (as opposed to 'mere' decoration), in the visual medium of my photographs, the 'veil' of henna, in fact, enhances the expressivity of the images. Yet, by the same token, the male art of calligraphy has been brought into a world of female experience from which it has traditionally been excluded." The women depicted in her exhibition of photographs, Les Femmes du Maroc, are represented as decorative and confined by the art of henna. Essaydi thus poses her subjects in a way that exemplifies society's views of women as primarily destined for mere beauty. Henna, however, is extremely symbolic, especially to Moroccan women. It is an association with familial celebrations of a young girl reaching puberty and transitioning into a mature woman. The use of henna in her work creates a silent atmosphere of the women "speaking" to each other through a quality of femininity. It is predominantly a painting process where women who are discouraged to work outside the home find a profitable work in applying a tattoo-like material. Beyond creating powerful pieces revolving around the art of henna, Essaydi includes interpretations of traditional Moroccan elements, including draped folds of cloths adorning women's bodies, mosaic, tiles, and Islamic architecture. Lalla Essaydi’s photo series, Les Femmes du Maroc comments on contemporary social structures, as well as acknowledges the history that has aided in constructing representations of Arab female identity. Les Femmes du Maroc is one of her three major photographic series, which is influenced by nineteenth-century European and American Orientalist art. However, Essaydi appropriates Orientalist paintings by incorporating a new subject & style derived from her own personal history and experiences to emancipate Arabian women and to demonstrate a tradition that is misunderstood by a Western audience. The title of the series is an appropriation of a painting by the French Romantic Artist Eugène Delacroix. Therefore, each photo in the series is influenced by Orientalist art that is then appropriated. Essaydi's photographic series include Converging Territories (2003–2004), Les Femmes du Maroc (2005–2006), Harem (2009), Harem Revisited (2012–2013), Bullets, and Bullets Revisited (2012–2013). Her work has been exhibited around the world, including at the National Museum of African Art, and is represented in a number of collections, including the Art Institute of Chicago; the Museum Fünf Kontinente Munich/ Germany; the San Diego Museum of Art; the Cornell Fine Arts Museum, Winter Park, Florida; the Fries Museum in Leeuwarden, The Netherlands; the Museum of Fine Arts, Boston; and the Williams College Museum of Art in Williamstown, Massachusetts. She was named as #18 in Charchub's "Top 20 Contemporary Middle Eastern Artists in 2012-2014". In 2015, the San Diego Museum of Art mounted the exhibition, Lalla Essaydi: Photographs. Source: Wikipedia Lalla A. Essaydi grew up in Morocco and now lives in USA where she received her MFA from the School of the Museum of Fine Arts/TUFTS University in May 2003. Essaydi’s work is represented by Howard Yezerski Gallery in Boston and Edwynn Houk Gallery in New York City. Her work has been exhibited in many major international locales, including Boston, Chicago, Minneapolis, Texas, Buffalo, Colorado, New York, Syria, Ireland, England, France, the Netherlands, Sharjah, U.A.E., and Japan and is represented in a number of collections, including the Williams College Museum of Art, The Art Institute of Chicago, the Fries Museum, the Netherlands, and The Kodak Museum of Art. Her art, which often combines Islamic calligraphy with representations of the female body, addresses the complex reality of Arab female identity from the unique perspective of personal experience. In much of her work, she returns to her Moroccan girlhood, looking back on it as an adult woman caught somewhere between past and present, and as an artist, exploring the language in which to “speak” from this uncertain space. Her paintings often appropriate Orientalist imagery from the Western painting tradition, thereby inviting viewers to reconsider the Orientalist mythology. She has worked in numerous media, including painting, video, film, installation, and analog photography. "In my art, I wish to present myself through multiple lenses -- as artist, as Moroccan, as traditionalist, as Liberal, as Muslim. In short, I invite viewers to resist stereotypes."Source: lallaessaydi.com
Erwin Blumenfeld
Germany/United States
1897 | † 1969
Born in Berlin in 1897 to Jewish parents, Erwin Blumenfeld began his career working as an apprentice dressmaker to Moses and Schlochauer in 1913. He opened his own company in Amsterdam in 1923, the 'Fox Leather Company', a leather goods store specialising in ladies handbags. After moving to new premises in 1932, Blumenfeld discovered a fully equipped dark room and began to photograph many of his -predominantly female- customers. The company went bankrupt in 1935, just as Blumenfeld's photographic career was beginning to take an upward turn. Following a move to Paris in 1936, Blumenfeld was commissioned to take the portraits of personalities including George Rouault and Henri Matisse and secured his first advertising work for Monsavon. Blumenfeld quickly captured the attention of photographer Cecil Beaton who helped him secure a contract with French Vogue. After World War II in 1941, Erwin Blumenfeld moved to New York where he was immediately put under contract by Harper's Bazaar and after three years, he began freelance work for American Vogue. Over the next fifteen years, Blumenfeld's work was featured on numerous Vogue covers and in a variety of publications including Seventeen, Glamour and House & Garden. During this period, he also worked a photographer for the Oval Room of the Dayton Department Store in Minneapolis and produced advertising campaign for cosmetics clients such as Helena Rubinstein, Elizabeth Arden and L'Oreal. In the late 50s, he also began to create motion pictures, hoping to use them commercially and began work on his biography and his book My One Hundred Best Photos which, despite being a renowned fashion photographer, only included four of his fashion images. Following Blumenfeld's death in 1969, numerous books on his work have been published, namely The Naked and the Veiled by his son, Yorick Blumenfeld, and his photographs have been exhibited at international galleries including the Pompidou Gallery in Paris, The Barbican in London and The Hague Museum of Photography in the Netherlands. In the 1960s, he worked on his autobiography which found no publisher because it was considered to be too ironic towards society, and was published only after his death.Source: Wikipedia Erwin Blumenfeld is considered to be one of the early pioneers of fashion photography alongside George Hoyningen-Huene, Cecil Beaton, and Horst P. Horst. It was not only his employment of experimental techniques in the darkroom, Dada and Surrealist influences, and groundbreaking street work, but Blumenfeld’s unique and masterful combination of elegance and eroticism that transformed fashion into high art and paved the way for Richard Avedon, Irving Penn, Herb Ritts, and other photographers who enjoyed such prominence and recognition in the history of art. In addition to holding the record for the most covers of Vogue, Blumenfeld’s works were abundantly reproduced within the pages of Cosmopolitan, Harper’s Bazaar, Life and Vogue during the 1930s, '40s and '50s. Many of the images from these shoots will be featured in this exhibition and have since become icons of the history of fashion photography. Some have never been seen before. But all of the prints showcase not only Blumenfeld’s innovation as a photographer of fashion but also his spectacular skill as a printmaker. In his retrospective examination of Blumenfeld’s work, William Ewing writes, “His highly original and visionary work was a seamless blend of the negative and positive: taking the picture in the studio and making it in the darkroom.” In the studio, Blumenfeld often employed mirrors, glass, and backgrounds reproduced from paintings, images of cathedrals, or mosaics of magazine covers. He often used veils, which could distort or elongate the figure, confident that a woman partially concealed was more erotically charged that one seen fully nude. He also believed the printing of the image was as every bit as important as the process of capturing it, and like Man Ray, he was tirelessly inventive in the darkroom, deploying a variety of optical and chemical tricks, including multiple exposures, solarization and bleaching.Source: Edwynn Houk Gallery
Yves Léonard
Belgium
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"Professional photographer located in Belgium, I am now 52 years old with a practical experience of photography for twenty years. I am a lover of life. My optimistic and positive temperament and my joy of living allow me to meet very nice people. I started photography in the early 2000s, mainly family reports. It was in 2015 that I really fell in love with photography with the purchase of my first reflex camera, a Nikon D5100. Self-taught, I perfected myself throughout my daily practice and by following training given by professional photographers: Photoshop (Olivier Rocq), packshot photography (Quentin Décaillet), understanding light in photography (Julien Apruzzese), empara. Fr... As I love architectural photography, I will soon be taking professional training on this subject. Having become a professional since 2021, my photographic expertise is mainly at the service of companies but also individuals in order to sublimate their project and their know-how. The artistic side of photography is also very important to me. I love to sublimate flowers, nature, landscapes... The landscape photo "The Enchanted Forest" was the winner of the largest photo competition in the world 2021 of the prestigious site www.photo.fr in the landscape category and won the prize for the best photo of the Brussels Art Vue 2022 art competition. The 'Trio' photo was a finalist in the 2021 World's Biggest Photo Contest resumes above. Several of my photos were included in the selection of the month on the Facebook page of the Sigma France site. I particularly like the minimalist side of photography. It is not uncommon to stay 3-4 hours in my packshot studio and take more than 300 photos to create an artistic photo of a flower and thus find the best angle of view and the best lighting. I have participated in several photo exhibitions in my region and hope to "export" myself abroad."
Quentin Shih
China
1975
Quentin Shih (a.k.a. Shi Xiaofan), born in Tianjin, China in 1975, lives and works as a camera artist, and filmmaker between New York and Beijing. A self-taught photographer, he began to shoot photos in college for local underground musicians and artists. After graduation, he came to Beijing to develop his career as a professional photographer/artist. From 2000 to 2002, he participated in exhibitions in China and America with his fine art photographic works and his works have been collected by American museums, such as the Danforth Museum of Art and the Worcester Art Museum. During the last few years, he has been producing work for top commercial clients and international publications such as Adidas, Microsoft, Sony, Siemens, Vogue, Harper's Bazaar and Esquire. His advertising campaigns work have won numerous prestigious international advertising and photography awards. In 2007, Quentin was named 'Photographer of the Year' by Esquire Magazine (China). In the following years, he joined lots group exhibitions and solo exhibitions in China, Europe, Southeast Asia and United States. As one of the leading Chinese photographers, Quentin Shih is well recognized for his individual artistic style which utilizes vast sets and dramatic lighting to engage in emotional narratives. Now, he is returning to his roots in fine art photography and challenging its techniques and concepts into his commercial and fashion photography in order to achieve a unique symbiosis. At the same time, he is also working on his film projects, A Parisian Movie (2011) was his first short movie shot in Paris, France.
S. Gayle Stevens
United States
Josef Koudelka
Czech Republic
1938
Josef Koudelka was born in 1938 in Boskovice, Moravia. He began photographing his family and the surroundings with a 6 x 6 Bakelite camera. He studied at the Czech Technical University in Prague (CVUT) between 1956 and 1961, receiving a Degree in Engineering in 1961. He staged his first photographic exhibition the same year. Later he worked as an aeronautical engineer in Prague and Bratislava. He began taking commissions from theatre magazines, and regularly photographed stage productions at Prague's Theatre Behind the Gate on a Rolleiflex camera. In 1967, Koudelka decided to give up his career in engineering for full-time work as a photographer. He had returned from a project photographing gypsies in Romania just two days before the Soviet invasion, in August 1968. He witnessed and recorded the military forces of the Warsaw Pact as they invaded Prague and crushed the Czech reforms. Koudelka's negatives were smuggled out of Prague into the hands of the Magnum agency, and published anonymously in The Sunday Times Magazine under the initials P. P. (Prague Photographer) for fear of reprisal to him and his family. His pictures of the events became dramatic international symbols. In 1969 the "anonymous Czech photographer" was awarded the Overseas Press Club's Robert Capa Gold Medal for photographs requiring exceptional courage. With Magnum to recommend him to the British authorities, Koudelka applied for a three-month working visa and fled to England in 1970, where he applied for political asylum and stayed for more than a decade. In 1971 he joined Magnum Photos. A nomad at heart, he continued to wander around Europe with his camera and little else. Throughout the 1970s and 1980s, Koudelka sustained his work through numerous grants and awards, and continued to exhibit and publish major projects like Gypsies (1975) and Exiles (1988). Since 1986, he has worked with a panoramic camera and issued a compilation of these photographs in his book Chaos in 1999. Koudelka has had more than a dozen books of his work published, including most recently in 2006 the retrospective volume Koudelka. Koudelka has won awards such as the Prix Nadar (1978), a Grand Prix National de la Photographie (1989), a Grand Prix Cartier-Bresson (1991), and the Hasselblad Foundation International Award in Photography (1992). Significant exhibitions of his work have been held at the Museum of Modern Art and the International Center of Photography, New York; the Hayward Gallery, London; the Stedelijk Museum of Modern Art, Amsterdam; and the Palais de Tokyo, Paris. He and his work received support and acknowledgment from his friend the French photographer, Henri Cartier-Bresson. He was also supported by the Czech art historian Anna Farova. In 1987 Koudelka became a French citizen, and was able to return to Czechoslovakia for the first time in 1991. He then produced Black Triangle, documenting his country's wasted landscape. Koudelka resides in France and Prague and is continuing his work documenting the European landscape. He has two daughters and a son. Source: Wikipedia
Alex Majoli
Italy
1971
Alex Majoli (b. 1971, Italy) is a photographer whose work has focused on the human condition and the theater within our daily lives. He has received many awards including the Guggenheim Fellowship in 2015, the W. Eugene Smith Grant(2017), the Getty Images Grant For Editorial Photography 2009, and the Infinity Award for Photojournalism in 2003. He has been a member of Magnum Photos since 2001 and is represented by Howard Greenberg Gallery NY.Source: LensCulture At the age of 15, Alex Majoli joined the F45 Studio in Ravenna, working alongside Daniele Casadio. While studying at the Art Institute in Ravenna, he joined Grazia Neri Agency and traveled to Yugoslavia to document the conflict. He returned many times over the next few years, covering all major events in Kosovo and Albania. Majoli graduated from art school in 1991. Three years later, he made an intimate portrayal of the closing of an asylum for the insane on the island of Leros, Greece, a project that became the subject of his first book, Leros. In 1995 Majoli went to South America for several months, photographing a variety of subjects for his ongoing personal project, Requiem in Samba. He started the project Hotel Marinum in 1998, on life in harbor cities around the world, the final goal of which was to perform a theatrical multimedia show. That same year he began making a series of short films and documentaries. After becoming a full member of Magnum Photos in 2001, Majoli covered the fall of the Taliban regime in Afghanistan, and two years later the invasion of Iraq. He continues to document various conflicts worldwide for Newsweek, The New York Times Magazine, Granta and National Geographic. Majoli, in collaboration with Thomas Dworzak, Paolo Pellegrin and Ilkka Uimonen, had an extremely successful exhibition and installation Off Broadway in New York in 2004, which traveled to France and Germany. He then became involved in a project for the French Ministry of Culture entitled BPS, or Bio-Position System, about the social transformation of the city of Marseilles. A recently completed project, Libera me, is a reflection on the human condition. In 2013 Majoli, in collaboration with Pellegrin, completed a massive photographic project in the Congo, which resulted in a his largest book project to date being published with Aperture, in 2015.Source: Magnum Photos At the age of fifteen, Alex Majoli joined the F45 photo agency in Ravenna, Italy, and he graduated from the city’s art Institute in 1991. While in art school, Majoli became a member of Grazia Neri Agency and traveled to Yugoslavia to document the ongoing political conflict. In 1995, Majoli published his first book documenting the patients in a mental hospital that was formerly used as a military hospital in Leros, Greece. That same year he traveled to Brazil where he started the project Tudo Bom. In this, he visualizes the darker side of a complex society where daily life is often shaped by hardship and violence. Majoli has been working on this project for twenty years. The series Hotel Marinum that Majoli started in 1998 documents life in harbor cities around the world and was inspired by his life growing up in the port of Ravenna. Majoli has been a member of Magnum Photos since 2001 and has worked on assignments for a variety of publications, including The New York TIME Magazine, Newsweek, The New Yorker, and National Geographic. Majoli has been inspired by the theories of the Sicilian playwright Luigi Pirandello, who believed there is a thin line between theater and real-life and that people take on a role in their daily lives. Over the years, the photographer has examined this philosophy more fully. Majoli does not aspire to document reality. Rather, in his more personal projects, he explores this idea of people as actors in their own lives. In his most recent work, he uses powerful strobe lights to make his subjects aware of the roles they play in the scene that he records. The result is cinematic; the dark surroundings of a scene highlight powerful human emotions.Source: International Center of Photography
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