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Yves Marchand & Romain Meffre
© Jules Hidrot
Yves Marchand & Romain Meffre
Yves Marchand & Romain Meffre

Yves Marchand & Romain Meffre

Country: France

Marchand (b.1981) and Meffre (b.1987) live and work in Paris. Initially pursuing photography individually, they met online in 2002 and started working together with the beginning of their Detroit project in 2005. Steidl published The Ruins of Detroit in 2010. A second printing is planned for later this year.

They are currently completing their Gunkanjima book, also to be published by Steidl, and they continue to work on a project documenting American theaters that have either fallen into decay or been transformed entirely. Their work has been exhibited extensively throughout Europe and has been featured in the New York Times, The Guardian, The British Journal of Photography, TIME Magazine, amongst others.

Source: Edwynn Houk Gallery



About Theaters (2005-Ongoing)
In the early 20th century, following the development of the entertainment industry, hundreds of theaters were built across North America. Major entertainment firms and movie studios commissioned specialized architects to build grandiose and extravagant auditoriums.

From the 60's, TV, multiplexes and urban crisis made them obsolete. During the following decades, these theaters were either modernized, transformed into adult cinemas or they closed, one after the other; many of them were simply demolished.


About Gunkanjima (2008-2012)
In the South China Sea, 15 kilometers off the southwest coast of Nagasaki among the thousands of verdant landmasses that surround Japan, lies a mysterious island. With the geometric silhouette of a dark gray hull, perforated by hundreds of small windows, the island resembles a battleship. As one moves closer, approaching by sea, the figure takes shape again and the ghost ship turns into a block of concrete surrounded by a high wall on which waves crash - the island looks like a Japanese version of Alcatraz. Only 40 years ago, this tiny island was home to one of the most remarkable mining towns in the world and maintained the highest population density in the world.

During the wave of industrialisation in the nineteenth century, a coal seam was discovered on the tiny Hashima island. In 1890 the Mitsubishi Corporation opened a mine on the island. For decades coal production sustained Japan's modernisation and helped establish its position as an industrialised nation and imperial power. Workers settled on the island and the population increased. Mine slag was used to expand the surface of the colony; piling up on itself like an ant hill. The small mining town quickly became an autonomous modern settlement (with apartment buildings, a school, hospital, shrine, retail stores and restaurants) which mimicked the other settlements on the Nippon archipelago. One multi-storied concrete apartment block with its brutal and rational style followed another, until the tiny island became the most densely populated place in the world per square meter with over 5,000 inhabitants in the 1950s.


About The Ruins of Detroit (2005-2010)
At the end of the XIXth Century, mankind was about to fulfill an old dream. The idea of a fast and autonomous means of displacement was slowly becoming a reality for engineers all over the world. Thanks to its ideal location on the Great Lakes Basin, the city of Detroit was about to generate its own industrial revolution. Visionary engineers and entrepreneurs flocked to its borders.

In 1913, up-and-coming car manufacturer Henry Ford perfected the first large-scale assembly line. Within few years, Detroit was about to become the world capital of automobile and the cradle of modern mass-production. For the first time of history, affluence was within the reach of the mass of people. Monumental skyscapers and fancy neighborhoods put the city's wealth on display. Detroit became the dazzling beacon of the American Dream. Thousands of migrants came to find a job. By the 50's, its population rose to almost 2 million people. Detroit became the 4th largest city in the United States.

 

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José Ney Milá Espinosa
José Ney Milá Espinosa, of Cuban nationality, was born in Havana on March 4, 1959. He is a self-taught photographer, recognized within documentary photography and auteur photography since the mid-1980s. Initially trained as a technical drawer, artisan artist, civil designer, and finally abandoned his career in architecture for photography. He received several awards in his country in drawing, painting, applied arts and photography, but his greatest achievements were from the early 90s, in international photography salons, achieving numerous awards and distinctions throughout his career. Much of his work is in permanent collections such as the Southeast Museum of Photography Daytona; Palmer Museum of Art, Pennsylvania; Houston Museum of Fine Arts; Lehigh University Art Galleries / Museum Operation, Bethlehem, PA; Inés María Galerie, Houston; Mother Jones International. Fund for Documentary Photog, San Francisco; Fotofest, Houston, USA; Museum of Fine Arts of Santo Domingo. Dominican R.; Toscano Photographic Archive, Italy; UNESCO / ACCU, Tokyo. Japan; World Press Photo Foundation. Holland; University of La Rabida, Huelva. Spain; Media Library, INAH, Mexico; Galerie Bilderwelt Reinhard Schultz. Berlin Germany; National Museum of Photography, Pachuca, Mexico, and Fototeca de Cuba among others. His dedication and innovation in the chemical processes of analog photography led him to develop new formulas for film development that surpassed the results and practices of the Black and White laboratory, of the avant-garde of the time such as Tetenal, Ilford, and Kodak. . He presented his inventions at the Spanish Patent and Trademark Office and marketed them at Casanova Profesional (specialized store in Barcelona) in partnership with Luis Casademunt (photographer) in 1997 and later in 1998, with Isaac Donoso (businessman in Madrid) to guarantee industrial production by a commercial contract signed with the international company JOBO, well known for its laboratory instruments (Labortechnik, GmbH & Co. KG. Gmbh) of Cologne, Germany. His new formulas were published in the catalog of the year of JOBO products as New fine art line “The new generation fine art B / N chemistry” Page 70 and back cover, presented during the International Festival "FOTOKINA 2000" Kolonia, Germany, with the technical support of various specialists on the subject, such as the English John Tisley and the North American, John Sexton among others. In addition, various tests were published in various specialized magazines of the time, such as SCHWARZWEISS 27 (Das magazin für fotografie) "Auf anderer Wellenlänge", November, Germany. 2000; F.V. Nº 149. “Jobo: new Classic Line products”, Spain. 2001; Super Photo. No. 67. "Diary of a personalized development" Spain. 2001 and Super Photo. No. 70. "Diary of a personalized development (II)", Spain. 2001.
Zanele Muholi
South Africa
1972
Zanele Muholi was born in Umlazi, Durban, in 1972. She completed an Advanced Photography course at the Market Photo Workshop in Newtown and held her first solo exhibition at the Johannesburg Art Gallery in 2004. She has worked as a community relations officer for the Forum for the Empowerment of Women (FEW), a black lesbian organisation based in Gauteng, and as a photographer and reporter for Behind the Mask, an online magazine on lesbian and gay issues in Africa. Her work represents the black female body in a frank yet intimate way that challenges the history of the portrayal of black women's bodies in documentary photography. Her solo exhibition Only half the picture, which showed at Michael Stevenson in March 2006, travelled to the Market Photo Workshop in Johannesburg and the Afrovibes Festival in Amsterdam. In 2008 she had a solo show at Le Case d'Arte, Milan, and in 2009 she exhibited alongside Lucy Azubuike at the CCA Lagos, Nigeria. She was the recipient of the 2005 Tollman Award for the Visual Arts, the first BHP Billiton/Wits University Visual Arts Fellowship in 2006, and was the 2009 Ida Ely Rubin Artist-in-Residence at the Massachusetts Institute of Technology (MIT). Muholi's photography has been compared to the way W.E.B. DuBois subverted the typical representations of African Americans. Both Muholi and Du Bois have created an archive of photos, working to dismantle dominant, pre-existing perceptions of the subjects they chose to photograph. Muholi views their work as collaborative, referring to the individuals they photograph as "participants" rather than as subjects. Seeking to empower their subjects, Muholi often invites participants to speak at events and exhibitions, adding the participant's voice to the conversation. Through their artistic approach they hope to document the journey of the African queer community as a record for future generations. They try to capture the moment without negativity or focusing on the prevalent violence, portraying the LGBTQI community as individuals and as a whole to encourage unity. Thus, their work can be considered documentative, recording the overall community LGBTI of South Africa and their challenges, and at times, more specifically the struggle of black lesbians. Before 1994, black lesbian voices were excluded from the making of a formal queer movement. Muholi's efforts of creating a more positive visualization of LGBTI Africans combats the homophobic-motivated violence that is prevalent in South Africa today, especially in the case of black lesbians. While black women's bodies appear frequently throughout sexualized pop-culture, black lesbians are viewed (through the lens of the patriarchy and heteronormativity) as undesirable. This negative view of homosexuals in Africa lead to violence, such as murder and rape, and rejection from their families. Muholi's Zukiswa (2010), shows an African lesbian woman making eye contact with the viewer, displaying an unwavering gaze of confidence, self-awareness, and determination. This example encourages awareness, acceptance, and positivity with the queer community as well as South Africa. Although Muholi became known as a photographer who engaged with the then-invisible lives of black lesbians in South Africa, they began to recognize this idea of "gender within gender." In 2003, and their sense of community definitively began to include trans people. Muholi was employed as a photographer and reporter for Behind the Mask, an online magazine on LGBTI issues in Africa. Muholi first received global attention from the art world in 2012 at Documenta, a world-famous exhibition of modern and contemporary art in (Germany), for a series of portraits of lesbians and transgender participants titled: Faces and Phases. The photos were also exhibited at Stedelijk Museum Amsterdam.Source: Wikipedia
Lewis Carroll
United Kingdom
1832 | † 1898
Charles Lutwidge Dodgson (27 January 1832 - 14 January 1898), better known by his pen name Lewis Carroll, was an English writer of world-famous children's fiction, notably Alice's Adventures in Wonderland and its sequel Through the Looking-Glass. He was noted for his facility at word play, logic and fantasy. The poems Jabberwocky and The Hunting of the Snark are classified in the genre of literary nonsense. He was also a mathematician, photographer and Anglican deacon. Carroll came from a family of high church Anglicans, and developed a long relationship with Christ Church, Oxford, where he lived for most of his life as a scholar and teacher. Alice Liddell, daughter of the Dean of Christ Church, Henry Liddell, is widely identified as the original for Alice in Wonderland, though Carroll always denied this. Photography (1856–1880) In 1856, Dodgson took up the new art form of photography under the influence first of his uncle Skeffington Lutwidge, and later of his Oxford friend Reginald Southey. He soon excelled at the art and became a well-known gentleman-photographer, and he seems even to have toyed with the idea of making a living out of it in his very early years. A study by Roger Taylor and Edward Wakeling exhaustively lists every surviving print, and Taylor calculates that just over half of his surviving work depicts young girls, though about 60% of his original photographic portfolio is now missing. Dodgson also made many studies of men, women, boys, and landscapes; his subjects also include skeletons, dolls, dogs, statues, paintings, and trees. His pictures of children were taken with a parent in attendance and many of the pictures were taken in the Liddell garden because natural sunlight was required for good exposures. He also found photography to be a useful entrée into higher social circles. During the most productive part of his career, he made portraits of notable sitters such as John Everett Millais, Ellen Terry, Dante Gabriel Rossetti, Julia Margaret Cameron, Michael Faraday, Lord Salisbury, and Alfred Tennyson. By the time that Dodgson abruptly ceased photography (1880, over 24 years), he had established his own studio on the roof of Tom Quad, created around 3,000 images, and was an amateur master of the medium, though fewer than 1,000 images have survived time and deliberate destruction. He stopped taking photographs because keeping his studio working was too time-consuming. He used the wet collodion process; commercial photographers who started using the dry-plate process in the 1870s took pictures more quickly.[62] Popular taste changed with the advent of Modernism, affecting the types of photographs that he produced. He died of pneumonia following influenza on 14 January 1898 at his sisters' home, "The Chestnuts", in Guildford. He was two weeks away from turning 66 years old. His funeral was held at the nearby St Mary's Church. He is buried in Guildford at the Mount Cemetery.Source: Wikipedia
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Francis Malapris
Schizothymic baby-boomer, at the age of 12 Francis takes refuge in computer science and excels in this field despite social and academic failure. In 1996, as he becomes an engineer, he meets the need to preserve memories of the Moment and tries photography. Gradually, this utopia fades to give way to the sensitivity he has so long repressed. 20 years later, he is an accomplished self-taught artist through the study of technique and the masters who inspire him such as Raymond Depardon, Rafael Minkkinen and Daido Moriyama. Key encounters have formed his photographic approach to bring him to social contact and staging. He then abandons computer sciences to exploit his bubbling creativity, full of sensitivity. The human being is then at the center of his work, after the fashion of the "Self" (Freud), which lies between unconscious desires and moral standards. Affected by the death of a friend, he undertakes a strong introspection that will highlight neuroses that he crystallizes through nude photography. In 2011, he begins the IN SITU project about mental escape, a phenomenon that concerns him. In 2014, he develops a shooting process to build the AQUATIC series. In 2017, the images encounter a great success, are published and exhibited at the FEPN in Arles, namely with the festival bill. With his installation in the heart of the Saint Anne chapel, Francis goes beyond photography to offer a contemporary art installation which sublimates female energy. Artist Statement "The human element is a fantastic material. I like observing bodies, their movements and expressions, sometimes with the idea of appropriating them. The part that fascinates me the most, because almost inaccessible, is the soul, at the head of the personality with its tastes, emotions and especially its history. Then comes the complex relationship to society, which evolves with environment and time. I approach the person naturally with openness and sensitivity, on the lookout for singularities that may resonate in me. From object, 'the other' becomes a proper individual, whose distinguishable particles and sub-particles I highlight. The main theme of the work I am presenting is that of the relation to reality: whereas the physical body is submitted to the present, imagination is free to roam without constraint in time and space. The ambiguity of this permanent oscillation between rational and irrational, resignation and escape, motivates me in my research where letting go is the motto. The plurality of my projects illustrates the richness of mental spaces that I have visited. Whether dreamlike or real, I put limits only on the possible interpretation of the codes that I use."
Nanda Hagenaars
Netherlands
''El Duende'' is a word used by the Spanish people to describe it is what moves you, what drives you. It comes from inside you. El duende is a bodily reaction to art or artistic perfomance such as Flamenco. It comes from the soles of the feet and flows free throughout the body till the top of your head. El duende is the spirit of evocation. An emotional and physical reaction. It can make you smile or cry or both. This mysterious power which everyone can sense and no philosopher can explain is in sum the spirith of the earth. It touches you in such a magical way that you are moved instantly. Nanda Hagenaars was born in the Netherlands in 1988 and is currently living in Amsterdam. She studied International Business and Languages in Sevilla. This is where she felt the spirit of el Duende in such a strong way that this place instantly became like a harbour for her. Back in the Netherlands, Nanda started working in the advertising industry and after nearly 4 years left her office job and crashed fully into photography and art. After studying languages, she discovered a new kind of language; through photography. Between 2007 and 2017, Nanda traveled frequently back to south Spain where she somehow always felt touched by culture and the simple vibe of the magnificent gypsy city. In 2016, Nanda made her first documentary photography project in Sevilla, where she won a price for New Dutch Photo talent 2017. Nanda’s captivating black and white style blends poetry and intuition, delving into the eternal essence of life. Through her lens, Nanda captures stories and forges a profound connection with the portrayed. At times, she surrenders to the unknown, creating intuïtively and spontaneously. Through her art she aims to touch others, offering solace and unity through shared emotions. So.. to Nanda, photography is a way to translate, meditate, and communicate. A universal language. AAP Magazine Magazine #31 Portrait Article Exclusive Interview
Bunny Yeager
United States
1929 | † 2014
Linnea Eleanor "Bunny" Yeager was an American photographer and pin-up model. She was born in the Pittsburgh suburb of Wilkinsburg, Pennsylvania, to Raymond Conrad and Linnea (née Sherlin) Yeager on March 13, 1929. Her family moved to Florida when she was 17. She adopted the nickname "Bunny" from Lana Turner's character Bunny Smith in the 1945 movie Week-End at the Waldorf. The nickname has also been attributed to her portrayal of the Easter Bunny in a high school play. Bunny Yeager graduated from Miami Edison High School and afterward enrolled at the Coronet Modeling School and Agency. She won numerous local beauty pageants including in rapid succession Queen of Miami, Florida Orchid Queen, Miss Trailercoach of Dade County, Miss Army & Air Force, Miss Personality of Miami Beach, Queen of the Sports Carnival and Cheesecake Queen of 1951. Yeager became one of the most photographed models in Miami. Photos of Yeager appeared in over 300 newspapers and magazines. She also designed and sewed many of the outfits she and her models wore, at one time boasting that she never wore the same outfit twice while modeling. She designed and produced hundreds of bikinis when the two-piece swimsuit was a new fashion item and is credited with its popularity in America. Bruno Banani, the German fashion company, has developed a line of swimwear based on Yeager's designs from the 1950s. Yeager entered photography to save money by copying her modeling photographs, enrolling in a night class at a vocational school in 1953. Her career as a professional photographer began when a picture of Maria Stinger, taken for her first school assignment, was sold to Eye magazine for the cover of the March 1954 issue. She became a technically skilled photographer noted for, among other things, her early use of the fill flash technique to lighten dark shadows when shooting in bright sun. Yeager was one of the first photographers to photograph her models outdoors with natural light. Matt Schudel wrote in the Washington Post that her images were vivid and dynamic, going on to say, "She favored active poses and a direct gaze at the camera lens, in what could be interpreted alternately as playful innocence or pure lust." She met Bettie Page in 1954, and took most of the photographs of her that year. During their brief collaboration, she took over 1,000 pictures of Page. Along with photographer Irving Klaw, Yeager played a role in helping to make Page famous, particularly with her photos in Playboy magazine. American Photo magazine described Yeager's work with Page as "a body of imagery that remains some of the most memorable — and endearing — erotica on record" in a 1993 article. The most famous images of Page by Yeager include the January 1955 Playboy centerfold in which she kneels wearing only a Santa hat while hanging a silver ornament on a Christmas tree and a series of photographs with a pair of live cheetahs. Yeager was a very prolific and successful pinup photographer in the 1950s and 1960s, so much so, that her work was described as ubiquitous in that era. She continued to work extensively with Playboy shooting eight centerfolds in addition to covers and pictorial spreads. She discovered Lisa Winters, the first Playmate of the Year. Yeager also appeared in the magazine as a model five times. One appearance with the headline, "Queen of the Playboy Centerfolds", was photographed by Hugh Hefner. Her work was also published in mainstream magazines including Cosmopolitan, Esquire, Pageant, Redbook and Women's Wear Daily. The famous still images she took of Ursula Andress emerging from the water on the beach in Jamaica for the 1962 James Bond film Dr. No are probably her best-known bikini photographs. She discovered many notable models. In the 1970s as men's magazines became more anatomically graphic Yeager largely stopped photographing for them, saying they were somewhat "smutty" and that, "They had girls showing more than they should." In 1998 she stated, "The kind of photographs they wanted was something I wasn't prepared to do." An exhibition titled Beach Babes Bash in the early 1990s at the Center for Visual Communication (at that time located in Coral Gables, Florida) featured photographs by Yeager of models from Miami on the beach from the 1950s. Another exhibit at the same gallery featuring Yeager's work was titled Sex Sirens of the Sixties. In 1992 Playboy published a retrospective of her work titled The Bettie Boom. Since 2002, Yeager's work has been exhibited in contemporary art galleries. In early 2010, The Andy Warhol Museum held the first major museum exhibition of Yeager's work. The exhibit, The Legendary Queen of the Pin Up, featured her self-portraits, some from her book How I Photograph Myself published by A.S. Barnes & Co. in 1964. The Fabulous Bunny Yeager an exhibit in 2011 at the Harold Golen Gallery in Miami also featuring self-portraits by Yeager was of photographs that had not been exhibited previously. Also in 2011 Helmut Schuster curated an exhibition for Art Basel at the Dezer Schauhalle in Miami titled Bunny Yeager: Retrospective to the Future featuring over 200 of Yeager's photos. Included were some images that had not been shown before of models including Bettie Page. In 2012 Bunny Yeager had two exhibitions in Germany, Funland at Gallery Schuster Potsdam and Femme Fatale in December 2012 at Gallery Schuster Berlin. The Museum of Art Fort Lauderdale held a 2013 exhibit, Bunny Yeager: Both Sides of the Camera featuring her photographs of herself, Page, and model Paz de la Huerta. The exhibit also included some of Yeager's first new pictures in twenty years. Yeager had a show at the Sofia Vault in Sofia, Bulgaria in October 2013. The Gavlak Gallery in Palm Beach, Florida put on an exhibit, Bunny Yeager: Selections from How I Photograph Myself in 2014. The Sin City Gallery in Las Vegas held a posthumous exhibit, Bunny's Bombshells, from June 5 to July 20 2014. She had her own studio in the Wynwood Art District of Miami, part of the Center for Visual Communication. There is a "Bunny Yeager Lounge" in Berlin which is open to the public and shows photos, memorabilia and movies. Yeager was also founding editor and publisher of a trade magazine for entertainment professionals, Florida Stage & Screen. As of 1998 her 24 books had sold over 1 million copies. Bunny Yeager was married twice, first to Arthur Irwin who died in 1977 and then to Harry Schaefer who died in 2000.[5] She had two daughters, Lisa and Cherilu. Yeager died on May 25, 2014 of congestive heart failure at age 85 in North Miami, Florida.Source: Wikipedia
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