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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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More Great Photographers To Discover

Emma Powell
United States
Emma Powell is an artist in residence and lecturer in photography at Iowa State University. Powell graduated from the College of Wooster in Ohio and received her MFA from Rochester Institute of Technology. Her work often examines photography's history while incorporating historic processes and or devices within the imagery. In her series In Search of Sleep, Powell uses the cyanotype process to create a visual lullaby in wish she explores personal narratives and metaphors.In Search of SleepFrom my earliest days I have had a difficult relationship with sleep. As a child I avoided it at all costs, especially at night. To get me back to bed, my father used to tell me stories. They were not traditional children’s bedtime stories, but invented tales that began on our quiet street and journeyed down open drains to a dream-world of caverns, forests, and oceans full of unexpected animals and dangers. The story would always find its way back to the real world and end where it had begun, hopefully but doubtfully with me that much closer to sleep.In Search of Sleep recreates this shadowy realm and allows me to explore my real-life questions, from personal dramas to romantic doubts. The cyanotype process, with its distinctive blue tones, visually traverses the distance between waking and sleeping. These images are also toned with tea and wine to both dull the blues and add warmth. Tea, wine, cyanide – all three of these substances relate to different levels of consciousness that often mirror the mental states evoked by my photographs. In Search of Sleep creates a visual lullaby that allows me to safely explore what I love, what I fear, what I remember, and what I imagine.
Sem Langendijk
The Netherlands
1990
Sem Langendijk is a documentary photographer with an interest in communities and their habitat, the urban environment and spatial arrangements. He observes the identity of a place, the impact communities have on their environments, and how space functions within the structures of a city. Langendijk shoots on large and medium format cameras, and aims to imbue his subjects with a certain tranquility. He continues to balance his work on the very narrow edge between visual storytelling and poetic personal documentation. Langendijk studied documentary photography at the Royal Academy of Arts, The Hague. In 2018, he was a recipient of the Mondrian Fund Stipendium for Emerging Artists and his work is exhibited at multiple art fairs and festivals, most recently 'The American Landscape', a group show travelling the US with The Gallery Club. He is currently working in Amsterdam, Londen and New York, on a personal body of work, continuing his research about the former Docklands. As an artist I intend to raise questions about the concept of 'the city' in our time. What role does history play in the identity of place, and feeling of belonging? How does ownership of (private) property relate to the right of the city? Through working with communities and researching their habitats I try to reveal (economical and political) systems that influence today's city life. My visual work is loosely related to social geography and anthropology, as I do field research and create visual notes. I combine this with more structured and methodological work, such as typologies. With these approaches I mean to reflect upon, as well as creating a more personal excerpt of, reality.
Richard Avedon
United States
1923 | † 2004
Richard Avedon (1923-2004) was born and lived in New York City. His interest in photography began at an early age, and he joined the Young Men's Hebrew Association (YMHA) camera club when he was twelve years old. He attended DeWitt Clinton High School in the Bronx, where he co-edited the school's literary magazine, The Magpie, with James Baldwin. He was named Poet Laureate of New York City High Schools in 1941. Avedon joined the armed forces in 1942 during World War II, serving as Photographer's Mate Second Class in the U.S. Merchant Marine. As he described it, "My job was to do identity photographs. I must have taken pictures of one hundred thousand faces before it occurred to me I was becoming a photographer." After two years of service, he left the Merchant Marine to work as a professional photographer, initially creating fashion images and studying with art director Alexey Brodovitch at the Design Laboratory of the New School for Social Research. 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As he wryly said, "My photographs don't go below the surface. I have great faith in surfaces. A good one is full of clues." After guest-editing the April 1965 issue of Harper's Bazaar, Avedon quit the magazine after facing a storm of criticism over his collaboration with models of color. He joined Vogue, where he worked for more than twenty years. In 1992, Avedon became the first staff photographer at The New Yorker, where his portraiture helped redefine the aesthetic of the magazine. During this period, his fashion photography appeared almost exclusively in the French magazine Égoïste. Throughout, Avedon ran a successful commercial studio, and is widely credited with erasing the line between "art" and "commercial" photography. His brand-defining work and long associations with Calvin Klein, Revlon, Versace, and dozens of other companies resulted in some of the best-known advertising campaigns in American history. These campaigns gave Avedon the freedom to pursue major projects in which he explored his cultural, political, and personal passions. He is known for his extended portraiture of the American Civil Rights movement, the Vietnam war and a celebrated cycle of photographs of his father, Jacob Israel Avedon. In 1976, for Rolling Stone magazine, he produced The Family, a collective portrait of the American power elite at the time of the country's bicentennial election. From 1979 to 1985, he worked extensively on a commission from the Amon Carter Museum of American Art, ultimately producing the show and book In the American West. Avedon's first museum retrospective was held at the Smithsonian Institution in 1962. Many major museum shows followed, including two at the Metropolitan Museum of Art (1978 and 2002), the Minneapolis Institute of Arts (1970), the Amon Carter Museum of American Art (1985), and the Whitney Museum of American Art (1994). His first book of photographs, Observations, with an essay by Truman Capote, was published in 1959. He continued to publish books of his works throughout his life, including Nothing Personal in 1964 (with an essay by James Baldwin), Portraits 1947-1977 (1978, with an essay by Harold Rosenberg), An Autobiography (1993), Evidence 1944-1994 (1994, with essays by Jane Livingston and Adam Gopnik), and The Sixties (1999, with interviews by Doon Arbus). After suffering a cerebral hemorrhage while on assignment for The New Yorker, Richard Avedon died in San Antonio, Texas on October 1, 2004. He established The Richard Avedon Foundation during his lifetime. Source: The Richard Avedon Foundation Born in New York, Richard Avedon attended city public schools and Columbia University, and served in the photographic section of the merchant marines. He studied under Alexey Brodovitch at the New School for Social Research from 1944 to 1950, and became the elder designer's protégé. Avedon was a staff photographer for Junior Bazaar and then Harper's Bazaar for some twenty years, and became a staff photographer at Vogue in 1966. In 1994 he was the first staff photographer hired by The New Yorker. For a photographer whose roots are in publication work, Avedon has been exceptionally successful in museums as well. He was included in the 1955 landmark exhibition The Family of Man at the Museum of Modern Art, and has received solo exhibitions at the Smithsonian Institution in Washington, D.C., the Museum of Modern Art, the Metropolitan Museum of Art, and many other institutions. Most recently, the Whitney Museum of American Art presented Evidence: 1944-1994, a career retrospective of his work, and the International Center of Photography organized Avedon Fashion 1944–2000 in 2009. In 1993, Avedon received the Master of Photography Infinity Award from ICP. 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France
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Julius Shulman
United States
1910 | † 2009
Julius Shulman was an American architectural photographer best known for his photograph Case Study House #22, Los Angeles, 1960. Pierre Koenig, Architect. The house is also known as the Stahl House. Shulman's photography spread the aesthetic of California's Mid-century modern architecture around the world. Through his many books, exhibits, and personal appearances his work ushered in a new appreciation for the movement beginning in the 1990s. His vast library of images currently resides at the Getty Center in Los Angeles. His contemporaries include Ezra Stoller and Hedrich Blessing photographers. In 1947, Julius Shulman asked architect Raphael Soriano to build a mid-century steel home and studio in the Hollywood Hills. Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friends, Richard Neutra and Raphael Soriano, was first brought to wider attention by Shulman's photography. The clarity of his work added to the idea that architectural photography be considered as an independent art form in which perception and understanding for the buildings and their place in the landscape informs the photograph. Many of the buildings photographed by Shulman have since been demolished or re-purposed, lending to the popularity of his images. I’m not modest about myself. I know for a fact that I am good. But good in the sense that I can put things together. I expound vociferously to students of architecture and photography, the significance of design. A photograph is a design in which you assemble thoughts in your mind. -- Julius Shulman Julius Shulman was born in Brooklyn to Russian-Jewish parents on October 10, 1910, and grew up on a small farm in Connecticut before moving to Los Angeles while still a boy. He briefly attended the University of California, Los Angeles and the University of California, Berkeley, and earned pocket money by selling his photographs to fellow students. In 1936 he returned to Los Angeles, where he was enlisted by a friend, working as a draftsman for Richard Neutra, to take photographs of a new, Neutra-designed Kun Residence in Hollywood with his amateur Kodak Vest Pocket camera. When Neutra saw the pictures, he asked to meet the photographer and proceeded to give him his first assignments which assisted Shulman in launching his career in architectural photography. Shulman opened a studio in Los Angeles in 1950, by that time drawing much of his work from magazines based in New York. He remained in business full-time until the late 1980s. In 2000, Shulman gave up retirement to begin working with business partner Juergen Nogai. The Getty Research Institute held a 2005–2006 exhibition of Shulman's prints entitled Julius Shulman, Modernity and the Metropolis. The exhibition included sections entitled Framing the California Lifestyle, Promoting the Power of Modern Architecture, The Tools of an Innovator and The Development of a Metropolis. The exhibition traveled to the National Building Museum and to the Art Institute of Chicago. In 1987, the Shulman House was designated a Cultural Heritage Monument by the city of Los Angeles. Shulman himself had a Golden Palm Star on the Palm Springs Walk of Stars dedicated to him in 2006. He died at his home in Los Angeles, California on July 15, 2009; he was 98 years old. He was buried at Hillside Memorial Park Cemetery in Culver City, California.Source: Wikipedia I sell architecture better and more directly and more vividly than the architect does... The average architect is stupid. He doesn’t know how to sell. He’s not a merchandiser. He doesn’t know how to express his own image. He doesn’t know how to create a design of his image... And I do it. I’ve done it all my career over half a century, and it gets better. -- Julius Shulman
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