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Los Angeles - June 1st 2005 BRANDT NUDES - The Archival Pigment Edition Fahey/Klein Gallery Runs June 23 - Aug 20 2005 The Bill Brandt Archive has released its first collection of large scale archival pigment prints to celebrate the British master photographer’s centenary year. The art world has become accustomed to the smaller prints that Brandt is known for but this is the first outsized edition and puts the work into a new perspective. A numbered edition of twenty five prints carrying the Brandt Estate stamp are produced by master printmaker David Adamson of Adamson Editions who has collaborated with some of today’s most influential artists including Bruce Weber, William Wegman and Annie Leibovitz. Bill Brandt remains one of the most complex and respected photographers of the 20th century, his nudes now reaching iconic status. The striking images Brandt created are essential works. His innovations expanded the medium of photography and gave his work a timeless quality. In his introduction to the recent BRANDT NUDES: A New Perspective, Mark Haworth-Booth, curator at London's Victoria & Albert Museum, assesses Brandt’s mostsignificant images and reveals important insights into his creative process: “No other British photographer has made so many memorable photographs as Bill Brandt. He excelled in all fields - social, Surrealism, night photography, documentary, landscape, portraiture and the nude.” Brandt’s nudes are also considered as his most innovative work. “In photography only Edward Weston has made nudes of equal power,” said John Szarkowski, Director Emeritus of MoMA’s Department of Photography. Dramatic use of the contrasting values of black and white, and exploration of optical deformations, cause the nudes to read as daring studies in abstractions, somewhat reminiscent of Henry Moore’s sculptures. Actual carbon, which is used in the formulation of the inks in this edition, was one of the earliest substances used to produce photographic prints. The first known image-forming use of carbon pigment was in the Paleolithic Chauvet-Pont- d'Arc cave in France some 30,000 years ago. An important aspect of the process is that it is an ink on paper medium, not a light-sensitive emulsion, and is therefore more akin to gravure than to silver or platinum prints. Varieties of carbon based printing is still practised today by those who revere a more permanent image, and these archival pigment prints bring Brandt into the modern age. For prints, please contact us further for current availability, size and price. For more technical information on fine art black & white printing see Clayton Jones' fine article here CONTACT FOR SHOW: |
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