Results 1-11 of 11
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- Red Books
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The Polaroid camera combined two of Andy Warhol’s obsessions — the disposible nature of modern consumerism and the photograph as a ready-made. He was an inveterate and relentless user of Polaroid cameras and during the 1970s he made thousands of instant photographs. The near-instant nature of the Polaroid process meant that the photographs could be passed around, admired, sometimes written on moments after the event had been captured. It was a useful tool for a somewhat shy character, one that encouraged interaction and collaboration. In addition to his many portrait commissions, Warhol’s Polaroids were used for such Grammy-winning designs as the Rolling Stones’ “Sticky Fingers” album cover in 1971.
Between 1970 and 1976 Warhol established a rigorous system of cataloguing. He would take home the Polaroids, edit and sequence them and then enter them in individual red Holson Polaroid albums. These albums, with Warhol’s original sequence and themes, have remained intact.
Red Books is a cardboard box containing 11 of the Holson photo albums of Polaroids. These thoughtfully-ordered small albums, selected and sequenced by Warhol himself, tend to cover one event, be it a weekend in Montauk with the Kennedy and Radziwill kids, a portrait sitting with Palomo Picasso or Bridgid Berlin and Larry Rivers staging an impromptu ‘performance’ at the Factory, and there is a freshness and intimacy that one does not usually associate with the ‘cool and detached’ Andy Warhol. A separate black book contains a text by François-Marie Banier explaining the significance of these albums within Warhol’s oeuvre and how they act as a diary of his work and offer unrivalled insight into his working procedures.
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- Atelier Adamson
- Atelier Adamson is considered by many to be the world’s highest-quality digital printmaker and, given the studio’s collaboration with some of the best-known and most influential artists of our time, it occupies a lofty position in the realm of digital fine-art printing. Combining unique technical expertise in reproduction and digital printing, Adamson Editions has grown since 1979, from the passion of one man to a major force in the contemporary art scene. Based in Washington D.C., Adamson Gallery is dedicated to showing the talents of outstanding international artists as well as showcasing collaborative work from Adamson Editions digital atelier. This book accompanies an exhibition at the Maison Européene de la Photographie and presents some of the finest work of recent years by the studio and its artists. It includes selections of the work of Chuck Close, William Christenberry, François-Marie Banier, Jim Dine, Adam Fuss, Jenny Holzer, Robert Longo, Robert Rauschenberg, Jack Pierson, Victor Schrager, Donald Sultan and William Wegman.
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- Perdre la tête
- Losing My Head: when I see a person or a scene, a coming-together of volumes, my eye suddenly gets drawn in, I abandon myself completely to what I’m seeing, I lose all sense of my own reality, I get drunk on the scene which absorbs me, transforms me, transcends me, inundates me with pleasure, with the pleasure of life, which I try to record, if not to hold.
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- Vive la Vie
- With his unique talent of capturing emotions using lenses, colours and words, artist François-Marie Banier inspires both his subjects and viewers to “conquérir le rêve” (conquer the dream). Vive la Vie is an intimate monograph resulting from a collaboration between Banier and fashion designer Diane von Furstenberg. Based on a series of sessions arranged by von Furstenberg with model Natalia Vodianova, the images are layered with visual and emotional complexity. By combining his various skills photography, painting and writing— into individual artworks, François-Marie Banier creates narratives that compel both the eye and the mind. Vodianova exposes her true, unmasked self, creating a blank canvas upon which raw womanhood is revealed, far from the stereotypes of fashion photography.
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- Boîte de dessins, Boîte de dessins
- “Laughter lies within a line or form – every drawing is a trap. It defies convention and the hardship of life. Every drawing plays with the obstacles of graveness, fights the hypocrisy of reality, and reflects far-away impressions. These drawings possess their own reality.” François-Marie Banier
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- Brioche Lait Pot Poire, Autocar Volume 2
- “For the first time in twenty years, these painted photographs have finally been published. These pictures of creatures, overwhelmed by colours and forms, seem to be printed from a negative stored in my mind. You can see the fear of their disappearance, the desire to fix their spirit. Spilled colours? How often have I cleaned them of a prejudice with one single shot? Every work of art is about fixing something.” François-Marie Banier
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- To have fun at home, Autocar Volume 3
- “For the first time in twenty years, these painted photographs have finally been published. These pictures of creatures, overwhelmed by colours and forms, seem to be printed from a negative stored in my mind. You can see the fear of their disappearance, the desire to fix their spirit. Spilled colours? How often have I cleaned them of a prejudice with one single shot? Every work of art is about fixing something.” François-Marie Banier
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- I am fascinated
- “Women, dogs, men, children – they all like to play up. This accordion-style booklet shows how a line takes on a personality. What if – after having looked at these pages – everybody took some paper, folded it like an accordion and started drawing the figures as they emerge from his or her unconscious self, the unconscious always being able to draw better than the conscious the ease and graveness of being and not being.” François-Marie Banier
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- On n'est jamais tranquile, Autocar Volume 4
- “‘The most important thing is to find a beginning and an end’, says Martin d’Orgeval, who is gathering all these crimes. ‘Not really alone on this planet, but all of them are losers’, is written on one of these paintings, no wiser than another one, where a star is drawing my heart, two zeros my wife, a single one my toy. Everything becomes complicated, when a canary falls in love with a caged woman. When I start painting, just as when I am writing a novel, I do not know where it will lead me.” François-Marie Banier
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- Changer de corps
- “The body, a magical constant – as touching as the sky, laughter, pain or the night. The body – mystery, attachment, incertitude, a destination and meeting point, a source of joy, appreciation, misunderstanding and confusion. The body – a dream we inevitably have to awaken from. My body changes with every photo I take. This summer I turned black. I drowned in Namibia. Pink deserts, blue rocks, trees with endless branches – in a pond next to a waterfall I became, for the duration of a bath, one of these naked boys, drunken in their pleasure and youth.” François-Marie Banier
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- Changer de vie
- “Changing life: like a peal of thunder, 1950s France sprang to my mind. These memories returned to me one winter night in 2008 when Pascal Greggory was working on Nuit de Chien, a film directed by Werner Schroeter. For part of the night I watched work on the film set, and the next morning I recovered from the miracles I’d seen by taking a walk to the local market in Porto – with my camera in hand. I observed and photographed the men and women selling the produce they had grown on their land far from the city.