2023 All rights reserved - L'Å’il de la Photographie
Subscribe for full access to The Eye of Photography! Thousands of images and articles, documenting the history of photography and its evolution over the past decades, through a unique daily journal.
Subscribe for full access to The Eye of Photography! Thousands of images and articles, documenting the history of photography and its evolution over the past decades, through a unique daily journal.
Subscribe for full access to The Eye of Photography! Thousands of images and articles, documenting the history of photography and its evolution over the past decades, through a unique daily journal.
Subscribe for full access to The Eye of Photography! Thousands of images and articles, documenting the history of photography and its evolution over the past decades, through a unique daily journal.
Subscribe for full access to The Eye of Photography! Thousands of images and articles, documenting the history of photography and its evolution over the past decades, through a unique daily journal.
Subscribe for full access to The Eye of Photography! Thousands of images and articles, documenting the history of photography and its evolution over the past decades, through a unique daily journal.
Subscribe for full access to The Eye of Photography! Thousands of images and articles, documenting the history of photography and its evolution over the past decades, through a unique daily journal.
Subscribe for full access to The Eye of Photography! Thousands of images and articles, documenting the history of photography and its evolution over the past decades, through a unique daily journal.
Roger Vulliez
Claude Nori 1975
Paris 1972 © Hervé GLoaguen
Basel. 1975 © Christian Kempf
Paris 1976 © Christian Sarramon
California. 1974 © Bernard Plossu
Xerography.1974 © Nicole Metayer
Dieppe 1977 © Pierre Legal
Eddie Kuligowski 1975
THE 70'S SUBVERSION by Coline Olsina
At the turn of the 1970s, a new generation energized photography. A laboratory for multiple, subversive experiments, this new photography drew its inspiration from the major currents of thought that were irrigating society, such as the new novel, psychoanalysis, sexual liberation and alternative culture. Essentially part of a European and North American dynamic, it emerged as a means of expression capable of questioning the problems of society while liberating the inner imaginations of those who practiced it.
It benefited from technological advances that allowed greater flexibility of use and opened up new horizons, apt for metamorphoses, fantastic transgressions, theatricality and formal obsessions. Creators questioned photography from within, seeking to understand its specificity or practicing it as a philosophy of life. Others within contemporary art questioned it, placing it at the center of their interest. A number of young reporters asserted their status as authors in their own right, expressing themselves in the revitalized press.
Photography gradually permeated the whole of society, revolutionizing all the arts. A new wave of passionate, inventive creators, with their own habits and meeting places, had their moment of ephemeral recognition, participating in their own way to make an artistic practice popular and accessible to the greatest number. Others, rarer still, built up a body of work that established them in a new market structured around galleries and museums.
In the space of ten years or so, photography became an ideal counterpoint to the elitism of art, and no doubt created the illusion of a practice accessible to all, to a popular, young and festive public that delighted the crowds, unlike contemporary art, which retained the image of an inaccessible art form.
This decade, which laid the foundations for photography as we know it today, has never been analyzed as a key moment in the history of French photography. The aim here is to restore the tone and freedom of the period, during which currents and diverse, often opposing tendencies exploded in a kind of free, creative fireworks display that has never been repeated.
Coline Olsina
  
WITH AND IN SPITE OF SCHOOL by Hervé le Goff
Most of them had been born into a new-found peace, and had grown up without always realizing that they and their respected elders were living through a rather prosperous period that would be remembered as the unique Trente Glorieuses. The turmoil of 1968 taught them that, with its age-old vertical structure, the transmission of knowledge deserved to be challenged, as did the regime of the Fifth Republic, tired by eleven years of a personal figure in power. Now grown-up, they surfed the wave of the 1968 European Spring, joined pop festivals, demonstrated against America's war in Vietnam, passed around texts by Wilhelm Reich and the Deleuze-Guattari duo, quoted Roland for Barthes, and followed a fashion that imposed long hair for boys, tunics and pearls for girls, velvet and flowers for all. They also heard the discourse of an open and happy sexuality, radicalized by the arrival of the Front homosexuel d'action révolutionnaire and its Thursday night general assemblies at the Ecole des Beaux-Arts. In short, they were part of this decade of all possibilities, driven by pop culture, lulled by vinyl LPs with the delirious sleeves of bands listened to in a loop on the scent of sandalwood and patchouli, sometimes on the way down from a trip, founded on the ever-reborn idea of the emancipation of the old world, which then only feared the nuclear apocalypse of a cold war, the symptoms of cancer or the punishment of syphilis.
In the midst of this existential effervescence, which resembled revenge on the hold of schools, families and modesty, photography was being introduced to a young public, certainly sensitive to the work of masters such as Cartier-Bresson and Doisneau, But it was also attracting new models from fashion studios, war reporting and the celebrity press, from a whole pantheon of still images that included the ineffable David Hemmings, improvised voyeur photographer in Antonioni's Blow Up. Gone were the expert silhouettes of the father with the tripod or the uncle at the controls of the Kodak Vest Pocket with bellows: the arrival of Japanese cameras, an affordable alternative to the expensive German production of Zeiss and Leica, fulfilled the desire of a younger generation to seize photography as a means of self-expression and even existence, without always knowing that their Nikon or Canon was awakening them, forty years later and in a different way, the impetus of the new photography, with its new masters, most of them from Eastern Europe, stimulated by the opening of dedicated galleries and the emergence of a specialized press, and which, in its time, closed pictorialism on its albums. The return of photography, which unashamedly rubbed shoulders with painting and cinema, saw the emergence of its own magazines: following the success of Editions Filipacchi's Photo, Photo Magazine, Zoom, Photo Reporter and Contrejour joined the monthly Le Photographe, which had been published for sixty years, since its creation in 1910 by publisher Paul Montel.
Hervé le Goff
 
70′ NEW FRENCH PHOTOGRAPHY
Backlight
Carole Naggar, Coline Olsina, Hervé Le Goff and Claude Nori
Format: 24 x 31 cm
244 pages, hardcover
ISBN: 979-10-90294-52-3
Price : 40 euros
https://www.editions-contrejour.com/project/nouvelle-photographie-francaise-70/
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