La Martinique 1er Janvier 1972 André Kertész Gelatin silver print / Épreuve gélatino-argentique Tirage d'époque 20,1 x 25,2 cm Courtesy Attila Pocze, Vintage Galéria, Budapest

La Martinique 1er Janvier 1972 André Kertész Gelatin silver print / Épreuve gélatino-argentique Tirage d'époque 20,1 x 25,2 cm Courtesy Attila Pocze, Vintage Galéria, Budapest

Le Nuage égaré New York, 1937 André Kertész Épreuve gélatino-argentique, tirée dans les années 1970 25,2 x 20,3 cm Courtesy Sarah Morthland Gallery, New York

Le Nuage égaré New York, 1937 André Kertész Épreuve gélatino-argentique, tirée dans les années 1970 25,2 x 20,3 cm Courtesy Sarah Morthland Gallery, New York

La Plaque cassée

La Plaque cassée

There has never been a proper retrospective of the work of André Kertész (Budapest, 1894–New York, 1985) in Europe, even though he donated all his negatives to the French state. And yet he is one of the most important photographers of the 20th century, both for the richness of his body of work and for the sheer longevity of his career.  For the first time, this show will bring together a sizeable ensemble of prints and original documents covering the different periods of Kertész’s life and…

There has never been a proper retrospective of the work of André Kertész (Budapest, 1894–New York, 1985) in Europe, even though he donated all his negatives to the French state. And yet he is one of the most important photographers of the 20th century, both for the richness of his body of work and for the sheer longevity of his career. For the first time, this show will bring together a sizeable ensemble of prints and original documents covering the different periods of Kertész’s life and…

Braindance Is A Way Of Life: February 2012

Braindance Is A Way Of Life: February 2012

Distortions by Andre Kertesz – PHOCUS

Distortions by Andre Kertesz – PHOCUS

In response to his photographic study, ‘Distortions’, rather than pontificating about the arbitrary nature of the photograph’s objectivity, Andre Kertesz simply remarks, “One can give what explanations one wishes of this work; all I can say is that making them was very exciting, very amusing.”

In response to his photographic study, ‘Distortions’, rather than pontificating about the arbitrary nature of the photograph’s objectivity, Andre Kertesz simply remarks, “One can give what explanations one wishes of this work; all I can say is that making them was very exciting, very amusing.”

Andre Kertesz, Nude Distortion No. 49, 1933

Andre Kertesz, Nude Distortion No. 49, 1933

Andre Kertesz, Nude Distortion No. 52, Paris, 1933

Andre Kertesz, Nude Distortion No. 52, Paris, 1933

Andre Kertesz, Distortion, c. 1933

Andre Kertesz, Distortion, c. 1933

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