A new book of images by the late Guy Bourdin (1928-1991) presents the French photographer provocateur as he’s never been seen before. Untouched, published by Steidl, brings together early black and white photographs taken between 1950 and 1955. The photographs were conceived for an unrealised exhibition series, and were taken before he embarked on the three-decade long relationship with Vogue Paris that he is best known for – and that would transform the language of fashion photography in the 20th century
Studio 54 started and ended with a bang. The legendary nightclub fired onto New York’s burgeoning club scene in 1974, raged for seven years, before plunging into scandal with the rising dawn of the 1980s.
Billed, without any sense of the hyperbole, as a lifestyle house, Sans Pere may well be the ultimate expression of the sharing economy. Multitasking is the order of the day here, as London-based Atelier Baulier studio harnesses cool grey stone, polished concrete and clerestoried windows to skilfully divide the lofty open-plan space in London’s Shoreditch neighbourhood into a series of monochromatic room-sets modelled on a kitchen, sitting room and study.
What do William Eggleston, Diane Arbus and Stephen Shore have in common? A flair for recording the most dire political times in America, according to Nottingham Contemporary’s exhibition, ‘States of America’. The exhibition examines a crucial generation of photographers that experimented with ingenious approaches to documentary photography over three decades, from the Civil Rights movement in the 1960s and 70s to the Reagan Era.
Two women artists who have inspired one another present their work side by side at Gallery 286 this month.
The Frieze Academy’s Art & Architecture Conference kicked off outside of the Frieze London tent in the more sedate environment of the Royal Institution, Mayfair. This year’s theme ‘Designing spaces to show, make and live with art’ focused on how architecture has shaped the cultural landscape
Four years ago, Mark Adams, managing director of UK-based furniture brand Vitsœ, sent a request to his customers. ‘While I have met many of you as I have planned your shelves or worked with you over the last 27 years, I have not met everyone who is reading this letter,’ it began. ‘You are reading this because so many of you have kindly said over those years, “Just let me know if I could ever do anything to support Vitsœ.” That day has arrived.’ Adams was seeking support for an ambitious move that would take the company’s HQ and production facility from what was essentially a ‘tin shed’ in Camden to a state-of-the-art factory 96 miles away, in the Warwickshire town of Leamington Spa.