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I like to travel routes unknown, not for snobbery or thirst for distinguish myself, but simply because i like to follow my thought and my instict in the wake of curiosity.


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AUTUMN IS COMING: FOTO/INDUSTRIA 2015! Are you ready for 14 incredible and compelling exhibitions of photography? Where? In BOLOGNA!

AUTUMN IS COMING: FOTO/INDUSTRIA 2015! Are you ready for 14 incredible and compelling exhibitions of photography? Where? In BOLOGNA!

Fourteen exhibitions in 12 locations and cultural landmarks of the city

Opening to the public: 3 October 2015 by MAST- BOLOGNA.

LC_land (3)

© David La Chapelle Land Scape

The theme of the second edition of FOTO/INDUSTRIA 2015 Biennale in Bologna, is focussed on the world of work in all its aspects and in particular on the industrial production chain from conception to recycling.
The Biennale, promoted by the MAST Foundation in collaboration with the Bologna Municipality under the artistic direction of François Hébel, includes 14 exhibitions that will be held during the month of October in eleven historical buildings in the city centre and at MAST.
FOTO/INDUSTRIA presents at MAST, under the direction of Urs Stahel, the finalists and winner of the fourth edition of the GD4PhotoArt competition, created to promote the work of young photographers on the subjects of industry, society, and territory and the Savina Palmieri Collection of industrial photography books.

I advice you and my favourites are:

DAVID LA CHAPELLE, New York, USA, LAND SCAPE : Pinacoteca Nazionale Via Belle Arti, 56

Famed fashion photographer turned artist David LaChapelle presents new works dealing with oil’s negative impact. He is known internationally for his exceptional talent in combining a unique hyper-realistic aesthetic with profound social messages. The famed photographer presents two new series of works: “Refineries” and “Gas Stations.” As their titles suggest, these projects deal with the petroleum industry, depicting the points of gasoline’s production and consumption, respectively.

EDWARD BURTINSKY, Toronto, Canada, MANUFACTURED LANDSCAPE, Palazzo Pepoli Campogrande, Via Castiglione , 7

Burtinsky (2)

© Edward Burtynsky

Nature transformed through industry is a predominant theme in my work. I set course to intersect with a contemporary view of the great ages of man; from stone, to minerals, oil, transportation, silicon, and so on. To make these ideas visible I search for subjects that are rich in detail and scale yet open in their meaning. Recycling yards, mine tailings, quarries and refineries are all places that are outside of our normal experience, yet we partake of their output on a daily basis.

These images are meant as metaphors to the dilemma of our modern existence; they search for a dialogue between attraction and repulsion, seduction and fear. We are drawn by desire – a chance at good living, yet we are consciously or unconsciously aware that the world is suffering for our success. Our dependence on nature to provide the materials for our consumption and our concern for the health of our planet sets us into an uneasy contradiction. For me, these images function as reflecting pools of our times.” Edward Burtynsky

HEIN GORNY, Berlin, Germany, NEW OBJECTIVITY AND INDUSTRY PRODUCTS AND IMAGE DESIGN 1920s-1930s IN GERMANY Exhibition co-produced by Collection Regard and Foto/Industria 2015, Genus Bononiae, Museo della Storia di Bologna, Via Castiglione, 8

© Hein Gorny, Berlin, Collection Regard

© Hein Gorny, Berlin, Collection Regard

In the 1930s Hein Gorny was a respected and successful commercial photographer. His joyful image of a woman throwing her child into the air, and poised to catch it, was used in a major advertising campaign for the German National Railway. But when the Reichsbahn discovered that the woman in the photo was a Jew – as well as Gorny’s wife – he was accused of ridiculing the railway. He was told to divorce the woman if he wished to continue as their photographer. When he refused all commissions from German companies and institutions stopped. He had to make a living by taking portraits of horses and dogs.

For years Gorny and Byers’ photographs were considered lost, until they were discovered and published by the Berlin-based Collection Regard. Marc Barbey, a Parisian economist, collector and owner of both gallery and imprint, works to rediscover once-renowned photographers and photo artists who have since faded from memory. He considers Berlin the perfect city for his collection

GIANNI BERENGO GARDIN, Milan, Italy MAN, WORK, MACHINE, Fondazione del Monte, Palazzo Paltroni, Via delle Donzelle, 2

LUCA CAMPIGOTTO, Milan, Italy THE POETRY OF THE GIANTS, Spazio Carbonesi, Via de’ Carbonesi, 11

 

© Campigotto

© Campigotto

List of other exhibitions:

Neal Slavin, New York, USA GROUP PORTRAITS, Spazio Carbonesi ,Via de’ Carbonesi, 11

O. Winston Link, New York, USA, NORFOLK AND WESTERN RAILWAYS, Fondazione Cassa di Risparmio in Bologna, Casa Saraceni, Via Farini, 15

Kathy Ryan, New York, USA OFFICE ROMANCE, Museo Internazionale e Biblioteca della Musica di Bologna, Strada Maggiore, 34

Hong Hao, Beijing, China “MY THINGS”, “BOTTOM” MAMbo, Museo d’Arte Moderna di Bologna, Via Don Minzoni, 14

Jason Sangik Noh, Seoul, South Korea, BIOGRAPHY OF CANCER, Villa delle Rose, Via Saragozza, 228/230

Léon Gimpel, Paris, France, ILLUMINATIONS, An exhibition proposed by Société française de photographie, Museo di Palazzo Poggi, Via Zamboni, 33

Marc Roig Blesa, Netherlands/Spain – Raphaël Dallaporta, France – Madhuban Mitra and Manas Bhattacharya, India –

Óscar Monzón, Spain GD4PHOTOART COMPETITION FINALISTS, MAST.Gallery, Via Speranza, 42

FROM ALBUMS TO PHOTOBOOKS ITALIAN INDUSTRY IN 120 VOLUMES SAVINA PALMIERI COLLECTION
MAST.Gallery , Via Speranza, 42


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From GERMAN to EMILIA LAND: EMIL OTTO HOPPE’ “UNVEILING SECRET”. WORLD PREMIERE of Industrial landscape’s photos by Emil Otto Hoppé at the MAST BOLOGNA.

From GERMAN to EMILIA LAND: EMIL OTTO HOPPE’ “UNVEILING SECRET”. WORLD PREMIERE of Industrial landscape’s photos by Emil Otto Hoppé at the MAST BOLOGNA.


Mast gallery “ Emil Otto Hoppé il segreto svelato/unveiling a secret”,
21 january – 3 may 2015, Bologna (Italy), free enter.

To picture the rhythm and design of very ordinary, everyday things, which ninety-nine persons out of every hundred are probably passing every hour of every day without noticing them, because they are so familiar with them that they would consider it a sheer waste of time to give them a second glance. It is one of the chief delights of photography that it creates a spirit of adventure and sharpens the powers of observation. So many people miss the significance of little things and are therefore robbed of a fundamental key to beauty”. -E.O. Hoppe’

Skeleton of Graf Zeppelin, Friedrichshafen, 1928.

Skeleton of Graf Zeppelin, Friedrichshafen, 1928. © The E.O. Hoppé Estate|Curatorial Assistance, Inc

I’ m so proud to talk about this philanthropic emilian foundation that is excellence in the cultural world and offers some of the most interesting exhibitions of photography.

After exhibiting the David Lynch photographs, the FONDAZIONE MAST (Arts, Experience, Technology) is opening a new exhibition in its Gallery, curated by Urs Stahel, and dedicated to EMIL Otto Hoppé (1878-1972), with over 200 works on industry and labour, taken between 1912 and 1937.
Like his contemporaries Alfred Stieglitz, Edward Steichen, Walker Evans, August Sander, and Edward Weston,
Hoppé was one of the most important photographers of his era, also famous for his landscape and travel images.

In the twenties and thirties, after having consolidated his reputation as a topographic and portrait photographer depicting famous European artists, scientists and politicians like George Bernard Shaw, Ezra Pound, T.S. Eliot, Rudyard Kipling, George V, Vita Sackville-West, Filippo Tommaso Marinetti, and Albert Einstein, E. O. Hoppé set off on his travels to capture the romance and grandeur of industrial sites around the world.

During his explorations – in Germany, Great Britain, the United States, India, Australia, New Zealand and other countries – he photographed the futuristic industrial landscape, seeing its gargantuan machinery as both technology and art. Hoppé was acutely aware of how contemporary industrial technology was heralding the world into a new era where the very nature of work and production would profoundly change.

Emil Otto Hoppé: Unveiling a secret presents for the first time his iconic images of the second industrial revolution and brings Hoppé’s work to the attention of the public.

Camell Laird's Yards, The Midlands, c.1926.

Camell Laird’s Yards, The Midlands, c.1926.© The E.O. Hoppé Estate|Curatorial Assistance, Inc

This work had remained hidden for a long time in the London photographic archives which had purchased fifty years of works from the artist himself at the end of his long and prestigious career.
Alongside
Hoppé’s industrial photography on show, in the area dedicated to “side events”, MAST will exhibit the rich variety of subject matter in the artist’s repertoire with a series of digital projections of other themes from celebrity portraits to nudes and from human typologies to landscapes.

Emil Otto Hoppé was born on April 14th 1878 in Munich, where he received his initial schooling and drawing lessons from the watercolorist, Hans von Bartels (1856-1913).
In 1897, after two years compulsory service in the Army, Hoppé followed his father into banking but he also travelled to Paris and Vienna to study painting and portrait photography. In 1900 Hoppé moved to London to work at the Deutsche Bank and Lombards and in 1903 met British photographer John Cimon Warburg (1867-1931) who demonstrated the artistic possibilities of photography to him.
Inspired by Warburg he acquired his first camera, a Goertz-Anschutz model, and the same year was admitted as a member of the Royal Photographic Society where, over the next four years, he regularly exhibited his amateur photographic works. In this same year Hoppé was also associated with The Linked Ring Brotherhood with fellow members, Alvin Langdon Coburn (1882-1966), Henry Peach Robinson (1830-1901) and George Davidson (1854-1930), who played an important role in international art photography, maintaining close ties with continental and American groups including the Vienna Camera Club and the Photo-Secession, New York.

Modern Gasometer, Fulham, London 1925.

Modern Gasometer, Fulham, London 1925.© The E.O. Hoppé Estate|Curatorial Assistance, Inc

Hoppé also contributed reviews, illustrations and photographs to various established magazines of the time including ‘The Bookman’ and around 1917 he became one of the founding members of ‘The Plough’ theatre club in London, a group who specialised in producing plays that had previously not been performed in Britain where Hoppé designed some of the stage sets. By this time Hoppé was one of the most sought after portrait photographers of the time and is reported to have made over 600 portraits during one year. In 1922, a highlight of Hoppé’s career was a large one-man exhibition consisting of 221 prints at the Goupil Gallery, London, for which he was widely celebrated. Prior to this, in 1918 Hoppé made his first visit to New York where he photographed modernist cityscapes and made portraits of “street types.”

In 1921 Hoppé returned to New York to open a studio on West 57th Street and was celebrated that year by a major exhibition of his work at the famous Wannamaker Gallery and with the publication of his “The Book of Beautiful Woman.”

The publicity garnered by Hoppé at this time made him more famous in the United States and elsewhere than the one we now point to as the champion of photographic art, Alfred Stieglitz.From this time on, and using London as his base, Hoppé travelled to many different countries throughout the world for the purpose of making a comprehensive photographic portrait of each as the subject of his many photographically illustrated books that he published over the next decades.

Sydney Harbour Bridge from the North Side, Australia, 1930

Sydney Harbour Bridge from the North Side, Australia, 1930, © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Many of Hoppé’s titles were made for the Orbis Terrarum series of books that were beautifully printed in the gravure process. Countries photographed by Hoppé include Romania, North America, Cuba, Jamaica, the West Indies, United Kingdom, Germany, India, Ceylon, Australia, New Zealand, Indonesia, Singapore, Malaya, Africa, Bavaria, Poland, and Czechoslovakia.

His subjects in each country include the natural and man-made landscape and people. A favourite subject of Hoppé is large-scale industrial machinery found in factories, shipyards and steel mills where he is less interested in the subject’s function as he is in its artistic potential for abstraction. In this sense Hoppé’s photographs of the 1920s anticipate the work of Bernd (1931-2007) , Hilla (1934- ) and Albert Renger-Patzsch (1897-1966).

In the late 1920’s whilst travelling, Hoppé continued with some photographic work in Germany for the UFA studios (Universum Film AG ) which included photographs of Fritz Lang, Conrad Veidt, Victor McLaglen, Brigitte Helm, Mona Maris, Erich Pommer, Lilian Harvey and many more, as well as production stills of Marlene Dietrich and Anna May Wong.

Then thanks to MAST you will have the opportunity to discover this enormous artist, although unknown to date.

View from the Delaware Bridge, Wilmington, 1926

View from the Delaware Bridge, Wilmington, 1926 © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Industrial Docks on the Thames.

Industrial Docks on the Thames, © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Hosch Steelworks, 1928.

Hosch Steelworks, 1928. © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Power Station, Sydney Harbour, 1930

Power Station, Sydney Harbour, 1930 © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Girl and lamp post Frankfurt am Main, 1928.

Girl and lamp post Frankfurt am Main, 1928. © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Ford Factory, Detroit, Michigan2, 1926.

Ford Factory, Detroit, Michigan2, 1926. © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Ford Factory, Detroit, Michigan, 1926

Ford Factory, Detroit, Michigan, 1926 © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Crane on London Docks, London

Crane on London Docks, London © The E.O. Hoppé Estate|Curatorial Assistance, Inc

03_Rotary_Kilns_Under_Construction_in_the_Boiler_Shop_-_Vickers_Armstrong_Steel_Foundry_-_Tyneside_590-490

Rotary Kilns Under Construction in the Boiler © The E.O. Hoppé Estate|Curatorial Assistance, Inc

Delaware Bridge, Philadelphia, Pennsylvania, USA, 1926

Delaware Bridge, Philadelphia, Pennsylvania, USA, 1926 © The E.O. Hoppé Estate|Curatorial Assistance, Inc

 

 

 


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The World c. 1914. Colour Photography Before the Great War at the MARTIN-GROPIUS BAU

1897700_841313702566188_4004090231990996226_nLovers of photography get down to Martin – Gropius Bau Berlin to see an extraordinary collection of pre-1914 coloured photographs from around the world.
Photography for my creative work is the first source of inspiration and especially a lover of travel liek me, I’m happy to recommend this exhibition.

In commemoration of the outbreak of the First World War, the Martin-Gropius-Bau is presenting an exhibition entitled The World ca. 1914 – Colour Photography Before the Great War, which features nearly forgotten colour photographs and films commissioned by the French banker Albert Kahn (1860-1940) before the First World War.
As the nations of Europe were already arming themselves for battle, Kahn, who was excited by the Lumière Brothers’ colour photography process, dispatched photographers out into the world to develop a unique photo archive. Over 70,000 colour photos have survived in this collection.
They represent an immense ethnographic treasure and were also intended to perform a mission of peace: Bringing the outside world closer to home. Kahn’s activities were intended to help secure the fragile peace. The exhibition brings this treasure trove of images from a long forgotten world to light.
For Albert Kahn, knowledge of peoples, buildings, landscapes and lifestyles was directly related to his desire for global peace: People who know and respect one another, and who encounter one another face to face, do not need to wage war.mongolei__ulaanbaatar._der_finanzminister_des_unabhaengigen_staats_mongolei_auf_dem_marktplatz__stephane_passet__22._juli_1913
In 1908/09, excited by the new autochrome process of the brothers August and Louis Lumière, Kahn commissioned his photographers to document the world with the goal of assembling an archive of colour photographs from Europe, Asia and Africa. They photographed local scenes and people in typical clothing as well as monuments of cultural history.
From this global treasure trove, more than 160 images have been selected for this exhibition. The autochromes from the Kahn archive form the centrepiece. The exhibition also displays images and projections by Adolf Miethe (1862 – 1927) and Sergei M. Prokudin-Gorskii (1863 – 1944).
mgb14_welt_1914_01_buddhistischer_lama_media_gallery_resAdolf Miethe, the inventor of a panchromatic film-coating process and thus the creator of three-colour printing, played a significant role in the development of colour photography. His presentation before the Kaiser led to a commission to create a colour documentation of German landscapes for the St. Louis World’s Fair. His work also enjoyed great popularity as collectible pictures sold with chocolate bars. This resulted in the “Stollwerck Album” – Germany’s first coloured photographic album.

Moreover, the Miethe Process inspired the Russian photographer Sergei Mikhailovich Prokudin-Gorskii. His work is present in the form of approximately twenty-five colour prints and fifty projected photos. A special item is on loan from the German Museum in Munich: The original projector with which Sergei Prokudin-Gorskii exhibited his work to Nicholas II, the last tsar. In 1909, as a result of this presentation, Prokudin-Gorskii received a commission to record the Russian Empire in 10,000 photos. Between 1909 and 1915, Gorskii made several thousand photographs of great brilliance. He documented the cultural diversity of the tsarist empire from the Crimean Peninsula to Siberia.

 

Organizer Berliner Festspiele. A cooperation project of LVR-LandesMuseums Bonn and Gropius-Bau, Berlin.
As part of the European Month of Photography Berlin
The Martin-Gropius-Bau is funded by the Federal Government Commissioner for Culture and the Media
Partners WALL, BTM-Visit Berlin, Bouvet Ladubay, xm:lab – Experimental Media Lab, Hochschule der Bildenden Künste Saar
Media partners inforadio, Tagesspiegel, zitty, Exberliner, Berline Poche, Cicero, fotoforum, G / Geschichte, Business & Diplomacy
Information: 1 August to 2 November 2014

Opening hours
WED to MON 10:00 to 19:00
TUE closed
Information about the book: http://www.hatjecantz.de/1914-welt-in-farbe-5673-0.html

oesterreich__wien__judengasse__fotograf_unbekannt__23._april_1913 10454458_841313645899527_4381001926848386966_n 1901316_841313632566195_6654192495312873559_n irland__galway__marguerite_mespoulet__26._mai_1913 indien__uttar_pradesh__agra._mausoleum_taj_mahal_von_shah_jahan_fuer_mumtaz_mahal__stephane_passet__19.-21._januar_1914 indien__amritsar._marmorne_strasse_zum_goldenden_tempel__neben_den_rituellen_reinigungsbecken__dem_darbar_sahib_und_dem_hari_mandir__stephane_passet__15._januar_1914

 

 


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BERLIN LOCATION as SCENOGRAPHY for a great Photographer: ERWIN OLAF

The famous fashion and advertising photographer Erwin Olaf chose Berlin as set design for this latest series, interacting with the city spaces and architecture.

Into his pictures you can see thecapacity of capturing solitude, remorse and sadness in his sumptuous compositions.

Berlin, Fechthalle Westend – © Erwin Olaf

 When I saw for example  this photo for the first time, set at the Berlin Fechthalle in Westend, I seem to see the the loneliness of harlequins by Pablo Picasso of his Blue period. Character seem quite so hopelessly cut off from the rest of the world here as in the paintings of the Blue Period.

Then all his work as you can find also the study of light that recalls the Nordic and Flemish painting.

 Amongthe locations used for this series: Clärchens Ballhaus Mitte, Stadtbad Neukölln, Rathaus Schöneberg, Altes Stadthaus Mitte, Olympia Stadion Westend, Freimaurer Loge Dahlem.

8_'Berlin, Olympia Stadion Westend' - 25th of April, 2012853

Berlin, Olympia Stadion Westend – © Erwin Olaf

7_'Berlin, Freimaurer Loge Dahlem' - 22nd of April, 2012841

Berlin, Freimaurer Loge Dahlem – © Erwin Olaf

6_'Berlin, Olympia Stadion Westend, Selbstporträt' - 25th of April, 2012854

Berlin, Olympia Stadion Westend, Selbstporträt – © Erwin Olaf

4_'Berlin, Altes Stadthaus Mitte' - 8th of July, 2012852

Berlin, Altes Stadthaus Mitte – © Erwin Olaf

3'_Berlin, Rathaus Schöneberg' - 9th of July, 2012864

Berlin, Rathaus Schöneberg – © Erwin Olaf

2_'Berlin, Stadtbad Neukölln' - 23rd of April, 2012844

Berlin, Stadtbad Neukölln – © Erwin Olaf

1_'Berlin, Clärchens Ballhaus Mitte' - 10th of July, 2012847

Berlin, Clärchens Ballhaus Mitte – © Erwin Olaf


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UNRWA Photo Exhibition: “The Long Journey”

An exhibition, entitled the Long Journey, has opened in the Old City of Jerusalem, some months ago. This spring will be in Rome.

The United Nations Relief and Works Agency (UNRWA) is proud to unveil the first part of its newly digitized archive, which consists of over half a million negatives, prints, slides, films and videocassettes covering all aspects of the life and history of Palestine refugees from 1948 to the present day.

The audiovisual history of the Palestine refugees has now been made available in the modern media era through the digitization of the United Nations relief and works agency for Palestinian refugees (UNRWA) film and photo archive.

The first group of iconic photographs and films are part of an exhibition, ‘The Long Journey’, which opens on 28 November at the Al-Ma’mal Centre in the Old City of Jerusalem. The archive was inscribed on the UNESCO ‘Memory of the World’ register, which includes collections of outstanding cultural and historical significance.

Describing the exhibition, UNRWA Commissioner-General Filippo Grandi said: “Collective memory is a vital element of communal identity and this rich archive documents one element of Palestinian identity, the refugee experience. But for us it was an urgent technical matter, as we needed to do something with our rich collection, which was literally decaying. Digitization was the only option for preservation and I am grateful to the Welfare Association, Bank of Palestine, PADICO, Wataniya and PalTel, as well as to the Governments of France and Denmark, for making this possible.”

One of the Agency’s leading early photographers, George Nehmeh, played a large part in the preparation for this ambitious project. In a short documentary made on the digitization, he revisits people and sites he had before his camera in his 40 years with UNRWA. “Through over six decades, in times of war and peace, through hope and despair, UNRWA photographers were there to capture individual emotions and communal dynamics. Each frame is a snapshot of a history that is indelibly part of the Middle East”, Mr. Nehmeh said.

UNRWA is also launching a website, http://archive.unrwa.org/, where the 1,948 images will be available to media, academics, writers and others who wish to study, explore or just have a window into the world of Palestine refugees from 1948 to the present day.

nahrelbaredNahr El-Bared, the first Palestinian refugee camp after 1948 (photo: UNRWA Archive/S. Madver)

 fussballspielenimhusoncampjordanien1977Palestinian children playing football in the Huson Camp,Jordan, 1977 (photo: UNRWA Archive/M. Nasr)

schulefluechtlingslagerdamia

A school in the Damia refugee camp in eastern Jordan, closed in 1968 (photo: UNRWA Archive)


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David Lynch PHOTOGRAPHER

Lolarge_Lynch_4_52d7c395bc0d7vers of photography and movie an unforgettable exposition for you! “David Lynch PHOTOGRAPHER , Brooding images of derelict factories”, at the Photographers’ Gallery In London.

Many directors have spent their time as photographers (ex. stanley kubrick). Nevertheless I think the photography  for a filmmaker is the most important art as inspiration. The study of light, perspective, geometry, composition are the soul of the shot.

Throughout Lynch’s career he has sought out and taken black-and-white pictures of empty and derelict industrial sites in Europe and America. Shot in Berlin, Poland, New York, New Jersey, and England from 1980 to 2000, these 80 black-and-white images depict desolate industrial landscapes without a human soul in sight.

“I’ve always been interested in decay. “I love industry. Pipes. I love fluid and smoke. I love man-made things. I like to see people hard at work, and I like to see sludge and man-made waste.” says David Lynch.

Information: The Factory Photographs will be on show at The Photographers’ Gallery from 17 January 2014 until 30 March 2014.

http://www.thephotographersgallery.org.uk/

The Photographers’ Gallery, 16 – 18 Ramillies St, London W1F 7LW

+44 (020) 7087 9300  info@tpg.org.uk

Mon – Sat 10.00 – 18.00, Thu 10.00 – 20.00, Sun 11.30 – 18.00

_1__Press_Image_l_David_Lynch_2c_Untitled__Lodz__2c_2000_52d654ca5580e© David Lynch, Untitled (Lodz), 2000

david-lych-chimney_2792096b© David Lynch,  Untitled (England), late 1980s early 1990s

large__3__Press_Image_l_David_Lynch__Untitled__England___late_1980s_early_1990s_52cd5b418f327© David Lynch, Untitled (England), late 1980s early 1990s

3025449-slide-s-lynch-12

© David Lynch, An abandoned factory in Los Angeles in 1980.