With a profession spanning over six a long time, photographer James Barnor is a famend determine within the historical past of pictures. The Ghanian artistic’s lenses have witnessed and immortalised vital societal occasions. In his dwelling nation, Ghana, his studio in Accra was the place black and white portraits had been taken towards the backdrop of a nation making ready to assert its sovereignty.
Apart from being a portraitist, Barnor was a photojournalist and photographed distinguished figures resembling Kwame Nkrumah, Ghana’s first chief following its independence; Princess Marina, Duchess of Kent; and Vice-President Richard Nixon amongst others. Within the Nineteen Sixties, Barnor relocated to London, the place he pursued future research in pictures and settled down, and through this era, he was additionally contributing to Drum journal. His contribution to the journal helped to reconceive the usual for the fragile illustration of Black magnificence, grace and magnificence.
At 93, he’s nonetheless younger at coronary heart and is concerned in pictures. For the brand new exhibition of Saint Laurent Rive Droite shops in Paris and Los Angeles, artistic director Anthony Vaccarello invitations Barnor to showcase a number of pictures with the assist of Galerie Clémentine de La Féronnière.
These photos, in black and white and colors, function symbols of a vivid and interesting Afro-modernism and provide an surprising window right into a strikingly up to date and delightful visible world. About 20 pictures can be exhibited in both of the Saint Laurent Droite places resembling “RUM MODEL”, “LONDON, C.1965-1966” or “DRUM COVER GIRL ERLIN IBRECK”, “KILBURN, LONDON,1966”. A listing of the exhibition can be accessible within the shops as properly.
Along with the exhibition, Barnor can be joined by fellow photographer Campbell Addy, and they’ll focus on numerous subjects. From the previous’s first steps into pictures, his tackle trend imaging, his strategy to black and white versus color movie, and the significance of passing information to future generations, the duo’s dialog could be watched beneath.
Like Barnor, Addy is a Ghanaian-born British photographer. Addy, born in 1999, acknowledged James as his ethical and creative function mannequin. Their connection is mutually enriching, and an attractive instance of the generational dialogue Barnor so poetically describes.
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