With a profession spanning over six many years, photographer James Barnor is a famend determine within the historical past of pictures. The Ghanian inventive’s lenses have witnessed and immortalised essential societal occasions. In his house nation, Ghana, his studio in Accra was the place black and white portraits had been taken in opposition to the backdrop of a nation making ready to say its sovereignty.
Moreover being a portraitist, Barnor was a photojournalist and photographed outstanding figures similar to Kwame Nkrumah, Ghana’s first chief following its independence; Princess Marina, Duchess of Kent; and Vice-President Richard Nixon amongst others. Within the 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, inventive director Anthony Vaccarello invitations Barnor to showcase a collection of images with the help of Galerie Clémentine de La Féronnière.
These photographs, in black and white and colors, function symbols of a vivid and engaging Afro-modernism and provide an sudden window right into a strikingly modern and delightful visible world. About 20 images can be exhibited in both of the Saint Laurent Droite areas similar to “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 varied subjects. From the previous’s first steps into pictures, his tackle vogue imaging, his strategy to black and white versus color movie, and the significance of passing data to future generations, the duo’s dialog might be watched under.
Like Barnor, Addy is a Ghanaian-born British photographer. Addy, born in 1999, acknowledged James as his ethical and inventive position mannequin. Their connection is mutually enriching, and a stupendous instance of the generational dialogue Barnor so poetically describes.
For extra artwork reads, click on right here.