This part of the exhibition, The Color Processes, is devoted to an entire room. It includes the direct positives, the color prints “matrix” and an extensive selection that illustrates the different processes used to make photochemical and digital prints.

To illustrate the direct positives, we will find a very rare autochrome by Man Ray next to the one made by Laure Albin-Guillot. The color diapositive is illustrated by an image by Henry Clark, a Polaroid or instant photography through the images of Lucas Samaras and Paolo Gioli.

As color print matrix, the curator chose the “ektachromes” by Rhona Bitner, the color negatives by Brion Gysin, the digital files from the Fact Collective and the internet matrix by Joan Fontcuberta.

For the photochemical and digital processes, we find the development “chromogène” illustrated by a monochrome print by Yves Trémorin and a color print by David Hockney. The print made through destruction of colorants (cibachrome et ilfochrome) with a large print by Stéphane Couturier. And the prints by Harry Gruyaert, one in this process, the other in Dye Transfer in order to be capable of admiring the differences. Two more “Dye” by Harold E. Edgerton and Irving Penn complete the representation of this process.

Concerning the chapter of pigment color prints, we find the Fresson and Ataraxia processes, illustrated respectively by images by Bernard Faucon and Bianca Sforni.

The prints called “ink jet” are illustrated by a print by George Rousse on barite paper from an ektachrome. And by a large photogram by Adam Fuss on pure cotton paper.

In a last section Anne Cartier-Bresson had intended to illustrate the passage towards other visual languages announcing in a certain way the extinction of a traditional image form. That is how Andreas Müller Pohle in the series “digital scores” revisits the famous image by Nicéphore Nièpce “Le point de vue sur le Gras” (1816) transcribing it in alphanumeric language.

On its side, Semi-conductor influences on a fixed image transforming it through sound flows that render it moving. These variation are saved on video and viewed on a screen.
 

On Thursday May 26th at 6 PM the exhibition presentation by Anne Cartier-Bresson, exhibition curator, accompanied by a keynote speaker.
 
References

“L’objet photographique, une invention permanente”
Actes Sud Editions, “Photo Poche” Collection Text by Anne Cartier-Bresson and Françoise Ploye, 208 pages. On sale end of April 2011.
 
“Le vocabulaire Technique de la Photographie” under the direction of Anne Cartier-Bresson Marval/Paris-Musées,  496 pages 245×290mm
 
Bernard Perrine
Bernard.Perrine1@orange.fr
 
  
“L’Objet Photographique, Une invention permanente”
April 20 – June 19, 2011
Maison Européenne de la Photographie
5-7 rue de Fourcy
75004 Paris