Bert Hardy (19 May 1913 — 3 July 1995) was a documentary and press photographer known for his work published in the Picture Post magazine between 1941 and 1957.

Bert Hardy rose from humble working class origins in Blackfriars, the eldest of seven children. He left school at age 14 to work for a chemist who also processed photos. His first big sale came when he photographed King George V and Queen Mary in a passing carriage, and sold 200 small prints of his best view of the King. Hardy freelanced for The Bicycle magazine, and bought his first small-format Leica 35 mm. He signed on with the General Photographic Agency as a photographer, then found his own freelance firm Criterion.

In 1938 Hardy became one of the first photographers to use a Leica 35mm camera. After working as a freelance until being recruited by Tom Hopkinson, the editor of Picture Post. Hardy became famous for his photographs of the Blitz .

Maidens in Waiting, Blackpool, 1951 (Bert Hardy/Getty)

Having written an article for amateur photographers suggesting that you didn’t need an expensive camera to take good pictures, Hardy staged a carefully posed photograph of two young women sitting on railings above a breezy Blackpool promenade using a Box Brownie in 1951, a photograph which has since become an iconic image of post-war Britain

Chelsea Party 1952

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 British sailors taking shore leave on Gibraltar visit the Suiza Bar to watch a Spanish dancer perform. (Bert Hardy/Getty)

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Wedding Procession -Queen Elizabeth

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Hardy’s work in the Gorbals area of Glasgow was particularly poignant and reflected his working class origins,as well as his sharp eye.

Children in the Gorbals, Glasgow, 1948

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Gorbals 1948

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Gorbals 1948

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Gorbal’s dogs 1948

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He photographed other street scenes in other cities…

Children in the East End of London after the Blitz 1946

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Sending children off to the countryside from war ravaged London (Paddington station) 1942

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Young evacuee on train 1942    © Hulton-Deutsch Collection/CORBIS

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Parson French searching for clothes with a child who was not sent out of London during the war.1940

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‘Millions like her…’  Birmingham 1951

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Choosing buttons Piccadilly 1953

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Too many spivs? 1954

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More pics in Bert Hardy…2…coming soon.

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In the mean time -check out this vid

“The designation of International Jazz Day is intended to bring together communities, schools and other groups the world over to celebrate and learn more about the art of jazz, its roots and its impact, and to highlight its important role as a means of communication that transcends differences.”

Main Jazz Day Events hosted by Turkey in Istanbul

Spurred by the success of the first celebration, UNESCO, in partnership with the Thelonious Monk Institute of Jazz (TMIJ) will be organizing the second International Jazz Day on April 30th, 2013. This day is destined to raise awareness in the international community regarding jazz’s virtues as an educational tool, as a vehicle for peace, unity, dialogue, and for enhanced cooperation between peoples.

The year 2013 marks the beginning of the International Decade for People of African Descent, consecrated to the theme, “Recognition, justice and development for people of African heritage.” This constitutes yet another highlight of the event that the United Nations will surely support. Africa, whence jazz draws its origins, will thus be doubly honoured this year.

Istanbul will be the official host city for 2013. Turkey has an age-old tradition of jazz.  Munir Ertegun, Turkish Republic’s first ambassador to Washington in the 1930s, opened his embassy’s parlors to African American jazz musicians, who gathered there to play freely in a socio-historical context which was deeply divided by racial segregation at the time. Inspired by this legacy, the ambassador’s sons, Ahmet and Nesuhi, went on to establish the United States’ first jazz and gospel label in 1947 – Atlantic Records – which was seminal in spreading the beauty of jazz music around the world.

In April 2012, UNESCO Goodwill Ambassador Herbie Hancock and TMIJ spearheaded and organized the historical events which took place around the world where  jazz legends gathered together for key events at UNESCO’s Headquarters in Paris, at the United Nations’ Headquarters in New York, as well as at the emblematic Congo Square in New Orleans. From Algiers to Buenos Aires, from Kuala Lumpur to Warsaw, from Lomé to Santo Domingo, more than a hundred countries celebrated this day.

Herbie Hancock (the UNESCO Goodwill Ambassador for Intercultural Dialogue) described International Jazz Day as “a means to highlight, support, and leverage the unifying attributes of music through worldwide celebratory events”. Hancock headlines the event and along with Wayne Shorter will kick off Jazz Day with an early morning performance in Istanbul, followed by the evening concert itself at Hagia Irene.

- See more at: http://www.unesco.org/new/en/jazz-day#sthash.Ajc0Rn0T.dpufMain Jazz Day Events hosted by Turkey in Istanbul

NOTE: It is still hoped that there will be an International Blues Music Day…soon!

http://www.

Let’s start exploring  the life and works of this great Blues giant ( and of course , physically as an ex-boxer, he was quite a giant!).

William James ”Willie“ Dixon (July 1, 1915 – January 29, 1992) was an American blues musician, vocalist, songwriter, arranger and record producer. A Grammy Award winner who was proficient on both the upright bass and the guitar and as a vocalist, Dixon is perhaps best known as one of the most prolific songwriters of his time.

He is recognized as one of the founders of the Chicago blues sound. Dixon’s songs have been recorded by countless musicians in many genres as well as by various ensembles in which he participated. A short list of the man’s most famous compositions includes “Little Red Rooster”, “Hoochie Coochie Man”, “Evil”, “Spoonful”, “Back Door Man”, “I Just Want to Make Love to You”, “I Ain’t Superstitious”, “My Babe”, “Wang Dang Doodle”, “You Shook Me”, and “Bring It On Home”. These tunes were written during the peak of Chess Records, 1950–1965, and performed by Muddy Waters, Howlin’ Wolf, and Little Walter, influencing a worldwide generation of musicians.

Lets start with  I am the Blues

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One of the great exponents of Willie’s songs and band leader,Muddy Waters (McKinley Morganfield):

Hoochie Coochie Man:

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and those who were greatly influenced -Eric Clapton, with the just as great, Buddy Guy

Then Spoonful :

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and to illustrate who he influenced-

Ten Years After :

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an interview with Willie Dixon -with a focus on Muddy Water’s harp players:

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Willie Dixon wrote many songs which Howling Wolf recorded, such as  EVIL

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and those who were influenced such as  Captain Beefheart :

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and Little Red Rooster by the Wolf:

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and those who were influenced such as the Grateful Dead:

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Back Door Man – Willie Dixon live:

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and those he influenced -the Doors -Back Door Man

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i just wanna make love to you -Willie Dixon

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and those he influenced –  such as Etta James

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I ain’t superstitious -Willie Dixon

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and those he influenced such as Jeff Beck

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Another great Willie Dixon song -beautifully crafted by Little Walter (and no covers)

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Wang Dang Doodle with Koko Taylor and Little Walter

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and those he influenced like Savoy Brown:

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You shook me -Willie Dixon

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and Jeff Beck’s version

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And Willy Dixon’s ‘Bring it on home’ – played by Sonny Boy Williamson (who else could do this one?)

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Willie Dixon certainly liked harp players -here’s Little Walter again with ‘Mellow Down Easy”

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and a great Paul Butterfield version:

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If you think that is quite a portfolio of songs -go to this link and see the real list of songs and their cover artists:

http://en.wikipedia.org/wiki/List_of_songs_written_by_Willie_Dixon

This song represents the best of a century of Blues.

Traditional sentiments with  creative adaptations to keep pace with social and musical developments.

“See See Rider”, also known as “C.C. Rider” or “See See Rider Blues” or “Easy Rider” is a popular American 12-bar blues” song. It was first recorded by Gertrude “Ma” Rainey in 1924, and since then has been recorded by many other artists.

Listen to some of the many (more than 100) versions and then consider how the lyrics have changed over time and  the meanings of the song.

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See See Rider Blues -Gertrude ‘Ma’ Rainey 1925 -the vocal version first

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CC Rider Big Bill Broonzy   1934 -the guitar version

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Blind John Davis – try the piano version

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and the slide guitar version from Leadbelly

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and Mississippi John Hurt -one of my personal favourites

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and a slow piano  version by Ray Charles -another great piano version

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a very,very different version by Elvis (not my favourite!)

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Mitch Ryder and the Detroit Wheels

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The Animals also did a version

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and try the Dead…

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(you might also check out versions in 1982 and 1970 -another evolutionary sequence)

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Remembering Ma Rainey we come back to a fine female voice

- a great version by Janis Joplin (see from 02.50 ) -early recordings 1962/3

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See how the lyrics have been adapted over nearly a century:

Ma Rainey

See see rider 
, see what you have done, Lord, Lord, Lord 
Made me love you, now your gal has come 
You made me love you, now your gal has come 


I’m goin’ away, baby, I won’t be back till fall, Lord, Lord, Lord 
Goin’ away, baby, won’t be back till fall 
If I find me a good man, won’t be back at all 


I’m gonna buy me a pistol, just as long as I am tall, Lord, Lord, Lord 
Shoot my man, and catch a cannonball 
If he won’t have me, he won’t have no gal at all 


See See Rider, where did you stay last night? Lord, Lord, Lord 
Your shoes ain’t buttoned and your clothes don’t fit you right 
You didn’t come home till the sun was shining bright

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Chuck Willis

Well now see, C. C. Rider

Well now see, see what you have done

Well now see, C. C. Rider

Well now see, see what you have done

Well you made me love you woman

Now your man has come

So I’m goin’ away now baby

And I won’t be back till fall

I’m goin’ away now baby

And I won’t be back till fall

Just might find me a good girl

Might not be comin’ back at all

Well now see, C. C. Rider

See now the moon is shining bright

Well now see, C. C. Rider

See now the moon is shining bright

Just might find me that good girl

And everything would be alright

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Animals

Oh see, See See Rider

Girl see, what you’ve done

Oh, oh, oh See See Rider

See what you’ve done now

You’ve gone away and left me,

Lord, now and now the blues have come, oh yes, they do

Oh, well I’m goin’, goin’ away baby

And I won’t be back till fall

Oh yes I am, going away baby

And I won’t be back till fall

If I get me a good lookin’ woman

No, no, no, I won’t be back at all, all right

And I see, See See Rider, I love you, yes I do

And there isn’t one thing darlin’

I would not do for you

You know I want you See See

I need you by my side

See See Rider, ough, keep me satisfied

Oh See See Rider, See See Rider, See See Rider

See See Rider, See See Rider, See See Rider

You keep on ridin’, keep on riding

Here I come baby, look out, beat it, all right

Don’t lose it now, come one, come on, yeah

Here she comes, she’s all right,

She’s so fine, she’s all mine

See See, come on, can we take a ride now, hey

Well, I’m goin, goin’ away baby

And I won’t be back till fall

Oh yes I’m goin’, going away baby

And I won’t be back till fall

If I find me a good lookin’ woman

No, no, no, I won’t be back at all

And that’s the truth baby

Listen, I’m going, all right

Somebody told me, somebody told me

I’m Joe Jackson, I’m leavin’

All right, all right, ough!

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And what do the words really mean?

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Some ideas before you make up your own mind:

The song uses mostly traditional blues lyrics to tell the story of an unfaithful lover, commonly called easy riders: “See See rider, see what you have done,” making a play on the word see and the sound of easy.

“See see rider” or “c c rider”, is actually a blues metaphor for a sexual partner. But this most popular translation is not the original.

Originally, it referred to the guitar hung on the back of the travelling bluesman. The word easy has different meanings for the female and male lover: applied to a woman it is an expression of admiration but applied to a male it usually carries the meaning of reckless and unfaithful.

In one of Alan Lomax’s collection of poems it says that C.C. means Calvary Corporal and that they had no female soldiers at that time (19th century). Well, the unknown songwriter even could be a woman singing this song to her soldier lover!

And from Wikipedia

The term “See See Rider” is usually taken as synonymous with “easy rider.” In particular, in blues songs it often refers to a woman who had liberal sexual views, had been married more than once, or was skilled at sex. Although Ma Rainey’s version seems on the face of it to refer to “See See Rider” as a man, one theory is that the term refers to a prostitute and in the lyric, “You made me love you, now your man done come,” “your man” refers to the woman’s pimp. So, rather than being directed to a male “easy rider,” the song is in fact an admonition to a prostitute to give up her evil ways.

There are further theories:

“Easy rider” was sometimes used to refer to the partner of a hypersexual woman who therefore does not have to work or pay for sex.

Other confused sources indicate that ‘C.C. Rider’ refers to early ‘Country Circuit’ Riding Preachers who traveled on horseback into many towns that were without formal churches at the time.

What do you think the words mean? Perhaps just enjoy the music….

Adam Gussow who is well known in terms of blues harp technique now shows his willingness to share his knowledge on a more academic (but still practical) level.

This is a real creative initiative from Adam -here how he describes his new initiative:

Some quotes:

“I remember Paris with caps and bowler hats.Paris in the days of upheaval,humiliation, collaboration,Paris with its whores and it ssecrets. Paris defended by barricades,Paris wild with joy -and now we have car-packed, scheme – laden, jogger -happy Paris.”

“For half a century I pounded the cobblestones, then asphalt, of Paris, wandering up and down the city. This activity required no special physical prowess, Paris not being Los Angeles,thank heavens, and travelling on foot not considered a sign of poverty here.

The few images that now rise to the surface of the flow of time, bobbing together like corks on a swirling stream, are those taken on time stolen from my employers.”

more quotes and pics to follow and you might like to view other posts on Robert Doisneau:

Robert Doisneau 1 

Robert Doisneau –  the dignity of workers

Robert Doisneau- les enfants

Robert Doisneau – celebrity snapper?

and a video of images

Pete Seeger is known for rejuvenating the interest in 12 string guitar.

The bells of Rhymney (Australia 1963)

(technical note: Pete Seeger’s 12-string guitar, built by Bruce A. Taylor (219 Godfrey Rd. E., Weston, CT 06883-1405; corbtaylor@aol.com), is based on instruments that U.K. luthier/engineer Stanley Francis made for Seeger starting in the ’50s using a distinctive triangular soundhole and bracing design and a long (nearly 28-inch) scale. All of those guitars eventually collapsed, so Taylor strengthened the bracing in his adaptation. These days, Seeger uses the 12-string mainly for song leading; at home, he plays a Vicente Tatay nylon-string given to him in the late ’40s. From Acoustic Guitar)

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leo kotke   -quite a star on 12 string..

leo kotke -deep  river blues

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leo kotke

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leo kotke medley

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The driving of the Year Nail -some nice harmonics from leo kotke

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last one from leo kotke – pamela brown

and what about finishing with a bit of Hendrix 12 string -hear my train a comin…

According to legend, as a young man living on a plantation in rural Mississippi, Robert Johnson was branded with a burning desire to become a great blues musician. He was “instructed” to take his guitar to a crossroad near Dockery Plantation at midnight. There he was met by a large black man (the Devil) who took the guitar and tuned it. The “Devil” played a few songs and then returned the guitar to Johnson, giving him mastery of the instrument. This was in effect, a deal with the Devil mirroring the legend of Faust. In exchange for his soul, Robert Johnson was able to create the blues for which he became famous

“Cross Road Blues” is a song by Delta Blues singer Robert Johnson; released on a 78 rpm record in 1936 by Vocalion Records, catalogue 3519. The original version remained out of print after its initial release until the appearance of The Complete Recordings in 1990. In 1961, producer Frank Driggs substituted the previously unreleased alternative take on the first reissue of Johnson’s work, the long-playing album King of the Delta Blues Singers. Because of the historical significance of “Cross Road Blues”, it was inducted into the Grammy Hall of Fame in 1998.

The story (Wikipedia)

The lyrics tell of the narrator’s failed attempts to hitch a ride from an intersection as night approaches. The song had frequently been linked to stories of Johnson selling his soul to the devil for the ability to play music, although nothing in the actual lyrics speaks of these events. Historian Leon Litwack and others state that the song refers to the common fear felt by blacks who were discovered out alone after dark; that Johnson was likely singing about the desperation of finding his way home from an unfamiliar place as quickly as possible because of a fear of lynching. In addition, the lyrics could be allusion to the curfews that were then imposed on blacks in the South. The imagery of the singer falling to his knees and the mention of his failure to find a “sweet woman” suggests that the song is also about a deeper and more personal loneliness

Lyrics (Robert Johnson)

I went down to the crossroad

fell down on my knees

I went down to the crossroad

fell down on my knees

Asked the lord above

“Have mercy now
save poor Bob if you please”

Yeeooo, standin at the crossroad

tried to flag a ride
ooo ooo eee

I tried to flag a ride

Didn’t nobody seem to know me babe

everybody pass me by

Standin at the crossroad babe
risin sun goin down

Standin at the crossroad babe
eee eee eee, risin sun goin down

I believe to my soul now,

Poor Bob is sinkin down

You can run, you can run 
tell my friend Willie Brown

You can run, you can run
tell my friend Willie Brown

(th)’at I got the croosroad blues this mornin Lord

babe, I’m sinkin down

And I went to the crossraod momma

I looked east and west

I went to the crossroad baby

I looked east and west
Lord,

I didn’t have no sweet woman

ooh-well babe, in my distress

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The legend of Robert Johnson -by his grandson

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Some more on the legend of RJ (part 1) :

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Here Eric Clapton talks about the music of Robert Johnson:

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A couple of versions by Clapton – the first from Royal Albert Hall in 1968 (I was there in ’68,while in the sixth form)

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Cream’s cover of the song was placed at #409 on the 2004 List of Rolling Stone’s 500 Greatest Songs of All Time, and #3 on the 2008 Greatest Guitar Songs of All Time. The song also ranks #10 on Guitar World‘s 100 Greatest Guitar Solos.

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Clapton again with an almost reggae beat:

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and a great ‘harp’ version by Adam Gussow – nice video too!

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and there is even a play by David Walter Hall:

The play recounts one of the foundation myths of the blues: a tale of Johnson’s alleged pact with the devil, the coming of age of blues music and the sacrifices made by a single man for his art. It takes place over the course of a single act, a discussion between Johnson and a stranger who happens upon him sleeping rough at a crossroads between towns in the American South. Magic and fear compel the young singer, and he is drawn to make a sacrifice he had never foreseen. By turns tentative, witty and unsettling, their conversation covers blues, love, slavery and religion, and ends in a dark, raucous incantatory battle for life, soul and music.

Originally written and performed as a sparse two-hander, the play has evolved into an expansive spoken-word blues opera, featuring a choir and six-piece Afro-blues ensemble, and music intimately and ingeniously synchronised with the dialogue. The music, written by classical musician Michael McHale, employs a blend of jazz, blues, African rhythms and classical harmony.

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Where was the Cross Roads? some other possible  locations…

The 1986 film “Crossroads” touches on the legend, featuring a fictional Delta bluesman who knew Robert Johnson, and who has some unfinished business of his own with the Devil back in Mississippi.

If the meeting did occur, three possible locations have been identified.

One is the intersection of Mississippi state routes 1 and 8 in Rosedale, a town mentioned in the lyrics of his “Traveling Riverside Blues:” “Lord, I’m goin’ down to Rosedale, gon’ take my rider by my side . . . “

Others are the two junctions of US routes 49 and 61, roads found in countless blues and rock songs, still the main highways linking Clarksdale, Helena, and Memphis.

Route 49 starts in Gulfport and works its way north through the Mississippi cotton fields and pine forests towards Arkansas. US 61 begins at Tulane and Broad streets in New Orleans and ends at the Minnesota-Ontario border. On the road atlas, from Natchez to Memphis, as it parallels the river, it’s labeled a scenic highway. The Delta is flat, in early June already hot, and life off the main roads seems to have the same leisurely pace it had when Robert Johnson lived there.

There’s fast food at one meeting place of the blues mother roads, in Clarksdale. It was no doubt less urban in Johnson’s day, but there’s no room for quarter pounders in blues stories.

The highway north from Clarksdale is both US 49 and 61 for sixteen miles, until the 49 turnoff to Helena. This is the spot photographed for album covers and magazine articles. Purists could argue that, since the roads don’t cross, it’s not really a crossroads. They were, though, the two most traveled roads in that part of the Delta. A landmark intersection in the middle of nowhere. A perfect place to talk business with the Devil.

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From one of the films entitled Crossroads:

Crossroads is a 1986 cult film starring Ralph Macchio, Joe Seneca and Jami Gertz, inspired by the legend of blues musician Robert Johnson.

The film was directed by Walter Hill and featured an original score featuring Ry Cooder and Steve Vai. Vai also appears in the film as the devil’s guitar player in the climactic guitar duel

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A short film by John DOE called Crossroads

“CROSSROADS” is a musical movie based on the legends of the black guitarist Robert Johnson, died mysteriously in 1938. It’s a PACT WITH THE DEVIL there. One night, at the crossroads, a man forces the fate and sells his soul to the Devil in exchange for glory. The fame arrives fast, but it contains a curse. Robert Johnson dies after the recording of 29 songs. The legend says that there would be a thirtieth piece. Whoever will find it will become immensely rich and will release Johnson of his pact.

Robert ” Bud ” Johnson is a homonym of famous Bluesman. He is white, lives in Missouri and follows a strange dream : be the one who will find the thirtieth track. Shot in the Delta of the Blues, between Memphis and Greenwood in Mississipi, CROSSROADS tells Robert’s trip ” Bud ” Johnson on the old abandoned roads and the cotton fields.

Twenty five musical clips filmed with two cameras to understand the Blues of the origins. The legend of “Crossroads” where Robert Johnson would have sold his soul to the Devil is handled within sequences of reconstruction where ” Bud ” Johnson meets the Devil who try repeatedly to prevent him from continuing his quest.
Robert Johnson is not only a mythical blues guitarist with his 29 pieces recorded in two days. The legends on his life and its disappearance are known from every guitarists. So much that there would be three graves known for the Bluesman. No blackman, died in the 30s, had such a fame and such a fate.

John Doe

CROSSROADS, the Road of BLUES – 1 h 30 min. English original version with french subtitles. (Produced by VERSION INTÉGRALE, a french documentary companie).

VISIT JOHN DOE WEBSITE for other films : http://filmsjohndoe.wordpress.com/

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and Johnson’s  link with Dylan:

There is a passage in Bob Dylan’s 2004 autobiography in which he describes an epiphany on hearing Johnson’s music for the first time: it was hearing Robert Johnson that inspired Dylan to become a songwriter. His influence on modern music cannot be overestimated.

Of course he has covered many themes during his long career, but for this post I wanted to consider his work with celebrities of his time.

Giacommetti by Doisneau

The artist Alberto Giacometti in his studio
Medium : Vintage Silver Gelatin print on Baryte de Luxe paper, circa 1985 , signed in ink below the image. (taken in 1957 -this is a later print)

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actor Jean Marais (left) and Jean Cocteau (right).

Célèbre portrait des deux hommes fait sur le tournage du film de Cocteau,Orphée.

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Jacques Prevert

                                                                                                               Poet Jacques Prevert by Doisneau

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Geldzahler -Hockney

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Picasso by Doisneau

Picasso et Francoise Gilot

Fernand Leger

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Georges Braque in hi studio

Georges Braque

Georges Braque

Braque a Varengeville 1953

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Pierre Schaeffer 1961

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Robert Doisneau and Andre Kertesz 1975 by Wolfgang H. Wögerer

A couple of events for those photofiles in Paris, first at HCB and the other  -Paris Photo 2012

CONVERSATIONS AT FONDATION HCB A cycle of bimonthly Conversations, conferences on photography, is organized by Natacha Wolinski, art critic.Upcoming Conversation: MFR_portrait Wednesday 24th October, from 6.30pm to 6pm Moï Wer, from Paris to Vilnius. With Sandra Alvarez de Toledo, director, éditions L’Arachnéen and Philippe-Alain Michaud, curator of the film department at Centre Pompidou. Imperative reservation: contact@henricartierbresson.org Please note that the reservations are only valid until 6.30 PM. HCB -Derriere la Gare SL Fondation Henri Cartier-Bresson – 2 impasse Lebouis 75014 PARIS +33 1 56 80 27 00 Ouvert du mardi au dimanche de 13h à 18h30, le mercredi jusqu’à 20h30 et le samedi de 11h à 18h45

15-18 November 2012

Grand Palais,Paris

Beneath the clear light of the Grand Palais, the specificity of photography, its
place in the history of Art, and its contemporary dynamics were shared, in 2011,
with more than 50,000 visitors. Artists, gallery owners, collectors, institutions,
professionals, the curious and the passionate enjoyed the renewed vitality of that
impossible to avoid international rendezvous.
Strengthened by such success, Paris Photo 2012 continues to forge ahead by this
year welcoming to the Grand Palais 128 galleries and 23 specialists in Photography
Books, that is, 22 countries represented, 68% international galleries and 36 new
galleries selected. A selection that has become of increasingly high standard,
focussing on the diversity and quality of the artists and the works presented by
the gallery owners.

Catherine Opie

This unique panorama is once again accompanied by an ambitious programme that
allows the whole public to appreciate better what is at stake in photographic
creation today:
The “Recent Acquisitions” exhibition presents the new photography collections of
the LACMA (Los Angeles), the Fotomuseum of Winterthur (Switzerland) and the Huis
Marseille (Amsterdam).
The exhibition « Private Collection » makes us discover the « Archive of Modern
Conflict », an extraordinary group of photographies, often anonymous, from all eras
and origins.
The “Open Book” exhibition honours the publications (books and ephemerae) of Bernd
& Hilla Becher, bearing witness to the importance of the printed support in the
formalisation of their “typologies”.
But Paris Photo is also a moment of conviviality propitious to reflection and
exchange. Thus the guests of the Platform gather around interviews, round tables
and performances. It is within that framework that Hilla Becher, Rem Koolhaas and
David Lynch will speak. In addition, the latter has also selected from among the
works presented by gallery owners those which feed most his mental universe. His
choice will take the form of a journey within the Fair and a book: “Paris Photo
by David Lynch”.

Finally, another specificity of the Fair, the book of photography will again
be celebrated with the presentation of the Paris Photo – Aperture Foundation
Photobook Awards 2012 that will reward 2 books produced in the year from among
the 30 pre-selected.

Julien Frydman, director of Paris Photo

VISITOR INFORMATION:

• ADRESS
Grand Palais
Avenue Winston-Churchill, 75008 Paris

• ACCESS
Metro : lines 1, 9, 13 / Stations : Franklin-D.-Roosevelt, Champs-Elysées-Clemenceau
RER : lines C / Stations : Invalides
Bus : lines 28, 42, 52, 72, 73, 80, 83, 93

• OPENING HOURS
Thurs. 15 nov from 12.00 till 8.00 pm
Friday 16 nov from 12.00 to 9.30 pm
Sat. 17 novembre from 12.00 to 8.00 pm
Sun. 18 nov from 12.00 to 7.00 pm

• Prices
Entrance fees : 28 € / 14 € for students
Catalog : 25 €
Entrance + catalog package : 45 €

And just for fun….