Thursday, September 30, 2021

Artist of the Day, September 30, 2021: Bettina Rheims, a French photographer (#1379)

 Bettina Caroline Germaine Rheims (1952) is a French photographer.

Early stages
Bettina Rheims' photographic career began in 1978, when she took a series of photos of a group of strip-tease artists and acrobats, which would lead to her first exhibitions. This work would unveil Bettina Rheims' favourite subject, the female model, to which she would frequently return during her career. The 1980s provided Bettina Rheims with the opportunity to take several portraits of both famous and unknown women, resulting in the publication of Female Trouble (1989).

With Modern Lovers (1989-1990) the photographer questioned gender, androgyny and transsexuality. Two other publications on the same subject followed: Les Espionnes (1992) and Kim (1994).

The 1990s

At the beginning of the 1990s, Bettina Rheims worked on one of her major series, entitled Chambre Close (1990-1992). This was her first in colour and marked the start of her collaboration with the novelist Serge Bramly, in a work which saw her photographs coupled with the writer's fiction. In its form, Chambre Close is a parody of the first pornographic photos — rooms with faded walls, old fashioned wallpaper — yet, in its substance, it endeavours to stage amateur models in poses playing on the eroticism and the confusion between those who are looking and those who are showing themselves.

"By using colour and extreme quality printings, the flesh appears living and gives a disconcerting realism to the work. Bettina Rheims thus transcends the body to reach primitive femininity in her psychoanalytical "id" - her more or less pent-up impulses, sexual impulses in particular. At the same time as these impulses show through the surface, the awareness of the model, through her skin, the artist captures them on film."

In 1995, Rheims was invited by Jacques Chirac at the end of his presidential campaign to work behind the scenes on a series of photographs following the final stages of the election. After the election, the Presidency of the French Republic commissioned Bettina Rheims to take the official portrait of Jacques Chirac. She told the newspaper Libération that she had wanted to give the President "the relaxed look of the great heroes in westerns".

The decade drew to a close with the 1999 publication of the book I.N.R.I. and its eponymous exhibition. Once again uniting the gaze of Rheims with the prose of Serge Bramly, I.N.R.I. builds a philosophical dialogue on the history of the crucifixion through photographs of scenes of the life of Christ, from the Annunciation to the Ascension. Bettina Rheims proposed "illustrations in step with our times, after the appearance of photography, cinema and advertising imagery, as if Jesus were returning today."  In France, the publication of this work was highly controversial.

The 2000s

In 2002, Rheims created a series on Shanghai during two long stays in the city. "The first impressions of a traveller arriving in Shanghai are those of people with deep-rooted ancestral rituals and traditions who threw themselves into the frenetic race of the present-day world. Blending into this 'other way of thought' and without any prejudices, Bettina Rheims offers us a novel view of this paradox, which is the coexistence of China with its millenary traditions, its avant-garde facet, its official aspects and its underground features.[8]"

In 2005, at the Galerie De Noirmont, Rheims exhibited Héroïnes, a work that was primarily a homage to sculpture. On this occasion, the photographer collaborated with the designer Jean Colonna to dress the women in original clothing. "Old haute couture dresses were thus re-assembled on each of these contemporary icons. These women, with their unconventional beauty, then played with a stone, which for a moment became their pedestal."

At the end of the 2000s, Bettina Rheims worked with Serge Bramly again and exhibited Rose, c'est Paris in 2010 at the National Library of France. The photographic tale was again built on a thread of fiction that Bettina Rheims and Serge Bramly created from autobiographical elements. In this work, Paris plays "the role of the muse more than the subject, and, through the characters woven into a story, in an almost allegorical form. A young woman we know by her initial, B., is looking for Rose, her twin sister who she claims has disappeared. Presented as a 'great mysterious series', a genre held dear by surrealists, Rose, c'est Paris is divided into thirteen episodes in which we discover among other things an unusual or obscure Paris, which is voluntarily timeless."

The 2010s

Exhibited in 2012 in Düsseldorf, the Gender Studies series pursues the questioning of gender representation. The device linking image and sound (by Frédéric Sanchez) presents 27 sound portraits of young men and women who responded to a request the photographer posted on Facebook. The photos are accompanied by interview clips and have featured in several exhibitions and a book.

Commissioned work

Rheims has also worked on advertising campaigns for fashion and big brands, such as Chanel and Lancôme, as well as taking portraits of famous women for international magazines. Rheims says that she has been inspired by Diane Arbus and Helmut Newton as well as by the work of early painters.

© 2021. All content on this blog is protected by international copyright laws All images are copyrighted © by Bettina Rheims or assignee. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only


 Ms. Bettina Rheims

1985, Diane Tell

1987, Claudya with Gloves

1988, Catherine Deneuve in 'George V' Paris

1989, Josie

1990, Sophie Marceau in lace bra, Paris

1994, Madonna Bedtime Stories

1995, Breakfast with Monica Bellucci

1995, Elizabeth Berkley stuck in bushes

1996, Karen Mulder with a very small Chanel bra

The new Eve II, May 1997

2005, Milla Jovovich, étude

2005, Laetitia Casta

2005, Lily Cole

2009, Le jugement des Parques

2010,  MEP Paris, Room 4, Détenues

2010 Lili, MEP Paris, Room 4, Détenues

2010,Sylvie Buck, MEP Paris, Room 2

2010, MEP Paris, Room 5, Rose c'est Paris

2010, MEP Paris, Room 5, Rose c'est Paris

2010 Morgane, MEP Paris, Room 4, Détenues

2010, Elvira et Lagdar, MEP Paris, Room 4, Détenues

2011, Jil Sander

2013, Lauren Hutton

2010, Soizic, MEP Paris, Room 4, Détenues
2010, Vaiata, MEP Paris, Room 4, Détenues

2014, Untitled

2016, From Rose c'est Paris

2016, Landing

2016, Marion Cotillard

2017, Laetitia Casta for Dior Magazine

2020, Images For Dior Magazine

Ana Beatriz Barros for Printemps Paris

Isabella Rossellini

Maggie Maurer

Maggie Maurer, Fashion Book

Portrait de Juliette Binoche

Portrait de Monica Bellucci




Wednesday, September 29, 2021

Artist of the Day, September 29, 2021: April Pine, an Australian sculptor (#1378)

April Pine is a Perth based artist working in the medium of sculpture.
April draws from her knowledge of both space and sculpture when creating new works. Considering how sculpture and installation works can react, exaggerate and celebrate their context.

A particular emphasis of research is in the progression of movement and how sculpture can alter and react according to a pedestrian viewpoint.

The act of making is central to her work, always creating prototypes, testing and exploring ways of fabricating conceptual ideas through models. Each variation of idea is tested and refined over a series of models in changing scale, material and detail to enable clarity and confidence in the final proposal.

April was recently awarded the $10,000 Clitheroe Mentorship award for Sculpture and has been mentored by New York artist Christian De Vietri. In 2017 April Pine also won the Sculpture by the Sea Bondi Peoples Choice Award with her work Trip I,II,III.

Pines work can be found in private and public collections throughout Australia, with her first international sales to Portugal and New Zealand

© 2021. All content on this blog is protected by international copyright laws All images are copyrighted © by April Pine. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only 


Ms. April Pine

The studio

Trip Cottesloe, Sculpture By The Sea

Celebration of Community Spirit

Celebration of Community Spirit

Celebration of Community Spirit

Coat weather, Canberra

Coat weather detail

Trip, Cottesloe, Sculpture By The Sea, 2017

Trip, Cottesloe, Sculpture By The Sea, 2017

Trip, Cottesloe, Sculpture By The Sea, 2017

Trip, Cottesloe, Sculpture By The Sea, 2017

Girl with gift model

Stain studies

Concept, Cottesloe Beach, Sculpture by the sea

Cottesloe Beach, Sculpture by the sea

Flutter Iand II Cottesloe, Sculpture by the sea, 2020



strength + fragility.... two figures becoming one, sculpture by the sea

REIWA Trophy


Convergence installation

Convergence installation

Convergence installation

Convergence installation

Convergence installation

Convergence installation

Courtyard Ddalkeith, Commission, 2017

Courtyard Ddalkeith, Commission, 2017

Courtyard Ddalkeith, Commission, 2017

Andrew Inglis Clark

Willingapark public art

strength + fragility.... two figures becoming one, Yallingup, Western Australia