Jessica Backhaus è nata a Cuxhaven, in Germania, nel 1970 ed è cresciuta in una famiglia di artisti.
All’età di 16 anni, si è trasferita a Parigi, dove ha poi studiato fotografia e comunicazione visiva. Qui è avvenuto l’incontro con Gisèle Freund, che poi divenne la sua mentore.
Nel 1995, la sua passione per la fotografia l’ha guidata verso New York, dove ha lavorato come assistente per diversi fotografi, ha seguito i propri progetti ed ha vissuto fino al 2009.
Jessica Backhaus è considerata una delle voci più significative nella fotografia contemporanea tedesca oggi.
I suoi lavori sono stati esposti in numerose mostre personali e collettive, tra cui la National Portrait Gallery, Londra, e il Martin-Gropius-Bau, Berlino. Le sue fotyografie fanno parte di molte collezioni d’arte, tra cui Art Collection Deutsche Börse, Germany, ING Art Collection, Belgium, Collection of the Museum of Fine Arts, Houston, USA and the Margulies Collection, Miami, USA.
Attualmente basata a Berlino, Jessica divide il suo tempo e la sua vita tra Europa e Stati Uniti. Ha pubblicato sei libri con Kehrer Verlag: Jesus and the Cherries (2005), What Still Remains (2008), One Day in November (2008, dedicato a Gisèle Freund), I Wanted to See the World (2010), ONE DAY – Ten Photographers (2010), Once, Still and Forever (2012).
Oltre alle monografie pubblicate con Kehrer Verlag, il lavoro di Jessica Backhaus è incluso in:
Women Photographers. From Julia Margaret Cameron to Cindy Sherman di Boris Friedewald – Le 55 donne fotografe più influenti nella storia (Prestel, 2014)
The Photographers’ Sketchbooks di Stephen McLaren and Bryan Formhals (Thames & Hudson, 2014) – Un libro che illustra i processi creativi dell’era fotografica moderna; tra gli autorio anche Alec Soth e Trent Parke.
Jessica Backhaus was born in Cuxhaven, Germany in 1970 and grew up in an artistic family.
At the age of sixteen, she moved to Paris, where she later studied photography and visual communications. Here she met Gisèle Freund in 1992, who became her mentor.
In 1995 her passion for photography drew her to New York, where she assisted photographers, pursued her own projects and lived until 2009.
Jessica Backhaus is regarded as one of the most distinguished voices in contemporary photography in Germany today. Her work has been shown in numerous solo and group exhibitions, including the National Portrait Gallery, London, and the Martin-Gropius-Bau, Berlin. Her photographs are in many prominent art collections including Art Collection Deutsche Börse, Germany, ING Art Collection, Belgium, Collection of the Museum of Fine Arts, Houston, USA and the Margulies Collection, Miami, USA. Based in Berlin, Jessica divides her time and life between Europe and the United States. She has published six books with Kehrer Verlag: Jesus and the Cherries (2005), What Still Remains (2008), One Day in November (2008, dedicated to Gisèle Freund), I Wanted to See the World (2010), ONE DAY – Ten Photographers (2010), Once, Still and Forever (2012).
Jessica Backhaus is based in Berlin and is currently working on a new project,
In addition to the monographies published with Kehrer Verlag, Jessica Backhaus’s work is also included in:
Women Photographers. From Julia Margaret Cameron to Cindy Sherman by Boris Friedewald
The 55 most influential women photographers in history. (Prestel, 2014)
The Photographers’ Sketchbooks by Stephen McLaren and Bryan Formhals (Thames & Hudson, 2014)
A book that celebrates the creative processes of the modern photographic era; among the authors also Alec Soth and Trent Parke.
Republic of Chechnya, Russia, 03/2013. A girl praying in the only official female madrasa in Chechnya and in Russia. This is one of the oldest madrasas, where girls and women can study Muslim religion. It has been operational for the past 13 years, and in the past, before Ramzan Kadyrov’s full approval, the school was burned down by Russian Federal Authorities. Thanks to Aiman Kadyrova, President of the Regional Public Foundation named after Akhmat-Khadji Kadyrov, the madrasa now has its own building, equipped with everything that is necessary for training. A resident of the village declares: “I remember the time when President Djokhar Dudaev claimed that our girls needed not schools, but madrasas, and that statement caused a wave of indignation in the Republic. Djokhar Dudaev was criticized everywhere and by everyone. People said that he did not want our children to get good education, that the rights of women were being violated, and so on. Today, for some reason, no one protests against women’s madrasas, against mandatory wearing of headscarves for young women, or against the introduction of some elements of Sharia law. On the contrary, all people thank the government, and personally Ramzan Kadyrov for that. That is, the outlook on life has so dramatically changed in the past twenty years in our Republic”. Chiri Yurt.
Republic of Chechnya, Russia, 03/2013. Security forces attending the celebration for the 10th anniversary of the Constitution Day. In the background Grozny City, five gleaming towers, the heart of the reconstruction of Grozny and a symbol of the city’s recovery following the destruction wrought at the beginning of the millennium. Grozny, March 23rd 2013.
Republic of Chechnya, Russia, 03/2013. A man praying in the field in front of what used to be a sugar factory. The area of Argun was one of the most industrialized of the Republic. Nowadays, as an effect of the war, approximately 80% of the economic potential of Chechnya has been destroyed. Much of the money spent by the Russian federal government to rebuild Chechnya has been wasted. The economic situation has improved considerably since 2000, yet the majority of people complain with the high rate of unemployment which in 2012 reached 40%. Argun.
Russia, St. Petersburg 2004
Russia, 2002 – Baikal Lake.
Ukraine, Odessa 2006
South Ossetia, 2008. A woman celebrating the recognition of independence by Russia. Claimed by Georgia, and de facto independent, South Ossetia, is recognized Sovereign state by Russia in the August 26th 2008, followed by Nicaragua and Venezuela.
Republic of Dagestan, Russia 2009. In the village of Gimri during the sacrifice of a bull. Between 2nd and 5th of January 2006 in the village which was also the native village of “Imam Shamil”, was put into a ferocious offensive of 3000 the Russian government forces against a group of 30 armed rebels, following the attempted murder of Assistant Commissioner of Ministry of Interior. The village has been blocked by federal forces until the end of 2008 and have been numerous cases of abuse, torture and violation of human rights in the village.
Davide Monteleone (nato nel 1974) è un artista e storyteller che utilizza la fotografia e il video come forme di espressione principali. Nel 2001 si è trasferito a Mosca, in qualità di corrispondente per l’agenzia italiana “Contrasto” e dal 2003 ha vissuto tra Italia e Russia, seguendo progetti indipendenti a lungo termine. Si è dedicato allo studio delle questioni sociali, conflitti, relazioni tra potere e individuo. Conosciuto per il suo interesse specifico sull’area post-sovietica, ha pubblicato il suo primo libro Dusha, Anima Russa nel 2007, seguito da La Linea Inesistente nel 2009, Cardo Rosso nel 2012 e Spasibo nel 2013. I suoi progetto gli hanno fruttato numerosi risconoscimenti, tra cui diversi premi World Press Photo, e donazioni tra cui l’Aftermath Grant, European Publishers Award e il Carmignac Photojournalism Award. Contribuisci regolarmente alle più importanti pubblicazioni a livello mondiale. I suoi progetti fotografici sono stati presentati come installazioni, mostre e proiezioni a festival e in gallerie in tutto il mondo, incluso il Nobel Peace Center di Oslo, la Saatchi Gallery di Londra, il MEP di parigi e il Palazzo delle Esposizioni di Roma. E’ impegnato in attività educative, tenendo regolarmente lezioni in università e workshop a livello internazionale. Davide è membro di VII Photo ed è rappresentato dalla Kehrer Gallery di Berlino
Davide Monteleone (b. 1974) is an artist and storyteller who uses photography and video as main forms of expression. In 2001 he moved to Moscow as correspondent for the Italian agency “Contrasto” and since 2003 has lived between Italy and Russia pursuing long-term independent projects. He has devoted himself to the study of social issues, conflict, relation between power and individual. Known for his specific interest in the post-soviet area, he published his first book Dusha, Russian Soul in 2007, followed by La Linea Inesistente, in 2009, Red Thistle in 2012 and Spasibo in 2013. His projects have brought him numerous awards, including several World Press Photo prizes, and grants such as the Aftermath Grant, European Publishers Award and Carmignac Photojournalism Award. He regularly contributes for leading publications all over the world. His photography projects have been presented as installations, exhibitions and screenings at festivals and galleries worldwide including the Nobel Peace Center in Oslo, Saatchi Gallery in London, MEP in Paris and Palazzo delle Esposizioni in Rome. He is engaged with educational activities, regularly lecturing at universities and teaching workshops internationally. Davide is a member of VII Photo and is represented by Kehrer Gallery in Berlin.
Evgenia was born in 1985 in town Tiksi located in the Russian Arctic.
In 2009 she graduated from International Center of Photography in New York and since then works as a freelance photographer.
Evgenia is the recipient of numerous grants and awards, including 2013 Leica Oskar Barnack award and Magnum Foundation Emergency Fund Grant. Her work has been exhibited internationally and appeared in such publications as National Geographic, Le Monde and New Yorker magazines among others.
– Evgenia receives ICP Infinity Award 2015 as a Young Photographer
– Weather Man series is exhibited in In Camera gallery, Paris, France. February 12th to April 4th 2015.
– Weather Man story is published in the New Yorker magazine. December 15th, 2014 issue.
– Exhibited at the Rencontres Internationales de la Photographie en Gaspésie, Canada. July to mid September 2014.
– Group exhibition Lost Sound at Abbey Saint-André, France. July 18th – November 2nd, 2014
– Leica Oskar Barnack exhibition in Leica Gallery Warsaw, Poland. June 25 – August 5 2014
– Weather Man series is exhibited as part of 10 x 10 exhibition in Leica Gallery Wetzlar, Germany. May 23 – September 30th, 2014
– Tiksi exhibition in In Camera Gallery Paris, France. December 12th, 2013 – February 8th, 2014
– Tiksi is part of the exhibition ARCTIC in Louisiana Museum, Denmark. September 25th, 2013 – February 2nd, 2014
– Tiksi exhibition in Sint-Pieter Abbey in Ghent, Belgium. June 7th – September 1st 2013.
– Mammoth Hunters story is published in National Geographic magazine.
– Evgenia is a winner of Leica Oskar Barnack Award 2013
Eugenia è nata nel 1985, a Tiksi, una città sull’Artico russo.
nel 2009, si è laureata all’ International Center of Photography a New York, e da allora lavora come fotografa freelance.
Eugenia ha ricevuto numerosi premi e riconoscimenti, tra cui nel 2013 il Leica Oskar Barnack award e il Magnum Foundation Emergency Fund Grant.
Il suo lavoro è stato esposto in diverse mostre a livello internazionale ed è apparso su pubblicazioni quali National Geographic, Le Monde e il New Yorker, tra gli altri.
Andreas Gursky (Lipsia, 15 gennaio 1955) è un fotografo tedesco considerato uno dei maggiori artisti al mondo famoso per le fotografie di grande formato.
Insieme a Axel Hütte, Jörg Sasse, Thomas Struth, Candida Höfer e Thomas Ruff fa parte della Becher-Schüler.
Nel 2011 la sua opera Rhein II viene battuta all’asta da Christie’s per la somma record di 4.338.500 dollari. Lunga tre metri e mezzo, è una veduta del Reno scattata nel 1999.
Andreas Gursky nasce in Germania, a Lipsia, nel 1955, figlio di un fotografo commerciale, ma trascorre i primi anni a Düsseldorf. Dal 1978 all’1981 studia alla Folkwang Universität, università a indirizzo artistico nella vicina Essen, dove ha come professore il fotografo Otto Steinert. Tra il 1981 e il 1987 all’accademia di belle arti di Düsseldorf (Kunstakademie Düsseldorf), Gursky riceve una forte influenza dai suoi professori Hilla e Bernd Becher, un team fotografico che si contraddistinse per il loro spassionato catalogare di macchinari industriali e architettura, tipicamente in bianco e nero.] Gursky mostra un simile approccio metodico con le sue fotografie in grande scala. Altri autori che lo hanno influenzato sono probabilmente il fotografo di panorami inglese John Davies e l’americano Joel Sternfeld.
I primi successi tuttavia sono incentrati su panorami e luoghi di relax e hanno dimensioni medio-piccole, non oltre i 50×60 cm. Solo attorno ai 25 anni Gursky si dedica al grande formato e si converte alla fotografia a colori, spesso molto vivaci e vari, immortalando soggetti di grandi dimensioni come edifici (Paris, Montparnasse, 1993), luoghi ordinatamente affollati come gli scaffali dei supermercati (99 Cent II Diptychon, 2001), affollate sale di contrattazione finanziaria (Chicago Board of Trade II, 1999 e Tokyo Stock Exchange, 1990), un concerto del primo maggio (May Day IV, 2000) etc.
Perchè la sua Foto è la più costosa della storia? Qui una spiegazione.
Andreas Gursky (born January 15, 1955) is a German photographer and Professor at the Kunstakademie Düsseldorf, Germany. He is known for his large format architecture and landscape colour photographs, often employing a high point of view. Gursky shares a studio with Laurenz Berges, Thomas Ruff and Axel Hütte on the Hansaallee, in Düsseldorf. The building, a former electricity station, was transformed into an artists studio and living quarters, in 2001, by architects Herzog & de Meuron, of Tate Modern fame. In 2010-11, the architects worked again on the building, designing a gallery in the basement.
Gursky was born in Leipzig, Former East Germany in 1955. His family relocated to West Germany, moving to Essen and then Düsseldorf by the end of 1957. From 1978 to 1981, he attended Folkwangschule, Essen, where he is said to have studied under Otto Steinert. However, it has been disputed that this can’t really be the case, as Steinert died in 1978. Between 1981-1987 at the Kunstakademie Düsseldorf, Gursky received strong training and influence from his teachers Hilla and Bernd Becher, a photographic team known for their distinctive, dispassionate method of systematically cataloging industrial machinery and architecture. Gursky demonstrates a similarly methodical approach in his own larger-scale photography. Other notable influences are the British landscape photographer John Davies, whose highly detailed high vantage point images had a strong effect on the street level photographs Gursky was then making, and to a lesser degree the American photographer Joel Sternfeld.
Before the 1990s, Gursky did not digitally manipulate his images. In the years since, Gursky has been frank about his reliance on computers to edit and enhance his pictures, creating an art of spaces larger than the subjects photographed.[citation needed] Writing in The New Yorker magazine, the critic Peter Schjeldahl called these pictures “vast,” “splashy,” “entertaining,” and “literally unbelievable.” In the same publication, critic Calvin Tomkins described Gursky as one of the “two masters” of the “Düsseldorf” school. In 2001, Tomkins described the experience of confronting one of Gursky’s large works:
“The first time I saw photographs by Andreas Gursky…I had the disorienting sensation that something was happening—happening to me, I suppose, although it felt more generalized than that. Gursky’s huge, panoramic colour prints—some of them up to six feet high by ten feet long—had the presence, the formal power, and in several cases the majestic aura of nineteenth-century landscape paintings, without losing any of their meticulously detailed immediacy as photographs. Their subject matter was the contemporary world, seen dispassionately and from a distance.”
The perspective in many of Gursky’s photographs is drawn from an elevated vantage point. This position enables the viewer to encounter scenes, encompassing both centre and periphery, which are ordinarily beyond reach. Visually, Gursky is drawn to large, anonymous, man-made spaces—high-rise facades at night, office lobbies, stock exchanges, the interiors of big box retailers (See his print 99 Cent II Diptychon). In a 2001 retrospective, New York’s Museum of Modern Art described the artist’s work, “a sophisticated art of unembellished observation. It is thanks to the artfulness of Gursky’s fictions that we recognize his world as our own.” Gursky’s style is enigmatic and deadpan. There is little to no explanation or manipulation on the works. His photography is straightforward.
Gursky’s Dance Valley festival photograph, taken near Amsterdam in 1995, depicts attendees facing a DJ stand in a large arena, beneath strobe lighting effects. The pouring smoke resembles a human hand, holding the crowd in stasis. After completing the print, Gursky explained the only music he now listens to is the anonymous, beat-heavy style known as Trance, as its symmetry and simplicity echoes his own work—while playing towards a deeper, more visceral emotion.[citation needed] The photograph 99 Cent (1999) was taken at a 99 Cents Only store on Sunset Boulevard in Los Angeles, and depicts its interior as a stretched horizontal composition of parallel shelves, intersected by vertical white columns, in which the abundance of “neatly labeled packets are transformed into fields of colour, generated by endless arrays of identical products, reflecting off the shiny ceiling” (Wyatt Mason). The Rhine II (1999), depicts a stretch of the river Rhine outside Düsseldorf, immediately legible as a view of a straight stretch of water, but also as an abstract configuration of horizontal bands of colour of varying widths. In his six-part series Ocean I-VI (2009-2010), Gursky used high-definition satellite photographs which he augmented from various picture sources on the Internet.
Gursky first exhibited his work in Germany in 1985 and has subsequently exhibited throughout Europe. His first solo gallery show was held at Galerie Johnen & Schöttle, Cologne, in 1988. Gursky’s first one-person museum exhibition in the United States opened at the Milwaukee Art Museum in 1998, and his work was the subject of a retrospective organized by The Museum of Modern Art, New York, in 2001, touring to Museo Nacional Centro de Arte Reina Sofía, Madrid, Centre Pompidou, Paris, and Museum of Contemporary Art, Chicago in 2001–2002. Further museum exhibitions include “Werke-Works 80-08”, Kunstmuseen Krefeld (2008, touring to Moderna Museet, Stockholm and Vancouver Art Gallery in 2009); Kunstmuseum Basel, Switzerland (2007); Haus der Kunst, Munich (2007, touring to Istanbul Museum of Modern Art, Sharjah Art Museum, National Gallery of Victoria, Melbourne, and Ekaterina Foundation, Moscow in 2007–2008). His work has been seen in international exhibitions, including the Internationale Foto-Triennale in Esslingen (1989 and 1995), the Venice Biennale (1990 and 2004), and the Biennale of Sydney (1996 and 2000).
Alexey Viktorovich Titarenko (Russian: Алексей Викторович Титаренко; born 1962 in Leningrad, USSR, now Saint Petersburg, Russia) is a Russian (and later, a naturalized American) photographer and artist.
At age 15, he became the youngest member of the independent photo club Zerkalo [Mirror]. He went on to graduate from the Department of Cinematic and Photographic Art at Leningrad’s Institute of Culture
Influenced by Russian avant-garde, works of Kazimir Malevich, Alexander Rodchenko and Dada art movement (early 20th century), his series of collages, photomontages and images created by superposing several negatives, “Nomenklatura of Signs” (first exhibited only in 1988, in Leningrad) is a commentary on the Communist regime as an oppressive system that converts citizens into mere signs. In 1989, “Nomenklatura of Signs” was included in Photostroyka, a major show of new Soviet photography that toured the US.
During and after the collapse of the Soviet Union in 1991-1992 he produced several series of photographs about human condition of the ordinary people living on its territory and the suffering they have endured then and throughout the twentieth century. To illustrate links between the present and the past, he created powerful metaphors by introducing long exposure and intentional camera movement into street photography. Especially the way he uses long exposure many sources note as his most important innovation. John Bailey in his essay about Garry Winogrand and Alexey Titarenko mentioned that “One of the obstacles was having an exposure of himself and people’s reaction to him included in the image.”
The most well-known series from this period is “City of Shadows,” whose urban landscapes reiterate the Odessa Steps (also known as the Primorsky or Potemkin Stairs) scene from Sergei Eisenstein’s film The Battleship Potemkin. [12] Inspired by the music of Dmitri Shostakovich and the novels of Fyodor Dostoevsky, he also translated Dostoevsky’s vision of the Russian soul into sometimes poetic, sometimes dramatic pictures of his native city, Saint Petersburg.
Along with Alexander Sokurov’s 2002 film, Russian Ark, the “City of Shadows” exhibition (that now included photographs from the mid and late 1990’s inspired by Dostoevsky’s novels) was a part of the program celebrating the 300th anniversary of the Russian City of St.Petersburg in the United States: “What Became of Peter’s Dream? Petersburg in History and Arts” (2003 Clifford Symposium, Middlebury, VT, USA)The Russian Ark and the “City of Shadows” have one similarity: both are based on the experimental innovation: Alexander Sokurov using a single, very long – 96 minutes sequence shot and Titarenko several minutes long exposure for some of his photographs
Titarenko’s prints are subtly crafted in the darkroom. Bleaching and toning add depth to his nuanced palette of grays, rendering each print a unique interpretation of his experience and imbuing his work with a personal and emotive visual character. This particular beauty was emphasized by the exhibition of his prints from Havana series in J. Paul Getty Museum of Fine Arts (Los Angeles, May – October 2011).
As it was for Man Ray or Maurice Tabard, solarisation is another Titarenko’s creative tool. But unlike his predecessors, he exposes the print to light during the developing process mostly at the edges and in a such subtle way, that only lower the contrast and create a very particular kind of gray silver ‘veil’, an aerial ‘atmosphere’ that is so characteristic of his style. Nonetheless, in order to emphasize the dramatic aspects of “City of Shadows” series, he sometimes uses the Sabattier effect called the Mackie line.[21]
Through numerous interviews, lectures, books, curated exhibitions and two documentaries by French-German TV channel ARTE (2004, 2005); Titarenko is defending a particular vision of an artist and Art, close to the one of Marcel Proust, linked to the literature, poetry and classical music (especially the music of Dmitri Shostakovich), placing himself very far apart from today’s tendencies that were developing particularly in Moscow.[22] He became a naturalized United States citizen in 2011 and according to the 2014 ARTnews magazine’s article, he now lives and works in New York City as an artist, photographer, printer.
Alexey Viktorovich Titarenko (nato a Leningrado – ora San Pietroburgo – nel 1992) è un fotografo e artista russo (ora naturalizzato americano).All’età di 15 anni, è diventato il più giovane membro del club fotografico indipendente Zerkalo. Ha continuato a laureati del Dipartimento di Cinematic e Arte Fotografica presso l’Istituto di Leningrado della Cultura.
Influenzato dal russo d’avanguardia, opere di Kazimir Malevich, Alexander Rodchenko e Dada movimento artistico, la sua serie di collage, fotomontaggi e immagini create dalla sovrapposizione diversi aspetti negativi, “nomenklatura dei Segni” è un commento del regime comunista come un sistema oppressivo che convertiti cittadini in semplici segni. Nel 1989, “nomenklatura di Signs” è stato incluso in Photostroyka, una grande mostra di nuova fotografia sovietica che ha girato gli Stati Uniti.
Durante e dopo il crollo dell’Unione Sovietica nel 1991 1992 ha prodotto numerose serie di fotografie su condizione umana delle persone comuni che vivono sul suo territorio e le sofferenze che hanno sopportato e poi per tutto il XX secolo. Per illustrare i legami tra il presente e il passato, ha creato potenti metafore introducendo lunga esposizione e movimento della fotocamera intenzionale in fotografia di strada. Soprattutto il modo in cui usa l’esposizione a lungo molte fonti di notare come il suo più importante innovazione. John Bailey nel suo saggio su Garry Winogrand e Alexey Titarenko detto che “Uno degli ostacoli era avere un’esposizione di se stesso e la reazione delle persone a lui incluso nell’immagine.”
La serie più noto di questo periodo è “City of Shadows”, i cui paesaggi urbani ribadire la scena Odessa Steps dal film di Sergei Eisenstein La corazzata Potemkin. Ispirato dalla musica di Dmitri Shostakovich e romanzi di Fedor Dostoevskij, ha anche tradotto la visione di Dostoevskij dell’anima russa in a volte poetici, a volte drammatiche immagini della sua città natale, San Pietroburgo.
Insieme al 2002 il film di Alexander Sokurov, Arca russa, la “Città delle Ombre” mostra è stata una parte del programma che celebra il 300 ° anniversario della città russa di San Pietroburgo negli Stati Uniti: “Che ne è stato di sogno Pietroburgo di Pietro nella storia? e delle Arti “L’Arca russa e la” Città delle Ombre “hanno una similitudine: entrambi sono basati sull’innovazione sperimentale: Alexander Sokurov con un unico, lunghissimo 96 minuti sequenza girato e Titarenko diversi minuti di esposizione a lungo per alcune delle sue fotografie
Le stampe di Titarenko sono sottilmente realizzati in camera oscura. Sbiancamento e tonificazione aggiungere profondità alla sua tavolozza di sfumature di grigi, rendendo ogni stampa un’interpretazione unica della sua esperienza e impregnando il suo lavoro con un carattere visivo personale ed emotiva. Questo particolare bellezza è stato sottolineato dalla mostra delle sue stampe della serie L’Avana in J. Paul Getty Museum of Fine Arts.
Come è stato per Man Ray o Maurice Tabard, solarizzazione è strumento creativo di un altro Titarenko. Ma a differenza dei suoi predecessori, egli espone la stampa alla luce durante il processo di sviluppo per lo più ai bordi e in modo sottile, che solo abbassare il contrasto e creare un particolare tipo di grigio argento ‘velo’, un ‘atmosfera’ aereo che è così caratteristica del suo stile. Tuttavia, al fine di sottolineare gli aspetti drammatici della serie “City of Shadows”, a volte usa l’effetto Sabattier chiamato la linea di Mackie.
Attraverso numerose interviste, conferenze, libri, mostre curate e due documentari di francese ARTE canale TV tedesca; Titarenko difende una particolare visione di un artista e di arte, vicino a quello di Marcel Proust, legati alla letteratura, la poesia e la musica classica, mettendosi molto distanti dalle tendenze di oggi, che si stavano sviluppando in particolare a Mosca. E ‘diventato un naturalizzato cittadino degli Stati Uniti nel 2011 e secondo l’articolo di ARTnews magazine del 2014, vive e lavora a New York City come artista, fotografo, stampante.
