With a profession spanning over six a long time, photographer James Barnor is a famend determine within the historical past of images. The Ghanian artistic’s lenses have witnessed and immortalised essential societal occasions. In his dwelling 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. 

Apart from being a portraitist, Barnor was a photojournalist and photographed distinguished figures akin 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 images 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 images. For the brand new exhibition of Saint Laurent Rive Droite shops in Paris and Los Angeles, artistic director Anthony Vaccarello invitations Barnor to showcase a collection of images with the help of Galerie Clémentine de La Féronnière. 

These photos, in black and white and colors, function symbols of a vivid and engaging Afro-modernism and supply an sudden window right into a strikingly up to date and exquisite visible world. About 20 images might be exhibited in both of the Saint Laurent Droite places akin to “RUM MODEL”, “LONDON, C.1965-1966” or “DRUM COVER GIRL ERLIN IBRECK”, “KILBURN, LONDON,1966”. A list of the exhibition might be obtainable within the shops as nicely.

Along with the exhibition, Barnor might be joined by fellow photographer Campbell Addy, and they’ll focus on numerous matters. From the previous’s first steps into images, his tackle trend imaging, his strategy to black and white versus color movie, and the significance of passing data to future generations, the duo’s dialog may be watched beneath.

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 good looking instance of the generational dialogue Barnor so poetically describes.

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