Overview participating exhibitions
Tribute
2014
Tribute
Larry Fink
The Beats
In 1958, at the age of eighteen, Larry Fink left his childhood home and moved to New York. Fink was immediately drawn to New York’s counterculture, and he soon met a group of artists, writers, and musicians affiliated with a late stage of the Beat Movement. The group “desperately needed a photographer to be with them, to give them gravity, to live within them, record and encode their wary but benighted existence”, Fink says.
Traces & Omens
2005
Traces & Omens
Larry Fink
THE FORBIDDEN PICTURES (2001)
Weimar artists such as George Grosz, Otto Dix and Max Beckman denounced the decadence of that period in critical, politically tinged paintings. In a contemporary variant, Larry Fink ridicules the political leaders of America. The photographs in The Forbidden Pictures (2001), originally intended for The New York Times Magazine, were made shortly before 9/11. After the attack on the Twin Towers, no magazine was willing to publish them any more. Only in 2004 could they be shown for the first time in America, which immediately led to a storm of protest. Particularly the hand of a George Bush lookalike on the breast of a model caused outrage. 'The woman should be seen as a metaphor for our foreign policy,' responded Fink, 'which consists of putting our hands where they don't belong and the imperious abuse of our power.'
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THE FORBIDDEN PICTURES (2001)
Weimar artists such as George Grosz, Otto Dix and Max Beckman denounced the decadence of that period in critical, politically tinged paintings. In a contemporary variant, Larry Fink ridicules the political leaders of America. The photographs in The Forbidden Pictures (2001), originally intended for The New York Times Magazine, were made shortly before 9/11. After the attack on the Twin Towers, no magazine was willing to publish them any more. Only in 2004 could they be shown for the first time in America, which immediately led to a storm of protest. Particularly the hand of a George Bush lookalike on the breast of a model caused outrage. 'The woman should be seen as a metaphor for our foreign policy,' responded Fink, 'which consists of putting our hands where they don't belong and the imperious abuse of our power.'
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THE FORBIDDEN PICTURES (2001)
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THE FORBIDDEN PICTURES (2001)
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THE FORBIDDEN PICTURES (2001)
Biography
Arriving in London in 1976, Karen Knorr and Olivier Richon met at college. Soon the duo indulged in their shared fascination with punk, one of the city’s burgeoning subcultures, and set out to capture portraits of the youth in rebellion that were on their way to defining a generation.
