The Eye Viewing RoomMay 12, 2020
Michael Hoppen Gallery presents master works by
Bill Brandt, Dora Maar and Shōmei Tōmatsu in
The Eye Viewing Room
The Eye Viewing Room precedes the fair, Eye of the Collector, a creatively driven selling exhibition, with work from that will take guests on an intimate journey from ancient to contemporary. Set in Two Temple Place, the former estate office and private apartment of William Waldorf Astor, guests will discover works of art and design across various disciplines, presented, with the assistance of a prestigious curatorial committee, to encourage new narratives and ways of looking.
The viewing room coincides with the previously planned date of the inaugural edition of the fair which is now scheduled to take place from 8-11 September.
Now launched, the works for sale in the Eye Viewing Room are being presented in two distinct settings. In the Galleries Section each exhibitor has their own dedicated viewing room in which they are showcasing three carefully selected works. Works can also be viewed set against the virtual backdrop of Two Temple Place, in a format that juxtaposes contemporary, modern and ancient works to suggest new collecting pathways and dialogues.
Michael Hoppen Gallery is presenting rare master works by Bill Brandt, Dora Maar and Shōmei Tōmatsu.Nagoya Smoking Prostitute, 1958signed and dated in pencil on the versoSilver gelatin print, printed 200325 x 35.5 cms
MASTERS OF JAPANESE PHOTOGRAPHYSainsbury Centre exhibition January 4, 2017
Japanese Photography: The Birth of a MarketMichael Hoppen talks to Blouin Art Info December 16, 2015
Western collectors’ newfound curiosity about the Provoke artists follows a concerted campaign by a handful of players that demonstrates both how changing tastes alter markets, and how markets can change tastes.
[article written by Noelle Bodick]
SHOMEI TOMATSUAipad 2015 - Special feature April 13, 2015Shomei Tomatsu (1930 - 2012) is perhaps the most influential Japanese photographer of the post-war era. His raw, grainy and impressionistic style signalled a dramatic break with the quiet formalism that had defined earlier photography. Few photographers have looked so closely and penetratingly beneath the skin of a nation as Tomatsu did when he turned his camera on his homeland. The results remain startling, disturbing and complex, imbued with all the contradictions he felt about Japan, photography and himself.During the 1950s and 60s Japan was undergoing a sudden and turbulent social change. During this time, Tomatsu took to documenting in a blurred, visceral style portraying the 'underground' and 'everyday' in the city, from prostitutes to drifters, hippies and artists living on the outskirts.Shomei Tomatsu's work is included in renowned private and public collections worldwide. In 2006 a major retrospective of his work The Skin of the Nation was held at SFMOMA.
16 - 18 April, New York.