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Russell Ferguson, Dominique de Font-Réaulx, ...: Painting and Photography
Painting and Photography
(p. 11 – 44)

Russell Ferguson, Donatien Grau, Elisa Schaar, Wim Wenders, Dominique de Font-Réaulx

Painting and Photography
Impossible Reconciliation

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  • photography
  • conversation
  • contemporary art

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Dominique de Font-Réaulx

is Director of Outreach and Cultural Programming at the musée du Louvre, where she is a Lead Curator of Cultural Heritage. She served as the Director of the musée Eugène Delacroix between 2013 and late 2018. She has been, since January 2018, the editor-in-chief of the journal Histoire de l’art. She was in charge of the scientific coordination of the Louvre Abu-Dhabi project to Henri Loyrette, Director and CEO of the musée du Louvre. Prior to this appointment, she served as a curator at the musée d’Orsay, in charge of the photography collection; she began her career as curator in charge of the collection of molds of the musée des Monuments français, its restoration and new displays. She has curated numerous exhibitions, such as, in 2002, L’Invention du sentiment (musée de la musique), in 2003, Le daguerréotype français, un objet photo­graphique (musée d’Orsay, Metropolitan Museum of Art) ; en 2007–08, Gustave Courbet (1819–77) (Galeries nationales du Grand Palais, Metropolitan Museum of Art, musée Fabre); Jean-Léon Gérôme (2010, musée d’Orsay, Getty Museum, ­Thyssen Foundation, Madrid) ; Une Brève histoire de l’avenir (2015, ­Louvre); Shakespeare romantique (2017/18, Saint-Omer et à Namur). She has published widely, such as Painting and Photography, 1839–1914 (Flammarion, 2013). In 2018, she published the manuscripts of the young Eugène Delacroix, with Flammarion. She teaches at the Institut d’études politiques de Paris, where she serves as scientific advisor to the cultural courses.
Other texts by Dominique de Font-Réaulx for DIAPHANES

Russell Ferguson

is a Professor in the Department of Art, University of California, Los Angeles. He was previously Chief Curator at the Hammer Museum, Los Angeles. He has organized many exhibitions, including Perfect Likeness: Photography and Composition (2015), as well as solo exhibitions by Larry Johnson (2009), Wolfgang Tillmans (2006), and Christian Marclay (2003). With Kerry Brougher, he organized Open City: Street Photographs Since 1950 (2001) for The Museum of Modern Art, Oxford.
Other texts by Russell Ferguson for DIAPHANES

Donatien Grau

is head of contemporary programs at musée d’Orsay, Paris. He is the author of various books. He realized the exhibition Pierre Guyotat, la matière de nos oeuvre in collaboration with the Azzedine Alaïa Gallery in April–June 2016. A book of conversations between him and Pierre Guyotat appeared in October 2016: Humains par Hasard.
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Elisa Schaar

is an art historian and curator. Her publications include articles and catalogue essays on artists Robert Rauschenberg, Elaine Sturtevant, Fred Sandback, and Ragnar Kjartansson, and on topics such as the relation between art and media. She is a Visiting Tutor at the Ruskin School of Art, Oxford University, and contributes regular exhibition reviews to Artforum. Among her recent curatorial projects is an exhibition of Günther Förg that was a Collateral Event of the Venice Biennale 2019.
Other texts by Elisa Schaar for DIAPHANES

Wim Wenders

is considered one of the pioneers of the New ­German ­Cinema and one of the most important representatives of ­contemporary cinema. He is a director, producer, photographer, and ­author. In addi­tion to multi-award-winning feature films, such as Alice in the ­Cities (1973), Paris, Texas (1984) or Wings of Desire (1987), his most ­recent documentary films Buena Vista Social Club (1999), Pina (2011) and The Salt of the Earth (2014) were all Oscar nominated. Wender’s photographic works have been exhibited in numerous museums around the world, including the Centre Pompidou in Paris, the Hamburger Bahnhof—Museum for Contemporary Art in Berlin, and the Guggenheim Museum Bilbao. In fall 2012 Wim Wenders and his wife Donata Wenders founded the non-profit Wim Wenders Foundation, which brings together Wim Wenders’ film, photographic, and literary life’s work by restoring and making it permanently accessible to the public. In addition, the Wim Wenders Foundation is committed to promoting young talent in the field of innovative cinematic storytelling.
Other texts by Wim Wenders for DIAPHANES
Donatien Grau (ed.), Christoph Wiesner (ed.): After the Crisis

After the Crisis offers a platform for discussions between some of today’s leading artists, writers, theorists, curators, and historians aimed at questioning the very status of photography today. Contributors come from the realms of critical theory, fiction,  performance art, fashion photography, and museums, as well as film and design, and their conversations bring together history and the contemporary. Comparing the current situation of photographic images with the crisis experienced by representation at the time of the birth of photography, they set our relationship with photographic images in the digital era in perspective. Through these discussions, we come to sense the existential burden of being surrounded by images, while also beginning to grasp the historical depth of a questioning of images that started long before the current generation and engages with crucial political and cultural issues of our time. 

 

With contributions by Philippe Artières, Osei Bonsu, Emma Bowkett, Elisabeth Bronfen, Emanuele Coccia, ­Russell ­Ferguson, ­Dominique de Font-­Réaulx, Marc Fumaroli, Leigh Ledare, Kieran Long, Roxana Marcoci, Renzo ­Martens, Paul ­McCarthy, Tom McCarthy, Pascale Montandon-­Jodorowsky, ­ORLAN, Alice Rawsthorn, Jeff Rosenheim, ­Elisa Schaar, ­Bruno Serralongue, Devika Singh, Abdellah Taïa, ­Oliviero ­Toscani, Inez van Lamsweerde & Vinoodh ­Matadin, Wim Wenders, Richard Wentworth.

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