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Significant Colour

A curated international photography exhibition

June 29 – July 22, 2023                                                                        newsletter

The Beach
Red feeling
Off Orne
Salomé 3
Nature in contrast 2
Nature in contrast 4
Abstraction 2
Lonely yellow
Walking in indoor architecture
Somali Bantu Farmer 1
Somali Bantu Farmer 2
The Minute Winter Arrived
Temporary Gilt
Sky Lights
Star Circles
Circle of light
Golden structure
Feuilles de Feux
Samba Dancer
Franklin Street
Off Washington
Summer on the lake
The road between the fields of rice
Final Frontier
Floral Filament #2
Floral Filament #3
Floral Filament #4
Jade Steps
Architecture of thoughts
Morning greetings
Worlds Collide
Golden shroud in a pool of colour
Softly under gold
Nature Dead 1a.
Nature Dead 3a.
Shadow Self-Orange
Shadow Self-Portal
Pattern 8092
Pattern 9028
Disco Chic 1
Disco Chic 4
Disco Chic 6
The Red 5
The Red 13
Remuer Ciel et Terre 1
Remuer Ciel et Terre 3
Blue Day
Portala Door Reimagined
Stage Chengdu
Salomé 1
Salomé 2
When the Game Stops Being Fun
The Room at the Top of the Stairs No. 1
Root Yarden

Click on the thumbnail to view the image. Click on the image for a larger view and information.


There are two kinds of photographs with respect to the significance of their use of colours. On the one hand, ever since colour film technology became widely available, colour has become the default in most photographic practices. That is, some photographs are in colour not because their colours bear some special significance (compared, for instance, to their possible black and white counterparts) but simply because the available film or digital technology has long turned colour to be the common method of capturing photographic images. We may think of these photographs as colour by default. On the other hand, colours are often central to the meaning of photographs for their emphatic, symbolic, psychological, social, compositional, etc. significance. These photographs would not work in black and white the same way or they would not work at all; that they are in colour is not merely a technological given, rather, it is an integral, formative and significant aspect of their photographic meaning. We may think of these photographs as colour by significance.


Curator's choice

Margrieta Jeltema: The beach

Honourable mentions

Thierry Camus: Red feeling

Porter Gifford: Off Orne

Dina Sirat: Salomé 3

Exhibiting photographers

Bo Bergström (Stockholm, Sweden), Jean-Claude Bise (Neuchâtel, Switzerland), Thierry Camus (Paris, France), Charles Crain (Mandeville, LA, USA), Dorie Dahlberg (Long Branch, NJ, USA), Maks Dannecker (Berlin, Germany), Mark A. Dierker (Dubuque, IA, USA), Tamás Dragon (Budapest, Hungary), Francisca Filleul (Ottawa, Canada), Sari Fried-Fiori (Katy, TX, USA), Porter Gifford (Cambridge, MA, USA), Margrieta Jeltema (Bolsena, Italy), Matthew Judge (Newport, RI, USA), Gary Justis (Bloomington, IL, USA), Michelle Kalish (Township of Washington, NJ, USA), Andrei Kamkov (Moscow, Russia), Inbal Kristin (Ashkelon, Israel), Iveta Lazdina (Sigulda, Latvia), Vita Foldi Levar (Palatine, IL, USA), Richard Luxton (Bristol, UK), Dan McCormack (Accord, NY, USA), Jose Ney Mila Espinosa (Kissimmee, FL, USA), Robert Morrissey (Portland, OR, USA), Joseph O’Neill (New York, NY, USA), Cyrille Parry (Saint-Germain-en-laye, France), Stelvio Peti (Rome, Italy), Léna Piani (Ajaccio, France), John Potter (Dubuque, IA, USA), Marian Rubin (Montclair, NJ, USA), Karen Safer (Playa del Rey, CA, USA), Dina Sirat (Netanya, Israel), Quincey Spagnoletti (Boston, MA, USA), Root Yarden (Upper Galilee, Israel)

Please click on the names to see contact information (website or e-mail) where available.

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