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Significant Colour

A curated international photography exhibition

May 31– June 24, 2025                                                                         newsletter

French Cinema
Roses, me and the cat
Pattern 7751
Chromatic Echoes No. 1
Dream
Corn Field
Golden Rushes
Dahlberg Dandelions_Dandelions_
Orange Boots
Untitled
Untitled
Made Of Meat
Made Of Movement
Our Street
Snake Charmers
Vendors in a Rainbow
Fractured Red
Fractured Yellow
Fractured Blues
Instant Bodies - 21st April, 2020
Garden Pots
Red Tail Light
Alien Invasion
Autumn Fury
Storm in Bordeaux
Traces 1
Traces 2
The climbing tropaeolum
Drake Bouquet
Forman Feast
Marrakesh Still Life No. 1
Marrakesh Still Life No. 2
Albers: Manhattan
Yellow House
Celine
METROMETRO
Feet On Rug
Self-portrait
Flower stand at Vienna’s city park
Order
Shibuya Crossing
Cold
Yeller
The Final Curtain Call
When Beauty Fades
Homage à Mondrian
Untitled
Pattern 7100
Neon Madness
Orange Crush
Blue in Red
No trespassing
Blue Light Stripe
Highland Fountain
Chromatic Echoes No. 4
Chromatic Echoes No. 6
Street Visual
Portal
Rebirth
Self Portrait
Dance No 1
Dance No 2
Dance No 3

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 made colour 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

Denise Heinrich-Lane: French Cinema

Honourable mentions

Margrieta Jeltema: Roses, me and the cat

Joseph O’Neill: Pattern 7751

Zsuzsanna Sárközi: Chromatic Echoes No. 1

Exhibiting photographers

Fanny Boros (Szeged, Hungary), Michael Corthell (Millis, MA, USA), Dorie Dahlberg (Long Branch, NJ, USA), Judith Donath (Cambridge, MA, USA), Anita Donini (Milan, Italy), Janelle Freiman (La Jolla, CA, USA), Sari Fried-Fiori (Katy, TX, USA), László Gálos (Salgótarján, Hungary), Roger Gottlieb (Port Jervis, NY, USA), Kylo-Patrick Hart (Aledo, TX, USA), Denise Heinrich-Lane (Sète, France), Leena Holmström (Oulu, Finland), Margrieta Jeltema (Bolsena, Italy), Gary Justis (Bloomington, IL, USA), Márton Király (Budapest, Hungary), Don Kline (Baltimore, MD, USA), Serge Koffi  (Metz, France), John Kosmer (Fly Creek, NY, USA), Hon Chow (Joseph) Lai (Taipei City, Taiwan), Joshua Miller (Tuscaloosa, AL, USA), Robert Morrissey (Portland, OR, USA), Fern L. Nesson (Cambridge, MA, USA), Joseph O’Neill (New York, NY, USA), John Potter (Sherrill, IA, USA), Prof. Dr. Livia Küffner (Düsseldorf, Germany), Derek Ronald (Arlington, VA, USA), Karen Safer (Playa del Rey, CA, USA), Zsuzsanna Sárközi (Pázmánd, Hungary), Barbara Stéger (Budapest, Hungary), Allan Syphers (Gwynedd Valley, PA, USA), Chun Wang (New York, NY, USA), Rainer Würth (Faja Grande, Flores Island, Azores, Portugal)

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

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