The red hives on the neck did start to appear on my neck as I realise that it's been a day or so since posting and a fair few days since reading other blogs. I'm slapping the calamine lotion on but meanwhile whilst I have some spare time and I've hacked into some free Wi-Fi at Toulon airport, I simply had to post these images that I took from the Melvin Sokolsky exhibition at the Villa Noailles as part of the Hyeres festival (though the exhibitions are on until 1st June if you're ever around the South of France...). In person, Sokolsky seemed modest, gentle and actually, it was hard to imagine this quiet unassuming man, taking photographs with such richness, depth and resonating lasting impact.
Quite simply, I was floored when I saw the exhibition, where the photographs were arranged so that you had to crane your neck to see everything as they were hung so high up. Some dramatic neckache and flooring is a small price to pay when you see the extraordinary effects of the images, most of which were taken in the 1960's, yet I wasn't viewing them with nostalgia and with a historical context in mind but with the simple feeling that these were evocative images that are astoundingly shot.
Therefore all that needs to be said really is 'Incoming Intense Images' because after seeing the exhibition, there wasn't that much that needed to be discussed or theoreticised... they are what they are...
The 'Chairs' series from 1963
A 1964 Donna magazine cover featuring Donna Mitchell) that looks like an Edwardian high society painting.
Simone D'Aillencourt overlooking a labryinth in 1961...
A Jean Shrimpton image from 1964 that I've never seen before (who doesn't love The Shrimp?)
Twiggy takes over New York in 1967
Gazing from a flower in the most recent work which was on display in the exhibition from 2001
Interesting how this 1961 two-faced image of Deborah Dickson has a similar play of effects as the 2001 images...