Artists
Photography
Artists
Photography
These souvenir documents, this “Random Gallery,” are the results of ongoing research linked to memory, that very memory so important in the eyes of the artist for future generations. Through his tragic, tender, ironic, sometimes jester-like vision of life in general, Rozen offers us a series of photographic portraits that we will not readily forget: André Masson’s gaze toward infinity at the end of his life, Antonio Saura’s facial expressions, Jean Messagier, the vision of a Francis Bacon seeming to burst out of one of his own paintings, the deep suffering in the beautiful look of Nancy Spero… In this chronicle of the passing of time, in this milieu which is his, Rozen appears as a portraitist very different from any others, because he does not flatter his subject, he grasps, often hastily, the look, a moment of joy, a fleeting gesture, without using artifice, without any aesthetic research. In complete freedom, he uses black and white or color. Like all artists, Rozen is above all attentive to life and we can feel, looking at his photographs, his happiness, his joy at having managed to capture all these, his… precious moments.
Hélène Véret, editorial coordinator/picture editor for LIFE magazine, Paris. Excerpt from a text accompanying the exhibition “Rossini Exposes Rozen,” 2001.
The Rozen Collection of the Kandinsky Library holds more than 200 of these photographic portraits of artists.
These souvenir documents, this “Random Gallery,” are the results of ongoing research linked to memory, that very memory so important in the eyes of the…
These souvenir documents, this “Random Gallery,” are the results of ongoing research linked to memory, that very memory so important in the eyes of the artist for future generations. Through his tragic, tender, ironic, sometimes jester-like vision of life in general, Rozen offers us a series of photographic portraits that we will not readily forget: André Masson’s gaze toward infinity at the end of his life, Antonio Saura’s facial expressions, Jean Messagier, the vision of a Francis Bacon seeming to burst out of one of his own paintings, the deep suffering in the beautiful look of Nancy Spero… In this chronicle of the passing of time, in this milieu which is his, Rozen appears as a portraitist very different from any others, because he does not flatter his subject, he grasps, often hastily, the look, a moment of joy, a fleeting gesture, without using artifice, without any aesthetic research. In complete freedom, he uses black and white or color. Like all artists, Rozen is above all attentive to life and we can feel, looking at his photographs, his happiness, his joy at having managed to capture all these, his… precious moments.
Hélène Véret, editorial coordinator/picture editor for LIFE magazine, Paris. Excerpt from a text accompanying the exhibition “Rossini Exposes Rozen,” 2001.
The Rozen Collection of the Kandinsky Library holds more than 200 of these photographic portraits of artists.
Bram Van Velde, Boulogne-Billancourt, 1977. Musée national d’Art Moderne, Centre Pompidou.
Christo, New York, 1980.
Paul Rebeyrolle, Paris, 1979.
Roberto Matta, Paris, 1983.
Jean Messagier, le Moulin Doubs, 1978.
Antonio Saura, Cuenca, 1983.
Christian Dotremont, Tervuren, 1978.
Nancy Spero, New York, 1999.
Christian Boltanski/Annette Messager, Malakoff, 1984.
Jeff Koons, New York, 1999.
Wifredo Lam, Paris, 1979.
Miro, Saint-Paul-de-Vence, 1979.
Marcel Marceau, Paris, 2001.
Jacques Lacarrière, Sacy, 1973.
Xenakis, Paris, 1983.
