WARMENHOVEN & VENDERBOS Blog » photography

Diary 030212

W&V — Fri, 03 Feb 2012 12:30:49 +0000

WARMENHOVEN & VENDERBOS | Diary photo (snapshots) entry 030212

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David Bailey | We’ll take Manhattan

W&V — Mon, 30 Jan 2012 12:30:04 +0000

Recently filmmaker John McKay revisited David Bailey’s legendary 1962 trip to New York in the BBC film We’ll take Manhattan. During this trip Bailey had to shoot the photo’s for an editorial which was published in the April 1962 edition of British Vogue. He agreed to do the shoot only if the, at that time still unknown, Jean Shrimpton was his model. Bailey and Shrimpton where instructed to shoot mid-priced British fashions against the elegant landmarks and modern architectonic cityscape of Upper Manhattan. Instead of doing this David Bailey and his model Jean Shrimpton travelled with no hair or makeup artist and just his camera and an old teddy bear as prop through the more unpolished side of Manhattan. The shots he made melted raw and realistic street photography with fashion and high art and resulted in a legendary iconic series which captured the new liberated spirit of the decade.The photo’s of this shoot are later published in David Bailey: NYJSDB62 (Steidl, 2007). The film by John McKay explores the hedonistic love affair between the iconic photographer and the Sixties supermodel during this British Vogue fashion shoot.

Read more about David Bailey in this W&V blog post.

Photos by: David Bailey | David Bailey website | Photo 2 and 6 by: BBC | John McKay website

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Luc Braquet | Backstage

W&V — Fri, 25 Nov 2011 15:57:13 +0000

Backstage is a recently shot series by the French photographer Luc Braquet with a strong and interesting documentary quality. Read more about him in an earlier posted article on the Warmenhoven & Venderbos blog and see for the full series his portfolio website.

Photos by Luc Braquet | Luc Braquet portfolio website |

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Diary 051011

W&V — Wed, 05 Oct 2011 10:48:25 +0000

WARMENHOVEN & VENDERBOS | Diary photo (snapshots) entry 051011

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Hiroshi Sugimoto | Colors of Shadow

W&V — Wed, 28 Sep 2011 13:27:08 +0000

Colors of Shadow is the first conceptual photo series which artist Hiroshi Sugimoto photographed in color and it shows his continuous interrogation of photography’s intrinsic nature; of light entering into a darkened or “dimmed chamber”, however, the light source remains out of view. The work is minimalist in nature. The photographic field is emptied of any superfluous detail, allowing stillness for meditation.
Colors of Shadow seems also to mirror the white cube, the gallery space, in its perpetual rhythm to lay bare its white walls to receive the work of art. Here the works reflect its surroundings; the detail is focused on what the viewer’s eye does not generally pay attention to. Brought into focus are the corners of the space, its ceiling and walls with different hues of whites due to the slightest alteration in lighting, and their cast shadows.

Subtle play of light and shadow as well as spatial composition are central in this work by artist Hiroshi Sugimoto. He explains it as following:

”I’ve learned many things from using my hands. While I’m still not sure about the nature of light—whether it’s waves or particles—I’ve learned something about shadows. Trying to devise a way of observing shadows, this project escalated into a major undertaking, requiring an entire hilltop penthouse in a Tokyo apartment. When surfaces receive light, the light effects vary according to the angle of exposure. Selecting three distinct angles—90°, 55°, and 35°—I had the walls surfaced using traditional Japanese shikkui (plaster finishing), which absorbs and reflects light most evenly. In the morning light, the shadows play freely over the surfaces, now appearing, now vanishing. On rainy days, they take on a deeper, more evocative cast. I’ve only just begun my observations, but already I’ve discovered a sublime variety in shadow hues.”

Photos from top to bottom:
Colors of shadow c1020
Colors of shadow c1031
Colors of shadow c1028
Colors of shadow c1023
Colors of shadow c1019

Photos by: Hiroshi Sugimoto | Hiroshi Sugimoto website | source: Marian Goodman Gallery

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Diary 260811

W&V — Fri, 26 Aug 2011 13:15:17 +0000

Designer diary photo (snapshots) entry | Spring Summer 2012 collection shoot. | Warmenhoven & Venderbos vintage in Japan |

WARMENHOVEN & VENDERBOS | Diary 260811

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Warmenhoven & Venderbos | Autumn Winter 2011 2012 | collection campaign online

W&V — Thu, 04 Aug 2011 17:03:39 +0000

The Warmenhoven & Venderbos website has been updated with the online Autumn | Winter 2011 | 2012 campaign which is featuring fragments from our A|W 11|12 women ready to wear collection.

We invite you to discover all Autumn | Winter 2011 | 2012 collection campaign images on the W&V website.

De Warmenhoven & Venderbos herfst | winter 2011|2012 vrouwen mode collectie campagne is toegevoegd aan de website. Deze campagne toont fragmenten van de A|W 11|12 dames pret a porter collectie. Wij nodigen u uit om alle najaar | winter 2011 | 2012 collectie campagne afbeeldingen op de website te bekijken.

WARMENHOVEN & VENDERBOS | Autumn|Winter 2011|2012 collection

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Sam Samore | conceptual photography

W&V — Wed, 03 Aug 2011 11:30:29 +0000

Sam Samore creates fascinating large scale conceptual photographs. Appropriative practices, which are established by artists such as Cindy Sherman, are a key element in his works. His photos are an exploration of privacy and myth in contemporary society.

Britany Salsbury (Artforum) about his work:
Samore’s photographs are characterized by open-ended and evocative narrative compositions that are reminiscent of film stills. Through the contrast between the straightforwardness of their artifice and the impossibility of explaining the situations they portray, Samore’s photographs reveal a fragmented and constructed subject that invites interrogation of gender, popular culture, and identity.

Britany Salsbury gives a clear analyse of Sam Samore’s work in the following quote: “The Dark Suspicion#1 (See top photo), for instance, shows a young woman whose vacant stare and decorated femininity (heavy makeup, etc.) make her resemble the subject of a fashion advertisement. The model is only visible, however, through a gap between two other figures, whose showy lipstick and starkly pale skin seem virtually identical to her own. Although it would be easiest to rationalize the two doppelgangers as mirror reflections of the female figure, such a reading is impossible, given their position in the photograph: between the woman and the viewer. This manipulation of space eschews predictable or concrete explanation and frustrates the viewer’s impulse to impose purpose or narrative on figures whose functions might have otherwise seemed clear.”

In the above video by Kiki Allgeier , Sam Samore explains some more about his works. Samore’s role within LM100 (Le Meridien) was to help identify and chronicle the narratives inherent in the guest experience, from his contributions to the stories included in Le Méridien’s 50 Words story collection to his role as an artist behind a series of keys in the Unlock Art collection.

Photos from top to bottom:
The Dark Suspicion #1, 2011
Allegories of Beauty (Incomplete) #108, #44, #63, 1990s
The Dark Suspicion #5, 2011
Allegories of Beauty (Incomplete) #47, #10, #50, #8,1990s

Photos by: Sam Samore | Video by: Kiki Allgeier | Source: Britany Salsbury |

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Esther Stocker | Geometric abstraction and perception

W&V — Thu, 28 Jul 2011 16:29:20 +0000

Esther Stocker’s work mainly consists of paintings, photo’s and installations in an abstract and geometrical perspective, the various genres being closely related to each other.She works with a visually complex repertory of geometric sign and grid systems which explore the general conditions of perception and, in a broader sense, the effects of digital image technologies.
Esther Stocker’s reflexion is focused on the question: “How is a perfect system imperfect in reality?” Her geometric structures are based upon eternally self-repeating modules that create a seemingly ordered visual rhythm, to which the artist adds aberrations in order to generate an adjacent but new rhythm. This introduction of deviation in the optical balance, similar to 16th century’s mannerist architectural approach, creates surprise and emotion through the purposeful disruption of order and plane dimension.

Esther Stocker presents her work in her first solo show in France from the September 10 to October 15, 2011 at the Alberta Pane Gallery, Paris. This exhibition carries the title: Dirty Geometry.

Photos by: Esther Stocker, Sacha Georg, Michael Goldgruber, Jan Mahr | Esther Stocker website |

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Diary 070511

W&V — Wed, 11 May 2011 11:30:29 +0000

Designer diary photo (snapshots) entry | Autumn Winter 2011|2012 collection and press shots.

WARMENHOVEN & VENDERBOS | Diary 070511

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