Sophie Ristelhueber

Beyrouth, photographies, 1984

Beyrouth, photographies

Sophie Ristelhueber

Her first pioneering series, Beirut, marks a breaking point in the history of photography by definitely distinguishing it from photojournalism. In the midst of the civil war, Ristelhueber photographed the ruins of modernity and immediately created a historical controversy over the status of photography as a work of art when she exhibited her images in Paris in 1984 (Gautier, Dictionnaire universel des créatrices, 2013). 

*Please note that the indicated prices exclude tax (a VAT on margin of 6% is applicable, except in the case of an official export).

.

Black and white print and baryta paper

1984

8500 EUR
Taxes not included

Sophie Ristelhueber

Beyrouth photographies, 1984

Beyrouth photographies

Sophie Ristelhueber

Her first pioneering series, Beirut, marks a breaking point in the history of photography by definitely distinguishing it from photojournalism. In the midst of the civil war, Ristelhueber photographed the ruins of modernity and immediately created a historical controversy over the status of photography as a work of art when she exhibited her images in Paris in 1984 (Gautier, Dictionnaire universel des créatrices, 2013).

*Please note that the indicated prices exclude tax (a VAT on margin of 6% is applicable, except in the case of an official export).

.

Black and white print and baryta paper

1984

8500 EUR
Taxes not included

Sophie Ristelhueber

Fait #29, 1992

Fait #29

Sophie Ristelhueber

In the midst of the Gulf War, Ristelhueber created a new series, Fait, which was exhibited all over the world and gave birth to her famous artist book of the same name. Playing with the limits of abstraction, these photographs taken from the sky look at the scars left by the war in the Kuwaiti desert. Closer to icons than photographic images, Marc Mayer wrote in 2008 about this series that it is “a work that raises the ethical dilemma of aestheticised violence; that seeks the outer frontiers of poetic license and of artistic freedom; indeed, a work of art that rearticulates the very role of art in our society. » (Mayer, Sophie Ristelhueber: Fait, 2009).

*Please note that the indicated prices exclude tax (a VAT on margin of 6% is applicable, except in the case of an official export).

.

Black and white photograph, silver print mounted on aluminum, with gold waxed frame

1992

30000 EUR
Taxes not included

Sophie Ristelhueber

Fait #63, 1992

Fait #63

Sophie Ristelhueber

In the midst of the Gulf War, Ristelhueber created a new series, Fait, which was exhibited all over the world and gave birth to her famous artist book of the same name. Playing with the limits of abstraction, these photographs taken from the sky look at the scars left by the war in the Kuwaiti desert. Closer to icons than photographic images, Marc Mayer wrote in 2008 about this series that it is “a work that raises the ethical dilemma of aestheticised violence; that seeks the outer frontiers of poetic license and of artistic freedom; indeed, a work of art that rearticulates the very role of art in our society. » (Mayer, Sophie Ristelhueber: Fait, 2009).

*Please note that the indicated prices exclude tax (a VAT on margin of 6% is applicable, except in the case of an official export).

.

Black and white photograph, silver print mounted on aluminum, with gold waxed frame

1992

31800 EUR
Taxes not included

Sophie Ristelhueber

Fait #45, 1992

Fait #45

Sophie Ristelhueber

In the midst of the Gulf War, Ristelhueber created a new series, Fait, which was exhibited all over the world and gave birth to her famous artist book of the same name. Playing with the limits of abstraction, these photographs taken from the sky look at the scars left by the war in the Kuwaiti desert. Closer to icons than photographic images, Marc Mayer wrote in 2008 about this series that it is “a work that raises the ethical dilemma of aestheticised violence; that seeks the outer frontiers of poetic license and of artistic freedom; indeed, a work of art that rearticulates the very role of art in our society. » (Mayer, Sophie Ristelhueber: Fait, 2009).

*Please note that the indicated prices exclude tax (a VAT on margin of 6% is applicable, except in the case of an official export).

.

Black and white photograph, silver print mounted on aluminum, with gold waxed frame

1992

30000 EUR
Taxes not included

Sophie Ristelhueber

Every One #13, 1994

Every One #13

Sophie Ristelhueber

In 1991, her monumental series Every One marks another major landmark in her practice. The violence of these images of scars as well as their status as unique prints brings them closer to painting than photography, a quite unheard-of gesture for the time. This is why Thomas Schlesser argued in Operations that Ristelhueber’s work should be regarded as ‘history painting’ more than photography (Schlesser, Operations, 2009).

*Please note that the indicated prices exclude tax (a VAT on margin of 6% is applicable, except in the case of an official export).

.

Unique black and white silver print laminated on aluminium

1994

80000 EUR
Taxes not included

Sophie Ristelhueber

Sunset Years #5, 2019

Sunset Years #5

Sophie Ristelhueber

Her most recent series Sunset Years marks a turning point in her practice. Consisting of photographs of the Dead Sea taken from the sky and details of Parisian sidewalks, the artist focused this time not on human types of warfare but on ecological ones. Bruno Latour and Peter Weibel heavily rely on this series to articulate their current exhibition at the ZKM, Critical Zones, having even chosen one of the works of this series for the cover of their catalogue, which was listed in the New York Times’s most important art books of 2020.

*Please note that the indicated prices exclude tax (a VAT on margin of 6% is applicable, except in the case of an official export).

Artwork size (incl. frame)
120 x 158 x 5(Centimeters)

.

Pigment print on Baryta Prestige 340gr Fine Art Paper

2019

20000 EUR
Taxes not included

Sophie Ristelhueber

Sunset Years #2, 2019

Sunset Years #2

Sophie Ristelhueber

Her most recent series Sunset Years marks a turning point in her practice. Consisting of photographs of the Dead Sea taken from the sky and details of Parisian sidewalks, the artist focused this time not on human types of warfare but on ecological ones. Bruno Latour and Peter Weibel heavily rely on this series to articulate their current exhibition at the ZKM, Critical Zones, having even chosen one of the works of this series for the cover of their catalogue, which was listed in the New York Times’s most important art books of 2020.

*Please note that the indicated prices exclude tax (a VAT on margin of 6% is applicable, except in the case of an official export).

Artwork size (incl. frame)
120 x 158 x 5(Centimeters)

.

Pigment print on Baryta Prestige 340gr Fine Art Paper

2019

30000 EUR
Taxes not included

close