Michael Kenna

Michael Kenna is one of the most international photographers of our time, known worldwide, is represented by the most important art galleries of the planet. His internationality can be found not only in the global appreciation by the public and critics of his work, but also in the subjects chosen, views taken from every corner of the world. In fact, Kenna does not limit himself to representing the English landscapes where he grew up, but he is taken by the irrepressible desire to travel, to visit distant countries, being constantly fascinated by the discovery of new scenarios of which he tries to capture the atmosphere, imprinting it on the film.

 

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Michael Kenna - End of Editions

Michael Kenna realizes only one print run for his photographs

In this section we provide the last available photography of sold out editions.

Catalogs available in the Gallery

Michael Kenna, immagini del settimo giorno, skira book

Michael Kenna - Images of the seventh day

SIGNED

70 euro – 1 copy available

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Michael Kenna - Confessionali

SIGNED

60 euro – 4 copies available

Ediz. Italian and English

“Entering the confessional” is an expression that was – and is – typical of the priest in our parishes; we intend to define with this locution also one of the founding features of the ministry. The confessional is an artefact, a piece of furniture, a piece of furniture that is often imposed in Catholic churches and “speaks” even when it is not… inhabited; we know, at a glance, that the priest can live in the confessional even for hours. It may be of noble workmanship, made of more or less valuable woods; it may be imposing or modest.”

Michael Kenna - Retrospective

SIGNED

70 euro – 1 copy available

Michael Kenna, Forms of Japan

Michael Kenna - Forms of Japan

SIGNED

60 euro – 3 copies available

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Michael Kenna il fiume po

Michael Kenna - The Po River

SIGNED

60 euro – 3 copies available

The profile of the Po River in 102 photographs taken over a period of 15 years from the source to the mouth

Biography

Michael Kenna is one of the most international photographers of our time, known worldwide, is represented by the most important art galleries in the world. His internationality can be found not only in the global appreciation by the public and critics of his work, but also in the subjects chosen, views taken from every corner of the world. In fact, Kenna does not limit himself to representing the English landscapes where he grew up, but is taken by the irrepressible desire to travel, to visit distant countries, constantly fascinated by the discovery of new scenarios of which he tries to capture the atmosphere, imprinting it on the film.

Michael Kenna was born in Widnes, Lancashire (England) in 1953. After having long dreamed of devoting himself to painting, he studied photography at the London College of Printing. In 1975 the exhibition The Land, curated by Bill Brandt, at the Victoria and Albert Museum in London reveals the extraordinary possibilities of artistic photography; in addition to Brandt, Kenna acknowledges having looked with interest at Atget, Emerson, Sudek, Bernhard, Callahan, Sheeler, Stieglitz. In the late 1970s, Michael moved to the United States, and went to live in San Francisco – later, he would live first in Portland and then in Seattle, where he currently resides.

In San Francisco he met Ruth Bernhard (1905-2006), a sensitive photographer of nudes and still lifes, with whom he became an assistant, helping her with the printing of her images and acquiring a great deal of experience in the darkroom, which over time would reveal itself in all of Kenna’s work.

Almost from the beginning, Michael chooses the landscape as the elective theme of his photographs, starting a tireless reconnaissance on the infinite secret faces of the planet, and arriving to touch all continents; the results of these trips and stays, determined by commissions or personal choices, are documented in some specific monographs and catalogs of exhibitions dedicated to him. Among the many exhibitions that have been held in public spaces and private galleries, we would like to mention those in various museums in France, the United States, Japan – most recently at the Bibliothèque Nationale de France in Paris in 2009. Among his cycles, we would like to recall L’impossibile oblio, on the Nazi concentration and extermination camps, also exhibited at Palazzo Magnani in 2002, as a section of the exhibition Memoria dei campi.

Micheal Kenna, one of the most famous and appreciated American landscape photographers in the world, explores the potential of analogue photography through the use of black and white silver salts with conservative selenium toning. Appointed in 2000 Knight of the Order of Arts and Letters by the French Ministry of Culture, Kenna is known for his unmistakable style, characterized by black and white and the use of analog photography with which he portrays places using new and unexpected points of view that give them a metaphysical and mental quality. His shots are taken in moments of the day when the light has yet to fully manifest itself to shape the subjects.

His subjects are nature, architectural treasures, cities and industrial areas, which are cloaked in their own disturbing beauty even in the most striking case of nuclear power plants.
Michael Kenna looks at these places from unexpected physical and mental points of view, and he does so by moving at certain times of the day when light has yet to manifest itself to shape those subjects that are only immaterial and practically invisible concepts.
Very long exposure times that give back material and languid images, often made at night, not without difficulties and eventual “failures” serenely taken into account.
He is a mediator, an extraordinary polyglot translator capable of understanding and identifying with places and cultures so distant that they often seem taken for granted, also because of the thousands of clone images that daily impose themselves on our eyes and dry up our imagination instead of stimulating it.

An artist capable of renouncing speed to tune in to channels of peaceful and respectful coexistence with the places he has visited and studied.

Far from periods and schedules dictated by those automatisms that lead us all to move simultaneously and convulsively, to make us discover what we have never even had time to notice. Far from the visual and acoustic pollution of the metropolis to rediscover places and noises that have been forgotten. To look for and listen to, not to be subjected to.

His language is out of fashion, not “out of fashion”, only because, as some assert, romantically anchored to analogue photography and not yet catapulted into the world of digital. Even if both ways lead to potentially similar and exciting results, he chooses the way of reflection and silver over the impetuous ride on the wave of pixels. With time, he has forged an unquestionable and unmistakable style, observing the world with the gaze of the sculptor who, in front of the block of marble, already knows where he wants to arrive but also knows that what he is about to undertake will be a long and difficult journey.
From the half-light of the places where he physically finds himself, Kenna sets off on a journey that never ends after his long clicks but continues later in an equally dark place, the dark room, where, with the faint presence of a red bulb, the photographer turns into a printer to revise and give new light to what he has already observed. Or perhaps only imagined.

About Michael Kenna

Learn more about his life, follow him on his travels and be guided by his unique way of seeing the World