176:. The photographic tale was again built on a thread of fiction that Bettina Rheims and Serge Bramly created from autobiographical elements. In this work, Paris plays "the role of the muse more than the subject, and , through the characters woven into a story, in an almost allegorical form. A young woman we know by her initial, B., is looking for Rose, her twin sister who she claims has disappeared. Presented as a 'great mysterious series', a genre held dear by surrealists,
112:"By using colour and extreme quality printings, the flesh appears living and gives a disconcerting realism to the work. Bettina Rheims thus transcends the body to reach primitive femininity in her psychoanalytical "id" - her more or less pent-up impulses, sexual impulses in particular. At the same time as these impulses show through the surface, the awareness of the model, through her skin, the artist captures them on film."
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165:, a work that was primarily a homage to sculpture. On this occasion, the photographer collaborated with the designer Jean Colonna to dress the women in original clothing. "Old haute couture dresses were thus re-assembled on each of these contemporary icons. These women, with their unconventional beauty, then played with a stone, which for a moment became their pedestal."
157:
In 2002, Rheims created a series on
Shanghai during two long stays in the city. "The first impressions of a traveller arriving in Shanghai are those of people with deep-rooted ancestral rituals and traditions who threw themselves into the frenetic race of the present-day world. Blending into this
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builds a philosophical dialogue on the history of the crucifixion through photographs of scenes of the life of Christ, from the
Annunciation to the Ascension. Bettina Rheims proposed "illustrations in step with our times, after the appearance of photography, cinema and advertising imagery, as if
60:
and acrobats, which would lead to her first exhibitions. This work would unveil
Bettina Rheims' favourite subject, the female model, to which she would frequently return during her career. The 1980s provided Bettina Rheims with the opportunity to take several portraits of both famous and unknown
119:
at the end of his presidential campaign to work behind the scenes on a series of photographs following the final stages of the election. After the election, the
Presidency of the French Republic commissioned Bettina Rheims to take the official portrait of Jacques Chirac. She told the newspaper
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is a parody of the first pornographic photos — rooms with faded walls, old fashioned wallpaper — yet, in its substance, it endeavours to stage amateur models in poses playing on the eroticism and the confusion between those who are looking and those who are showing themselves.
158:'other way of thought' and without any prejudices, Bettina Rheims offers us a novel view of this paradox, which is the coexistence of China with its millenary traditions, its avant-garde facet, its official aspects and its underground features."
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series enabled Rheims' to train her lens on another form of nudity: that of stuffed animals with fixed stares, "which seemed to want to express something beyond death". "I had to capture their gaze" declared the photographer.
196:) presents 27 sound portraits of young men and women who responded to a request the photographer posted on Facebook. The photos are accompanied by interview clips and have featured in several exhibitions and a book.
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627:"Bettina Rheims, 46 ans, photographe. Des filles à nu, Chirac en Président cow-boy, et Jésus avec des seins. Succès et polémiques. La chair et Christ"
472:"Bettina Rheims, 46 ans, photographe. Des filles à nu, Chirac en Président cow-boy, et Jésus avec des seins. Succès et polémiques. La chair et Christ"
358:"Bettina Rheims, 46 ans, photographe. Des filles à nu, Chirac en président cow-boy, et Jésus avec des seins. Succès et polémiques. La chair et Christ"
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is divided into thirteen episodes in which we discover among other things an unusual or obscure Paris, which is voluntarily timeless."
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80:(1989-1990) the photographer questioned gender, androgyny and transsexuality. Two other publications on the same subject followed:
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212:, as well as taking portraits of famous women for international magazines. Rheims says that she has been inspired by
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I.N.R.I. Jésus, 2000 ans après ... (text by Serge Bramly), Éditions Albin Michel, Paris, November 1998.
144:. and its eponymous exhibition. Once again uniting the gaze of Rheims with the prose of Serge Bramly,
100:(1990-1992). This was her first in colour and marked the start of her collaboration with the novelist
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653:"Légion d'honneur : Uderzo, Roselyne Bachelot et Marie-Jo Pérec dans la promotion du 14-Juillet"
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Jesus were returning today." . In France, the publication of this work was highly controversial.
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series pursues the questioning of gender representation. The device linking image and sound (by
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Janice
Kennedy, "Exploring female sexuality: Documentary a revealing look at women's erotica".
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Oxymoriques. Les
Photographies de Bettina Rheims, Michel Onfray, Éditions Jannink, Paris, 2005.
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320:'s partner and is today married to the lawyer Jean-Michel Darrois. She is also related to the
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that she had wanted to give the
President "the relaxed look of the great heroes in westerns".
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At the beginning of the 1990s, Bettina Rheims worked on one of her major series, entitled
56:. Her photographic career began in 1978, when she took a series of photos of a group of
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104:, in a work which saw her photographs coupled with the writer's fiction. In its form,
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Rheims has also worked on advertising campaigns for fashion and big brands, such as
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At the end of the 2000s, Bettina Rheims worked with Serge Bramly again and exhibited
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A Room in the Museum of Modern Art in
Frankfurt, Kehayoff Verlag, Munich, 2000.
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Shanghai (text by Serge Bramly), Éditions Robert
Laffont, Paris, October 2003.
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316:'s estate, and the sister of writer and producer Nathalie Rheims. She was
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14 July 2013: Commander of the French Legion of Honour (Officer, 2006)
324:, through her great-grandfather (the branch called the "von Worms").
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384:"Rétrospective Bettina Rheims au Musée d'art contemporain de Lyon"
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The decade drew to a close with the 1999 publication of the book
432:"Works shown in the exhibition "Bettina Rheims: Modern Lovers""
308:, an art auctioneer and historian, novelist, member of the
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Rose, c'est Paris (text by Serge Bramly), Taschen, 2010.
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In 2005, at the
Galerie De Noirmont, Rheims exhibited
513:"Bettina Rheims | documenta 12 | fr - ARTE"
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More Trouble, Schirmer / Mosel Verlag, Munich, 2004.
270:
Rétrospective, Schirmer/Mosel Verlag, Munich, 2004.
39:; born 18 December 1952) is a French photographer.
279:Héroïnes, Galerie Jérôme de Noirmont, Paris, 2006.
264:Morceaux Choisis, Steidl Verlag, Göttingen, 2002.
729:Commandeurs of the Ordre des Arts et des Lettres
258:X'mas, Éditions Léo Scheer, Paris, October 2000.
229:Modern Lovers, Éditions Paris Audiovisuel, 1990.
295:, TIMELESS 2013 concert programme, Paris, 2013.
232:Female Trouble, Schirmer / Mosel Verlag, 1991.
282:The Book Of Olga (text by Catherine Millet),
8:
406:"Bettina Rheims - Curiosités naturelles n°1"
339:2018: Grand officier de l'ordre du Mérite.
333:1994: Grand Prix de la Photographie, Paris
220:as well as by the work of early painters.
134:Erotica: A Journey Into Female Sexuality
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61:women, resulting in the publication of
719:French people of German-Jewish descent
252:Animal, Kehayoff Verlag, Munich, 1994.
239:), Gina Kehayoff Verlag, Munich, 1992.
188:Exhibited in 2012 in Düsseldorf, the
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249:Kim, Kehayoff Verlag, Munich, 1994.
549:. 21 November 2004. Archived from
304:Bettina Rheims is the daughter of
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246:), Kehayoff Verlag, Munich, 1992.
36:[bɛtinakaʁɔlinʒɛʁmɛnʁɛ̃s]
699:21st-century women photographers
694:20th-century women photographers
609:"Bettina Rheims: Gender Studies"
28:Bettina Caroline Germaine Rheims
115:In 1995, Rheims was invited by
16:French photographer (born 1952)
582:. 8 April 2010. Archived from
519:. 14 June 2007. Archived from
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714:French portrait photographers
704:People from Neuilly-sur-Seine
52:Bettina Rheims was born in
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724:French women photographers
174:National Library of France
734:20th-century French women
543:"Bettina Rheims Shanghai"
131:'s 1997 documentary film
242:Les Espionnes (text by
235:Chambre Close (text by
456:. 2002. Archived from
328:Awards and decorations
244:Bernard Lamarche-Vadel
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312:and administrator of
32:French pronunciation:
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709:French photographers
589:on 11 September 2014
502:, February 10, 1999.
127:She was featured in
573:"Rose, c'est Paris"
58:strip-tease artists
553:on 26 October 2009
547:Galerie Denoirmont
310:Académie française
170:Rose, c'est Paris
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633:. 21 October 1998
478:. 21 October 1998
410:www.deyrolle.com/
364:. 21 October 1998
322:Rothschild family
200:Commissioned work
178:Rose, c'est Paris
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661:. Retrieved
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48:Early stages
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637:19 December
557:21 November
482:19 December
436:Art Gallery
368:19 December
214:Diane Arbus
129:Maya Gallus
678:Categories
663:2013-07-14
631:Libération
476:Libération
454:Denoirmont
362:Libération
344:References
122:Libération
184:The 2010s
153:The 2000s
146:I.N.R.I.
92:The 1990s
613:Art Book
416:13 March
163:Héroïnes
88:(1994).
65:(1989).
593:8 April
527:14 June
284:Taschen
210:Lancôme
142:I.N.R.I
70:Animal
300:Family
206:Chanel
43:Career
587:(PDF)
576:(PDF)
76:With
639:2015
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559:2004
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517:Arte
484:2015
418:2018
370:2015
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