Robert Charles Mann Photographer Solo Exhibitions 2009 Robert Mann, Galerie Basia Embiricos, Ku Khahn curator, Paris, France 2006 Robert Mann, Ritual Gallery, Paris, France 2003 Orbits, Lonsdale Gallery, Toronto, Canada      Landscapes, Hands, Flowers, Charles Nes Gallery, New York, New York 2002 Reflections, Lonsdale Gallery, Toronto, Canada      Flowers, Michael Dunsford Gallery, Seattle, Washington 2001 One Off, Special Photographers Gallery, London, England      Vues de Touraine, Maison du Loir et Cher, Blois, France 1999 Window Series, Pinhole Visions Gallery, Chapel Hill, North Carolina 1998 Sans Objectif, Carré Davidson Galerie, Tours, France      Paysages Touraine, Carré Davidson Galerie, Tours, France Selected Group Exhibitions 2005 Pingyao International, Pingyao Museum, Pingyao, China 2004 Photo Review Best of Show, University of the Arts, Philadelphia, Pennsylvania      Summer Group Exhibition, Drabinsky Gallery, Toronto, Canada 2003 Marubi 2003, National Gallery of Arts, Tirana, Albania      Pinhole and Photograms, Lonsdale Gallery, Toronto, Canada      Works on Paper 15th annual, Charles Nes, New York, New York 2002 New Gallery Opening, Charles Nes Gallery, New York, New York      Works on Paper 14th annual, Charles Nes, New York, New York 2001 American Photographers, French Institute, New York, New York      Why Pinhole?, Visual Studies Workshop Gallery, Rochester, New York      Works on Paper 13th annual, Charles Nes, New York, New York      Toronto Art Fair, Lonsdale Gallery, Toronto, Canada 2000 Out There Here, Provincetown Museum of Art, Provincetown, Massachusetts      Tracing Shadows, Lonsdale Gallery, Toronto, Canada      Works on Paper 12th annual, Charles Nes, New York, New York      Photo L.A. 2000, Santa Monica Civic, Santa Monica, California 1999 Millennium, Special Photographers Gallery, London, England      Magiae Naturalis, Lonsdale Gallery, Toronto, Canada      Pinhole Art, Ohio Art League, Columbus, Ohio      Works on Paper 11th annual, Charles Nes, New York, New York 1998 Camera Ready, York Quay Gallery, Toronto, Canada      Pinhole International, Lonsdale Gallery, Toronto, Canada 1997 Avant Premier, Claude Samuel Galerie, Paris, France      Esprit des Lieux, Château de Tours, Tours, France      Petit Format, Carré Davidson Galerie, Tours, France Reviews/Bibliography 2003 Pinhole Photography, Toronto Star, Peter Goddard, May, 2003      The Enhanced Mishap, Pinhole Journal, Eric Renner, vol. 19/1 May, 2003 2002 At Home in France, The New Yorker, January 7, 2002      Photography From France, Arts4All, Marceal Ney, January, 2002 2001 Why Pinhole?, Afterimage, Steven Eckel, vol. 28 no. 4, Winter 2001      Deux Américains à Blois, La Renaissance du Loir-et-Cher, June 15, 2001      La Lumière et ses Diamants, La Nouvelle République, Lorraine Spindler, June 7, 2001      Les expositions s'enchaînent, La République du Centre, June 8, 2001      Jeffrey Blondes et Robert Mann, Loisirs 41, June 13, 2001 2000 Out There Here, Art New England, Sara London, October/November 2000 1999 Works on Paper, Journal of the Print World, Dennis Wepman, vol. 22 no. 3, Summer 1999      Contact 99, Now Magazine Toronto, Si Si Peñaloza, May 13-19, 1999      Pinhole Photography, Subterranean Notes Art on the Net, Gregg Kemp, November 1999 1998 Search for the Personal Touch, Monochrome #18, Andreas Licht, October 1998      Robert Mann, The New Darkroom Handbook, Joe De Maio, 1998 1997 Pinhole Images, Darkroom User Magazine, Ed Buziak, issue 31 #5, 1997 1989 Tirages, P.P.S. News, Anne Rose Schlutbohm, November 1989 1987 Robert Mann, Exposure Magazine, Cindy Lamb, vol.1 no.2, 1987      Robert Mann, Magazine Main, Kathleen Moloney, vol.2 no.5, 1987 Artist Statement I hope one finds my photographs an experience rich in dreams and that they induce an exploration of the psyche. Several different lensless cameras are used to accomplish this. The pinhole camera has a way of suggesting objects rather than representing them because of the particular quality the pinhole image produces. This suggestive character carries with it a more profound mystery which is not found on the surface of the image but rather in the possibilities of interpretation. The pinhole camera provides the aesthetic means needed for a subjective experience by the viewer. When this technique is combined with my themes and choice of subjects, the photographs begin to breath and become metaphoric environments. A singular characteristic of pinhole photography is the fact that exposures are quite long, varying from seconds to several hours. This cumulative exposure produces effects that cannot be seen by the eye. Moving objects become translucent, having a vibrating quality, and some objects may become completely transparent in the process due to displacement during exposure. For example, there are objects in these photographs that were present at the time of exposure which cannot be seen in the print or that produce effects not directly associated with the object itself. Once I've edited a group of negatives, I then print them in a highly variable process. An image's significance may change with every choice I make concerning its qualities of contrast, density, and tone. A photographic image can be printed in thousands of ways, and the tactile quality of the print is as important as the choice of materials. These prints are developed in a caustic soda solution that is very sensitive to temperature, dilution, rate of oxidation, and duration of the print's immersion. After the print is developed, the final stages of the process ensure the archival stability of the silver chlorobromide paper stock I work with. The print constitutes half the aesthetic of the photograph. The thematic process that began before the exposure was made and a more spontaneous chemical experimentation both take place while printing the negative. The darkroom is truly a place of alchemy where conscious decisions are made to evoke an unconscious allure. These photographs carry the possibility of many messages. They are enigmas born to be deciphered by the viewer. Biography When Robert Mann was eight years old he made his first photographic print before he had even taken a photograph. Mann’s father, who was also a photographer, had a darkroom in their home. Because of this he says that he discovered the magic of photography "in reverse" so to speak. He shared his intense interest in photography with that of music. His mother was a concert pianist so Robert grew up hearing her repertoire of the 19th century impressionists who have undoubtedly influenced his imagery. He attended the Ohio State University School of Music and in 1980 received his B.A. in music theory and performance from Musicians Institute in Hollywood, California. In 1990 he studied platinum printing at the Maine Photographic Workshops and in 1992 he attended the Pigment Printing Workshop at the Fine Print Studios of the Düsseldorf Museum. A count made several years ago by looking at invoices for past work proved that Robert has made over one million prints in the past twenty years. During the 1980's Mann was involved with many experimental music and performance art projects incorporating visual installations with electronic and prepared instruments. These projects led to his involvement with the Art Club in Los Angeles, which was a vehicle for the advancement of creative projects in the Los Angeles area. Concurrently Robert was also chief photographer for Exposure Magazine as well as being the exclusive printer for Herb Ritts producing all of his books and editorial work. In 1985-86 he was Ritts’ assistant and studio manager. He soon became one of the most sought after photographic specialists printing the work of Helmut Newton, Mary Ellen Mark, Michel Comte, Dennis Hopper, Peter Lindbergh and Sheila Metzner among many others. His work also includes producing prints for Twelve Tree and Twin Palms photographic books as well as the Hollywood Archives. In 1989, with an international reputation in photography and photographic printing, Robert moved to Paris France where he now resides. Robert has published several processes that he has developed. His darkroom is on the cover of the renowned book “The New Darkroom Handbook” and featured inside. He currently uses pinhole cameras exclusively to achieve his ethereal images and continues to print privately for a select group of photographers while producing his own works for gallery and museum exhibitions. Robert is represented by Reunion Images in London, Charles Nes in New York, and The Photolibrary as well as private and public collections internationally. Recently Mann worked with Brad Pitt producing his story of Angelina Jolie for W Magazine. Pitt has thus become a collector of Mann’s work purchasing eleven works from the “Orbit Series” and “Flower Series”.		Robert Charles Mann ThenCameNow Music BMI Composer for Film TV + Multimedia Films Flight, composer, Tim Green director, AcroTwins production Futuroscope, composer, byVolta Sensory Factory production Espion(s), composer: additional music, Nicolas Saada director, Première Heure production A l'Origine, music programmer, Xavier Giannoli director, EuropaCorp production The Wait, composer, Christopher Miles director, White Knuckles production Lift, composer, Tim & Anthony Green directors, Acrotwins Production Severe Clear, music programmer, Kristian Fraga director, Sirk Productions Republic of Capitalism title theme, Koppel on Discovery, composer; additional music, Discovery Channel Stiletto, composer: additional music and original score mix, Nick Vallelonga director, Stiletto Productions Career Criminal, composer: additional music, Midway Games, Inc. Investigation Discovery, composer: additional music, Discovery Channel Sony Ericsson branding theme, composer, Lakehouse Music production Orpheus Descending, composer and sound designer, Clayton Burkhart director, Première Heure production Daniel Hechter, composer, Steve Hiett director, Saatchi production McAfee, composer, AudioReel production NextiraOne, composer, AudioReel production France Telecom, composer, byVolta Sensory Factory production Moët & Chandon, composer and sound designer, byVolta Sensory Factory production Vélizy2 Centre Commercial, sound designer, byVolta Sensory Factory production byVolta branding theme, composer Altern Ego, composer, Frédéric Monpierre director, 2DT production Wanted Alive, composer and sound designer, David Gil director Ducati, composer, Clayton Burkhart director, Première Heure production Kenzo, composer, Peter Strube director Gucci, composer, Peter Strube director Calvin Klein, composer, Peter Strube director Shiseido, composer, Peter Strube director Chief Sound Engineer, MI Studios, Hollywood USA Recordings Auraspheres, CD, Partners In Rhyme producer, Barcelona Spain Glacier Project, CD, live conversions and synthesizer improvisations, Paris France Spiritual Rain, CD, Partners In Rhyme producer, Barcelona Spain Awards Espion(s) - Best First Film (nom), Les César 2010, Paris France A l'Origine - Best Score, Cliff Martinez (nom), Les César 2010, Paris France Orpheus Descending - Mention du Jury, Festival Silhouette 2007, Paris France Performances Flight - composer, Forum of New European Opera, Leonardo Gasparini conductor Education Pacific Northwest Film Scoring Workshops, Edinburgh Scotland Ohio State University School of Music, Columbus Ohio USA Oberlin Conservatory of Music, Oberlin Ohio USA Musicians Institute, Hollywood California USA City and Guilds of London Institute of Sound Engineering, London England Languages English and French A.K.A.s Bob Mann, Bobby Mann and Robert C. Mann Statement I have composed music for the feature film entitled 'Espions' (Spies) which was nominated for Best First Film at the César awards. Other projects include 'Lift', a documentary about the world champion paragliders Tim and Anthony Green, the title theme for Ted Koppel's 'People's Republic of Capitalism' on Discovery Channel, additional music and the original score mix for 'Stiletto' and TV spots for the new Discovery Channel called 'Investigation Discovery'. And most recently I have composed the music and sound design for Futuroscope in France. Using new techniques in physical modeling synthesis combined with live conversions of acoustic sounds such as my 'Momentums' of seven wine glasses and 'The Glacier Project', I push the envelope of cutting edge ambience. I am also equally adept at traditional orchestral and modern composing, crossing the line doing commercial work and advertisements for TV such as France Telecom, Ducati and Calvin Klein. The film 'Orpheus Descending' which I scored and sound designed, won the Mention du Jury at the Festival Silhouette 2007 in Paris. I draw from an unusual and vast understanding of all genres of music. I can add the atmosphere needed to complement and solve your ideas for sound and music. Composer Robert Mann's music for film, tv and multimedia originates from his particular combination of textural synthesis, IDM influences and orchestral elements for a sound that crosses many boundaries. Mann pushes the boundaries of cutting edge ambience and always sets precedents. The ability to orchestrate traditional instruments and combine them with the synthetic is an ability that can only be governed by taste. He records and collects unusual naturally occurring sounds and warps them through various processes thus producing elements in his compositions that set them apart from what is familiar. Mann's use of the orchestra is minimal yet powerful and with his musical roots spread across punk to jazz to noise to impressionist classic influences -credit be to his pianist mother- his palette is full of layers yet to be discovered. This is exemplified by his personal projects such as the Glacier Project, exclusively created using a physical modeling synthesizer, or the live conversions created only of modified and time-stretched wine glasses called Momentums. This in contrast to working commercially with France Telecom, Ducati and Calvin Klein, or co-composing with other composers such as Cliff Martinez, makes for a composer versed in breaking through with new ideas in sounds and music who is now in great demand.