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

A.K.A.s
Bob Mann, Bobby Mann and Robert C. Mann



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”.