Miron Zownir

Year 1995
Print Hand-Print by artist

Paper size 30x40 cm
Price On request

Paper size #2 40x50 cm
Price #2 On request

Edition of 20 ( 10 prints for size 30x40, and 5 prints for size 40x50)
Print provenance Artist

Markings Signed and numbered by the artist on the verso

Extra print info N/A

Artist Biography

Hailed by Terry Southern as the Poet of Radical Photography Zownir's photographic work has been exhibited in galleries and museums in several countries from 1981 on. Some of his photographs were shown amongst artworks of the likes of Goya, Picasso, Alfred Kubin and Cindy Sherman in the exhibition ‘El salvaie europeo’ (2004) in Barcelona and Valencia.
In autumn 2008 Zownir’s photography was presented by the Fotomuseum Winterthur (CH) along with works of photographers like Robert Mapplethorpe, Man Ray, Nan Goldin, Nobuyoshi Araki and others in DARKSIDE I, an outstanding exhibition which showcased a remarkable collection of photography that is dedicated to images of sexuality as a mostly central part of our existence. (The photo book „Darkside 1 – Photographic Desire and Sexuality Photographed” with 250 photographs was published by Steidl Verlag)
Following Darkside I, the Fotomuseum Winterthur again presented Zownir’s work in Darkside II (2009) exploring the photographed human body as victim of impairment, disease, degeneration, violence and death with works by W. Eugene Smith, Weegee, Francesca Woodman and others.
Zownir took up photography in the late 70s during the hey-days of the punk-phenomenon inWest- Berlin and London, delivering a tight portrayal of the movement and its peculiar attitude towards life in limbo between a utopian vision of anarchy and nihilistic self-destruction.
In 1980, Miron Zownir emigrated to the USA, where he lived for the next fifteen years; first in New York, then in Los Angeles, and Pittsburgh. In New York, back then arguably the world's most fascinating and permissive metropolis, Zownir's peculiar approach to cover the city's multiple-layered day-to-day lunacy was quickly recognised by the local scene as the TEUTONIC PHENOMENOGRAPHER (Village Voice). Shot in moody, expressionistic b/w, Zownir's pictures from that period give a penetrating insight to inner-city sub-cultural spheres, which, in their original local context, have since perished in the boom of the 90s. His lens captured the untamed lust at the gay-parties, just shortly before Aids massively claimed its victims; the futile protest of artists and offbeat performers; the hopelessness on the Bowery; the shadowy world of hookers or junkies. Zownir's photographs of the 'Sex Piers' have become legendary documents by now. The shut-down and dilapidated port area located between the Westside Highway and the Hudson River, with its sunbathing section for nudists and the surrounding 'halls of the anonymous lust', was a popular meeting place among the gay- scene.
Zownir meanwhile has gained the reputation of being one of the most uncompromising contemporary photographers. Some critics claim that Zownir, in his own characteristic manner, ties on where Diane Arbus and Weegee had stopped. But when it comes to the basis of his artistic intention, Miron Zownir would rather point to a quote from Kafka’s ‘The Castle’ then being compared to other photographers: “If one has the strength to look at the things incessantly, more or less without ever closing the eyes, one sees much. But if one lessens the effort only once and closes the eyes, it all immediately vanishes into darkness.”

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