Photography as performance; The Photographers’ Gal-
lery, London, England
Angle of Vision, French Artists Today; Solomon R.
Guggenheim Museum, New York, New York
1987 True Stories and Photofictions; The Ffotogallery, Car-
diff, Wales, and traveling
1989 20 ans de Photographie cre ́ative en France; Muse ́e
Ludwig, Cologne, Germany, and traveling
1991 Contempory French Photography; International Center
of Photography Midtown, New York, New York
1992 Invented images; Tokyo Metropolitan Museum of
Photography, Tokyo, Japan
1994 La vie, l’amour, la mort; FNAC, France, and traveling
1995 Invented images; Centro Cultural, Arte Contempora-
neo, Mexico
Beyond Recognition; National Gallery of Australia, and
traveling
Gommes et pigments; Centre Georges Pompidou,
Paris, France
1996 Invented images; Aperture’s Burden Gallery, New
York, New York, and traveling
1998,La collection Yvon Lambert; Yokohama Museum of
Art, Yokohama, Japan
2000 Kinder des 20. Jahrhunderts; Galerie der Stadt, Aschaf-
fenburg & Mittelrhein-Museum, Koblenz
2001 Invented images; Matsuzakaya, Tokyo, Japan
Sonne, Mond und Sterne; Staatsgalerie Stuttgart, Ger-
many
Desire; Galeria d’Arte Moderna, Bologna, Italy &
Ursula Blickle Stiftung, Kraichtal, Austria
Further Reading
Borhan, Pierre. Bernard Faucon,‘‘Les grands photo-
graphes.’’ Paris: Belfond, 1988.
Faucon, Bernard.Les Grandes Vacances. Paris: Herscher,
1980.
———. Faucon, Bernard. Summer Camp. New York:
Xavier Moreau, 1980.
———. Faucon, Bernard.La Part du Calcul dans la Graˆce.
Bordeaux: William Blake and Co., 1985.
———. Faucon, Bernard.Les papiers qui volent, Paris/
Parco, Tokyo: Hazan, 1986.
———. Faucon, Bernard.Les chambres d’amour, William
Blake and Co., Bordeaux 1987.
———. Faucon, Bernard.Chambres d’amour, Chambres
d’or. Bordeaux, William Blake and Co., 1989.
———. Faucon, Bernard.Tables d’amis. Bordeaux: Wil-
liam Blake and Co., 1991.
Jours d’image. Tokyo: Tre ́ville, 1995.
———.12 Menus-Paysages. Sets de Table. Paris: Maison
Europe ́enne de la Photographie, 1996.
———.La peur du Voyage - Visions et Le ́gendes. Bordeaux:
William Blake and Co., 1999.
———.Le plus beau jour de ma jeunesse. Paris: E ́ditions de
L’imprimeur, 2000.
Faucon, Bernard, and Antonin Potoski.La plus belle route
du monde. Paris: POL, 2000.LOUIS FAURER
American
Louis Faurer emerged in the 1940s as a talented
photographer on the basis of both his personal and
commercial work. He is best known for his artistic
photography: gritty black-and-white emotionally
charged photographs that capture the great bus-
tling crowds of New York City streets and the iso-
lated, haunted figures that roam them. His subject
matter, raw style, disregard for the ‘‘rules’’ of pho-
tography, and his involvement with commercial
magazine photography place him in what is now
known as the New York School of Street Pho-
tography. Although Faurer was included in semi-
nal group exhibitions at mid-century, only within
the last few decades has his work regained signifi-
cant recognition.
Born on August 28, 1916 to Polish immigrant
parents in South Philadelphia, Faurer displayed
an early predilection towards drawing; he attended
Philadelphia’s School of Commercial Art and Let-
tering, and worked as an advertising painter and
commercial letterer before turning to photography
in 1937. His early photographic education primarily
consisted of pouring through Farm Security Ad-
ministration publications. Faurer particularly ad-
mired Walker Evans’s photographs, but his own
work never had quite the same objective, social do-
cumentary style. Not long after picking up a cam-
era, Faurer won the ‘‘Photo of the Week’’ award in
a local paper and soon found his preferred subject
matter—city streets that alternately teemed with
crowds and featured lone figures. Work completed
while he was in Philadelphia displays a strong inter-FAUCON, BERNARD