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Georges Tony Stoll
 
Graduated from the Fine Arts Academy in Marseille, Georges Tony Stoll (born in 1955 in Marseille, lives and works in Paris) became well known for his photographs even if his work is deployed on different media such as painting, video or installations, for exploring what he names the “domains of abstraction”. Reattached to an “aesthetics of intimacy” by several art critics such as Élisabeth Lebovici and Dominique Baqué, his work is nevertheless distinguished by a rather marked plastic and pictorial approach, and by his taste for staging bodies and objects. Although, the symbolism arising from this fusional elements escapes any analytical discourse; rather it reaches a certain contemporary form of contemplation, simply inscribing itself in the present, telling nothing, letting beauty to emerge (Éric de Chassey).
He has participated to several exhibitions at the Musée Granet (Aix-en-Provence 2013), Galerie Jérôme Poggi (2012, 2017), La Galerie, Noisy-le-Sec (2011), FRAC Alsace (2009), Grand Palais (La force de l'art, 2009), Les Rencontres d'Arles (2008), Musée national d'art moderne, Paris – Centre Georges Pompidou (2003), the Villa Medicis in Rome (2010), White Cube (New York, 2000), Musée d'Art Moderne de la Ville de Paris (2004), Glassbox (1999). Several critics have written about his work: Jeff Ryan, Anna Helwing, Sophie Berrebi, Juan Vicente Aliaga, Elisabeth Lebovici, Dominique Baqué, Vincent Simon, Catherine Grenier, Éric de Chassey.
His work can be found in numerous public collections: Winterthur Fotomuseum (CH), Musée national d'art moderne, Paris – Centre Georges Pompidou, Musée d'Art Moderne de la Ville de Paris, Maison Européenne de la Photographie, FNAC, FRAC Poitou-Charente, Angoulême, FRAC Alsace, collection Agnès b, Fondation Louis Vuitton, etc.

See also Kaleidoscope #13 – Winter 2011/12 – The New / Georges Tony Stoll.
 
(external link: georges-tony-stoll.com)
 

 
2018
bilingual edition (English / French)
Art centers, museums, galleries & varia
out of print
Monograph devoted to Georges Tony Stoll's painting, with a hundred reproductions, a long essay by Éric de Chassey and eight unpublished texts by the artist.