By the end of 1928, he was contributing regularly to magazines and exhibiting his work internationally alongside well-known artists like Man Ray and Berenice Abbott. The three years between his arrival in Paris and his emergence as a major figure in modern art photography marked a period of dedicated experimentation and exploration for Kertész. During this time he carved out a photographic practice that allowed him to move between the realms of amateur and professional, photojournalist and avant-garde artist, diarist and documentarian.
For those three years only, Kertész produced most of his prints on carte postale, or postcard, paper. Although his choice may have initially been born of economy and convenience, he turned this popular format toward artistic ends, rigorously composing new images in the darkroom and making a new kind of photographic object. The small scale of the cards also allowed them to circulate in a way befitting an immigrant artist—shared with a widening circle of international friends at the café table or sent in an envelope to faraway family.
Lead support for André Kertész: Postcards from Paris is generously provided by Nicholas and Susan Pritzker.
Major support is contributed by The André and Elizabeth Kertész Foundation.
Additional support is provided by Vicki and Bill Hood.
Members of the Luminary Trust provide annual leadership support for the museum’s operations, including exhibition development, conservation and collection care, and educational programming. The Luminary Trust includes an anonymous donor; Neil Bluhm and the Bluhm Family Charitable Foundation; Karen Gray-Krehbiel and John Krehbiel, Jr.; Kenneth C. Griffin; Caryn and King Harris, The Harris Family Foundation; Josef and Margot Lakonishok; Robert M. and Diane v.S. Levy; Ann and Samuel M. Mencoff; Sylvia Neil and Dan Fischel; Anne and Chris Reyes; Cari and Michael J. Sacks; and the Earl and Brenda Shapiro Foundation.