Michael Kenna just recently donated, by notarized agreement signed on November 10, 2022, all of his photographic work to the French State. Françoise Denoyelle wrote him this letter.
Dear Michael,
It is with enormous pleasure and a specific feeling that I found out of your fantastic and irreversible choice to bequeath your work, and for that, to select a country that is not yours. It is a tough decision to make. Informing yourself that it’s time to think about “the after-effects”, informing yourself that it is better to send to an institution rather than to your child. To say to yourself that of the 2 nations of which you are a nationwide, none has as lots of advantages as a third, the nation of your heart, the one that you have photographed the most.
Dear Michael, I imagine how much you weighed the advantages and disadvantages. Turned the question around in your head. I keep in mind Willy Ronis, in 1978, of his tortures about the future of his work of which, he said then, absolutely nothing would remain and who then made 2 successive contributions and a bequest to the State. I remember the year of settlements with the children of François Kollar, not all on the exact same wavelength as to the best solution to bring to life the work of their father which had fallen under oblivion which their mother, the remarkable Fernande Kollar, given that disappeared, had actually succeeded in making individuals known once again.
I am still haunted by the vision of the mess left in Yvette Troispoux’s picture fund after her death and whom I had actually known in her little so tidy apartment or condo. She imagined that, photography being “her household”, an oral contract with the National Library of France settled the question. The BnF just recovered the majority of her work after a legendary saga.
The premises of the earliest cumulative of photographers, Le bar Floréal photographie, returned to their initial usage after completion of the collective. I see the numerous working prints deserted for lack of area, the professional photographers too discouraged to sort them out, the exhibit prints too big to eliminate, the archives of thirty years of publishing, of exhibits on shelves half empty. Without the ultra-fast mobilization of the BnF, the Heritage and Photography media library, the dumpster would have been the supreme destination advised by the auctioneer.
Recently, I dined with Lan and Jean Mounicq. Happiness always restored from their relationship. They donated Jean’s work to the State in 2019. It joined the MPP with the funds of Boudinet, Gladys, Kertész, Parry, Réquillart, Ronis, Nadar and numerous others. At 91, after numerous questions, many wanderings– a task well underway with the Carnavalet museum did not succeed– Jean Mounicq is peaceful in the depths of himself due to the fact that his work, like yours, will be saved. He continues his activities easily, at his own pace, as you will do, and has actually just launched a brand-new book: Portraits, published in July.
Dear Michael, your contribution, 3,683 original silver photographic prints of images taken in 43 various countries, accompanied by their negatives and scans, 175,000 other negatives accompanied by their corresponding contact sheets, 6,422 working prints from the years 1983-2000, 1,280 Polaroid prints, 87 books and monographs, show the scope and quality of your work, testify to your kindness. The French can thank you for that. Thank you for the sublime prints that you make yourself in the privacy of your lab, thank you for the rely on the conservation of your work, which has been recognized, displayed and released for a very long time.
Late in the 2000s on the subject of the conservation of prints and negatives, organizations: museums, libraries, archives, media libraries … have actually because worked twice as hard.
France invites numerous foreign artists and creators. Passing visitors, some remain there their whole life, but end up entrusting their work to their country of origin. You, dear Michael, resident of the world, photographing in many nations, you have picked France, that of the Declaration of the Rights of Male, of Niépce and the law on the inalienable nature of works contributed to the State. Thank you
Your kindness is not new, more than 20 years ago you contributed 300 prints and 6,000 negatives from the “Prisoner-of-war camp” project produced in the years 1988-2000. Martine d’Arc, a lot missed out on Martine who disappeared too rapidly, had been the designer. It was made complex, really complicated, however Martine was stubborn and you had, you have, reiterated your self-confidence. Martine has actually worked so tough to make your work known in Europe. She discussed your jobs, your pictures with a lot passion. Sabine Troncin-Denis took control of.
The statement of your donation was made public in journalism and on the networks. It will appear in the next edition, volume 4 of + Photographie started by Marion Hisslen and taken control of by Fanny Escoulen, head of the Photography department at the Ministry of Culture. Your donation is hence contributed to all those, little or large, of which France is honored and over which the managers, conservation officers, storekeepers, conservators, monitor …
Thank you dear Michael, you are an example, a support for your colleagues who are wondering about the future of their work.
I kiss you
Françoise
Archives– November 14th, 2022 Contribution by Michael Kenna to the French State