After encountering Kruger\u2019s installation, visitors are led into another exhibition-within-an-exhibition, The World According to Penn. In one vast room, a constellation of almost 450 of Irving Penn<\/a>\u2019s photographs are hung on the walls from floor to ceiling, reaching well beyond eye level. Comprising the American photographer\u2019s sumptuous still lifes, nudes, studio portraiture and editorial fashion work taken from the 1940s to the early 2000s, this room showcases the astonishing breadth of Penn\u2019s work, along with his keen eye for beauty and character. Penn\u2019s photographs reappear throughout the rest of the exhibition, including his remarkably tender 1948 portrait Cuzco Children, which captures two barefoot Peruvian children in threadbare traditional garb. It\u2019s an emotionally charged image that speaks to the flimsy divide between childhood and adulthood, and one of the best in the show.\u00a0<\/p>\n The rest of the exhibition unfolds thematically, not chronologically, with photographers grouped together in sections exploring the nude, portraiture, the sea, abstraction, composition and more. \u201cThis celebration has been constructed like a fugue: a free-ranging, non-chronological stroll through all genres of the medium,\u201d says curator Matthieu Humery. \u201cThe goal is to narrate the history of photography in a non-didactic manner.\u201d Many of the most iconic photographs from history are on show here, from Robert Doisneau\u2019s unabashedly romantic The Kiss by the H\u00f4tel de Ville to Man Ray\u2019s surrealist masterpiece Noire et Blanche<\/a>, Edward Steichen\u2019s veiled portrait of a Gloria Swanson for Vogue, Dora Maar<\/a>\u2019s spiderwebbed photomontage The Years Lie in Wait for You, and Helmut Newton<\/a>\u2019s monumental Big Nudes, which were originally inspired by police photographs of the far-left terrorist German terrorist organisation Red Army Faction.\u00a0<\/p>\n But it\u2019s the show\u2019s less recognisable, more conceptual works that are most arresting. Hiroshi Sugimoto<\/a>\u2019s ghostly, monochromatic seascapes speak more to the painterly abstract colour planes of Rothko<\/a> than to photography\u2019s supposed mission to capture reality. Concorde, a purple-tinted Wolfgang Tillmans series, captures the supersonic jet plane disappearing into the sky, a utopian 20th-century relic of technological idealism since gone wrong. Another series, From the Los Ebanos Crossing by Zoe Leonard, speaks to the invasive nature of surveillance, with 34 prosaic images capturing helicopters circling overhead on the border between Mexico and the United States.\u00a0<\/p>\n Further on, a handful of poignant photographs masterfully address violence and its aftermath. There\u2019s Lee Miller\u2019s intensely humane 1944 photograph of a forlorn French woman who has had her hair shaved off as punishment for liaising with the German occupying forces \u2013 a common public humiliation ritual at the time. In 1971, as the war raged on in Vietnam, Richard Avedon travelled to Saigon to document the war\u2019s consequences on the civilian population. The result is Napalm Victims, an unwavering series capturing the mangled flesh, faces and limbs of four female survivors. The year before, he photographed Andy Warhol<\/a> after he was shot in 1968 by the radical feminist Valerie Solanas. Instead of posing shirtless, as he did in Alice Neel\u2019s painting<\/a>, Warhol wears a black leather jacket, which he pushes back \u2013 along with his surgical corset \u2013 to reveal the damage on his torso. It\u2019s a soft, sensual series of images that offer a rare glimpse beyond Warhol\u2019s buttoned-up persona.\u00a0<\/p>\n<\/a>
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Irving Penn, Cuzco Children, 1948Courtesy of the Bourse de Commerce \u2014 Pinault Collection<\/p>\n<\/a>
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Helmut Newton, Big Nude III, 1980Courtesy of the Bourse de Commerce \u2014 Pinault Collection<\/p>\n
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Tyler Mitchell, An Embrace, 2024Courtesy of the Bourse de Commerce \u2014 Pinault Collection<\/p>\n