IN PHOTOGRAPHIC terms, the American modernists were an overwhelming influence on Norway’s embryonic movement and when the influential Galleri Riis opened it showed a medley of major Americans: Robert Frank, Serrano, Eggleston, Winograd as well as artists like Martin Parr. Along with Galleri Wang and Galleri K, indigenous photographers were presented to the world by an active promotion at international exhibition platforms like Basel.
Throughout the 80s and 90s, Nordic artists forged an identity of their own within the context of the art world dynamic and, here, these tendencies are comprehensively analysed and delineated with an honest appraisal of Norway’s appropriation of genres and its own original interpretations.
