Tout gosse, William Klein r�vait de vivre � Paris comme Henry Miller, Gertrude Stein, et Cie. En 1948, d�mobilis� de l'arm�e US � Paris, il y est rest� - pour fuir sa famille et l'Am�rique et devenir peintre. Tr�s rapidement, il a trouv� une autre famille et la reconnaissance de son talent. PARIS+KLEIN rassemble des photographies, aussi bien en noir qu'en couleur, des premi�res faites dans les ann�es soixante � celles r�alis�es quelques jours avant la mise sous presse en mars 2002 : des gens de la rue, des personnalit�s, des manifestations, la mode, les flics, les courses, la politique, le m�tro, le football, la mort... la vie de cette grande capitale avec le regard de Klein, vif, acide, m�lancolique, humoristique, ironique, �mouvant.

About the Author

N� � New York en 1928, Klein a grandi dans les " Mean Streets " de Manhattan. Sorti de l'universit� � 18 ans, il passe 2 ann�es dans l'arm�e US d'occupation (dont une et demie � la Sorbonne, invit� par le gouvernement fran�ais !). Il s'installe � Paris pour devenir peintre et travaille bri�vement avec Fernand L�ger. Ensuite, � Milan, il r�alise une s�rie de peintures murales pour des architectes italiens, assimilant en chemin l'�volution des arts plastiques de Masaccio au Bauhaus. En 1954, apr�s 6 ans de recherches picturales, il retourne � New York et s'embarque dans une gu�rilla compliqu�e d'amour-haine avec sa ville natale. Moiti� �tranger distanci�, moiti� indig�ne r�volt�, il cr�e un journal photographique d�capant. En 1956, para�t NEW YORK, un des livres les plus importants de l'histoire de la photographie, qu'il met en page lui-m�me. NEW YORK re�oit le Prix Nadar en 1957 en France mais ne sera jamais publi� aux �tats-Unis. Rompant avec traditions et tabous, Klein a d'embl�e impos� un style nouveau, violent, graphique, o� se m�lent humour noir, critique sociale, satire et po�sie. "Pour la premi�re fois, �crit Alain Jouffroy, des photographies ont devanc� l'�volution des arts plastiques. Klein a cern�, en effet, tous les th�mes trait�s par la suite dans la perspective du Pop Art, du Nouveau R�alisme et de la Nouvelle Figuration." Curieusement, � mesure que la r�putation internationale de Klein grandit, il devient une figure de l'underground, l�-m�me o� il a puis� son inspiration. Aux cours des ann�es suivantes, Klein publie trois nouveaux livres de conception d�brid�e et cin�matographique : ROME (1956), MOSCOU (1961), TOKYO (1962). De 1955 � 1965, il travaille par intermittence pour le magazine Vogue, cr�ant des images d'un nouveau genre, insolites et graphiques. En 1958, Klein tourne BROADWAY BY LIGHT, sans doute le premier film pop et, dans les ann�es soixante, abandonne la photographie pour le cin�ma. Parmi ses films, les sagas de Supermen Noirs : MUHAMMAD ALI THE GREATEST (1964-74), ELDRIDGE CLEAVER BLACK PANTHER (1970) et THE LITTLE RICHARD STORY (1980) ; des documentaires politiques : LOIN DU VIETNAM (1967), LE FESTIVAL PANAFRICAIN (1969), GRANDS SOIRS ET PETITS MATINS (1968-78) ; des longs m�trages de fictions : QUI �TES-VOUS POLLY MAGGOO ? (Prix Jean Vigo 1967), Mr FREEDOM (1968), LE COUPLE T�MOIN (1976), etc., fables corrosives sur les mythes id�ologiques de notre �poque. Dans les ann�es 80, il renoue avec la photographie, expose dans le monde entier et publie CLOSE UP (1989), TORINO 90 (1990), MODE IN & OUT (1994), de nombreux catalogues et monographies. Klein revoit � la loupe toutes ses planches de contacts de NEW YORK et con�oit le nouveau NEW YORK 1954-55 (1995) avec pr�s de 100 pages suppl�mentaires et des douzaines de photos jamais publi�es, certaines m�me jamais agrandies. � l'occasion du tournage de son dernier long m�trage LE MESSIE (1999), il publie WILLIAM KLEIN FILMS (1998). Honor� du Prix international Hasselblad, du Guggenheim Award aux USA, du Grand Prix national en France, du Kultur Preis et du Prix Agfa-Erfurt en Allemagne, peintre, photographe, cin�aste, graphiste, Am�ricain � Paris, William Klein �chappe aux �tiquettes, aux cat�gories, aux mouvements.

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