Born in 1955 in Marseille, Georges Tony Stoll is one of the most striking, singular and prolific artists of his generation. At the beginning of the 1990s, he became particularly known for his photographs, although his very eclectic work also includes paintings, videos, collages, drawings and installations, exploring so-called “territories of abstraction”.
Early on, art critics such as Elisabeth Lebovici or Dominique Baqué linked him to a certain “aesthetic of the intimate”, alongside Nan Goldin or Wolgang Tillmans. However, Stoll stands out, since he has developed a powerful plastic and pictorial approach (Catherine Grenier), and a taste for representing bodies and objects whose symbolism escapes any analytical speech, in order to reach a certain contemporary form of contemplation, “simply inscribing itself in the present, telling nothing, in order to let something like beauty emerge” (Éric de Chassey).
Stoll discovered that he was also a photographer, almost by chance, in 1993. He put aside his painting practice for twenty years and produced hundreds of photographs that immediately took their place among the most radical and decisive images of 1990s contemporary photography. Although he or his loved ones often appear in his photographs, his work is neither autobiographical, nor romantic, nor psychological. Faces are masked, hidden, hooded, diverted or off-camera, making his images anonymous and “forcing those who see them to be confronted with an experience of strangeness” (Georges Tony Stoll).
He has participated in numerous exhibitions in France and abroad, including the Collection Lambert in Avignon (2022), the Musée de l’Armée – Hôtel des Invalides (2021), the Grand Palais (Paris Photo, 2012 – La force de l’art 02, 2009), La Galerie, Center d’art contemporain de Noisy-le-Sec (2011), FRAC Alsace (2009), Rencontres d’Arles (2008), Centre Pompidou (2003), Villa Medici in Rome (2010), White Cube (New York, 2000), Musée d’Art Moderne de la Ville de Paris (2004), Glassbox (1999), etc.
His works are part of several prestigious collections, including: the Pinault collection, the Agnès b. collection, the Winterthur Fotomuseum (CH), the Musée National d’art moderne, Paris – Centre Pompidou (FR), the Musée d’Art Moderne de la ville de Paris (FR), the Maison Européenne de la Photographie (FR), the FNAC (FR).
Georges Tony Stoll Identification Absurde 51, 2017
Wool, canvas, glass, silver painted wood, 48 x 35 cm, Enquire