Arnaud Maggs

[3] At the age of 47, Maggs decided to become a visual artist concentrating on photography and conceptualism and focusing on such things as death notices and tags documenting child labour in French textile factories.

[2] Maggs's explorations of the grid, portraiture, and collecting informed his investigations into such themes as systems and classification, time, memory, and death.

[6] By including numerous similar photos in one work, Maggs invoked the idea of duration, inviting viewers to compare changes in images over time.

[6] In his series 48 Views, 1981-1982, he used this grid style to portray cultural figures including Yousuf Karsh, Jane Jacobs and Michael Snow.

[1] In the United States, he was included in Special Collections: The Photographic Order from Pop to Now organized by Charles Stainback and toured by the International Centre of Photography in New York (1992).

[22] Maia-Mari Sutnik of the Art Gallery of Ontario who had been invited by Paris Photo to curate an exhibition, curated Performance Propositions, featuring Arnaud Maggs’s autobiographical series, After Nadar (2012) in dialogue with selected original press prints of the 1930s from the Art Gallery of Ontario's collection, held at the Grand Palais, during Paris Photo in November 2013.

[23] The show was the exhibition`s centrepiece, and in it, Maggs took the role of Nadar`s 1854-1855 series of mime Jean-Charles Deburau as Pierrot in nine photographs including an announcement of someone`s death.

[23] As Sutnik observed, Maggs` performance in his own studio in these photographs, not only concerned the history of photography but, knowing that he was about to die, announced his own forthcoming death.

[23] A postage stamp depicting Magg's photograph of Yousuf Karsh was issued on March 22, 2013, by Canada Post as part of their Canadian Photography series.