Richard Pare was born in England in 1948. In his early years he was a chorister at Canterbury Cathedral. Later he studied photography and graphic design in Winchester and at Ravensbourne College of Art before moving to the United States in 1971. In 1973 he graduated from the School of the Art Institute of Chicago and since then he has been working as a photographer with a particular affinity for architecture. His most recent project is an ongoing study of the architecture of the Russian Avantgarde. In 1996 he published Tadao Ando. The Colours of Light which received the AIamonograph Award. he was curator of the Seagram Photography Collection from 1974 until 1985. He was the founding curator for the photography collection of the Canadian Centre for Architecture from its inception in 1974 until he became a consultant to the collection in 1989, a role he continues to fulfill. His works have been exhibited widely and he is represented in many of the major public collections of photography. He continues to write and lecture on the history of photography.
Pare’s photographic series Lost Vanguard: Soviet Modernist Architecture, 1922–32 examines Soviet avant-garde architecture in the postrevolutionary period. Although they are integral to the history of modern architecture, the featured projects have seldom been published and remain largely unknown. Examples of this avant-garde architecture abound, not just in Moscow and St. Petersburg but throughout the former U.S.S.R., in cities such as Kiev, Baku, Ivanovo, and Sochi. Richard Pare made eight extensive trips between 1992 and 2002, and created nearly ten thousand images to compile a timely documentation of these structures, many of which are now in various states of decay, transformation, and peril.
Recently Pare turned his attention to the architecture of Swiss modernist master Le Corbusier at the behest of the Museum of Modern Art in NY for its recent exhibition “Le Corbusier: an Atlas of Modern Landscapes” and the eponymous publication. Organized by architectural historian Jean-Louis Cohen, the exhibition and Pare’s photographs approach Le Corbusier’s buildings in a new way, presenting them not as objects but as figures in the landscape, a perspective that is bound to alter the way one thinks about his work.