It’s time, once again, for The AIPAD Photography Show, and Alan Klotz Gallery have their usual embarrassment of riches to offer you, in both vintage and contemporary.
They have assembled some small collections of material, which make up in intensity what they lack in sheer numbers.
James ANDERSON | Julia Margaret CAMERON | Louis-Jean-Baptist IGOUT
William Henry JACKSON | Gustave LE GRAY Oscar Gustave REJLANDER
August SALZMANN | William Henry Fox TALBOT | The Redoubtable ANONYMOUS
Walker EVANS | Andreas FEININGER | T. Lux FEININGER | Lewis W. HINE
E.O. HOPPE |Peter HUJAR Gertrude KÄSEBIER | Théodore ROSZAK
Aaron SISKIND | W. Eugene SMITH | Edward STEICHEN | Alfred STIEGLITZ
Paul STRAND | Josef SUDEK | Roman VISHNIAC | Brett WESTON
20th Century Masters - Small Collections
Seven exemplary prints, dating from the 1920s to the 1960s: A haunting view of the Vltava, the river that cuts through the center of Prague; two studio windowsill floral still-lives, a rare Modernist portrait, a dream-like view of a tram moving through the early morning Prague sunlight (1924), and a classic Bread and a Glass of Beer. Sudeks of this caliber are becoming extremely hard to come by.
For decades this gallery has been a source for the finest work by Lewis Hine, whose photographs influenced an entire generation or two of social documentary photographers, including the members of the Photo League, the FSA, and beyond.
We will have more than 30 vintage and early Hine photographs- From loom girls, to miners, from homeworkers to shoeshine boys, and enough newsies to populate a Broadway musical, this is a fine cross section of Hine’s most potent work.
One of the most significant figures in the evolution of modern photography, is a perennial favorite of mine. We are offering over a dozen prime examples of his work.
How seaweed can look like shiny, razor-edged cut sheet metal, or O’Keeffe-like folds of Iris petals, or arras gently billowing in afternoon breezes on a hill overlooking the Aegean… take your pick. And certainly when we think of our own seaweed encounters, we hardly ever think of the kind of luminosity exhibited as native in these images. The light defines their forms, and especially their edges, and even though the depth of the space described in these photographs is no more than a foot, at most, the light also defines their unexpected volumes.
This California-based photographer falls back on traditional natural subjects: trees, birds, and flowers. But knowing that tells you little of what she does, nor what it looks like. Nothing here is “usual”. The trees are often national or botanical treasures…trees melting down the walls at Angkor Wat, or existing solely on an island of the coast of Yemen. Carnivorous plants that mask their intentions with beautiful camouflage, made all the more effective by Ms. Moon’s masterful Platinum/ Palladium prints which look more like pencil drawings than photographs, another act of camouflage.
Finally there are her Ravens, not your average bird, more intelligent than most, some say, capable of speech. Moon has managed to get to know a pair of them ( they mate for life )in a preserve about an hour’s drive from her home in Marin County, just north of San Francisco. They recognize each other and enjoy their visits.
Richfield’s continuation of his interest in documenting the ways in which we honor our dead in order to remember them, is now centered in Mexico, and is called, “Perpetuidad- Extending Life to the Dead”. This title is a quote from an essay on the Mexican sense of solitude, by writer Octavio Paz.
This series has evolved greatly since its inception with simple recording of the appearance of sepulchers, to these collage-like explosions of shreds of things which seem not to be tethered to any place, or to this world at all.
This last November we had a show of Takeshi Shikama’s new body of work related to his travels in our Pacific Northwest, and Japan’s Hokkaido, Japan’s northern-most island.
The photographs, hand applied Platinum/ Palladium emulsions on hand-made Gampi paper, are the largest he has made to date 10 ½ x 13 ½ inches, and display his usual mastery of subtle tonal gradations that are the hallmark of his work. Takeshi’s love is for forests and their trees. Fortunately for him Japan is surprisingly 40% woodland, so there is lots for him to love, but even Central Park manages to look like a forest preserve, albeit one with an occasional skating rink, and with the buildings on the Park’s periphery mingled with the branches of the trees.
I have enjoyed watching Jan’s work get more and more complex, while the images themselves have become simpler and simpler. He is a painter who never pick up a brush, a sculptor who makes nothing in three dimensions, an installation artist who places nothing anywhere, and a wry wit who never tells a joke. Staller has a passion for industrial design, and has designed furniture. His environment of choice is industrial construction, demolition and manufacturing sites in and around New York City. They are the raw materials from which he selectively fabricates pictures about the act of fabrication and dissolution, in a society that can’t leave well-enough alone.
Forget the Parthenon, have you been to Jersey City lately?
Venue: A I P A D Photography Show Booth #314
Open: 4th - 7th of April 2013
For more information: www.klotzgallery.com