Alan Klotz Gallery at AIPAD Photography Show

© Corinne Mercadier Toute Pensée, 2012.

© Corinne Mercadier Toute Pensée, 2012.

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.

© Josef SUDEK,A White Rosebud, 1954, Vintage Gelatin Silver Print

© Josef SUDEK,A White Rosebud, 1954, Vintage Gelatin Silver Print

19th Century Artists:

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

© Aaron SISKIND, New York 146, 1976, Vintage Gelatin Silver Print

© Aaron SISKIND, New York 146, 1976, Vintage Gelatin Silver Print

20th Century Artists:

Berenice ABBOTT | Eugene ATGET | BRASSAÏ | Harry CALLAHAN | Robert DEMACHY

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

© Peter HUJAR, Chloe Finch, 1981, Vintage Gelatin Silver Print

© Peter HUJAR, Chloe Finch, 1981, Vintage Gelatin Silver Print

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.

Théodore ROSZAK
We will be showing a group of a dozen vintage photograms, from the artist’s estate, made between 1937 and 1941. Roszak, a painter and a sculptor, as well as a photographer, was a close associate of Laszlo Moholy-Nagy and was offered a teaching position at the Institute of Design in Chicago in 1945, but he declined the offer. Roszak exhibited in the first Whitney Biennial, 1932, and later at the Museum of Modern Art, NYC, and at the Art Institute of Chicago, The Walker Art Center, the LA County Museum, SF MOMA, the Houston Museum of Fine Arts, and many other institutions. These unique vintage photograms are very rare.

Lewis HINE

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.

Eugene ATGET

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.

© Eugene Atget - Pont de Solferino, 1915 c.., Vintage Printing-out Paper from Glass Plate Negative.

© Eugene Atget - Pont de Solferino, 1915 c.., Vintage Printing-out Paper from Glass Plate Negative.

This essentially English photographer travelled all around the US in 1927 and left an extensive record of his peregrinations in the form of luscious gravure prints. They lie somewhere between Pictorialism and industrial Modernism.
Carolyn Marks BLACKWOOD | José Ramón BAS | Paul BOBKO
Valera & Natasha CHERKASHIN  | Alyson DENNY | Amy FINKELSTEIN
Andrzej PLUTA | Robert RICHFEILD | Charles SCHWARTZ | Takeshi SHIKAMA
She has been exhibiting with us for the past four years, with every subject shift a revelation. She, like Edward Weston on Point Lobos, hardly ever needs to wander further afield than a few hundred feet from her house to find wonders. The house sits on a promontory high above the Hudson River at Rhinecliff, and from there she started photographing ice on the river, and then the clouds over it, and finally, this year, the endless variety of the water itself.
This year’s shift has been only slightly sideways from the river ice, this time concentrating on the icicles hanging from the eaves of her house…she only had to turn around.  The rest is pure Carolyn.
© Carolyn Marks Blackwood - Icicles, 2012, Archival Digital Pigment Print

© Carolyn Marks Blackwood - Icicles, 2012, Archival Digital Pigment Print

Valera and Natasha CHERKASHIN

Realism and order are not dependable ways of representing the world of their experience, and their doubts about the safety of believing in societal order. Their images seemed to grow in accumulated sedimentary layers, representing the serial contributions of each.Of course certain characteristics are usually in evidence…as is the physical interventions on the work, including, the crumpling of the photographic paper, collage, montage, and the application of drawing and painting. To this is added the importance of community as a major content component of the work, and the social (if not socialist) aspects of their art. Also, in the way the images are structured, the Cherkashins are sardonically mindful, yet, in an almost elegiac way, of the tradition of Socialist Realism, and Russian Constructivism.


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 Paris-based photographer has been absent from our active roster for about two years while she found a work-around for the absence of the Polaroid film she used to make her pictures. She succeeded brilliantly, as you will see, in continuing with her lunar set pieces, based on dreams, and drawings that she does from the memory of those dreams, and from other, more literary sources. The scenes (Solo) are played out by her cast of “players”, and “throwers” on the salt evaporation flats of her childhood memories, in Bages, on the southwest Mediterranean coast of France. The negative prints done in abandoned buildings (Black Screen), look at first like places we’ve been, but the glow-suffused common objects that our attention is drawn to take on an importance that is not supported by the more plausible backgrounds on which they are “found”.

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.

© Robert Richfield - Santa Cruz Xoxocotlán-5 Oaxaca, México, 2012Digital Pigment Print

© Robert Richfield - Santa Cruz Xoxocotlán-5 Oaxaca, México, 2012
Digital Pigment Print

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?

© Jan Staller - Roll-up Gate, Queens, 2012, Archival Pigment Print

© Jan Staller - Roll-up Gate, Queens, 2012, Archival Pigment Print

Venue: A I P A D Photography Show Booth #314

Open: 4th - 7th of April 2013

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