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Posts Tagged ‘Gitterman Gallery’

Preview: Aaron Siskind Photography, Exhibition at Gitterman Gallery

In Exhibits, Gallery on November 21, 2017 at 1:30 pm

Aaron Siskind, Chicago #15, 1965, Image via Gitterman Gallery

Currently on exhibition, at Gitterman Gallery in New York, is the work of photographer Aaron Siskind produced during his long and prolific career. Siskind was known for bold and abstract works and was often likened to the Abstract Expressionists.

The exceptional vintage prints in this exhibition are masterful examples of Aaron Siskind’s interest in exploring the inherent abstraction of the real world. With these works, Siskind simultaneously captured the bold, graphic qualities of his subject and their nuances of texture and tonality. The images appear both as powerful, gestural forms from a distance, and as rich topographies with minute details and subtlety up close. As abstract as they are, his photographs still possess a sincere, humanist quality. His subjects are often fragments of marks or forms created by others, traces of human existence. As such, the images function as meditations on what we leave behind: emotional, even spiritual records of the interconnectedness of all things. Siskind’s work has often been compared to that of the Abstract Expressionists, with whom he identified and even exhibited. The visual similarities between Aaron Siskind’s graphic photographs and the bold, gestural marks of Abstract Expressionist paintings is striking, but there are important differences as well. As photographs of actual things (walls with peeling paint, piles of rocks, etc), Siskind’s works introduce a tension between the real and the abstract that is absent from any painting.

The exhibition runs from November 16, 2017- January 20, 2018. For more information contact Gitterman Gallery

 

 

Notable: New Inventory, Upstream by Charles Lindsay, Gitterman Gallery

In Gallerist on May 29, 2017 at 4:18 pm
charles-lindsay

Hatch, Montana, Charles Lindsay

Gitterman Gallery has new inventory that’s perfect for the outdoor photography enthusiast, photographed by Charles Lindsay.

With the seasons finally changing, my thoughts drift to the outdoors. I am reminded of the work my friend Charles Lindsay made almost 2 decades ago. I purchased a print back then of the Hatch for my twin brother Paul, an avid fly fisherman. He and I were taught to fly fish by our grandfather just like Charlie was, only Charlie learned at the old Jovial Fish and Game Club in Quebec and we learned on the River Test.

These photographs remind me of what it feels like to be on the river, the flow of the water, the dance of the flies and the immediacy of the weather. They embody the concept that you cannot step twice into the same river first suggested by the 5th Century BC Greek philosopher Heraclitus. Charlie seems to embrace both the infinite and the finite of nature simultaneously. They are specific moments of awe, some quiet and intimate and others full of energy.

Charlie only made a few prints of most of these images. He printed them himself in 2000 on 20×24 inch gelatin silver paper.

-Tom Gitterman

From Charles Lindsay:

Upstream is where I seek clear water, solitude, and trout. This book is the result of a five-year exploration into my experience of nature while fly fishing. The seeds for this endeavor were sown over thirty years ago fishing with my father and grandfather at the old Jovial Fish and Game Club in Quebec. In fly fishing, I return to the rivers and streams where I am at ease, where I affirm my connection with land and water.

I’ve reduced my camera equipment to a Rolleiflex with a fixed normal lens, the simplicity of which parallels the fly rod itself. I photograph while fishing and also dive into the river with my camera in an underwater housing. Beneath its surface the river is otherworldly, and the cold turbulence is both sensual and deeply calming.

I photograph to increase my awareness and to extend the process of concentration that culminates when the fish strikes. With wilderness under siege and humanity’s relationship with the natural world forever altered, photography allows me to bring the rituals of hunting and interpreting the land into a modern vernacular.

 

For More Information: Gitterman Gallery

Preview: Hommage à Christian Bouqueret, Gitterman Gallery, NYC, NY

In Black and White Photography, Exhibits, Gallery, Photo Print Collector, Photographer on December 6, 2016 at 3:40 pm

Aurel Bauh, Untitled, c. 1930

While America and France have long had their ups and downs, not a single US citizen can deny that the French have long had style and a profound love of the arts. Christian Bouqueret, who passed in 2013, was a prominent French art historian, curator and collector. His collection of vintage photography is truly a sight to behold, which is exactly what inspired Gitterman Gallery with its latest exhibit. Tom Gitterman considered Bouqueret to be a mentor and friend, which will make this exhibit particularly significant to the gallery.

Bouqueret was instrumental in rediscovering the work of many photographers during the interwar period. This exhibition will include work by many of those artists including: Aurel Bauh, Pierre Boucher, Roger Catherineau, Yvonne Chevalier, Laure Albin Guillot, Pierre Jahan, Francois Kollar, Eli Lotar, Daniel Masclet, Jean Moral, Roger Parry, Andre Steiner, Maurice Tabard and Ubac.  Bouqueret “felt that people were always being shown the same images and there was a whole range of photographers who deserved attention.” He stated that: “I don’t look for obviously attractive images; I believe that beauty unveils itself and that mystery is a part of it.”

Christian Bouqueret became interested in the modernity of Bauhaus photography during his art history studies in Berlin. Bouqueret was co-director of Bouqueret-Lebon Gallery from 1990-1997, which represented both contemporary German and French photography. He published many catalogs during his lifetime, including Assia sublime modèle, Les Femme Photographes, and books on Daniel Masclet, Jean Moral, Roger Parry, André Steiner, Raoul Ubac, and René Zuber. Bouqueret’s seminal 1997 book, Des années folles aux années noires: La nouvelle vision photographique en France 1920-1940, which presented over seventy photographers from the period, won the Prix Nadar photography book award. Bouqueret curated 200 vintage prints from his collection for the 2009 Jeu de Paume exhibition entitled Paris capitale photographique 1920-1940: Collection Christian Bouqueret. In 2011 the Pompidou Centre acquired nearly 7,000 photographs from Bouqueret’s collection, which was considered one of the best privately-owned Modernist photography collections in France. The following year the Pompidou exhibited a selection of the collection and published an accompanying catalog titled Voici Paris: Modernités Photographiques, 1920-1950. As Andy Grunberg writes in the Jeu de Paume catalog: “what we know of the history of photography is a result or sum of what has been preserved, collected, exhibited and published.” Thanks to Christian Bouqueret, that history is richer.

The “Hommage” is now available for viewing and will run until January 21st, 2017.

For More Information: Gitterman Gallery

Preview: Ferenc Berko, Gitterman Gallery, New York, NY

In Black and White Photography, Exhibits, Gallerist, Gallery, Photo Print Collector, Photographer on June 7, 2016 at 5:04 pm

Red Fort, Delhi, 1938, Ferenc Berko

Gitterman Gallery will be hosting a collection of Ferenc Berko for their latest exhibition. Born to a Jewish family in Hungary, Berko’s vast travels and a strong nurturing of his creativity made him one of photography’s great modernists in the middle of the 20th century.

In 1933, with the growth of anti-Semitism in Germany, Berko was sent to England to finish his studies in philosophy. While in London, he became active in the photography and film circles and learned from Emil Otto Hoppé. Following school, Berko moved to Paris where he continued to collaborate with his wife Mirte on a series of nude photographs. In 1937 he made a trip back to Hungary and photographed Jews in Budapest.  In 1938, with Nazi influence on the rise, Berko moved to India to become a filmmaker. Beyond learning cinematography, he experimented with the photographic process, creating photograms as well as prints with multiple negatives, while at the same time continuing his passion for investigating the world through an eye for beauty and form.

Moholy-Nagy invited Berko to teach photography and film at the New Bauhaus, the Institute of Design in Chicago. Unfortunately, Moholy-Nagy died just before Berko arrived in 1947. Berko’s work in Chicago focused on the abstraction of the urban landscape, continuing his interest in modernism, while developing work that had a direct dialogue with the current developments of Abstract Expressionism. Berko moved to Aspen in 1949. In Aspen, Berko’s visual and intellectual palettes were nourished; he had finally found a place where he felt both respected and inspired.

Berko’s work has been collected by the Amon Carter Museum of American Art, Fort Worth; Bibliothèque Nationale, Paris; Center for Creative Photography, Tucson; International Center of Photography, New York; Musée d’Elysée, Laussane; Museum of Modern Art, New York; the Metropolitan Museum of Art, New York; Museum Ludwig, Cologne; and Virginia Museum of Fine Arts, Richmond. Near the end of his life, 60 Years of Photography: The Discovering Eye (Edition Stemmle, 1995) and Berko: Photographs (Graphis, 1999) were published.

The exhibit will open June 21st and run until August 19th, 2016.

Preview: Kenneth Josephson, Gitterman Gallery, New York, NY

In Black and White Photography, Gallerist, Photo Print Collector, Photographer on March 22, 2016 at 11:16 am

Girl Combing Hair, Chicago, 1959, Kenneth Josephson

Gitterman Gallery, this spring, will be hosting one of the Midwest’s finest photographer progeny. Kenneth Josephson has been celebrated for his adept plethora of skills within photography, often extrapolating various characteristics of the medium with great effect.

Kenneth Josephson was born in Detroit in 1932. He began his formal photography training at the Rochester Institute of Technology, earning an Associate’s Degree before being drafted into the army in 1953, where he spent several months in Germany doing photolithography for aerial reconnaissance. He returned to R.I.T. immediately after to earn his B.F.A., where he studied under Minor White and Beaumont Newhall. Josephson started his graduate studies at the Institute of Design in 1958 and studied under Harry Callahan and Aaron Siskind. After graduating in 1960, Josephson became an influential instructor at the School of the Art Institute of Chicago, where he taught for almost forty years.

Josephson’s work is featured in numerous collections around the world. He has had solo exhibitions at the Museum of Contemporary Art, Chicago; the Art Institute of Chicago; the Whitney Museum of American Art; and most recently at the Denver Art Museum. This exhibition coincides with the publication of a retrospective monograph, The Light of Coincidence: The Photographs of Kenneth Josephson, published by the University of Texas Press.

The exhibit will open on Wednesday, April 6th, from 6-8pm and conclude Saturday, June 11th.

For More Information: Gitterman Gallery

 

 

 

Preview: PaJaMa, Paul-Jared-Margaret, Gitterman Gallery, New York, NY

In Black and White Photography, Exhibits, Gallery, Photo Print Collector, Photographer on September 7, 2015 at 4:41 pm
George Tooker, Jared French and Monroe Wheeler, Provincetown, c. 1947

George Tooker, Jared French and Monroe Wheeler, Provincetown, c. 1947

There are few times in the world of art that one may be taken seriously while being referred to by something that refers to sleepwear. PaJaMa is perhaps the one and only time that this applies to a group of photographers.

PaJaMa, an acronym for Paul-Jared-Margaret, was a collaboration between the artists Paul Cadmus, Jared French and Margaret French. Influenced by Carl Jung’s idea of the collective unconscious, these three artists known for their magical realism in other media collaborated in making photographs at the beaches of Fire Island, Provincetown and Nantucket as well as New York and New Jersey during the late 1930s through the early 1950s. They alternated as figures within the compositions, along with their friends, many of whom were figures in the New York art, dance, literary and theater worlds.

The intimate sized vintage gelatin silver prints often show a dramatic tension between the figures and the landscapes, suggesting psychological and symbolic relationships. They range in their expression from more formal studies to theatrical or symbolic and even surreal; often utilizing dramatic light and erotic imagery.

This exhibition will also include a Paul Cadmus etching, a drawing and sculpture by Jared French, and a painting by Margaret French. Though initially deemed socially deviant, the work of Paul Cadmus and Jared French is now highly revered and considered an important part of American art. The Margaret French painting included in the exhibition is rare, as she produced a limited amount of work and it seldom comes on the market.

 PaJaMa opens with a reception on Wednesday, Sept. 9th, 6-8 pm, and will run until Saturday, November 7th.

For More Information: Gitterman Gallery

 

Preview: Fireflies, William Larson, Gitterman Gallery, New York, NY

In Black and White Photography, Exhibits, Gallery, Photo Print Collector, Photographer on April 21, 2015 at 1:56 pm
Untitled by William Larson

Untitled by William Larson

In today’s world of bluetooth, touch screens and virtualization machines, it’s hard to believe how short a time ago that people were fumbling around with any digital technology. Heck, a dozen years ago 5 megapixel cameras were state of the art.

Of course this has never stopped the art community from stepping up and seeing what they could do, no matter what medium was introduced. For William Larson, the sixties presented one such tool in an early fax-machine. The results were the Fireflies series, digital artworks shot between 1969 and 1978. 

Larson used a Graphic Sciences DEX 1 Teleprinter, a sophisticated early fax machine, which converted pictures, text and sound into digitally-generated audio signals. These signals were transmitted over a telephone line and a stylus burned the image onto a special carbon-based paper, creating a unique “electronic drawing.”  He was able to manipulate these images by altering the voltage of the output during the printing process, by moving the stylus during printing and by sending multiple transmissions to the same page, electronically layering images, text and visual representations of sound.

Larson conducted the technology to produce an almost random juxtaposition of dissimilar images. The symbolic, or poetic, potential of the juxtaposition references “the imperfect operations of memory or dreams.”

With Fireflies, Larson sought to move beyond the traditional notion of what a photograph can be. He was interested in representing the fluidity of time with a static work of art. He stated: “I started to work and think of photography as a system of production, supporting a bias toward the additive possibilities of the medium, and less the subtractive, descriptive, or literal.”

Commencing on April 29th, the exhibit will be available for viewing until July 2nd. 

For More Information: Gitterman Gallery

Preview: Eliot Elisofon, Gitterman Gallery, New York, New York

In Black and White Photography, Exhibits, Gallerist, Photo Print Collector, Photographer on January 14, 2015 at 7:25 pm

Taking us out of the heart of winter blues, Gitterman Gallery will be exhibiting New York’s Eliot Elisofon, who rose from meager means to become one of LIFE Magazine’s preeminent photographers during the periodical’s heyday.


After attending Fordham University, Elisofon opened a commercial photography studio with a childhood friend in 1935, making photographs for advertising and fashion. Elisofon pursued his personal work on the side and studied the work of photographers he admired. Early in his career, Elisofon made it his mission to “point his camera at things that needed attention.” He initially turned his camera to the neighborhood he grew up in, often creating abstract compositions. He joined the Photo League in 1936, eventually becoming its president. In 1937 he met the photographer and filmmaker Willard Van Dyke who introduced him to Harper’s Bazaar art director Alexey Brodovitch, who in turn introduced him to Beaumont Newhall, the curator of photography at MoMA and Tom Maloney, the editor of U.S. Camera. His New York street work was exhibited at the Pennsylvania Museum of Art and the Julien Levy Gallery. In 1938 his series Playgrounds of Manhattan was exhibited at the New School; for Elisofon the series was a way to bring attention to playground conditions for children in poor neighborhoods. Elisofon befriended and photographed many artists of the period, including Chaim Gross, Isamu Noguchi and David Smith, and his studio across from the Museum of Modern Art served as a gathering place for artists.

Elisofon’s first assignments for LIFE magazine appeared in 1937, Tin Type Photographer and Jewish New Year, and in 1941 his image of General Patton was the first color cover of LIFE. Patton was intrigued by Elisofon’s desire to get as close to the action as possible and nicknamed him “Hellsapopin.” In 1942 Elisofon talked his way into a French Moroccan concentration camp, Sidi El Agachei. The camp held a diverse group of people unfit for labor, including Central European Jews, Spanish Republicans, foreign members of the French Foreign Legion as well as Italian and French women who had relations with members of the German Armistice Commission. Despite Elisofon’s persistence and protests, French and American authorities ensured that the images were never published. His other photographs of the North African Campaign during WWII became an exhibition titled The Tunisian Triumph, which opened in June of 1943 at MoMA and traveled to 20 cities in the United States.

Over the years, Elisofon travelled to six continents, covering an estimated 2,000,000 miles. His work appeared in LIFE for almost 30 years and 19 books of his work were published during his lifetime. He made 11 trips to Africa, photographing, making films and collecting art and donated his extensive collection of African art and photographic archive of over 80,000 images to what became the National Museum of African Art in Washington, D.C. In 2013 the museum celebrated the 40th Anniversary of the Eliot Elisofon Photographic Archives and art collection with the exhibition Africa Re-Viewed: The Photographic Legacy of Eliot Elisofon.

Elisofon’s works will be ready for viewing February 4th and remain available until April 18th, 2015.

For More Information: Gitterman Gallery

Preview: Lois Conner, Gitterman Gallery, NYC, NY

In Black and White Photography, Exhibits, Photo Print Collector, Photographer on August 24, 2014 at 11:57 am
CH99118 Pudong, Shanghai (1999)

Image Courtesy of Lois Conner

For any aspiring politician, working at the United Nations at the age of 20 would likely be a dream scenario. Turns out it’s a pretty good start for photographers as well. Conner, who spent 13 years under the UN’s umbrella, absorbed a multitude of cultures during her stay, particularly China, which she has now visited annually for 30 years. The culmination of these efforts is her latest book, Beijing: Contemporary and Imperial, shot in sprawling 7×17 panorama format. 

“What I am trying to reveal through photography in a deliberate yet subtle way is a sense of history. I would like my photographs to describe my relationship between the tangible and the imagined, between fact and fiction. I’m a born traveler and adventurer, and an obsessive collector and observer of landscape, attempting to twist what the camera faithfully describes into something of fiction.”

“The extended sweep of the panorama allows me to draw on multiple levels, much as cinema does, and to take something of the immediate present, and layer that with something from a few centuries before. The large format camera can draw the particular in minute detail. Like adjectives in a sentence, they allow the viewer to look closer, engaging them in the little world contained by the frame.”

The Yale MFA grad and Guggenheim fellowship winner has exhibited her work in galleries and museums all over the country, and now the Gitterman Gallery is pleased to be added to the list as part of releasing Conner’s latest book. Opening reception will be on September 10th, from 6-8 pm, while the exhibit will conclude November 15th.

For More Information: Gitterman Gallery

Preview: Herbert Matter at Gitterman Gallery

In Black and White Photography, Exhibits, Gallerist, Gallery, Photo Print Collector on January 8, 2014 at 4:41 pm

woman with beads

Woman With Beads, 1948

Here is a photographer of historic note:

“In exploring the various photographic processes themselves, and here lies infinite possibility to control, to liberate, to create visual sensation. Drawing with light, solarization, photograms or other direct impressions on positive or negative material, etc. Indeed with the exploring of these means, photography achieves an independent existence with no need of material from without, providing in itself an endless source of inspiration.”

– Herbert Matter, Arts & Architecture Magazine, 1944

Born in Engleberg, Switzerland in 1907, Herbert Matter studied painting before moving to Paris where he studied with Fernand Léger, who became a lifelong friend. Matter worked in both Paris and Switzerland as a graphic designer before travelling to the United States in 1935 to photograph a dance troupe where he eventually settled in New york City. Working as a freelance photographers, his work was featured on magazine covers and he began meeting and befriending other local artists such as Alexander Calder, Arthur B. Charles, John Cage, and more. He worked as a design and advertising consultant before working at Yale as a professor of photography and graphic design. He received numerous awards: a Guggenheim Fellowship for Photography in 1980, the Honorary Royal Designer for Industry in England in 1982, and a gold medal from the American Institute of Graphic Arts in 1983. Stanford University acquired the Herbert Matter archive in 2005.

January 22 – March 22, 2014

For more information: Gitterman Gallery