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Posts Tagged ‘Nailya Alexander’

Preview: Water, Ann Rhoney, Carolyn Marks Blackwood, Nailya Alexander Gallery, NYC, NY

In Gallery on May 22, 2017 at 11:00 am
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Mystery, Ann Rhoney, 1985

Water has inspired many an artist and linguist due to its malleable forms and beauty. Ann Rhoney and Carolyn Marks show it best in their exhibition at Nailya Alexander Gallery.

Water brings together work by two female artists, each of whom approaches her work as a photographer with a strong sense of place and with a painter’s sensitivity to color and light. A native of Niagara Falls, Ann Rhoney draws deeply from the famed waterfall as a source of inspiration, just as the artists of the Hudson River School did a century and a half before her. “She is drawn to the intensity of edges, borders, and pending thresholds where water roils, light cascades and hearts beat faster,” writes Christopher Sweet, Editorial Director at Thames and Hudson, in the essay Etudes of Light and Color.

In addition to pigment prints, Rhoney produces gelatin-silver prints that she meticulously paints with oils. Her work can be found in public and private collections across the country, including the Metropolitan Museum of Art; the Albright-Knox Museum, Buffalo, NY; the George Eastman Museum, Rochester, NY; the American Scandinavian Foundation, New York, NY; and the Harry Ransom Center at the University of Texas, Austin, as well as in the Bibliothèque Nationale, Paris.

Water will open Wednesday May 24th and conclude June 24th. The opening reception on Wednesday will run from 6 to 8 pm.

For More Information: Nailya Alexander Gallery

Preview: Denis Brihat: Photographs 1964-2006, Nailya Alexander Gallery, New York, NY

In Black and White Photography, Exhibits, Gallery, Photo Print Collector, Photographer on March 28, 2016 at 11:03 pm
Gardenia by Denis Brihat

Gardenia, 1994, Denis Brihat

Nailya Gallery’s newest exhibition will feature one of Paris’ favorite sons of film, Denis Brihat.

Born in Paris in 1928, Denis Brihat began taking photographs at the age of fifteen. Throughout the late 1940s and 1950s, he enjoyed a successful career as a professional photographer, securing public and private commissions in fields ranging from architectural and portrait photography to reportage. At the encouragement of his friend Robert Doisneau, he joined the renowned Rapho agency. He received his first exhibition at the Société Française de Photographie, and in 1957 was awarded the prestigious Prix Niépce for his photographs from a year in India.

In 1958, dissatisfied with urban life and commercial work, Brihat left Paris for the Luberon region of Provence. Undeterred by the isolation and the rustic conditions – he had neither electricity nor running water – he built a darkroom and studio on the Plateau des Claparèdes and began his groundbreaking experiments in photography, printmaking, and, above all, observation, turning his eye toward the quotidien but dazzling beauty of the natural world. “The subjects he favoured, in nature or his close surroundings, weren’t unusually beautiful, but simple, and of the sort that often passes unnoticed,” writes photographer Pierre-Jean Amar. “His eminently poetic style of photography glorified them and paid them due tribute, inviting people to open their eyes and recognize the proximity of grace.”

Influenced by the masterful prints of Edward Weston and the frescos of Fernand Léger, Brihat came to produce what he called “photographic paintings” – unique, archival, material prints, made for the wall, rather than images meant for mass reproduction in the pages of a magazine. This concern with process and technique finds its apotheosis in his remarkable experiments with color, which he began as early as 1968, in the wake of acclaimed exhibitions of his work at the Musée des Arts Décoratifs in Paris and the Museum of Modern Art in New York. Brihat’s richly colored photographs of fruits and flowers begin as traditional black-and-white darkroom prints, which he then tones with the salts of gold, iron, selenium, vanadium, and uranium, among other metals. The reaction of these metals with the silver salts in the emulsion produces hues that are original, one-of-a-kind, and permanent. The resulting prints exude a vividness and a luminosity that are truly unequalled in color photography.

Denis Brihat’s work has been exhibited throughout Europe and the United States for over fifty years. His photographs can be found in the collections of public and private institutions worldwide, including the Museum of Modern Art, New York; the Center for Creative Photography, Tuscon; the Victoria and Albert Museum, London; the Musée des Beaux Arts, Neuchâtel; the Musée Cantini, Marseille; and the Bibliothèque Nationale de France, the Centre Pompidou, the European House of Photography, and the National Foundation for Contemporary Art, Paris. In 1987, he was awarded the Grand Prix de la Photographie de la Ville de Paris. Brihat lives in Bonnieux, France.

 The exhibit will be available for viewing until May 12, 2016.

For More Information: Nailya Alexander Gallery

On Site: ARKADY SHAIKHET: SELECTED PHOTOGRAPHS 1920s – 1930s, NAILYA ALEXANDER GALLERY, NYC

In Black and White Photography, Exhibits, Gallery, Photographer on January 10, 2011 at 11:10 pm

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Arkady Shaikhet

Documenting an emerging brawny, masculine age of industry in Russia is the task undertaken by Arkady Shaikhet in a series of striking photographs on exhibit at the Nailya Alexander Gallery.

Crisp, well composed images bring history to the eyes of the viewer today in no uncertain terms.

The need to build a new country after the destruction from both the Bolshevik revolution and  the Civil War called for master photographers with innovative techniques.  These photographers were asked to  reflect reality in a new way, to  present the new Soviet person, and to shape a new culture.  Photography was truly employed on a grand scale as  the Soviet authorities were realizing the power of the photographic image as means of  propaganda.  Experimentation with the photographic language and energetic discussions
about art (problems of form and style, in particular) facilitated the creation of a new
visual style in Soviet photography, and put Soviet photographers on a par with their
foreign colleagues in Paris, Berlin and New York.   Arkady Shaikhet was one of the
photographers involved in the creative experiments, although he by no means considered  himself a member of the avant-garde, preferring to record life ‘as it is.’

Through January 15.

For more information: Arkady Shaikhet

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Pentti Sammallahti

The Finnish photographer Pentti Sammallahti  is on display starting January 20Pentti Sammallahti

On Site: DMITRI BALTERMANTS: PHOTOGRAPHS 1940-1960’s, Nailya Alexander Gallery, NYC

In Exhibits, Gallery, Photo Print Collector, Photographer on May 11, 2010 at 6:52 am

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“Grief”, Dmitri Baltermants

Now, through July 30 at Nailya Alexander Gallery is an exhibit of powerful and memorable photographs taken by Dmitri Baltermants over a 30 year span. World War II images like “Attack” and “Grief” evolve over time to personal portraits of Soviet leadership and proletariat.

The meticulous presentation of the image compositions and crisp tones is striking …

Baltermants considered himself an expert in staged photography, he enjoyed ‘playing with negatives,’ adding details to photographs from other stills (e.g. Grief, in which threatening, black clouds in the background were superimposed from another negative). His perfect compositions, expert use of color gained him praise from both the authorities and Soviet public.

This exhibit captures pieces of iconic Russian history in a way that reminds us of our own LIFE magazine photo spreads from some of the same years. Commercial, historic and fine art wrapped into one set of prints …

For more information: Nailya Alexander Gallery

On Site: Alexey Titarenko – Nailya Alexander Gallery

In Black and White Photography, Exhibits, Gallery, Photo Print Collector on March 27, 2010 at 11:50 am

Alexey Titarenko – “Untitled (Crowd 1)”

Intrigued by our “Best of Show” AIPAD print winner, Alexy Titarenko, we visited the Nailya Alexander Gallery in the Fuller building on 57th street, NYC where he has a current exhibit through April 24 .

What we saw was an impressive array of 38 Black and White prints capturing the moody eloquence of Russian society. These are images where the individual citizen is merged into a ghostly miasma of unidentified shadow culture. The long exposure technique employed, serves to underline the indistinguishable nature of the post modern Russian people. A very effective statement while maintaining an eerie beauty throughout the work.

This photographic technique, involving relatively slow shutter speeds, confirms a taste for randomness and makes each image a unique adventure, a potential source of surprise.The approach also bespeaks Titarenko’s long-standing interest in 19th-century landscape photographers, especially those who operated in cities. In addition to this style of representation, which eschews any temptation to be objective and is finally quite impressionistic, the darkroom technique Titarenko uses transforms the black-and-white print into a composition endowed with subtle, suggestive hues and ever-differing nuances of gray. Titarenko never reproduces exactly the same rendering of light and shadow from one print to the next.

The sense of well defined vision permeates this body of work and the viewer is rewarded for their patient contemplation.

More exhibit information: Nailya Alexander Gallery

On Site: AIPAD Best In Show Photo Print – Alexey Titarenko, Nailya Alexander Gallery

In Art Fair, Gallery, Photo Print Collector, Photographer on March 23, 2010 at 9:38 am

Alexey Titarenko, Untitled (Crowd 2), 1993<br /><br /><a href="/photo/alexey-titarenko-untitled-crowd-2-1993">View Image Details</a>

Alexey Titarenko, “Untitled (Crowd 2)”

After having the very pleasurable experience of seeing hundreds of classic vintage and contemporary prints at the AIPAD show in New York, we have the difficult duty to pick one photograph out of many that is considered “best in show”.

Our criteria is simply finding the image that not only has the fine art quality one would expect from a show of AIPAD’s high standards, but also has the power to provoke a reaction, deep and lasting.

When viewing prints, we normally do not gravitate towards heavily stylistic techniques but in the case of Alexey Titarenko’s time exposure of people ascending a set of public stairs, we saw more substance than style.

On a formal basis, the image is so striking as to rivet attention of the viewer. Then layer in understanding of the technical process, and the cultural linkage … you have an even richer experience.

Titarenko was able to develop a form of expression reminiscent of Dostoyevsky’s stories,inspired by the moods and rhythms of the music of Shostakovich. Often, the city, veiled in winter’s shadows or bright with summer’s dazzle, is inhabited by nearly transparent phantoms. They dwell in its streets, cross its courtyards: crowds on the move, spreading over a vast square like a wave, their individual identities blurred and indistinct.

We congratulate the Nailya Alexander Gallery and Mr. Titarenko on producing an image which literally “haunts” the viewer … long after the exhibit has gone.

To see more of Alexey Titarenko: Nailya Alexander Gallery