Michael Massaia
Michael Massaia
Seeing The Black Dog - Turnpike South
Toned Silver Gelatin Photograph
2011, Printed 2014
30 x 40 Inches

Signed, titled, dated and editioned on verso. Signed and numbered (edition of 7) on recto.

Michael Massaia - Afterlife - New Jersey - Moby Dick & Swing Ride
Michael Massaia
Afterlife - New Jersey - Moby Dick & Swing Ride
Selenium Toned Silver Gelatin Photograph
2009, Printed 2015
30 x 40 inches
Signed, titled, dated and editioned on verso. Signed and # 1/10 on recto.
Michael Massaia - Afterlife - New Jersey - The Dino Cafe
Michael Massaia
Afterlife - New Jersey - The Dino Cafe
Platinum/Palladium Photograph
2008
32 x 42 inches

Signed, titled, dated and numbered (edition of 5) in pencil on verso

Michael Massaia - Deep in A Dream - Central Park - Fading Away
Michael Massaia
Deep in A Dream - Central Park - Fading Away
Silver Gelatin Photograph
2011
24 x 20 inches
Signed, titled, dated numbered (edition of 20) on verso.
Michael Massaia - Deep In A Dream - Central Park - 4am Model Boat Pond
Michael Massaia
Deep In A Dream - Central Park - 4am Model Boat Pond
Toned Silver Gelatin Photograph
2009, Printed 2013
20 x 24 inches

Signed and numbered (edition of 20) on print's recto.

Michael Massaia - Deep In A Dream - Central Park - South View 2012
Michael Massaia
Deep In A Dream - Central Park - South View 2012
Toned Silver Gelatin Photograph
2012, Printed 2013
30 x 40 inches

Signed and numbered (edition of 10) on recto.

Michael Massaia - Deep in A Dream - Central Park - Central Park Moonrise
Michael Massaia
Deep in A Dream - Central Park - Central Park Moonrise
Toned Silver Gelatin Photograph
2009, Printed 2014
40 x 30 inches
Signed, titled, dated and numbered (edition of 10) in pencil on verso.
Michael Massaia - Deep in A Dream - Central Park - Gapstow Bridge
Michael Massaia
Deep In A Dream - Central Park - Gapstow Bridge
Toned Silver Gelatin Photograph
2009, printed 2014
40 x 30 inches

Signed, titled, dated and editioned on verso. Signed and numbered (edition of 10) on recto.

Julius Shulman - Case Study House #22 (Pool)
Julius Shulman
Case Study House #22 (Pool)
Chromogenic Color Photograph
1960
20 x 24 inches
Signed on verso, p.76-77, Architecture and its Photography. Pierre Koenig, Los Angeles, Ca., 1959-60.
Julius Shulman - Horton Residence
Julius Shulman
Horton Residence
Chromogenic Color Photograph
1961
24 x 20 inches
Signed on verso, p.104, Architecture and its Photography. Harold W. Levitt, Bel Air, 1960.
Julius Shulman - Freeman House
Julius Shulman
Freeman House
Chromogenic Color Photograph
1953
20 x 24 inches
Signed on verso, p.126-127, Architecture and its Photography. Frank Lloyd Wright, Los Angeles, CA, 1923.
Julius Shulman - Case Study House #22
Julius Shulman
Case Study House #22
Silver gelatin photograph
1960
20 x 24 inches
Signed on verso, p.55, A Constructed View. Pierre Koenig, Los Angeles, 1959.
Julius Shulman - Entenza House (Case Study House #9)
Julius Shulman
Entenza House (Case Study House #9)
Silver Gelatin Photograph
1949
20 x 24 inches
Signed on verso, p.72, Architecture and its Photography. Charles Eames and Eero Saarinen, Pacific Palisades, 1945-49.
Harold Feinstein - Coney Island Teenagers
Harold Feinstein
Coney Island Teenagers
Silver Gelatin Photograph
1949, Printed 1980s
11 x 14 inches
Signed, dated and # 8/200 in ink on print recto. From a portfolio box set (only 10 portfolios produced and no more then 10 prints of this image were made)
Harold Feinstein - Guitar Player and Cigarette - Coney Island
Harold Feinstein
Guitar Player and Cigarette - Coney Island
Silver Gelatin Photograph
1950, Printed 1980s
11 x 14 inches
Signed, dated and # 8/200 in ink on print recto. From a portfolio box set (only 10 portfolios produced and no more then 10 prints of this image were made)
Harold Feinstein - Girls Riding the Cyclone - Coney Island
Harold Feinstein
Girls Riding the Cyclone - Coney Island
Silver Gelatin Photograph
1952, Printed 1980s
11 x 14 inches
Signed, dated and # 8/200 in ink on print recto. From a portfolio box set (only 10 portfolios produced and no more then 10 prints of this image were made)
Harold Feinstein - Surf Scene
Harold Feinstein
Surf Scene
Silver Gelatin Photograph
1977, Printed 1980s
11 x 14 inches
Signed, dated and # 8/200 in ink on print recto. From a portfolio box set (only 10 portfolios produced and no more then 10 prints of this image were made)
Harold Feinstein - 125th Street from Elevated Train - NYC
Harold Feinstein
125th Street from Elevated Train - NYC
Silver Gelatin Photograph
1955, Printed 1980s
14 x 11 inches
Signed, dated and # 8/200 in ink on print recto. From a portfolio box set (only 10 portfolios produced and no more then 10 prints of this image were made)
Harold Feinstein - Nuns on Boardwalk, Coney Island
Harold Feinstein
Nuns on Boardwalk, Coney Island
Silver Gelatin Photograph
1978, Printed 1980s
11 x 14 inches
Signed, dated and # 8/200 in ink on print recto. From a portfolio box set (only 10 portfolios produced and no more then 10 prints of this image were made)
Harold Feinstein - Girl Watching - Coney Island
Harold Feinstein
Girl Watching - Coney Island
Silver Gelatin Photograph
1949, Printed 1980s
11 x 14 inches
Signed, dated and # 8/200 in ink on print recto. From a portfolio box set (only 10 portfolios produced and no more then 10 prints of this image were made)

Americana: Picturing America's Changing Landscape

1/24/2015 - 2/28/2015

The search for the American experience and the American spirit as well as the historical transformation of the nation in the 20th century have been the central forces and greatest influences behind the work of many American photographers. They have been motivated by an experience that is uniquely American. The presence of the land, the culture, the myths, and the symbols that define America were the dominant factors that provoked photographers to venture out across the country to document and capture the development and personality of the unique nation. Photographers have had many types of relationships with America through their various visions and interests resulting in disparate aspects of what makes up and comes to define the myriad voices of this country. The individuals chosen for this exhibition have all left an undeniable mark on the history of presenting the nation through their unique photography. Each in their own manner has chosen subjects that are quintessentially American and presented them to the larger world helping to visually define the personality of the distinctive society and landscape.

A seminal figure in the development of American photography, Berenice Abbott is renowned for her images of New York City in the midst of great transformation during the 1930s. Abbott’s mission was to preserve what was disappearing in New York City and to document the new identity that was emerging among the great skyscrapers with the “Changing New York” project. Abbott leaves behind a great legacy. Her pictures of New York in the 1930s are considered among the most important photographic documentations of an American city essentially signifying the larger transformations that were taking place in the United States at the time.

Arthur Rothstein became the first photographer to join the federally sponsored Farm Security Administration (FSA) photojournalism project. The FSA employed a small group of photographers including Walker Evans and Dorothea Lange to document and publicize the conditions of the impoverished rural areas of the United States. During his five years with the FSA, Rothstein shot some of the most significant photographs ever taken of rural and small-town America and in particular, documenting the Dust Bowl area of the Midwestern United States. His photographs of this period displayed a gritty reality of life in America during the Great Depression and remain a unique document and testament to a way of life in the region during one of the most trying periods in American history.

Brett Weston was among a small group of California photographers in the 1930s, known as the Group f/64 that included Edward Weston and Ansel Adams. In particular, Brett Weston is known primarily for his bold compositions based on quintessentially American Western landscapes and natural forms, and for his extraordinary printing style. He also explored the streets of New York with a focus on details and a subjectively abstract view of the city distinguishing himself from the photography of New York in the preceding decade, notably Berenice Abbott's project "Changing New York.” His approach would govern the most prolific period of Weston's work in the late 1940s and 1950s, when he utilized his highly polished style to photograph Western dunes, beaches, rocks, glaciers, and vegetation that composed the distinctive natural landscape of America.

Originally known for his Photo-Realist paintings of America during the 1970s, John Baeder often photographed the places he wished to paint and would work from his source material to compose his paintings. Baeder’s photographs are now considered as stand-alone works of art. The photographs encapsulate the uniquely American architectural detail and presence of structures which were a part of American roadside culture that are now gone. They provide a sense of the moment showing the cars that were present, the light of the time, or even the signs that were in the windows. His work remains a uniquely artistic testament to the 1970s when the last remnants of the quintessentially American institution were quickly disappearing.

Taken as a whole, the photographers included in the exhibition “Americana” provide us with a collective survey of how American photographers in the 20th century came to not only document and capture the nation through all of its transformations, but also to help define what is uniquely American both physically and culturally. Varying depictions of the cityscape of America, the rural plight of Americans during the Great Depression, and the distinctive environment of America’s natural landscape, as well as the quintessentially American roadside culture all combine to provide an artistically photographic overview of the American spirit.