Roberto Edwards - Gastón Ugalde (Bolivia) # 42 Cuerpos Pintados
Roberto Edwards
Gastón Ugalde (Bolivia) # 42 Cuerpos Pintados - Painted Bodies
Archival Lambda Color Photograph
1995, Printed 2008
63 3/4 x 47 1/4 inches

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

Roberto Edwards - Sebastián Leyton (Chile) # 2 Cuerpos Pintados
Roberto Edwards
Sebastián Leyton (Chile) # 2 Cuerpos Pintados - Painted Bodies
Archival Lambda Color Photograph
2001, Printed 2007
51 1/4 x 39 1/2 inches

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

Roberto Edwards - Concepción Balmes (Chile) Cuerpos Pintados
Roberto Edwards
Concepción Balmes (Chile) Cuerpos Pintados - Painted Bodies
Archival Lambda Color Photograph
1997, Printed 2008
51 1/8 x 39 3/8 inches

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

Roberto Edwards - Enrique Zamudio (Chile) # 131 Cuerpos Pintados
Roberto Edwards
Enrique Zamudio (Chile) # 131 Cuerpos Pintados - Painted Bodies
Archival Lambda Color Photograph
1989, Printed 2009
51 1/8 x 39 3/8 inches

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

Roberto Edwards - Radhamés Mejía (Dom. Rep.) # 161 Cuerpos Pintados
Roberto Edwards
Radhamés Mejía (Dom. Rep.) # 161 Cuerpos Pintados - Painted Bodies
Archival Lambda Color Photograph
1995, Printed 2008
51 1/8 x 39 3/8 inches

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

Roberto Edwards - Pedro Ruiz (Colombia) #2 Cuerpos Pintados
Roberto Edwards
Pedro Ruiz (Colombia) #2 Cuerpos Pintados - Painted Bodies
Archival Lambda Color Photograph
1997, Printed 2008
51 1/8 x 39 3/8 inches

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

Roberto Edwards - Linda Mason (England) Cuerpos Pintados
Roberto Edwards
Linda Mason (England) Cuerpos Pintados - Painted Bodies
Archival Lambda Color Photograph
1997, Printed 2008
47 1/8 x 75 5/8 inches

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

Roberto Edwards - Gastón Ugalde (Bolivia) # 34 Cuerpos Pintados
Roberto Edwards
Gastón Ugalde (Bolivia) # 34 Cuerpos Pintados - Painted Bodies
Archival Lambda Color Photograph
1995, Printed 2008
47 1/4 x 75 5/8 inches

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

Roberto Edwards - Maria Gracia Donoso (Chile) # 2 Cuerpos Pintados
Roberto Edwards
Maria Gracia Donoso (Chile) # 2 Cuerpos Pintados - Painted Bodies
Archival Lambda Color Photograph
1997, Printed 2008
51 1/8 x 39 3/8 inches

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

Dianne Blell - Anticipation
Dianne Blell
Anticipation
Archival Pigment Photograph
c. 2000-2007
55 x 44 Inches
Signed, titled, dated and # 5/7 on verso.
Dianne Blell - Lovers in a Stormy Night
Dianne Blell
Lovers in a Stormy Night
Archival Pigment Photograph
c. 2000-2007
44 x 55 Inches, Image Size 36 x 48
Signed, titled, dated and # 4/7 on verso.
Dianne Blell - Teasing the Bathers
Dianne Blell
Teasing the Bathers
Archival Pigment Photograph
c. 2000-2007
32 x 44 Inches
Signed, titled, dated and # 4/8 on verso.
Dianne Blell - Lovers' First Glance
Dianne Blell
Lovers' First Glance
Archival Pigment Photograph
c. 2000-2007
32 x 27 Inches, image Size 24 x 18 inches
Signed, titled, dated and # 3/8 on verso.
Dianne Blell - Preparing for the Beloved
Dianne Blell
Preparing for the Beloved
Archival Pigment Photograph
c. 2000-2007
32 x 27 Inches
Signed, titled, dated and # 2/8 on verso.
Dianne Blell - Lovers' Quarrel
Dianne Blell
Lovers' Quarrel
Archival Pigment Photograph
c. 2000-2007
32 x 27 Inches
Signed, titled, dated and # 2/8 on verso.
Dianne Blell - Tattooing the Beloved
Dianne Blell
Tattooing the Beloved
Archival Pigment Photograph
c. 2000-2007
19 x 13 inches
Signed, titled, dated and # 1/10 on verso.
Dianne Blell - Courting the Beloved
Dianne Blell
Courting the Beloved
Archival Pigment Photograph
c. 2000-2007
32 x 26 Inches
Signed, titled, dated and # 2/8 on verso.
Jan Groover - "Untitled"
Jan Groover
Untitled
Chromogenic Color Photograph
1990
30 x 40 inches

Signed, numbered, and dated along the right side margin. Edition# 3/5

Jan Groover - "Untitled"
Jan Groover
Untitled
Chromogenic Color Photograph
1987-88
30 x 40 inches

Signed, numbered, and dated along the right side margin. Edition # 1/5

Jan Groover - "Untitled"
Jan Groover
Untitled
Chromogenic Color Photograph
1990
30 x 40 inches

Signed, numbered, and dated along the right side margin. Edition # 1/5

Jan Groover - "Untitled"
Jan Groover
Untitled
Chromogenic Color Photograph
1989
30 x 40 inches

Signed, numbered, and dated along the right side margin. Edition # 2/5

Jan Groover - "Untitled"
Jan Groover
Untitled
Chromogenic Color Print
1989
16 x 20 Inches

Signed and dated with edition 42/50 on recto.

Brian Riley - Untitled
Brian Riley
Untitled
Archival Pigment Photograph
2014
40 x 32 Inches

Signed on verso.

Brian Riley - Branch
Brian Riley
Branch
Archival Pigment Photograph
2014
20 x 16 Inches

Signed, titled, and editioned 1/2 on verso.

Brian Riley - Capillary
Brian Riley
Capillary
Archival Pigment Photograph
2014
20 x 16 Inches

Signed, titled, and editioned 1/2 on verso.

Brian Riley - Fence
Brian Riley
Fence
Archival Pigment Photograph
2014
20 x 16 Inches

Signed, titled, and editioned 1/2 on verso.

Brian Riley - Sky
Brian Riley
Sky
Archival Pigment Photograph
2014
20 x 16 Inches

Signed, titled, and editioned 1/2 on verso.

Lynn Goldsmith - Zip-a-de-doo-dah
Zip-a-de-doo-dah
Archival Pigment Photograph
2004
40 x 60 inches
Signed and # 3/6 on mount's verso
Lynn Goldsmith - Mirror Mirror
Mirror Mirror
Archival Pigment Photograph
2009
60 x 40 inches
Signed and # 1/6 on mount's verso
Lynn Goldsmith - Dancing Marionettes
Dancing Marionettes
Archival Pigment Photograph
c. 2003
61 x 46 inches
Signed and # 2/6 on mount's verso
Dimitris Yeros - Definition of The Nude Series (Woman w/ Goldfish)
Dimitris Yeros
Untitled, For a Definition of The Nude Series (Woman w/ Goldfish)
Archival Pigment Photograph
2009
19 x 13 inches

Signed and # 3/15 on verso.

Dimitris Yeros - Untitled, For a Definition of The Nude Series (Man w/ Boat)
Dimitris Yeros
Untitled, For a Definition of The Nude Series (Man w/ Boat)
Archival Pigment Photograph
2008
19 x 13 inches

Signed and # 4/15 on verso.

Dimitris Yeros - For a Definition of The Nude Series (Woman w/ Rabbit)
Dimitris Yeros
Untitled, For a Definition of The Nude Series (Woman w/ Rabbit)
Archival Pigment Photograph
2005
39 3/8 x 27 inches

Signed on lower right recto. Signed and # 3/7 on verso.

Dimitris Yeros - Untitled, For a Definition of The Nude Series (Man w/ Rabbit)
Dimitris Yeros
Untitled, For a Definition of The Nude Series (Man w/ Rabbit)
Archival Pigment Photograph
2005
39 3/8 x 27 5/8 inches

Signed on lower right recto. Signed and # 3/7 on verso.

Dimitris Yeros - For a Definition of The Nude Series (Couple w/ Rabbit)
Dimitris Yeros
Untitled, For a Definition of The Nude Series (Couple w/ Rabbit)
Archival Pigment Photograph
2005
39 3/8 x 28 5/8 inches

Signed on lower right recto. Signed and # 3/7 on verso.

Dianne Blell - Anticipation - TB
Dianne Blell - Lovers in a Stormy Night - TB
Dianne Blell - Teasing the Bathers - TB
Dianne Blell - Lovers' First Glance - TB
Dianne Blell - Preparing for the Beloved - TB
Dianne Blell - Lovers' Quarrel - TB
Dianne Blell - Tattooing the Beloved - TB
Dianne Blell - Courting the Beloved - TB

Full Color Spectrum: A Survey of Classic & Contemporary Color Photography

09/13/2014 - 11/15/2014

INSTALLATION IMAGES

The artists included in the exhibition best demonstrate the various manners in which photographers employ color as a vital part of their images. These artists have expanded the boundaries of what is typically associated with fine art photography and the commonly held notions from the foundations of the medium that it should only be black and white. Among its many attributes, color photography mimics how the eye naturally sees the world and gives a closer approximation to it compared with black and white photography. Silver gelatin prints are often more abstract and reductionist than color images; they convert the world to gray scale tones and control focus through depths of field. The possibilities that color photography can open up compositionally are complex by offering a more vivid world with tonal play and receding falls of color. Many contemporary photographers have grasped it, but it has not always been this way.

About a century ago, the first commercially available color process known as the autochrome became available to the public even though silver gelatin prints were the dominant photographic process during much of the 20th century. Silver gelatin prints defined fine art photography in terms of black and white and were also physically more stable and archival than most color processes. However, early practitioners such as Edward Steichen, Alfred Steiglitz, and other more avant-garde photographers would experiment with color processes such as the autochrome. Kodak color film would emerge in 1936 and lifestyle magazines Vogue and LIFE would popularize color photography to the public in the 1930s. With exhibitions at such institutions as the Museum of Modern Art and the Art Institute of Chicago during the 1950s, fine art color photography would become much more widely accepted by the 1960s. The practical matter of finding a stable color process that would keep a print preserved for longevity still needed to be addressed. Over the last two decades color printing techniques, parameters, and options have greatly increased and the problem has largely been solved. Artists now take full advantage of all of the creative possibilities that color photography can afford: from vividly popping colors to more subtle tonal variations with plays between all of the colors the human eye can experience.

Roberto Edwards founded Cuerpos Pintados which explores the human body through the colorful application of direct body painting. The project merges the mediums of painting, performance art, and color photography and surveys the expressive function of the body as three-dimensional painted canvas. The collaborative process with various artists therefore places the utmost importance on the communicative capabilities of oftentimes vivid color on the human body. Dianne Blell’s alternative application of color is vital in her various series related to myths and the human condition with its feelings of yearning and the search for an ideal love. Specifically in her recent series “Desire for the Intimate Deity” concerning Hindu folklore and courtship, she employs color to relate to Moghul miniature paintings. She uses the miniatures’ traditionally vibrant tones in her constructed and painted sets in which brightly attired and sometimes painted models are placed and photographed creating rich compositions. Jan Groover’s employment of color is central to her renowned formalist still-life photographs of household objects that she first began creating in the late 1970s. Inspired by the painted still-lifes of Giorgio Morandi, she arranges basic forms and shapes in her compositions and is masterful at working with lighting and depth of field. Her large color close-ups of objects such as metal utensils, bowls, glass dishes, and other kitchen implements explore the connections between the items, but the meaning of the objects is of no importance, only the relationships between the forms and colors that emerge.