Fernando Delgado - Equinox
Fernando Delgado
Equinox
Archival Pigment Photograph on Hahnemühle paper
2006, Printed 2007
20 x 26 inches

Artist's blind stamp on recto. Signed, titled, and editioned 6/15 on verso.

Fernando Delgado - Bacchanale
Fernando Delgado
Bacchanale
Archival Pigment Photograph on Hahnemühle paper
2006, Printed 2007
26 x 20 inches

Artist's blind stamp on recto. Signed, titled, and editioned 3/15 on verso.

Fernando Delgado - Oracle
Fernando Delgado
Oracle
Archival Pigment Photograph on Hahnemühle paper
2006, Printed 2007
26 x 20 inches

Artist's blind stamp on recto. Signed, titled, and editioned 5/15 on verso.

Fernando Delgado - Composition No. II
Fernando Delgado
Composition No.II
Archival Pigment Photograph on Hahnemühle paper
2004, Printed 2006
20 x 26 inches

Artist's blind stamp on recto. Signed, titled, and editioned 5/15 on verso.

Fernando Delgado - Harmony - Paris
Fernando Delgado
Harmony - Paris
Archival Pigment Photograph on Ilford Gold Fibre Silk
2004, printed 2010
10 1/2 x 8 1/4 inches

Artist's blind stamp on recto. Signed, titled, dated, and editioned 3/20 on verso.

Karin Hillmer - He was perplexed, they were 8297 nanoseconds too late
Karin Hillmer
He was perplexed, they were 8297 nanoseconds too late
Archival Pigment Photograph
2008
16 5/8 x 21 inches

Signed, titled, dated and edition 3/20 on recto.

Karin Hillmer - The Book of Sand, without beginning - without end
Karin Hillmer
The Book of Sand, without beginning - without end
Archival Pigment Photograph
2009
21 x 21 inches

Signed, titled, dated and edition 3/10 on recto.

Karin Hillmer - The enigmatic lottery was nothing but a perpetual game of chance
Karin Hillmer
The enigmatic lottery was nothing but a perpetual game of chance
Archival Pigment Photograph
2010
21 x 21 inches

Signed, titled, dated and edition 2/10 on recto.

Karin Hillmer - Alas, the dreamer began to suspect that he
Karin Hillmer
Alas, the dreamer began to suspect that he, too, was but in another dreamer's dream
Archival Pigment Photograph
2010
21 x 21 inches

Signed, titled, dated and edition 2/10 on recto.

Karin Hillmer - The time thief was not among those that denied the existence of
Karin Hillmer
The time thief was not among those that denied the existence of time
Archival Pigment Photograph
2011
21 x 21 inches

Signed, titled, dated and edition 2/10 on recto.

Jim Lee - Loli, Red Shoes
Jim Lee
Loli, Red Shoes
C-Type Color Photograph
2010, printed 2015
40 x 60 inches

Signed, titled, dated and editioned 7/15 on recto.

Jim Lee | Willy/Midget 2/1968
Jim Lee
Willy/Midget 2/1968
C-Type Color Photograph
1968, printed later
48 1/2 x 48 1/2 inches

Signed, titled, dated and editioned # 11/15 on recto.

Jim Lee - Boxing, NY Win
Jim Lee
Boxing, NY Win
C-Type Color Photograph
1977, Printed Later
40 x 60 inches

Signed, titled, numbered 3/15, and dated on recto.

Jim Lee - Wishful Thinking
Jim Lee
Wishful Thinking
C-Type Color Photograph
2005, Printed Later
20 x 30 inches

Signed, titled, numbered 2/20, and dated on verso.

Jim Lee - Robot
Jim Lee
Robot
C-Type Color Photograph
2005, Printed Later
60 x 40 inches

Signed, titled, numbered 2/15, and dated on recto.

Ben Schonzeit - Watteau
Ben Schonzeit
Watteau
Cibachrome Photograph
2005
36 x 47 7/16 inches

Signed, dated, and editioned out of 15 on print verso.

Ben Schonzeit - Red Roses Drawing
Ben Schonzeit
Red Roses Drawing
Cibachrome Photograph
2004
36 1/2 x 37 inches

Signed, dated, and editioned out of 15 on print verso.

Ben Schonzeit - Ballerina Rose
Ben Schonzeit
Ballerina Rose
Cibachrome Photograph
2005
36 x 37 1/2 inches

Signed, dated, and editioned out of 15 on print verso.

Ben Schonzeit - Zebra Stripe
Ben Schonzeit
Zebra Stripe
Cibachrome Photograph
2004
30 1/2 x 44 inches

Signed, dated, and editioned out of 15 on print verso.

Ben Schonzeit - Barcelona Moon
Ben Schonzeit
Barcelona Moon
Cibachrome Photograph
2005
36 1/2 x 37 inches

Signed, dated, and editioned out of 15 on print verso.

Robert Vail - Shadow Stairs
Robert Vail
Shadow Stairs
Archival Pigment Photograph on Arches Velin Museum Rag Paper
2013
30 x 20 inches

Signed, titled, dated and editioned #2/7 on label affixed on verso.

Robert Vail - Elegant Structure
Robert Vail
Elegant Structure
Archival Pigment Photograph on Arches Velin Museum Rag Paper
2013
30 x 20 inches

Signed, titled, dated and editioned #3/7 on label affixed on verso.

Robert Vail - Green Steel
Robert Vail
Green Steel
Archival Pigment Photograph on Arches Velin Museum Rag Paper
2013
30 x 20 inches

Signed, titled, dated and editioned #4/7 on label affixed on verso.

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.