Bruce Weber - Tom, Adirondack Park, New York
Bruce Weber
Tom, Adirondack Park, New York
Toned Silver Gelatin Photograph
1988, Printed 2009
24 x 20 inches

Signed, titled, dated and # 3/15 on verso.

Bruce Weber - Chris Grover, NYC
Bruce Weber
Chris Grover, NYC
Silver Gelatin Photograph
1986
16 3/8 x 13 1/2 inches

Signed, titled, dated and numbered 1/15 in pencil on the verso.

Bruce Weber - Tyke, Upper St. Regis Lake, NY (#2)
Bruce Weber
Tyke, Upper St. Regis Lake, NY (#2)
Toned Silver Gelatin Photograph
1988, Printed 2009
24 x 20 inches

Signed, titled, dated and # 2/5 on verso.

Bruce Weber - Ric Arango, Point Conception, Santa Barbara, California (#1)
Bruce Weber
Ric Arango, Point Conception, Santa Barbara, California (#1)
Toned Silver Gelatin Photograph
1987, Printed 2009
24 x 20 inches

Signed, titled, dated and # 10/15 on verso.

Harry Benson - Amy Winehouse on the Bed, London
Harry Benson
Amy Winehouse on the Bed, London
Archival Pigment Photograph
2007, Printed 2013
30 x 24 inches

Signed, titled, dated and numbered (edition of 35) on recto.

Harry Benson - Polanski in Sand, Seychelles
Harry Benson
Polanski in Sand, Seychelles
Archival Pigment Photograph
1976, printed later
30 x 24 inches

Signed, titled, dated and # 5/35 on recto

Harry Benson - Kate Moss (standing alone backstage)
Harry Benson
Kate Moss (standing alone backstage), Paris
Infused Dyes Sublimated on Aluminum
1993, Printed 2015
44 x 30 1/2 inches

Signed, titled, dated and # 1/12 in ink on recto.

Harry Benson - James Brown, Atlanta
Harry Benson
James Brown, Atlanta
Archival Pigment Photograph
1979, Printed later
Image: 15 1/8 x 20 1/2 inches, Paper: 17 x 22 inches

Signed, dated and numbered (edition of 35) on recto

Harry Benson - Jack Nicholson Contact Sheet
Harry Benson
Jack Nicholson Contact Sheet
Archival Pigment Photograph
1976, Printed 2012
24 x 30 inches

Signed, titled, dated and numbered (edition of 35) 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 | 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 - Divers, Rome
Jim Lee
Divers, Rome
C-Type Color Photograph
1976, Printed Later
40 x 60 Inches

Signed, titled, numbered 3/15, and dated 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 - Ossie Clark / Plane Crash
Jim Lee
Ossie Clark / Plane Crash
C-Type Color Photograph
1969, Printed Later
60 x 40 inches

Signed, titled, dated and editioned 4/15 on recto.

Jim Lee - Loaded, Beachy Head
Jim Lee
Loaded, Beachy Head
Silver Gelatin Photograph
1969, Printed Later
60 x 40 inches

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

Jim Lee - Flesh
Jim Lee
Flesh
Infused Dyes Sublimated on Aluminum
2005, printed 2017
72 x 48 inches

Signed, titled, dated and numbered on artist's label on verso.

Jim Lee - Baader, Meinhoff
Jim Lee
Baader, Meinhoff
Silver Gelatin Photograph
1969, Printed Later
60 x 40 inches

Signed, titled, dated and editioned # 12/30 on recto.

Jim Lee - Rocker
Jim Lee
Rocker
Silver Gelatin Photograph
1968, printed later
60 x 40 inches

Signed, titled, dated and editioned 7/30 on recto.

Jim Lee - Feather, Satisfied
Jim Lee
Feather, Satisfied
Silver Gelatin Photograph
2002, Printed Later
20 x 30 inches

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

Clive Arrowsmith - Bowie Twisting (back), London Studio
Clive Arrowsmith
Bowie Twisting (back), London Studio
Archival Pigment Photograph
1990, Printed Later
Paper 30 x 30 inches, Image 24 x 24 inches
Signed on recto, artist label on verso. Edition 1/25
Clive Arrowsmith - Penelope Tree
Clive Arrowsmith
Penelope Tree
Archival Pigment Photograph
1971, printed 2015
Image: 46 1/2 x 36 inches, paper: 50 1/2 x 40 inches

Signed, print date 2015 and editioned 1/25 on recto.

Clive Arrowsmith - Fortnum & Mason Ice Cream Parlour
Clive Arrowsmith
Fortnum & Mason Ice Cream Parlour
Archival Pigment Photograph
2012, Printed 2016
image: 30 x 24 inches, paper: 36 x 30 inches

Signed on recto. Artist studio label on verso. Edition 1/25

Clive Arrowsmith - Sammy Davis, London
Clive Arrowsmith
Sammy Davis, London
Archival Pigment Photograph
1973, Printed Later
37 x 36 inches, Image Size 30 x 30 inches

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

Clive Arrowsmith - Geishe and Sphere, VOGUE, London
Clive Arrowsmith
Geishe and Sphere, VOGUE, London
Archival Pigment Photograph
1971, Printed Later
37 x 36 inches, Image Size 30 x 30 inches
Signed and numbered (edition of 7) on recto. Signed, titled and numbered on verso.
Harry Benson - James Brown, Atlanta - TB
Harry Benson - Jack Nicholson Contact Sheet - TB
Clive Arrowsmith - Bowie Twisting (back), London Studio
Clive Arrowsmith - Sammy Davis-thumb
Clive Arrowsmith - Geishe and Sphere-thumb

Just out of Reach: Pictures with an Edge

4/16/2016 - 5/28/2016

INSTALLATION IMAGES

Photography is a powerful medium. It can immediately captivate and enthrall a viewer with frozen moments that appear to be taken from reality. Pictures fascinate the viewer that cross the threshold of safety and blur the line between the personal and private world, and the public and shared world. Historically, photography has been the ultimate voyeuristic media capitalizing on the occasional pleasure of being a voyeur. Perhaps no other medium has such strength to present startling and confrontational imagery that can quickly grab attention than photography.

The work included in “Just Out of Reach: Pictures with an Edge” all have this unique ability to fascinate and tempt by manner of oftentimes provocative, yet expertly captured images. Each photographer such as Andre de Plessel, David Yarrow, and Albert Watson are united by their images that have an instantly satisfying nature and are oftentimes unexpected or startling in the presentation of their composition. Whether it is a racy model challenging the viewer in a strong manner, a wild animal appearing to engage with the viewer in a face-to-face encounter, or a precarious situation in which the viewer questions what is occurring in the scene, each image exposes the power of photography to provoke an immediate reaction.

Although Albert Watson has had a multi-faceted career shooting a variety of subjects, his portraits of women are among his most acclaimed work. A Vogue photographer beginning in the 1970s, much of Watson’s personal and commercial work in fashion and nudes are imbued with a meditative aura and atmosphere. Through his expert use of lighting his subjects, and his soft, filtered range of colors, Watson’s portraits take the viewer into the image through his distinct visual style with references from art history, cinema, and popular culture. His work can range from surreal to sublimely beautiful which always captivates the viewer with an oftentimes voyeuristic viewpoint. Renowned for such images as his nudes of Kate Moss in Marrakech and his silhouette of Naomi Campbell, Watson explores female beauty and remains an unpredictable photographer.

Andre de Plessel creates dramatic and strong images with a focus on the female form. He strives to bring out the sophisticated, yet erotic side of his subjects that he believes is within all people. The photographs convey and play upon sensual tension, as opposed to blatant sexuality. Much power, silence, and an intensive atmosphere surround his dramatically lit work. As de Plessel says, his work is “calculated erotic” because distance and seduction fascinate him. Having lived in Milan, London, Paris, Barcelona, Los Angeles, New York, and Miami, de Plessel’s exposure and international experience has had a dramatic effect on his work. He has over twenty years of working behind the camera and creating striking images for companies like Coca Cola, Nike, DKNY, German Bank, Harper’s Bazaar, Vogue and many more, developing a strong eye and a passion for black and white photography.

David Yarrow's pursuit of capturing close and active encounters with the natural world has led him to overcome the challenges of shooting in some of the most remote and inhospitable locations on the planet. Creating pure and distinctly dynamic images as a result of his unique eye and perseverance, he photographs the majestic natural world by exposing its beautiful yet oftentimes savage side. His unusual angles are the result of hours of research and elaborate planning, as well as countless trials and errors in the field. For Yarrow, photography is about active nature rather than passive observation, often creating a feeling of being sometimes unsettlingly close to the animal. African elephants tower, lions stare into the camera, tigers look up from the water, and rhinoceroses charge straight at the camera. Yarrow has maintained an active museum and gallery history of showings. This year, Yarrow will exhibit at Stockholm’s photographic museum Fotografiska and at London’s esteemed Saatchi Gallery.

Taken as a whole, the photographers included in “Just Out of Reach: Pictures with an Edge” explore the potential of the medium to shock, tempt, and instantly enthrall people with deftly captured and expertly composed images. These aspects have developed alongside the medium and remain one of the most powerful parts of what makes photography so appealing.