Marcus Leatherdale - Bhurka
Marcus Leatherdale
Bhurka
Split Toned Silver Gelatin Photograph
1993
17 x 15 Inches

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

Marcus Leatherdale - Strawman-Muria
Marcus Leatherdale
Strawman-Muria
Split Toned Silver Gelatin Photograph
2001
17 x 15 Inches

Signed, titled, dated and 6/10 on verso.

Marcus Leatherdale - Bharat Tasvir (Snake Charmer)
Marcus Leatherdale
Bharat Tasvir (Snake Charmer)
Split Toned Silver Gelatin Photograph
1993
17 x 15 Inches

Signed, titled, dated, # 5/10 and artist's copyright stamp on verso.

Marcus Leatherdale - Adivasi (Brijlal Baiga)
Marcus Leatherdale
Adivasi (Brijlal Baiga)
Split Toned Silver Gelatin Photograph
2003
17 x 15 Inches

Signed, titled, dated and # 2/10 on verso.

Albert Watson - Boukari Kaoulatou, Pèhunco, Benin
Albert Watson
Boukari Kaoulatou, Pèhunco, Benin
Archival Pigment Photograph
2011, printed later
56 x 42 inches

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

Albert Watson - N'Di Moise, Kouaba, Togo
Albert Watson
N'Di Moise, Kouaba, Togo
Archival Pigment Photograph
2011, printed later
30 x 24 inches

Signed, titled, dated and numbered (edition of 25) on verso.

Valerie Belin - Untitled (Moroccan Brides)
Valérie Belin
Untitled (Moroccan Brides)
Archival Pigment Photograph
2000
39 x 31 Inches

Signed, dated and numbered AP 2/2 on verso.

Dana Gluckstein - Tribal Man in Transition, Kenya
Dana Gluckstein
Tribal Man in Transition, Kenya
Silver gelatin photograph
1985, Printed Later
11 x 14 inches

Signed in pencil on bottom right margin on recto. Signed, titled and AP 1 in pencil on verso.

Dana Gluckstein - Dancer, Bali
Dana Gluckstein
Dancer, Bali
Archival Pigment Photograph
1988, Printed 2011
34 x 34 inches

Signed, dated and # 1/30 on artist label on verso.

Dana Gluckstein - Woman with Pipe, Haiti
Dana Gluckstein
Woman with Pipe, Haiti
Early Silver Gelatin Photograph
1983, Printed Later
11 x 14 inches

Signed, titled and # 9/50 in pencil on verso.

Dana Gluckstein - Young Boy at Religious Festival, Bhutan
Dana Gluckstein
Young Boy at Religious Festival, Bhutan
Archival Pigment Photograph
2010, Printed 2011
34 x 34 inches

Signed, dated and # 1/30 on artist label on verso.

Dana Gluckstein - Dancers, Bhutan
Dana Gluckstein
Dancers, Bhutan
Archival Pigment Photograph
2010, Printed 2011
44 x 44 inches

Signed, dated and # 1/12 on artist label on verso.

Dana Gluckstein - Schoolboys, Bhutan
Dana Gluckstein
Schoolboys, Bhutan
Archival Pigment Photograph
2010, Printed 2011
34 x 34 inches

Signed, dated and # 1/30 on artist label on verso.

Dana Gluckstein - Njemps Sister and Brother, Kenya
Dana Gluckstein
Njemps Sister and Brother, Kenya
Archival Pigment Photograph
1985, Printed 2011
34 x 34 inches

Signed, dated and # 2/30 on artist label on verso.

Dana Gluckstein - Campbell River Indian Band Teenage Girl, Canada
Dana Gluckstein
Campbell River Indian Band Teenage Girl, Canada
Archival Pigment Photograph
2008, Printed 2011
34 x 34 inches

Signed, dated and # 1/30 on artist label on verso.

Dana Gluckstein - Dancer, Bhutan
Dana Gluckstein
Dancer, Bhutan
Archival Pigment Photograph
2010, Printed 2011
44 x 44 inches

Signed, dated and # 1/12 on artist label on verso.

Dana Gluckstein - Elder Woman (hands), Bhutan
Dana Gluckstein
Elder Woman (hands), Bhutan
Archival Pigment Photograph
2010, Printed 2011
34 x 34 inches

Signed, dated and # 1/30 on artist label on verso.

Phil Borges - Lelung
Phil Borges
Lelung
Selectively Toned Silver Gelatin Photograph
1994
24 x 20 inches

Signed and dated on back. Descriptive text on plexi-glass. Photographers stamp and edition number lower right

Phil Borges - Dawa
Phil Borges
Dawa
Selectively Toned Silver Gelatin Photograph
1994
24 x 20 inches
Signed and dated on back. Descriptive text on Plexi-Glass. Photographers stamp and edition number lower right.
Phil Borges - Dechi & Tsering
Phil Borges
Dechi & Tsering
Selectively Toned Silver Gelatin Photograph
1994
24 x 20 inches
Signed and dated on back. Descriptive text on plexi-glass. Photographers stamp and edition number lower right
Phil Borges - Samdo & Kunga
Phil Borges
Samdo & Kunga
Selectively Toned Silver Gelatin Photograph
1994
24 x 20 inches

Signed and dated on back. Descriptive text on plexi-glass. Photographers stamp and edition number lower right

Studio of Felice Beato - Two Women
Studio of Felice Beato
Two Women
Albumen Hand Colored Photograph
c. 1860-80s
10 x 8 Inches, Framed 21 x 16 3/4 Inches
Studio of Felice Beato - Two Farmers
Studio of Felice Beato
Two Farmers (Tattooed Man on recto)
Albumen Hand Colored Photograph
c. 1860-80s
10 x 8 Inches, Framed 21 x 16 3/4 Inches

Additional image of tattooed man through frame on recto.

Studio of Felice Beato - Tattooed Man
Studio of Felice Beato
Tattooed Man
Albumen Hand Colored Photographs
c. 1860-80s
10 x 8 Inches, Framed 21 x 16 3/4 Inches
Javier Silva-Meinel - Palometas, Iquitos, Peru
Javier Silva-Meinel
Palometas, Iquitos, Peru
Silver Gelatin Photograph
2003
20 x 16 inches
Signed, titled, dated and # 9/25 on verso
Javier Silva-Meinel - Jóven Mashiguenga, Manu, Madre de Dois, Peru
Javier Silva-Meinel
Jóven Mashiguenga, Manu, Madre de Dois, Peru
Silver Gelatin Photograph
1996
20 x 16 inches
Signed, titled, dated and # 8/25 on verso

Portals to the Human Spirit:
A Survey of Cultural Diversity

11/23/2013 - 12/16/2013

INSTALLATION IMAGES

Photography has an innate ability to establish human connections. This exhibition centers on the work of six photographers that produce images that bind us to the human spirit. The color of our skin, the clothes we wear, the shelters and social groups we live in have great diversity, but the fundamental, non-visual, human needs of all these groups are fundamentally the same as our own. The nature of the global village acts to homogenize our customs and differences. It is counter productive in preserving a society’s uniqueness. With the shrinking of the world caused by Western expansionism and the ease of international travel – we are also shrinking the world’s divergent cultures.

Carol Beckwith and Angela Fisher have spent the better part of their lives documenting the various cultural ceremonies that have linked individuals to their various tribes across the African continent. Their work has been the most profound and comprehensive documentary of African cultural practices that are endangered or have been lost. In photographic records, through their books, videos and journals we have an aesthetic time capsule that both preserves and celebrates an extraordinary diversity.

The photographs of Alison Wright are meant to be portals of the human spirit. Her travels have taken her from Africa to the Antarctic and from China and India to Haiti and South America. There are universal qualities of sadness, empathy, compassion that can never be vanquished. Her life, like Beckwith and Fisher, has been a journey consumed by allowing indigenous citizens to do their own storytelling. She has been a photographer, again akin to Beckwith and Fisher, who has put herself at great risk to probe the portals to humanity.

Marcus Leatherdale is also a preserver of unique cultures. He has spent the last 20 years photographing the Adivasis, or small ethnic communities of India. India has immense ethnic diversity that is quietly disappearing. He photographs a caste system shooting maharajas to the Harijan, or untouchables. He is interested in the cultural, and spiritual uniqueness of the various tribes. There is a great depth to their traditions that the photographers can only point to. Of the 100 million tribals living outside the Hindu caste society their customs are foreign to the Hindus and Muslims. He produces split tone silver prints that suggest an age and patina consistent with wonderful black and white darkroom vintage prints.

Dana Gluckstein has spent the last 30 years traveling the world on a photographic and moral mission of exploring the lives of indigenous people whose cultures and daily lives are being threatened and marginalized. Her work has been recently exhibited in Geneva at the United Nations in conjunction with the passage of the U.N. Human Rights Declaration. Her focus has consistently been on portraiture of individuals that are tied to their villages.

Flor Garduño seems like an anomaly to include in this exhibition. Her journeys are internal versus external. She does not travel to exotic locations in search of the unknown, but concentrates her vision on the beauty and grace of the female form. Her photographic subjects are well known to her. Her imagery is steeped in nature and Mexican folklore. The bodies portrayed are personalized, the mythology shown is internalized. For Flor, the uniqueness of the bodies is their beauty. In the introduction by Veronica Volklow to Garduño’s monograph Inner Life, she notes, “Garduño’s images seem to have been stolen, not from the street, the countryside, the studio, but from a deeply intimate dimension…Each body is like a star. It radiates a beauty that emerges from an overflowing richness.” The pictures in their strength, fragility, and beauty are ultimately studies of humanity.

In the largest sense, the purpose of “Portals to the Human Spirit” is to suggest links that bind us to a greater mankind. These links respect and amplify individuals, their cultural practices as well as their belief systems. The energies of these citizens of the world are made manifest through the portals of what is visible. A camera can only record the visible – but it references a much larger, fuller world. It encourages us to travel with our eyes and imagination further than the comforts of our immediate, knowable world.