Bernard Faucon - La Cene
Bernard Faucon
La Cene
Fresson Photograph
1981, Printed 2002
11 3/4 x 11 3/4 inches

Signed, titled, dated and editioned # 23/40 on verso

Bernard Faucon - 12ème Chambre d'Amour
Bernard Faucon
12ème Chambre d'Amour
Fresson Photograph
1985, Printed 2006
11 3/4 x 11 3/4 inches

Signed, titled, dated and editioned # 27/40 on verso

Bernard Faucon - 16ème Chambre d'Amour
Bernard Faucon
16ème Chambre d'Amour
Fresson Photograph
1986, Printed Later
11 3/4 x 11 3/4 inches

Signed, titled, dated and editioned # 18/40 on verso

Bernard Faucon - Le Coffre
Bernard Faucon
Le Coffre
Fresson Photograph
1978, Printed Later
23 1/2 x 23 1/2 inches

Signed, titled, dated and editioned # 5/10 on verso.

Bernard Faucon - Ma Chambre Vers
Bernard Faucon
Ma Chambre Vers
Fresson Photograph
1967, Printed 2004
19 3/4 x 19 3/4 inches

Signed, titled, dated and editioned # 1/3 on verso

Bernard Faucon - La Muraille d'Or
Bernard Faucon
La Muraille d'Or
Fresson Photograph
1988, Printed 1989
23 1/2 x 23 1/2 inches

Signed, titled, dated and editioned # 3/10 on print verso

Bernard Faucon - Derniere Chambre d'Amour
Bernard Faucon
Derniere Chambre d'Amour
Fresson Photograph
1986, Printed Later
11 3/4 x 11 3/4 inches

Signed, titled, dated and editioned # 9/40 on verso

Bernard Faucon - 15ème Chambre d'Amour, Les Jumeaux
Bernard Faucon
15ème Chambre d'Amour, Les Jumeaux
Fresson Photograph
1986, Printed 2005
23 1/2 x 23 1/2 inches

Signed, titled, dated and editioned # 4/10 on verso

Bernard Faucon - Chambre en Hiver, Le Fantôme
Bernard Faucon
Chambre en Hiver, Le Fantôme
Fresson Photograph
1987, printed later
23 1/2 x 23 1/2 inches

Signed, titled, dated and # 9/10 on verso.

Bernard Faucon - 5ème Chambre d'Amour
Bernard Faucon
5ème Chambre d'Amour
Fresson Photograph
1985, Printed 2006
23 1/2 x 23 1/2 inches

Signed, titled, dated and editioned # 6/10 on verso

John Dugdale - Vespers
John Dugdale
Vespers
Cyanotype Photograph
1999
8 x 10 inches

Signed, titled, dated and # 2/12 on print verso

John Dugdale - An Inseparable Companion
John Dugdale
An Inseparable Companion
Cyanotype Photograph
2009, Printed 2009
20 x 16 inches

Signed, titled, dated and # 1/6 on verso

John Dugdale - The Oversoul
John Dugdale
The Oversoul
Cyanotype Photograph
1998, Printed 2009
20 x 16 inches

Signed, titled, dated and # 1/6 on verso.

John Dugdale - Self Reliance
John Dugdale
Self Reliance
Cyanotype Photograph
1998
10 x 8 inches

Signed, titled, dated, and # 3/12 on print verso

John Dugdale - Deep Calls Unto Deep
John Dugdale
Deep Calls Unto Deep
Cyanotype Photograph
c. 2003, Printed 2009
20 x 16 inches

Signed, titled, dated and # 1/6 on verso

John Dugdale - Prayer Life
John Dugdale
Prayer Life
Gold Toned Silver Gelatin Photograph
1995, Printed 2010
20 x 16 inches

Signed, titled, dated and # 1/6 on verso

John Dugdale - Nameless Lissisitude
John Dugdale
Nameless Lissisitude
Toned Silver Gelatin Photograph
1999, Printed 2010
20 x 16 inches

Signed, titled, dated and # 2/6 on verso

John Dugdale - Parlor Figure
John Dugdale
Parlor Figure
Platinum Photograph
1994
20 x 16 inches

Signed, titled, dated, and # 9/10 on print verso.

John Dugdale - Spirit Eye
John Dugdale
Spirit Eye
Gelatin Chloride Photograph
1998, Printed 2007
14 x 11 inches

Signed, titled, dated, and # 1/12 on verso

John Dugdale - Empire Chair in The Gloaming
John Dugdale
Empire Chair in the Gloaming
Gelatin Chloride Photograph
1994, Printed 2007
10 x 8 inches

Signed, titled, dated, and # 8/12 on verso

Brassai (Gyula Halasz) - Chez Suzy, En Attendant Le Client
Brassaï
Chez Suzy, En Attendant Le Client
Silver Gelatin Photograph
1932, Printed Later
11 5/8 x 9 inches
Signed, titled, dated and numbered 10/30 on the verso.
Brassai - Le Bal de Quatre-Saisons, Rue De Lappe
Brassaï
Le Bal de Quatre-Saisons, Rue De Lappe
Silver Gelatin Photograph
1932, Printed 1960's
9 1/8 x 11 5/8 inches
Signed, titled, dated and numbered 7/30 on the verso.
Brassai - Deux Filles De Montmartre
Brassaï
Deux Filles De Montmartre
Silver Gelatin Photograph
1932
16 x 12 inches

Signed, titled, dated and numbered 11/30 on verso. Photographer's credit stamp on verso.

Brassai - Groupe d'Hommes, autour du "Zinc" dans un bistrot, Rue de Lappe
Brassaï
Groupe d'Hommes, autour du "Zinc" dans un bistrot, Rue de Lappe
Silver Gelatin Photograph
1932, Printed Later
8 1/4 x 11 inches
Signed lower right, titled and dated on verso
Massimo Listri - Palazzo Altieri, Roma
Massimo Listri
Palazzo Altieri, Roma
Archival Lambda Color Photograph
1997, printed 2014
39 3/8 x 47 1/4 inches

Signed, titled, dated and numbered (edition of 5) on artist's label on verso.

Massimo Listri - Teatro Sala Sao Paulo, Brasile
Massimo Listri
Teatro Sala Sao Paulo, Brasile
Archival Lambda Color Photograph
2012, printed 2014
39 3/8 x 47 1/4 inches

Signed, titled, dated and numbered (edition of 5) on artist's label on verso.

Massimo Listri - Villa I Berroni, Torino
Massimo Listri
Villa I Berroni, Torino
Archival Lambda Color Photograph
2004, Printed 2014
47 1/4 x 59 inches

Signed, titled, dated and numbered (edition of 5) on artist's label on verso.

Massimo Listri - Palazzo Martelli, Firenze
Massimo Listri
Palazzo Martelli, Firenze
Archival Lambda Color Photograph
2008, printed Later
39 3/8 x 47 1/4 inches

Signed, titled, dated and # 1/5 on artist's label on verso.

Massimo Listri - Palazzo Reale III, Stoccolma
Massimo Listri
Palazzo Reale III, Stoccolma
Archival Lambda Color Photograph
1998, Printed 2014
47 1/4 x 59 inches

Signed, titled, dated and numbered (edition of 5) on artist's label on verso.

Massimo Listri - Palazzo Reale di Napoli
Massimo Listri
Palazzo Reale di Napoli
Archival Lambda Color Photograph
2013
47 1/4 x 59 inches

Signed, titled, dated and numbered (edition of 5) on artist's label on verso.

Massimo Listri - Castello di Schwetzingen III, Baden, Wurttemberg
Massimo Listri
Castello di Schwetzingen III, Baden, Wurttemberg
Archival Lambda Color Photograph
2011
47 1/4 x 59 1/8 inches

Signed, titled, dated and numbered (edition of 5) on artist's label on verso.

Massimo Listri - Schloss Corvey, Höxter
Massimo Listri
Schloss Corvey, Höxter
Archival Lambda Color Photograph
2011, printed 2013
47 1/4 x 59 1/8 inches

Signed, titled, dated and numbered (edition of 5) on artist's label on verso.

Massimo Listri - Jaral de Berrio V - Guanajuato Mexico
Massimo Listri
Jaral de Berrio V, Guanajuato, Mexico
Archival Lambda Color Photograph
2012
39 3/8 x 47 1/4 inches

Signed, titled, dated and numbered (edition of 5) on artist's label on verso.

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 - 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.

Private Spaces: An Intimate Look at Interiors

4/25/2015 - 6/6/2015

Imagine an uninhabited dimly lit room containing a dining table and chairs covered in white sheets with a landscape painting hanging on the wall. Remnants from a meal are scattered about and a silver chalice is placed on a covered table. An illuminated butterfly rests on a wildflower in the foreground. A door is somewhat ajar offering a glimpse into an ambiguous space of a brightly lit room with light streaming through a glass window. It is a room filled with a beautiful latent symbolism, but what exactly is occurring in this room? Has someone just exited the room leaving behind traces from an unfinished meal? Has someone exited out a window or open doorway? Has the butterfly just entered the room? And how many people were at the table?

This photograph is entitled, ”La Cene” and is by Bernard Faucon. It exemplifies the variety of open-ended narratives that can arise within viewers when the photographer acts as a kind of narrator. Faucon never elaborates on what is happening in his pictures. He, and other photographers in this exhibition can create or capture enigmatic scenes where the viewers vicariously enter the spaces as voyeurs and have to give meaning to the picture. That an image of a private interior space is rich enough to sustain multiple meanings and encourage a range of emotions, desires and feelings within the viewer is key to the power of these photographs in “Private Spaces: An Intimate Look at Interiors.” Spaces can and often do evoke a complex reading. Cameras allow people to gaze into a private space from a safe distance and specific point of view and scrutinize the privileged world behind closed doors. People have an innate curiosity of the hidden, mysterious and concealed and photographers have drawn on this observation, empowered by the camera, to visually invite people into their worlds. The viewer becomes a participant, quasi-detective investigating scenes with hints and symbols that help structure the “reading” of a particular environment.

Massimo Listri’s photographs are pure studies of spaces that are devoid of people. They are generally private aristocratic interiors that were built centuries ago including churches, museums, libraries, private and public palaces. The pictures are architectural studies full of signs, symbols and icons that all suggest the human component and mythology of their purposes. They are psychologically rich and invite viewers to ponder over the histories of these glorious spaces, and the people that have and do inhabit them.

The intimate relationships between individuals interacting behind closed doors, recorded by photographers, can also have very personal significances. This is the case with John Dugdale’s highly personal images in which he presents stirring portraits and still-lifes that are all reflections on domestic life. He has never used models that were not friends, lovers, and family, and collects artifacts from the 19th century that are immensely meaningful to himself. His world is a soulful and spiritual world and his pictures are almost always intimate and charged with symbolism and personal pathos.

On the other hand, Brassai’s portrayals of 1930’s Parisian nightlife are a famous study of a world that every Parisian knew existed – but no one recorded. His world is a social one in which he gained access and allowed viewers to enter the underworld of the brothels, nightclubs, cafes, and streets of nocturnal Paris. The pictures were made in the 1930’s and 1940’s and were contemporary for their time, but are now a fascinating record of the legendary “Paris at Night.” The images are still enthralling and engaging and they have not lost their voyeuristic fascination.

Taken as a whole, the exhibition “Private Spaces: An Intimate Look at Interiors” surveys life’s emotionally and physically concealed spaces through the power of the camera and shares these magically compelling images with the viewer. It is a study of untold stories, wide-ranging desires, and the power of imagination.