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Gilbert Garcin - La Rupture
Gilbert Garcin
La Rupture
Silver Gelatin Photograph
2009, Printed 2010
20 X 24 inches
Signed and # 1/12 on print verso
Gilbert Garcin -  Lorsque le Vent Viendra - (When the Wind Will Come)
Gilbert Garcin
Lorsque le Vent Viendra - (When the Wind Will Come)
Silver Gelatin Photograph
2007, Printed 2013
24 x 20 inches

Signed and numbered (edition of 12) on print verso. Artist stamp on verso.

Gilbert Garcin - Icare Contrecarré
Gilbert Garcin
Icare Contrecarré
Silver Gelatin Photograph
2012, Printed 2013
16 x 12 inches

Signed and # 1/12 on print verso. Artist stamp on verso.

Gilbert Garcin - L'heure Exquise - (Exquisite Hour)
Gilbert Garcin
L'heure Exquise - (Exquisite Hour)
Silver Gelatin Photograph
2006, Printed 2013
16 x 12 inches

Signed and # 1/12 on print verso. Artist stamp on verso.

Gilbert Garcin -  Diogène ou la Lucidité - (Diogenes of Lucidity)
Gilbert Garcin
Diogène ou la Lucidité - (Diogenes of Lucidity)
Silver Gelatin Photograph
2005, Printed 2013
20 x 24 inches

Signed and # 1/12 on print verso. Artist stamp on verso.

Gilbert Garcin -  Rien n'est Parfait - (Nothing is Perfect)
Gilbert Garcin
Rien n'est Parfait - (Nothing is Perfect)
Silver Gelatin Photograph
2007, Printed 2013
20 x 24 inches

Signed and # 6/12 on print verso. Artist stamp on verso.

Gilbert Garcin - At the Museum - Au Musée
Gilbert Garcin
At the Museum - Au Musée
Silver Gelatin Photograph
1999, Printed 2002
12 x 16 Inches
Signed and # 3/12 on print verso
Berenice Abbott - Pennsylvania Station
Berenice Abbott
Pennsylvania Station
Silver Gelatin Photograph
1936, Printed 1979
23 x 18 inches

Print made in 1979. Signed lower right and numbered 13/40 on lower left recto.

Berenice Abbott - West Street, New York
Berenice Abbott
West Street, New York
Silver Gelatin Photograph
1938, Printed 1979
16 x 20 inches, Mounted on Board 24 x 30 inches
Photographer’s signature and # 51/60, in pencil on mount's recto and hand stamp on mount's verso
Berenice Abbott - Sumner Healey Antique Shop
Berenice Abbott
Sumner Healey Antique Shop, 942 Third Avenue and 57th Street, Manhattan
Silver Gelatin Photograph
1936, Printed 1979
19 1/4 x 15 5/8 inches, Mounted on Board 30 x 24 inches
Signed lower right and numbered 9/60 on lower left recto
Berenice Abbott - Poultry Shop, East 7th Street
Berenice Abbott
Poultry Shop, East 7th Street, New York
Silver Gelatin Photograph
c. 1935-36, Printed 1979
19 1/2 x 15 1/2 inches, Mounted on Board 30 x 24 inches
Signed lower right and numbered 51/60 on lower left recto
Berenice Abbott - Manhattan Skyline II
Berenice Abbott
Manhattan Skyline II
Vintage Silver Gelatin Photograph
1937
9 5/8 x 8 inches

Abbott's Federal Art Project "Changing New York" hand stamp with the title, date, location, and numeric notations, in ink, on verso.

Berenice Abbott - Broadway to the Battery from the Irving Trust Company Build
Berenice Abbott
Broadway to the Battery (from the Irving Trust Company Building)
Vintage Silver Gelatin Photograph
1938
9 5/8 x 7 inches

Abbott's Federal Art Project "Changing New York" hand stamp with the title, date, location, and numeric notations, in ink, on verso.

Robert Doisneau - L'Enfer
Robert Doisneau
L'Enfer
Silver Gelatin Photograph
1952, printed 1970s
11 3/4 x 9 1/4 Inches

Doisneau's title, a numeric notation, and his hand stamp on verso.

Robert Doisneau - Créatures de Rêves
Robert Doisneau
Créatures de Rêves
Early Silver Gelatin Photograph
1952, Printed 1981
11 1/4 x 9 3/4 inches

Artist's signature, in ink, on recto, and with his signature, title, and dates on verso.

Robert Doisneau - Les Enfants de la Place Hebert
Robert Doisneau
Les Enfants de la Place Hebert
Silver Gelatin Photograph
1957, Printed later
15 3/4 X 11 7/8 inches

Signed in ink on lower right on recto. Titled, dated and initialed in ink on verso

Robert Doisneau - Les Animaux Superieurs
Robert Doisneau
Les Animaux Superieurs
Silver Gelatin Photograph
1954, Printed later
Paper: 11 5/8 x 15 3/4 inches, Image: 9 x 13 1/2 inches

Signed in ink on lower right on recto. Titled, dated and initialed in ink on verso

Robert Doisneau - Le Garde et les Ballons
Robert Doisneau
Le Garde et les Ballons
Silver Gelatin Photograph
1946, Printed 1975
9 1/2 x 11 3/4 inches

Artist's signature in ink on recto. Artist's initials, titled and dated in ink on verso

Henri Cartier-Bresson, Seville
Henri Cartier-Bresson
Seville (boy, shadows)
Silver Gelatin Photograph
1933, Printed circa 1980
9 1/2 x 14 1/4 inches

Cartier-Bresson's signature, in ink, on recto.

Henri Cartier-Bresson - Picnic on the Banks of the Marne
Henri Cartier-Bresson
Picnic on the Banks of the Marne
Silver Gelatin Photograph
1938, Printed Later
Image Size: 11 3/4 x 17 1/2, Paper Size: 15 5/8 x 19 1/2 inches

Signed in margin on lower right recto.

Henri Cartier-Bresson - Italy, Abruzze, Village of Aquila
Henri Cartier-Bresson
Italy, Abruzze, Village of Aquila
Silver Gelatin Photograph
1951, Printed 1980s
9 1/2 x 6 3/8 inches

Titled and artist's copyright stamp on verso.

Renato D'Agostin - Shanghai
Renato D’Agostin
Shanghai
Silver Gelatin Photograph
2012
40 x 26 inches

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

Renato D'Agostin - 7439 (Houston, Texas)
Renato D’Agostin
7439 (Houston, Texas)
Silver Gelatin Photograph
2015
26 x 40 inches

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

Renato D'Agostin - Texas Road, 7439
Renato D’Agostin
Texas Road, 7439
Silver Gelatin Photograph
2015
14 1/2 x 9 5/8 inches

Signed, dated and # 6/25 on verso.

Renato D’Agostin - Paris (Eiffel Tower Reflection)
Renato D’Agostin
Paris (Eiffel Tower Reflection)
Silver Gelatin Photograph
2002
20 x 16 inches

Signed, titled, dated and # 6/25 on verso.

Renato D’Agostin - Tokyo (Man and Bird)
Renato D’Agostin
Tokyo (Man and Bird)
Silver Gelatin Photograph
2009
16 x 20 inches

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

Andre Lichtenberg - City of London with Fog
André Lichtenberg
City of London with Fog - Within Series
C-Type Photograph Mounted on Dibond
2014, printed 2016
59 x 95 1/2 inches

Signed, dated and numbered 4/8 on certificate of authenticity.

Andre Lichtenberg - Paris, Eiffel Tower, La Defense
André Lichtenberg
Paris, Eiffel Tower, La Defense - Within Series
C-Type Photograph Mounted on Dibond
2014, printed 2016
39 1/4 x 60 1/4 inches

Signed, dated and numbered 3/8 on certificate of authenticity.

Andre Lichtenberg - Stairs
André Lichtenberg
Stairs - Licht Series
C-Type Photograph
2010, printed 2016
23 1/2 x 35 1/2 inches

Signed and numbered 3/20 on recto.

Andre Lichtenberg - White Hut
André Lichtenberg
White Hut - Licht Series
C-Type Photograph
2010, printed 2016
23 1/2 x 35 1/2 inches

Signed and numbered 4/20 on recto.

Andre Lichtenberg - Two White Huts
André Lichtenberg
Two White Huts - Licht Series
C-Type Photograph
2010, printed 2016
23 1/2 x 35 1/2 inches

Signed and numbered 3/20 on recto.

Andre Lichtenberg - Red Dot
André Lichtenberg
Red Dot - Vertigo Series
C-Type Photograph
2008, printed 2016
23 1/2 x 35 1/2 inches

Signed and numbered 15/20 on recto.

Andre Lichtenberg - Sunday Shoppers
André Lichtenberg
Sunday Shoppers - Vertigo Series
C-Type Photograph
2010, printed 2016
35 1/2 x 23 1/2 inches

Signed and numbered 5/20 on recto.

Massimo Listri | Palazzo Bardini II, Firenze
Massimo Listri
Palazzo Bardini II, Firenze
Archival Lambda Color Photograph
2009
39 3/8 x 47 1/4 inches

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

Massimo Listri | Sala Egizia
Massimo Listri
Sala Egizia
Archival Lambda Color Photograph
2011
47 1/4 x 59 inches

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

Berenice Abbott - West Street, New York-TB
Berenice Abbott - Sumner Healey Antique Shop-TB
Berenice Abbott - Poultry Shop, East 7th Street-TB
Robert Doisneau - L'Enfer - TB
Robert Doisneau - Créatures de Rêves - TB
Robert Doisneau - Les Enfants de la Place Hebert - TB
Robert Doisneau - Les Animaux Superieurs - TB
Robert Doisneau - Le Garde et les Ballons - TB

Realism To Abstraction: Changing Focus In Contemporary Photography

3/25/2017 - 5/27/2017

Berenice Abbott once stated, “Photography can never grow up if it imitates some other medium. It has to walk alone; it has to be itself,” Abbott, a 1930s traditional black and white photographer who looked to the New York City landscape as the inspiration for her non illusionistic portraits of the metropolitan area and the cultural figures who inhabited it, never believed photography to be anything other than an art form in which reality could be frozen in a physical object (the photograph.) She was strongly influenced by the French photographer Eugène Atget who documented the modernization of Paris at the beginning of the 20th century. Her vision was to use photography to chronicle the changing face of New York as it became a mighty metropolis. Photography has often followed the trends of painting as a progressive art form, but never existed as one to replace it.

Realism is defined as an artistic movement that was developed in France in the 1850s, during the aftermath of the Enlightenment and the Industrial Revolution. With emphasis placed on reason and individualism, Realism sought to represent truthful subject matter and embodies the avant-garde desire to merge art and life. Known as the first Modern movement, Realism modified what was viewed and established as “art.” Abstract painting, without concern for creating an accurate depiction of a visual reality, reimagined art in the 20th century. Artists reshaped what they saw and transformed the material world into non-representational, conceptual compositions. “L'art pour l'art,” translated in english as “Art for art’s sake,” is one of the driving forces behind abstraction, stripping away the moral and humanistic purposes that constituted Social Realism.

Early traditional photography interpreted and re-produced real events, natural landscapes, and portraiture largely in black and white. Photographs were taken using single-lens reflex cameras in conventional sizes ranging from 8x10 to 11x14, and never larger than 20x24 inches, using accepted darkroom and printing techniques. Photographer’s in the United States such as Arthur Rothstein and Walker Evans, two of America’s premier photojournalists, photographed rural communities to publicize the living conditions of the working class while Robert Doisneau and Henri Cartier- Bresson, in France, were similarly documenting people on the streets of Paris. Bresson, a French Humanist and a master of candid photography, using his Leica camera, became known as one of the pioneers of street photography, traveling all over the world to capture what he calls “the significance of an event.” Dosineau, with a different outlook on the way in which he wanted people to see the world, photographed the “marvels of daily life.” His photographs are modest and playfully idealistic interpretations of everyday life in which he carefully blends the social classes of Paris in his poetic approach to street photography.

In comparison, abstract photography, with its contemporary connotations, has reshaped the ways in which photographs are conceived, constructed, and presented. Within a conceptual context these photos are composed using narrative and metaphor to create meaning. Larger in size, and primarily in color, Abstraction’s influence on photography has changed the conventions of traditional still lifes, portraits, and landscapes. The subjective reality photographs of Bernard Faucon are stylistic, ethereal visions of desire while the photographs of Stephen Wilkes, composed of over 100 distinct images, transform and visualize landscapes from “Day to Night” in just one comprehensive photograph. Olivier Richon, on the other hand, is known for borrowing from Realism and reinterpreting the genre of still life photography. His imagery, although taking from this movement, does not aim to belong to it. Rather, his conceptual photographs are embedded with many doctrines of philosophical thought, and are able to instill within the viewer a sense of longing; a desire to understand the semiotics of visual imagery that goes beyond the mental constructs of reality. Bridging the gap between Realism and Abstraction is Robert Farber, whose traditional imagery is given a modern twist by referencing 19th century painting in the form of a photograph. His soft focus and refined lighting simultaneously allude to both Impressionism and Pointillism. His resultant photographs are both poetic and romantic.

Technologically and artistically, the medium of photography has evolved. The way pictures are conceived, shot, and printed has changed throughout the course of the 20th and 21st century. Smaller images became larger, and black and white images are now visualized in color. Photographs that were taken as real events unfolded before the Photographer’s eyes are now often conceptualized and set up for the taking. What were previously viewed as literal images, or slices of life, have become more ambiguous, relying on medium to convey abstract ideas. Science, technology, social changes, and the evolving functions of photography within the “art world” have, in the past 75 years, been truly transformative. Photography, as a totality, now permeates almost all aspects of visual communication and expression.

“Realism to Abstraction: Changing Focus in Contemporary Photography” is a survey of photography from its inception to its contemporary place within art. The historical context of early photographs gives them verisimilitude, while more contemporary imagery embodies a sense of mystery. This exhibition carefully highlights the effective shifts in technology, and art and culture, that have shaped the medium from the early 20th to the 21st century. Featuring works by Berenice Abbott, Travis Boyer, Henri Cartier-Bresson, Renato D’Agostin, Robert Doisneau, Bernard Faucon, Robert Farber, Gilbert Garcin, André Lichtenberg, Massimo Listri, Olivier Richon, Joyce Tenneson, Brett Weston, and Stephen Wilkes, the exhibition champions the diversity amongst photographers past and present.