LOCATIONS FILTERS

Pierre Adam, David Attie, Will Connell, Gordon Coster, Harry Richardson Cremer, Pedro E. Guerrero, John Hatlem, George Platt Lynes, Wendell MacRae, Marceau, Angus McBean, Nino Migliori, Bertram Park, Mario Perotti, L. J. Lipp Publishing, Emery P. Revesz-Biro, Nickolas Muray, Rolf Tietgens, Weegee: Trick Photography and Visual Effects

January 19 - March 18

41 E 57th Street, Ste 703, New York, NY +

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Pierre Adam, David Attie, Will Connell, Gordon Coster, Harry Richardson Cremer, Pedro E. Guerrero, John Hatlem, George Platt Lynes, Wendell MacRae, Marceau, Angus McBean, Nino Migliori, Bertram Park, Mario Perotti, L. J. Lipp Publishing, Emery P. Revesz-Biro, Nickolas Muray, Rolf Tietgens, Weegee: Trick Photography and Visual Effects

January 19 - March 18

Keith de Lellis Gallery is pleased to present a group exhibition of over forty photographs created during the 19th and 20th centuries that historically altered and redefined the capabilities of the medium by utilizing pre-digital innovations such as photo montage, photo collage, double exposures and the darkroom process of composite printing. This show elegantly brings together photographs motivated by both advertising and artistic intents to highlight the significant level of ingenuity applied by artists across the fields to deliberately visualize their subject matter, of which many on display are painstakingly constructed by hand. An example of such artistry is found in a star-studded montage published by L. J. Lipp Publishing of Hollywood, California in 1928 with hundreds of faces of Hollywood’s famous actors and actresses, including Charlie Chaplin and Tom Mix, Hollywood’s first Western star. In another photograph we witness a beaming Fred Astaire miraculously dancing through the clouds as he plays the role of Charlie Hill from the 1952 film The Belle of New York.

Trick photography lends itself to a surreal atmosphere as it is can take elements of reality and assemble them together in an altered, dream-like narrative. Rolf Tietgens (German-American, 1911-1984) made a series of these kinds of images of American mystery novelist Patricia Highsmith, including one on view in which we see a nude Highsmith approaching an illustration of a mysteriously cloaked doorway. Highsmith herself reflected on how photography is able to manipulate reality to question reality, redefining the possibilities not only of photography but how we perceive reality itself, as she inquired in her diary, “where does reality end and photography begin?” (Diaries and Notebooks, 1941-1995).

The birth of photo manipulation followed soon after the invention of photography itself, which officially occurred in 1839 when Louis Daguerre announced his invention of the Daguerreotype in France. Varied in subject matter, several photographs on display in this exhibition were produced during the 19th century and are fantastic demonstrations in early applications of composite printing. On view is an anonymous albumen print made during the 1870s, where the portraits of twenty-three different mafioso described as the ‘Bandits of Sicily’ are captured in a skillfully printed composition. Another photograph from the 1880s comprises a group of thirteen layered studies of women artfully posed in the nude, with some women staring directly back at the viewer while others gaze elsewhere in the distance. A composite print by Marceau of San Francisco combines the portraits of players from the Baltimore and All-American baseball teams during the California Tour of 1897 with a hand drawn background of sporting equipment including a bat, glove and baseball.

Politics and disaster are juxtaposed in the pairing of an anti-axis propaganda photo collage of “Benito Mussolini, the Strong Man of Italy, in a character study of challenge and defiance” (as described in a caption by International News Photos) and a collage depicting a city being decimated by an earthquake. In the photo collage fantasy of Mussolini, his large figure looms over a battle scene of long-range guns and steaming cruisers as black smoke fills the air while black paint is brushed over the sky to intensify the ominous atmosphere of the photograph. The latter photo collage also uses paint to imagine a catastrophic scene, this time in Los Angeles, of burning buildings collapsing under siege of an earthquake.

Beginning in the 1920s, as photography replaced illustration in advertising, montage work flourished. On view are several imaginative and dramatic photo montages that combine the use of text, which quickly became the modern way to entice consumers into purchasing a variety of products ranging from fine linens to shoes. A photograph that exemplifies this powerful method of advertising is a piece that markets the Joseph Schlitz Brewing Company as ‘the beer that made Milwaukee Famous.’ In another work we see a handwritten letter praising the comfort of hiking shoes photographed alongside a seemingly candid snapshot of a young couple enjoying a romantic view of the mountains while on horseback. Photographers took cues from these advertisements to advance their own businesses, including Hungarian-American photographer Emery P. Revesz-Biro (1895-1975). Two such examples of his work are on display, with one showing a pair of hands counting the numerous reasons a company should hire him, including his skills in carefulness, reliability and speed.

Welsh photographer Angus McBean (1904-1990) used his skills in photo manipulation to make a surreal composite portrait in 1948 of French film actress Marika Rivera as she appears to gracefully float above the water with a translucent white water lily and flowers framing her face. French photographer Pierre Adam (Active Paris, 1930s) used the same technique of composite printing combined with pen drawings to create a starry night against a black background while a ceramic head symbolic of Taurus, one of the oldest documented constellations, hovers through the dazzlingly constructed sky.

Trick Photography and Visual Effects is a notable exhibition that presents the artistic work of over twenty artists who played an important role in advancing the intricate and fascinating history of photographic manipulation. Collectively this exhibition features the work of Pierre Adam, Geo E. Anderson, David Attie, Will Connell, Gordon Coster, Harry Richardson Cremer, Pedro E. Guerrero, John Hatlem, George Platt Lynes, Wendell MacRae, Marceau, Angus McBean, Nino Migliori, Bertram Park, International News Photos, Mario Perotti, L. J. Lipp Publishing, Emery P. Revesz-Biro, Nickolas Muray, Rolf Tietgens, Underwood & Underwood, and Weegee. Trick Photography and Visual Effects is on view at Keith de Lellis Gallery from January 19 through March 18, 2023.


Press Release

Keith de Lellis Gallery

41 E 57th Street, Ste 703, New York, NY 10022

212.327.1482

keith@keithdelellisgallery.com

Open Tuesday-Saturday 11-5

Summer Hours: Mon-Fri 11-5



Michael Kenna: Arbres

December 8, 2022 - March 15, 2023

241 Chartres St New Orleans, LA +

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Michael Kenna: Arbres

December 8, 2022 - March 15, 2023


A Gallery for Fine Photography

241 Chartres St New Orleans, LA 70130

504.568.1313

joshuamann@att.net

Open Thur-Mon 10:30-5



Matthew Monteith: Cacophony/Parallax

February 3 - February 5

450 Harrison Avenue, Boston, MA, USA +

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Matthew Monteith: Cacophony/Parallax

February 3 - February 5


Abakus Projects

450 Harrison Avenue, Boston, MA, USA

Open Open by appointment and during exhibitions


Gregor Sailer: The Polar Silk Road

January 14 - April 2

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Gregor Sailer: The Polar Silk Road

January 14 - April 2


Alfred Ehrhardt Stiftung

Auguststraße 75, 10117 Berlin, Germany

49302.009.5333

Open Tue–Sun 11 am–6 pm


Motoyuki Shitamichi: FLOATING MONUMENTS

January 19 - March 1

526 West 26th Street, New York, NY, USA +

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Motoyuki Shitamichi: FLOATING MONUMENTS

January 19 - March 1

Alison Bradley Projects is pleased to present FLOATING MONUMENTS, the first solo exhibition of Motoyuki Shitamichi (b. Okayama, 1978) in the United States, curated by Eimi Tagore-Erwin.


Press Release

Alison Bradley Projects

526 West 26th Street, New York, NY, USA

rebecca@alisonbradleyprojects.com

Open Tuesday - Saturday 11 AM - 6 PM

Summer Hours: Monday - Friday 11 AM - 6 PM


David H. Gibson: Morning Light

January 14 - May 21

3501 Camp Bowie Blvd Ft Worth, TX +

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David H. Gibson: Morning Light

January 14 - May 21


Amon Carter Museum of American Art

3501 Camp Bowie Blvd Ft Worth, TX 76107

817.738.1933

Open Tues-Sat 10-5, Thur 10-8, Sun 12-5


Jovell Rennie: The Place I Call Home

April 22, 2022 - February 19, 2023

625 C Street, Anchorage, AK +

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Jovell Rennie: The Place I Call Home

April 22, 2022 - February 19, 2023


Anchorage Museum

625 C Street, Anchorage, AK 99501, USA

907.929.9200


Jean-François Bouchard: Exile from Babylon

January 26 - March 11

214 Bowery, New York, NY, USA +

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Jean-François Bouchard: Exile from Babylon

January 26 - March 11


Arsenal Contemporary Art New York

214 Bowery, New York, NY, USA

Open Tues-Sat 11-6


Thomas Kellner: Thomas Kellner – Chapel Schools, In the footsteps of the Nassau Counts Wilhelm and Johann VI.

November 13, 2022 - February 11, 2023

57072 Siegen, Germany +

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Thomas Kellner: Thomas Kellner – Chapel Schools, In the footsteps of the Nassau Counts Wilhelm and Johann VI.

November 13, 2022 - February 11, 2023

We cordially invite you to the exhibition

Thomas Kellner
Chapel schools
In the footsteps of the Nassau counts Wilhelm and Johann VI.
November 13, 2022 – February 10, 2023
Photography

Vernissage: Sunday November 13, 2022, at 12 p.m. The District Administrator of the Siegen-Wittgenstein District Andreas Müller, the Mayor of the University City of Siegen Steffen Mues welcome to the opening.
Prof. Dr. Rolf Sachsse, Bonn, will speak.

In 49 pictures, the artist Thomas Kellner, oscillating between art and documentation, thematizes a part of our regional history. The chapel schools form a solitary architectural type for the Siegerland and adjacent regions. As individual buildings, conspicuous in their surroundings, they reveal the connection between church and state, starting from the domain of Count Wilhelm von Nassau-Dillenburg (* April 10, 1487 in Dillenburg; †October 6, 1559 ibid.).

After Kellner has already dealt with the Siegen industrial culture in the form of industrial architecture in his series of works Genius Loci and dealt with the half-timbered houses of the Siegen industrial area in the footsteps of Bernd and Hilla Becher, the chapel schools complement his artistic processing of the regional architectural landscape. The chapel schools were realized in Kellner’s typical cubist-deconstructed style, which was described by Prof. Dr. Irina Chmyreva as ‘Visual Analytical Synthesis’, or by Prof. Dr. Rolf Sachsse as ‘Modern Mannerism ‘, and which sets the motif visually in motion.

Chapel schools are buildings in which both church services and school lessons were held and therefore reflect the close connection between church and state. The initiator was Count Wilhelm von Nassau-Dillenburg, who in 1532 instructed the parish priests to teach seven- to fourteen-year-old children at a central location on holiday afternoons. This concept was expanded so that eventually a chapel school was established in almost every village. School and worship space were thus combined in one building, but the rooms could also be used for other purposes. Thus, the chapel school was a multifunctional building, which was used until the end of the 19th century and in parts even until the 20th century. Typical is its appearance, a half-timbered building, often slated and often provided with a small turret for the bell.

The project was supported during the research and implementation by grants from the Ministry of Culture and Science of the State of North Rhine-Westphalia and Neustart Kultur of the Federal Government Commissioner for Culture and the Media by the Stiftung Kulturwerk of VG Bild-Kunst.


Art Galerie

57072 Siegen, Germany



A Field Guide to Photography and Media

November 19, 2022 - April 10, 2023

111 S Michigan Ave Chicago, IL +

Timothy H. McCoy: Beyond My Lens — Timothy H. McCoy

January 21 - March 18

207 N Gilbert Rd, Ste 201 Gilbert, AZ +

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Timothy H. McCoy: Beyond My Lens — Timothy H. McCoy

January 21 - March 18

Art Intersection welcomes photographer Timothy H. McCoy into Ryan Gallery for an exhibition of selected photographs from five bodies of his work, Tongues to Stone, Long Long Journey, Sanctuary, The Water Course Way, and Street Life. Previously, alternative photographic process prints by Tim have been seen in several Light Sensitive exhibitions.

Tim joins us Saturday, January 21, from 4pm to 5pm for a gallery talk about his career and the work on display in the gallery.

Image credit: Timothy H. McCoy


Art Intersection

207 N Gilbert Rd, Ste 201 Gilbert, AZ 85234

480.361.1118

info@artintersection.com

Open Wednesday - Saturday, 10am - 6pm



Art Intersection Members: No Strangers — Annual Members Exhibition

January 21 - March 18

207 N Gilbert Rd, Ste 201 Gilbert, AZ +

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Art Intersection Members: No Strangers — Annual Members Exhibition

January 21 - March 18

This twelfth annual No Strangers exhibition once again celebrates the diverse range of artwork created by Art Intersection members. This annual exhibition showcases the creative energy from the vision and talent of our members.

Memberships support Art Intersection, and through our membership program we strive to create an engaging atmosphere for creativity, networking, sharing work, and learning from each other. From a range of membership levels including Student, Friend, Sponsor, Patron and Collector, you can find the membership that works best for you!

Image credit: Luigi Luccarelli


Art Intersection

207 N Gilbert Rd, Ste 201 Gilbert, AZ 85234

480.361.1118

info@artintersection.com

Open Wednesday - Saturday, 10am - 6pm