Tuesday, March 3, 2015

DEBORAH TURBEVILLE : Unseen Versailles

Deborah Turbeville : Unseen Versailles Revisited

January 23 - March 21 2015

560 Broadway
NewYork 10012

The Private Apartment of Madame du Barry at Versailles, from “Unseen Versailles”, 1980
Fireplace in the Petit Apartments of Versailles, from “Unseen Versailles”, 1980

Statues, from “Unseen Versailles”, 1980
Unseen Versailles, 1980 (Pile of Chairs)

The Parterre du Midi at Versailles, from “Unseen Versailles”, 1980
51. Deborah Turbeville
Unseen Versailles, 1980 (Painting)

This is a perfect time to spend an hour looking back at the poetic photographic essay by Deborah Turbeville that was commissioned by Jacqueline Kennedy Onassis in 1981.
The quiet and elegant, Unseen Versailles. All is atmosphere,mystery,silence,longing and discovery it is like wandering in a sad dream surrounded by the saddest music and succumbing to the fatigue of the romantics that would find these images,beautiful.

They are.The artist and gallery based on earlier exhibitions by Deborah Turbeville  have created a edgy look comprising gilded frames  and order compositions facing walls of 
large scale prints attached directly to walls repeating images as if to express a breathing body of work that is as timely today as it was 25 years ago.

It is reassuring that there are still galleries that preserve the history of photographic art giving new generations a chance to see what went before.Since 1839 there has been one  long conversation, a gathering of ideas about our world and our ideas about beauty and time .I saw some of these images in a New York Times Magazine essay in 1981,they still move me now .They must be classic                                          http://www.staleywise.com
all images copyrighted Deborah Turbeville  and Staley -Wise Gallery

Sunday, February 1, 2015


Written in Stone
Edition Le Quai de la Batterie ca.2000

High Noon, Namib Desert
(Namid Desert #8)
archival silver gelatin print

Persia Stones #12
archival silver gelatin print
China Stones #2
archival silver gelatin print
American Stones
Sunrise in the Palm of Buddha
(Angkor Stones #6)
1995 to 2003 
Africa Stones  Giant 1
1995 - 1999
archival silver gelatin print

Cappadocia Stones #9
archival silver gelatin print 
China Stones #2
archival silver gelatin print

Collecting can be a form of hoarding. Two of the easiest to hoard are books and recorded music.They seem so civilized and then one day you realize you need to find something which you can not because you are distracted by the other lost and new discoveries in the search.  Today that happened to me I found an early portfolio/book by Elaine Ling ,Written in Stone. 2000  with an introduction by Marcus Schubert.

I sat down with this slim document and then I went back to Elaine's website.Now I am writing this. I have been thinking a lot about how only ten years ago photography was almost magical it showed us people and places most of us would never see and yet we and they remained remote from life, trap . 

I once had a student in a class about collecting who asked me my opinion about some  images of Cambodia that he liked.These photographs were not cheap. At that moment I had a clear vision
and said buy the one you really like but take your money and go there, amazingly he did.

I can  travel comfortably with an album or book of images with me sitting on my favorite chair lost, so I will always be grateful for photographers like Elaine Ling ,who go out into the world to see and record. all images copyright Elaine Ling


Thursday, January 29, 2015


Wyatt Gallery : Subtext

January 21 - February21

Foley Gallery
59 Orchard Street
New York NY 10002
1 212 244 9081

the reason I went to Orchard Street last week was to see these new images by Wyatt Gallery  ( the person,not a place ),at the new Foley Gallery in the Lower East Side.

A very elegant group of photographs of subway advertising wall the collages of happenstance  and serendipity from multiple pasting and repasting of bill boards .
Wyatt's point of departure is only to record those that have nearly ben totally scraped
away.There are no witty and surprising juxtapositions found in the layers of ripped paper and paste. Wyatt  shows us bared and scared walls that have scratches and scrapes

The over all feeling is a retelling of the abstract expressionism movement 

50E: 341
30X22.6” UV Pigment Ink Photograph On DiBond
50E: 353

45x56" UV Pigment Ink Photograph On DiBond Edition of 5 +2AP
(In Collaboration With Hank Willis Thomas)
Montrose L: 124-107
40x51.1" UV Pigment Ink Photograph On DiBond
50C: 383
40x53.5" UV Pigment Ink Photograph On DiBond 

50C: 5-13-3
35x83" UV Pigment Ink Photograph On DiBond
50C: 379-377
30x107" UV Pigment Ink Photograph On DiBond

studio@wyattgallery.com              www.foleygallery.com

Thursday, January 22, 2015

Ariel Dill and Kellyann Burns : Killing time and falling in love

"The Sorcerer's Apprentice " 
Ariel Dill
Pablo's Birthday Gallery
57 Orchard Street
212 462 2411
through January 23
Kellyann Burns
McKenzie Fine Art Inc.
55 Orchard Street
212 989 5467
through February 8

Yesterday afternoon I was wandering around the LES (Lower East Side in NYC) on Orchard Street ,meandering in and out of galleries.I saw somethings I like, somethings that caused an erotic rush like desire. I found myself contemplating about a renewed interest in Abstract Expressionism and its various handmaidens.Today at this moment I am listening to SOHN's '" Wheel " as a few images that I would love to include in my imaginary museum eat into my heart.

The first  one is by Ariel Dill part of the " The Sorcerer's Apprentice " group show 
at Pablo's Birthday Gallery at 57 Orchard street through this weekend. Ariel Dill's, Inky . 

Then there were two images by Kellyann Burns at McKenzie Fine Art until February 8th. which will give you time to see and savor her paintings

Maybe "I Fall in Love to Easily,I Fall in Love too Fast ." but yesterday, a grey and depressing of day these painting gave me joy that last.

Ariel Dill                 Inky               Acrylic and Oil on Canvas, 2014  72x53"

Installation Pablo's Birthday Gallery

Kellyann Burns   8:29 PM 8/22/12, 2012Oil on alu-dibond30 x 24 inches
Kellyann Burns   5:43 PM 10/4/14, 2014 Oil on alu-dibond

Installation at McKenzie Fine Art
all images are copyrighted by the artists and galleries, please contact them for more information.pablosbirthday.com, mckenziefinearts.comarieldill.com

Tuesday, January 20, 2015


Max Neumann : New Works
535 West 24 Street
New York NY 10011
1 212 627 3930

January 8 through February 21 2015

The strange thing about heads is that the more you leave out, the more intense the expression becomes. In a different way than in portrait painting. It has absolutely nothing to do with that. These figures are just that to me: figures. They’re sexless, they have no special attributes. They are specters, shadows. What’s very important to me is the intensity, the presence. What that does. 
What it does in the painting. 
What it does with the viewer.  –Max Neumann

Untitled, February, 2014   
Acrylic and charcoal on canvas
62 15/16 x 47 3/16 in. (160 x 120 cm)

Untitled, August, 2014   
Oil and acrylic on canvas
62 15/16 x 47 3/16 in. (160 x 120 cm)

Untitled, August, 2014    
Oil and acrylic on canvas
39 5/16 x 31 7/16 in. (99.8 x 79.8 cm)

Untitled, July, 2014   
Oil and acrylic on canvas
62 15/16 x 47 3/16 in. (160 x 120 cm)

Untitled, July, 2014   
Oil and acrylic on canvas
62 15/16 x 47 3/16 in. (160 x 120 cm)

this is one of those exhibits that you must visit because of the relationships between space and scale, light and shadow.My first thoughts about the exhibitions were of, A.Giacometti the Easter islands statues and a still from Fritz Lang's Metropolis.I decided this year not to critique but to post art that I would want to own. These would definitely be part of my imaginary museum. Maybe one image in one room alone.

all images copyrighted Max Neumann Bruce Silverstein gallery

Thursday, January 15, 2015

BASTIENNE SCHMIDT : Typography of Quiet

Book and exhibition 

Bastienne Schmidt
Typography of Quiet
Ricco/Maresca Gallery
529 West 20th Street, 3rd Floor
New York, New York 10011
t. 212.627.4819
Last day 

Untitled, Topos
Mixed media on paper
22 x 30 in.
Untitled, Topos
Mixed media on paper
22 x 30 in.
Untitled, Topos
Mixed media on paper
30 x 44 in
Coils, Vietnam
C Print, ed. 1/9
22 x 30 in
Snow, Bridgehampton
C Print, ed. 1/9
11 x 14 in
Water, Strehlen, Germany
C Print, ed. 1/9
11 x 14 in
Untitled, Topos
Mixed media on paper
22 x 30 in.

Gallery installation

Gallery Installation

When I think of starting a new day a new year I always have this vision of looking out over a vast sea and watching the linear horizon being altered by the elements and time.

This is a small and a grand way to start the year looking out and observing the creation of moments .I had made up my mind to make Bastienne Schmidt's exhibition be the first one to see in the New Year. It was, but I saw it only yesterday and today it ends .There is the book Typography of Quiet which should be added to your photography library.
I am sure the gallery would be happy to assist you in viewing the images.

Bastienne is an artist who chose photography as  a component of her art.So as I walked through the gallery's space I felt my mood move from the joy of this living blue and white that she captured,to those moments that are private,wistful and sad.I saw the line blossom and transform itself and then return to start a new day, a new year.

all images copyrighted Bastienne Schmidt: Topography of Quiet ,used with the permission of Ricco/Maresca Gallery

Thursday, September 25, 2014

Vitor Sá : Copa na Copa

Vitor Sá
Copa na Copa
New York Art Book Fair
MoMA PS 1 New York
22 - 25 Jackson Avenue 

September 25 - September 28 2014 

books are delivered

So, "Copa na Copa," takes a look at the Copacabana in a different light. Rather than seeing it as a tourist mecca, these pictures present one of the most traditional neighborhoods of the city (its population is 30% elderly). My pictures show the beach in an ironic and amusing way, portraying its beauty in a way not usually shown on TV. But I also want to reflect on the way Brazilians are living their lives today. How long can the party go on?  

This is an ongoing project.

—Vitor Sá, with interpretation by Alexander Strecker

all images copyright Vitor Sá,