News from Robert Anderson Gallery

12/15/2016: Robert Anderson Gallery Update

The Robert Anderson Gallery is making some progress on finding new space-stay tuned. Best wishes for a healthy and happy holiday season and New Year.

3/3/2016: Patricia Barry Levy's Unexpected Developments opening April 1, 2016

Patricia Barry Levy's Unexpected Developments opening April 1, 2016

The Robert Anderson Gallery is proud to announce the opening of Patricia Barry Levy's Unexpected Developments on April 1, 2016. Patricia Barry Levy obtained degrees in history and photography. She started her career as a newspaper photographer then developed her own commercial photographic studio specializing in portraiture. After 20 years, she struck out in a new direction. She combined images obtained in her studio and from her travels to create arresting and striking photographic montages. These montages combine reality and fantasy and often are centered on historic or environmental themes. Levy's work is in numerous private, corporate and museum collections including the Denver Art Museum and the Joslyn Art Museum in Omaha and has been featured in galleries throughout Colorado and the Midwest. You will enjoy her colorful, unique photographic vision.

1/25/2016: Karen Divine opening at the Robert Anderson Gallery on 1/29/2016

The Robert Anderson Gallery is proud to present the photographic work of Karen Divine from January 29 through March 26, 2016. Karen is  acknowledged as an imaginative and innovative practitioner and educator with regard to iPhone art and photography, photogel transfer and alternative photographic processes. Karen's work has been exhibited in Madrid, Spain, Budapest, Hungary, Paris, France and Florence, Italy in addition to several local and national US venues. Karen will be leading 2016 iPhone workshops in Rockport, Maine, Santa Fe, NM, San Miguel Allende, Mexico and India. Karen's popular book A Small Amount of Courage combines her outstanding images and prose.

 Please meet Karen at an opening reception from 5-8 pm at the Robert Anderson Gallery (2426 East Third Avenue-between Columbine and Josephine on Third Avenue) on Friday, January 29, 2016. See a selection of Karen's work on either her website (Karendivinephotography.com) or the Gallery's website (Robertandersongallery.com).

 

 

12/12/2015: Dan Fong on Carrie Saldo's "Arts District" on Colotado PBS

Dan Fong’s Legends of Rock:

See Dan on Carrie Saldo’s “Arts District”, Rocky Mountain PBS, Thursday, 12/17/2015, 7:30 pm

Talk with Dan and have some hot cider, Robert Anderson Gallery, 2426 East Third Avenue, 5-8 pm Friday, December 18 and 12 noon-6pm Saturday, December 19, 2015

Enjoy Holiday Sale (25% off) of Dan’s limited edition images of The Who and Colorado’s Legends of Rock starting 12/18/2015

09/24/2015: Cody Brothers Interview, New Work

You will find interesting the interview by the New York Observer and accompanying great pinhole images of the Highline in Manhattan (NYC) by Cody Brothers. See at:

http://observer.com/2015/09/the-high-line-as-youve-never-seen-it-before/
 
You can find more images from NYC on Cody's website (codybros.com). 
 

08/22/2015: Upcoming events featuring Harvey Stein

Upcoming events featuring Harvey Stein

 

HARVEY  STEIN will be in Denver for several opportunities of interest to the photography community:

A two day workshop on Docnmentary Street Photography at the the Colorado Photographic Art Center on Satrurday and Sunday, September 12-13, 2015 (seehttps://cpac.z2systems.com/np/clients/cpac/event.jsp?event=296&).

 

An Artist's presentation at the Denver Art Museum on Thursday, September 10 at 7 pm.

An opening of a one-person show "Coney Island/Harlem: Two Iconic New York City Communities" at the Robert Anderson Gallery from 5-8 pm on Friday, September 11, 2015. This exhibition  of more than 60 black and white images obtained over 4 decades provides rich, novel insights into two unique New York City communities.

Harvey Stein is a professional photographer, teacher, lecturer, author and curator based in New York City. He currently teaches at the International Center of Photography and conducts workshops around the world. He has had more than 75 one-person shows and been in more than 140 group shows. He has published  6 books including Harlem Street Portraits in 2013 and Coney Island 40 Years in 2011 (both by Schiffer). His photographs are in more than 56 permanent collections including the Art Institute of Chicago, The George Eastman House, Bibliotheque Nationale, the Museum of Fine Arts Houston, the Museum of the City of  New York, the Brooklyn Museum of Art, the Corcoran Gallery of Art, the Carnegie Museum of Art (Pittsburgh), the New Orleans Museum of Art, the Denver Art Museum and many others. His work is in numerous corporate collections including Hewlett Packard, Barclay Bank and Johnson & Johnson among others. His photographs have appeared in several newspaper and periodicals among which are the New York Times, People, Time, Life, Esquire, Smithsonian, Playboy, Harpers, Der Spiegel and the New Yorker.

 

 

05/15/2015: Summer Selections Show, Opening Friday, June 12, 2015

Summer Selections Show, Opening Friday,  June 12, 2015

The Robert Anderson Gallery is proud to present its Summer Selections Photography Show running from June 12 through August 22, 2015. This show will feature a series of “mini-galleries” composed of 2-10 images from each of 13 outstanding photographic artists. The work of these peripatetic photographers encompasses numerous locales including India, Japan, Myanmar, Spain, Venice, the Southwest US, the streets of New York City, rock and roll venues throughout the US, underwater views of the Colorado River, and images from Denver's Colfax Avenue and Washington Park. Traditional black and white and color photographic prints as well as prints obtained by nontraditional methods including photograms, lumen prints and multilayered grid prints will be on display. An opening reception is from 5-8 pm, Friday, June 12, 2015.

 

 

 

04/15/2015: Deon Reynolds at the Fathom Gallery in Los Angeles

Deon Reynolds at the Fathom Gallery in Los Angeles

Fathom Gallery’s Celebration of the Month of Photography in Los Angeles will include Deon Reynolds work (attached). The Robert Anderson Gallery has more of Deon's work available for review.

04/02/2015: Opening April 3, 2015-The Denver Collage Club-The Month of Photography

Opening April 3, 2015-The Denver Collage Club-The Month of Photography

The Denver Collage Club at Robert Anderson Gallery 

April 3rd - May 30th 2015 

Opens First Friday April 3rd 5-9pm  

The Denver Collage Club is a group of local and international collage artists who have been gathering, sharing and exploring ideas on the topic of collage in physical spaces in Denver and globally through the Internet. The Denver Collage Club was founded by Denver photographer Mark Sink and assisted by Denver collage artist Mario Zoots. The two artists have put together a selection of new works the club’s artists. We have also been very gracious to receive works from the Teresa and Paul Harbaugh collection including select works by Jerry Uelsmann, Alexander Rodchenko and Herbert Bayer. Being able to pull from historical photomontage and collage works and integrating them in between our club’s young contemporary artists creates a thread that spans over 100 years. This exhibition is a celebration of collage, finding the absurd, the beautiful and the strange in the images we find around ourselves. The Denver Collage Club exhibition at Robert Anderson Gallery is in conjunction with Month of Photography Denver.  

The Denver Collage Club, a diverse salon of collage artists that meets monthly to discuss the genre and members’ work, is ready for its close-up: The sophisticated cut-and-paste crew is hosting a self-titled group show that opens PRIL3, 2015 at Robert Anderson Gallery in Cherry Creek North, in conjunction with the Month of Photography. Collage Club founder (and MoP mastermind) Mark Sink pulled some of the weight in putting the show together, but he turned the task of curating work by local artists over to collagist Mario Zoots, whose own work marries spare imagery and modernist notions. Together they’ve come up with an exhibit that pays homage to some of the big historical names in collage (including works by Alexander Rodchenko and Herbert Bayer) while also showcasing the genre in contemporary times. 

“Collage is a medium that by definition incorporates fragments and deals with opposing tensions, broken images, hidden desires and collective myths,” Zoots says of the exhibit. “This show is a celebration of the medium and Denver Collage’s debut on the Denver art scene. We are trying to see how collage has changed over time and how maybe the contemporary work can still have a conversation with the past.” 

Denver Collage Club opens with a reception from 5 to 9 p.m. at the Anderson Gallery, 2426 East Third Avenue, and runs through May 30; visit robertandersongallery.com for

2/29/2015: MONTH OF PHOTOGRAPHY-UPCOMING SHOWS

MONTH OF PHOTOGRAPHY-UPCOMING SHOWS

From March  6 through March 28th, the photographic work of Geoff Winningham and Barbara Mensch will be on display. Winningham's work will feature vintage silver gelatin prints of Texas from the early 1970's and more recent pigment prints of  Mexico. Barbara Mensch's sepia-toned silver gelatin images of Brooklyn Bridge will also be on display.

 From April 3 through May 30,  a stunning array of  collage will be shown. The Denver Collage Club, started by Mark Sink and Mario Zoots, is an international group of collage artists who have been sharing and exploring ideas on the topic of contemporary collage in modern art. Among the artists with work in the show will be: Adam Milner, Alexander Rodchenko, Colin Ward, David H. Tippits, Freddie Max Levenson, Gary Emrich, Herbert Bayer, Janice McDonald, Jeromie Dorrance, Jerry Uelsmann, Kyle Huninghake, Laura Shill, Libby Barbee, Mado Reznik, Mario Zoots, Mark Sink, Matthew Rose, Melissa Lynn, Paula Gillen, Samuel Mata, Steve Wilson, Susan Goldstein, Taylor Balkissoon, and Travis Hetman.

 

 

01/16/2015: Jack Brauer's Himalayan Photography

If you are in the mood for some stunning images from Nepal, take a look at this recent collection  from Jack Brauer (http://www.mountainphotography.com/gallery/himalaya/).

01/04/2014: William Reiquam's "The Radiance of Ordinary Things"

William Reiquam's

The Radiance of Ordinary Things, opening January 9, 2015

The Radiance of Ordinary Things, opening January 9, 2015

The Robert Anderson Gallery is proud to present William Reiquam's "The Radiance of Ordinary Things" from January 9 through February 28, 2015.

William Reiquam has been creating unique photographic images for more than eight decades. Reiquam is especially adept at finding arresting images within the context of day-to-day life. His photographic journey has taken on more abstract aspects over the past few years.  William's  eclectic body of  work has been exhibited in individual shows, in group shows at prominent galleries (e.g., Camera Obscura) and is on permanent display at the Anschutz Medical Campus. Most recently, William Reiquam's photographs were featured in a single person, three-month exhibition at the central Denver Public Library.

You will be impressed with the artistic creativity of this nonagenarian photographer. Please join us for a reception for William Reiquam on Friday, January 9, 2015 from 5-8 pm.

11/7/2014: Legends of Rock by Dan Fong at the Robert Anderson Gallery 11/14/2014-1/3/2015

Legends of Rock by Dan Fong at the Robert Anderson Gallery 11/14/2014-1/3/2015

The Robert Anderson Gallery is proud to present "Legends of Rock" showcasing Denver photographer Dan Fong's extensive images of rock and roll stars. Throughout his long friendship with the late concert promoter Barry Fey, Fong was often the sole photographer granted access to memorable acts like The Who and Led Zeppelin. Fong was also privileged to shoot both Denver stops of the Rolling Stones. Fong's images include such icons as Mick Jagger, Keith Richards, Keith Moon, Peter Townshend, Roger Daltrey, John Entwhistle, Joni Mitchell, Joe Walsh, Joe Cocker, the Doobie Brothers and the Grateful Dead. Fong’s images, usually taken under the low light and rapid movement conditions during concert performances, capture the raw emotions of rock and roll. Fong is a compelling visual story teller who is delving into his vast archives and exhibiting rare and collectible photographs, many for the first time.

 

.

 

 

09/18/2014: Deon Reynolds at the Annenberg Space for Photography in Los Angeles, CA

Deon Reynold's images have been selected for showing at a Special Slideshow Event for the current exhibition "COUNTRY: Portrait of an American Sound" at the Annenberg Space for Photography in Los Angeles. Stop by the Robert Anderson Gallery for a look at some of Deon's evocative images.

09/12/2014:

Continuing its tradition of presenting outstanding photography from national, regional and local artists,  the Robert Anderson Gallery is proud to present  its next show “Steven and Sylvia Oboler: Twenty-five years in the West.” This contemporary color photography show will run from September 12 through Nov 8, 2014.  An opening reception will be held, Friday, September 12 from 5-8 pm.

Steven & Sylvia Kester Oboler have been serious nature photographers for more than three decades. Their photographic images have appeared in Outdoor Photographer, American Vision, multiple editions of the New England Journal of Medicine, and in Bill Fortney’s Great Photography Workshop. Following the tradition of physician/photographer Eliot Porter, the Obolers, who are practicing physicians in Denver, Colorado, are equally at home with both intimate and grand scenic landscapes. The Obolers love spending countless days traveling the back roads of the West in their 4-Runner with their cameras and dogs in tow. Steven & Sylvia were recognized as two of the best amateur nature photographers in American Vision and in Bill Fortney’s Great Photography Workshop. Several of their images have been recognized for excellence in recent Audubon Society of Greater Denver International Nature Photography Contests.

Longtime devotees of film photography, the Obolers only recently gave up their long relationship with Velvia film and made the digital switch while on a trip to visit the polar bears near Churchill, Manitoba in November 2013.

 Join us to view more than 75 unique Oboler images which span three decades and which vividly capture and celebrate the American West.

 

06/01/2014: Robert Anderson Gallery Update

Thanks to all who have visited and supported the Robert Anderson Gallery since our opening in Denver, Colorado about 1 year ago. We have been very pleased with the support and especially appreciative of the terrific artists who have allowed us to feature their work. We have been fortunate to have some of our shows noted in the Denver Post, on Colorado Public Radio and in the Glendale Cherry Creek Chronicle. We have an outstanding group of shows scheduled for the upcoming months including "Photographic Abstract Impressionism" for July and August and many years of outstanding, diverse photography from the cameras of Steve and Sylvia Oboler in September. Please stop by.

11/15/2013: New gallery artists

The Robert Anderson Gallery is pleased to announce two new gallery artists.

Steve Hix is Colorado-based and  has had a long and successful career as a commercial photographer. You will benefit by taking a look at his stunning black and white images of the Great Sand Dunes National Park. The images displayed are from a large body of work that he has captured over more than 40 years.

Jean-Christian Rostagni is a Durham, NC-based photographer who has an eclectic body of work, both color and black and white,  captured at a variety of locations. Some of his work is depicted on this website and will whet your appetite to look further using the link to Jean-Christian's website on our Links page.

11/1/2013: New show, new gallery artists

Denver After Dark featuring more than 50 photographs taken over 25 years will be on display from November 8, 2013 through January 11, 2014. Join us for an opening reception Frday, November 8 from 5-8 pm.

We are very pleased to be showing the work of three outstanding photographers who reside in the "west."

 Jack Brauer is an Ouray, Colorado based mountaineer and photographer. Jack has a MFA in printmaking from the University of Colorado. Jack'sstriking color alpine images from around the world are usually the result of long backpacks off the beaten path. Jack initially used a Tachihara 4x5 large format camera but more recently switched to a digital camera.

Cody Brothers is based in Pecos, New Mexico. Cody and his wife are the owners/operators of thje Vision Photo Lab in Santa Fe, NM. Cody uses nearly exclusively infrared film with his large format, panoramic and pinhole cameras for remarkable, expansive black and white images of the west.

Kurt Bowman is a Colorado-based photographer with exceptional skill capturing birds and mammals of all types in their environment. Kurt often uses a 500 mm lens with a tele-extender to obtain remarkable bird and mammalian behavior in a strikingly artistic manner.

06/28/2013: Robert Anderson Gallery now open in Denver, CO

The Robert Anderson Gallery is now open at 2426 East Third Avenue in Denver, CO. Gallery hours are from 11 am-6pm Wed-Sat and by appointment.You can contact us by phone at 303-388--1332. The Gallery currently  has a group show featuring photographs from nine nationally prominent photographers and four outstanding regional photographers. Please stop by and have a look at the  more than 50 diverse and unique images on display.

02/18/2013: Robert Anderson Gallery Relocating to Denver, Colorado

The Robert Anderson Gallery is in the process of moving to Denver, Colorado. An announcement regarding the re-opening of the Gallery will be posted here in the upcoming months. Our sincere gratiude for those of you that have supported the Gallery in New York City. For those interested in Gallery photographers, contact the Gallery by either email (info@robertandersongallery.com) or by cell phone (303-257-0684).

01/23/2012: Review of Chessmen from The New York Photo Review

Street Players
Robert Anderson
Chessmen
Ed Barnas
 by Robert Anderson. Source: robertandersongallery.com
Robert Anderson

The phrase “decisive moment” implies a degreeof spontaneity that is often not the case. To catch a critical moment one does not merely look and snap, but rather stops and looks, taking the time to observe a space, evaluate the visual possibilities, and then, wait for all the elements to come together before releasing the shutter, sometimes multiple times.

Robert Anderson’s collection of portraits of pay-for-play “chessmen” in Union Square Park is a good example of this. On his commute through the Park, Anderson observed these players, their boards set up on makeshift tables, ready to play all comers for a small wager. Stopping along the way to or from the subway, he has photographed them since 2010, recognizing the regulars and their opponents. Twenty portraits of these players are now on view in the Robert Anderson Gallery.

Entering the back room one feels like an observer in the middle of the action. The 11 x 14 pigment prints are framed in white mats and hung in two rows. The faces are closely cropped, mostly from the chin to the forehead, and shot as horizontal images that provide only a small bit of out-of-focus background to place the subject in the context of the street. Taken while the players were in the “game,” these are not posed portraits. The faces are rich with texture and, printed in black and white, offer no clue as to what decade they might have been taken. Aside from the close horizontal cropping, what unites these images and makes them a cohesive body of work is the reflection of a chessboard in the eyes.

 by Robert Anderson. Source: robertandersongallery.com
Robert Anderson

In several images the subject appears to look impassively at the viewer, sometimes with the slightly superior smile of a master. Generally, however, the player is not looking directly at the viewer but at the board, brows furrowed, presenting a façade of utter concentration on the game. But since they are playing on the street, they are “players” in more than one sense of the word and must allocate at least a modicum of attention to their surroundings, if only to note who is watching and who might be their next opponent.

While I don’t normally associate close-up portraits with street photography, this body of work definitely fits within that genre. And in a digital world where color is the norm, consciously suppressing color in digital media to concentrate the viewer’s eye on the essentials of the image is a welcome continuation of a tradition that works quite well here.

01/03.2013: Dead Ends: NY, by Richard Golden

Dead Ends: NY, by Richard Golden
The Robert Anderson Gallery announces the opening of “Dead Ends: NY”, an exhibit of photographs by Richard W. Golden.

“Dead Ends: NY” contains photographs Golden took in all five Boroughs of New York City where the streets end. Golden found such places where the land meets the water and within the Boroughs, such as at subway, railroad and highway cuts or where one street abuts another.

Sometimes, Golden discovered, people have appropriated public spaces for their own private purposes. Signs of previous use often remained in places that are now desolate or abandoned. Occasionally, it is difficult to tell exactly what is happening. The photographs can also give an unusual view of a familiar landmark. The mood and subject of these photographs are as diverse as the City they represent.

Discussing the “Dead Ends: NY” portfolio, Golden said, “I have attempted in this portfolio to provide a portrait of New York from what is, so far as I am aware, a unique perspective. I hope that these photographs convey something of New York’s physical size and geographic variety as well as the cultural and economic diversity of its inhabitants.”

There have been virtually hundreds of New York City-based photographic exhibits. However, these color images of Richard Golden, focusing on “Dead Ends,” is a novel body of work that offers unique and occasionally surprising insights at what lies at the ends of some of New York’s streets and byways.

Golden recently had solo exhibits of his photographs at the Hadas Gallery in Brooklyn (2011) and at the Burrison Gallery in Philadelphia (2008). He also curated and participated in an exhibit at the Brooklyn Public Library (2009). Golden’s work is represented in the permanent collections of the Bibliotheque Nationale, the Adirondack Museum and the Brooklyn Collection of the Brooklyn Public Library.

The Robert Anderson Gallery, which was founded in early 2011, specializes in regional and modern photography.

12/15/2012: Brian Lav's new portfolio-Along the Jersey Shore-now available

Brian Lav's new portfolio-Along the Jersey Shore-now available
Along the Jersey Shore

Growing up in Newark, New Jersey our family, mom, dad, oldest brother Mal and older brother Marc, fled the city and spent summers at the Jersey shore. Days were spent at the beach and evenings were spent at the Penny-arcade. As a young boy summers spent at the Jersey shore were like being in a magical land.

For the past several years, I've been working on a photographic essay capturing the romantic, sublime and often surreal heart and soul of New Jersey. In less than a day on October 29, 2012 super storm Hurricane Sandy turned my ongoing account of this shore culture into a collection of important historical documents that in many cases is all that remains of these iconic places.

I am offering a selection of 15 along the Jersey shore images presented in a custom portfolio case. Each image is signed, numbered and printed 10 x 15 inches on 13 x 19 100% rag paper UV treated for optimal impermanence. This portfolio is being offered in a limited edition of twenty-five sets with three artist proof sets. The first 5 sets are now available for a reduced advanced purchase price of $2500 per set. This is a substantial reduction from a per image investment.

(10% of the proceeds will be donated to the Jersey Shore relief effort)





11/01/2012: Patrick Orton-Central Park Seasons, Nov 8-Dec 22, 2012

Patrick Orton-Central Park Seasons, Nov 8-Dec 22, 2012
Patrick Orton is an artist, curator, designer and photographer. His exhibit of Central Park Seasons  features twenty 30" x 40" framed prints selected from those taken during more than 700 visits  to Central Park over the past seven years. Several large, unframed prints and a catalogue of the work are also available.

10/19/2012: Benedict Fernandez's A Life's Work extended to 31 October 2012

In view of the interest and great reviews, we are pleased to announce that Benedict J. Fernandez show, A Life's Work, will be extended through 10/31/2012.

10/08/2012: The New Yorker, October 15, 2012 edition, Benedict J. Fernandez, A Life's Work


The New Yorker, October 15, 2012, page 13

Goings On About Town: Art, Benedict J. Fernandez.

Benedict J. Fernandez

The veteran photojournalist, now seventy-six, shows black-and-white work dating back to 1964, when he was on the front lines of the antiwar and civil-rights movements. Always a freelancer, Fernandez was drawn to protests and demonstrations, both progressive and reactionary, including Allen Ginsberg wearing a “Pot Is Fun” placard and a blond child brandishing a sign that asks “Who Needs Niggers?” Other subjects (bikers in Daytona Beach, ranters in Hyde Park) provide diversion, but the photographer’s most valuable work bears witness to pro-war street skirmishes, the aftermath of the Newark riots, and Martin Luther King’s children huddled beside their father’s casket. Through Oct. 31.



Date: Through October 19

Venue: Anderson
Venue Address: 24 W. 57th St., New York, NY
Venue Phone: 646-455-0393
External URL:robertandersongallery.com


Read more http://www.newyorker.com/arts/events/art/benedict-j-fernandez-anderson#ixzz28qoxVKNb

09/22/2012: Benedict J. Fernandez in 22 September edition of the Wall Street Journal

Benedict J. Fernandez: A Life's Work

Robert Anderson Gallery

24 W. 57th St., (646) 455-0393

Through Oct. 19

Mr. Anderson has mounted a sampling of work from Benedict J. Fernandez's long career in photojournalism. Mr. Fernandez (b. 1936) does not belong to a photo agency and does not shoot on assignment. He self-selects his projects and, since he is not working against a deadline, works on them until he is satisfied; as a consequence, his pictures frequently have an art photography quality. Unlike much photojournalism that simply records an event, Mr. Fernandez creates images that distill its essence.

The top half of "Wall Street, New York City" (1970) is dominated by a fluttering American flag, but the scene beneath Old Glory is one of strenuous conflict as hard-hat construction workers battle police during a demonstration in support of U.S. involvement in the war in Vietnam. The flag is backlit and light glances off the police helmets and the demonstrators' hard hats, charging the image with vitality. Mr. Fernandez shot both pro- and antiwar demonstrations, as well as actions in favor of, and against, the civil-rights movement. In one a young boy with blonde hair and a crew cut holds a sign that says, "Who Needs Niggers"; there is a swastika in the middle of his placard. Mr. Fernandez took many pictures of Martin Luther King Jr.; in one taken in New York in 1967 King's face exhibits somber determination. In another, taken in Georgia in 1968, his young daughter wears an expression of astonishment at seeing her father in his coffin.

—Mr. Meyers writes on photography for The Wall Street Journal. See his work at www.williammeyersphotography.com.
A version of this article appeared September 22, 2012, on page A20 in the U.S. edition of The Wall Street Journal, with the headline: Camera Worship: Religion, Music and News.

09/12/2012: New York Photo Review's review of Benedict J. Fernandez exhibition

Turbulent times

Benedict J. Fernandez
A Life’s Work

Norman Borden


This relatively modest retrospective of 41 black and white images belies the fact that no single exhibition or photo gallery for that matter could be large enough to fully display or show a proper appreciation of Ben Fernandez’s life’s work. Then again, Fernandez is not the typical photojournalist with a humanistic eye. He’s also had a distinguished career as an educator; he established the Photography Departments at the New School and Parsons School of Design in the 1970s and inspired many emerging photographers with his unique philosophy of vision. He’s also received numerous awards including Guggenheim and Fulbright Fellowships.

Throughout his career, Fernandez chose to photograph self-assigned projects – those that he deemed socially significant. He never worked for a photo agency or on assignment for print media because he didn’t want the usual deadline pressures interfering with a project. Still, Fernandez’s talent and commitment were such that he captured some of the iconic images of the 1960s and 1970s. That’s the basis of “A Life‘s Work” – highlights from a series of nine photo essays or “portfolios” that include Protest ; Countdown to Eternity (Martin Luther King); Newark (the riots); Bikers (Daytona Beach); Mental Poverty; Ghosts of Ellis Island; Speaker’s Corner; Puerto Rico; and Russia and China.

His Protest portfolio includes 13 images, or about one-third of this exhibition.

Many of the iconic images – the draft card burnings, the Wall Street demonstrations, Allen Ginsberg holding the sign “Pot is Fun,” and several others – are part of Protest and that may account for its disproportionate share of the show. No matter. These images do not disappoint. They are powerful, memorable and bring a turbulent part of American history to life. The same is true of Countdown to Eternity; the four images range from King’s march to the United Nations in 1967 to his children viewing his body lying in state one year later. The few pictures displayed have a certain intimacy that probably could not have been achieved without the benefit of the photographer’s friendship with King and his personal admiration for the black leader’s beliefs. The images from the aftermath of the 1967 Newark riots are revealing; one shows several National Guard troops, looking like the citizen soldiers they are, sitting in front of a ransacked store, with broken mannequins lying on the sidewalk.

Fernandez’s skills as a printer are also on display—the deep, rich blacks in these vintage silver gelatin prints are the work of a master. In retrospect, the size and scope of this exhibition of a renowned photographer and educator does not overwhelm the viewer and makes it even more enjoyable.

08/29/2012: A Life's Work: Benedict J. Fernandez

A Life's Work: Benedict J. Fernandez

For immediate release:
A LIFE’S WORK
Benedict J. Fernandez
www.benedictjfernandez.com

The title of this exhibit is misleading. In order to exhibit Benedict J. Fernandez’s body of work, one would have to hang it in Madison Square Garden and hope to have enough space. This exhibit is about images that have become iconic and recognized the world over, even if the observer has no idea of the identity of the photographer. The power of these Benedict J. Fernandez’s images is universal. What sets Fernandez's work apart from other photo-journalists is that he always works alone on self-assigned projects. He does not belong to photo agencies and does not shoot on assignment. Throughout his long career, he self-selected projects he considered important and worked on them, unfettered by deadlines, until he was satisfied with his body of work. Fernandez has produced portfolios, photo-essays and some of his images have become historic documents in their own right, especially his photographs of the protest movements of the 1960’s.

Benedict Fernandez's photographs  have been exhibited in  50 states. His shows have traveled to England, France, Italy, Spain, Germany, Russia, Czech Republic, Finland, Japan, Spain and China. His exhibit Countdown to Eternity traveled to 27 African countries in addition to the above sites. Through these widely seen exhibitions many iconic images have emerged which form the basis of this show.

Benedict Fernandez’s work is, at least in part, captured in 14 portfolios which include: Protest, Countdown To Eternity, Mental Poverty, Bikers, Shipyard, Ghosts of Ellis Island, Puerto Rico, The Newark Riots, Growing Up in Harlem, Joseph Papp and the Public Theater, Speakers Corner, Japan, Zahara Spain and China. Benedict Fernandez’s most recent work, in magnificent color and never before seen in public, is Flowers!

For more information about Benedict Fernandez’s work, contact Siiri Fernandez, Curator and instigator of all future shows, at:siiri@almanacgallery.com.

05/27/2012: Off The Beaten Path

Off The Beaten Path
For immediate release:

OFF THE BEATEN PATH, GROUP SHOW
ROBERT ANDERSON GALLERY, JUNE 7-AUGUST 3, 2012
OPENING RECEPTION 6-8 pm, THURSDAY JUNE 7

Six talented photographers were asked to provide work that best illustrates their concept of “Off the Beaten Path.” The results provide a diverse collection of outstanding contemporary images:

Geoff Winningham-a Professor of Fine Art at Rice University, holder of several Guggenheim Awards and author of 13 books took the assignment literally. Geoff produced five color pigment prints of “paths” from deep in the heart of Mexico.

Chuck Kelton-New York City’s premiere black and white printer and dark room master, provides five spectacular photograms of trees. These “Carnival Trees” are decorated with hand tinted leaves to produce a forest of photograms-well off the beaten path.

Craig Semetko-a Los Angeles-based street photographer and author of the acclaimed “Unposed,” takes us on a sweep of the Southern United States from California to Florida for some unique and ironic black and white views in the tradition of Elliott Erwitt.

Bill Spira-a talented sculptor and photographer with work in many collections, returns after a 25 year hiatus from New York City gallery shows. Bill produces silver gelatin prints from organic matter found far off the beaten path and arranged in the studio.

Brian Lav-a New Jersey-based photographer and photography educator at Parsons, has a large body of diverse contemporary work. Brian’s personally-printed silver gelatin photographs take us off the beaten path from New Jersey to Nebraska.

Michael Benari-a Boston-based photographer, has a creative and imaginative eye which finds intimate cityscapes within New York City. Michael’s high contrast pigment prints provide sometimes abstract compositions in black, white and shades of grey.

05/13/2012: Kudos for Suzanne Opton

Take  a look at Mark Alice Durant's terrific online magazine, Saint Lucy. He just published a conversation with Suzanne Opton along with some other really interesting conversations and photograph (www.saint-lucy.com). Also Suzanne's photograph  "Soldier: Mickelson - Length of Service Undisclosed," has been acquired by the International Center of Photography and will be included in their upcoming show, "A Short History of Photography," honoring outgoing director Buzz Hartshorn.


05/07/2012: Oraien Catledge in La Lettre de la Photographie

Take a look at the summary and some images of the  Oraien Catledge show  in the Monday, 7 May 2012 edition of La Lettre de la Photographie ((lalettredelaphotographie.com). This unique weekday newsletter contains a wealth of information about  books, exhibitions, auctions, reviews, news, awards, festivals and other information related to photography. It is international in scope and features images from ongoing exhibitions. This site was voted Life Magzine's 2011 Best Photo Blog and is well worth bookmarking.

03/22/2012: Oraien Catledge: Cabbagetown


This is the remarkable story of Oraien Catledge. Catledge was born in Mississippi in the 1920’s and has lived in Atlanta for more than forty years. At the age of 51 and with a severe visual handicap, Catledge taught himself photography . Over the next two decades, Catledge created empathic black and white portraits of the working people of Cabbagetown, a former mill village made up of 10 narrow streets and shotgun houses, located in Atlanta's urban city center.

The Fulton Bag and Cotton Mill opened in 1881 and employed Appalachians from North Georgia. After the firm’s closing in 1977, the mill-workers and their families were left to make ends meet any way they could at a time when Atlanta's in-town neighborhoods were being abandoned for the suburbs. Catledge, a trained social worker, began photographing this close-knit Cabbagetown community in 1980 and made nearly weekly visits for the next twenty years. He always returned to pass out his silver gelatin prints to those he had photographed the week before. The “Picture Man,” as Catledge was known among his subjects, photographed instinctively and “broke all the rules.” He lacked visual acuity (the result of a childhood bout with malaria). His visual impairment and use of a 50 mm lens demanded he get close to his subjects. The images he produced are stark (sometimes hard-edged), respectful, and, as he says, contain “no make believe.” The people of the hard-working borough opened up to him, resulting in an impressive collection of photographs of everyday life.

The 37 images on display represent a body of work that documents an entire community with an intimacy more common to family photos. Catledge's portraits were piled in numerous stacks in his basement. Gallerist and curator, Constance Lewis presents a selection from Oraien Catledge’s best Cabbagetown images. The Robert Anderson Gallery is privileged to show these vintage silver gelatin prints for the first time. These complex and moving photographs will be on display from March 22 through May 26, 2012 at the Robert Anderson Gallery, 24 West 57th Street, Suite 503, (between 5th and 6th on 57th), New York, NY 10015 (Robertandersongallery.com; phone: 646-455-0393).

Oraien Catledge’s work is the subject of two publications: Cabbagetown by Oraien Catledge, forward by Robert Coles, University of Texas Press, 1985 and Oraien Catledge: Photographs, edited by Constance Lewis and Richard Ford, University Press of Mississippi, 2010. His photographs can be found in the permanent collections of the High Museum of Art in Atlanta, GA, and the Mississippi Museum of Art. He is the 2011 recipient of the Mississippi Institute of Arts and Letters Award (Photography).


03/22/2012: Barbara Mensch in the New York Times

Losing a Precious Sliver of East River Sky
By David W. Dunlap/The New York Times

View from same perspective today.The men of the Fulton Fish Market along South Street did not suffer outsiders gladly. In the early 1980s, however, they warmed to a newcomer from Brooklyn named Barbara Mensch. She was a photographer. She had just moved into an old salting house a block away on Water Street. They let her see the living market in its predawn hours and capture their words and faces: a loader named Philly, a retailer named Heschy, a journeyman named Sweet Pea and a fillet man named Vinny the Bone.

What resulted were “The Last Waterfront: The People of South Street” (1984) and “South Street” (2007), portraits and oral histories collected by Ms. Mensch while the Fulton Fish Market was still vibrant. The fishmongers left for Hunts Point in the Bronx in 2005. Ms. Mensch stayed behind, in a loft she had restored by hand to preserve the large rings on the oak floors left by the brine barrels that once were stored there. Hers is an artist’s loft and an artists’ loft: the sculptural piping under the sink was installed by an assistant to Mark di Suvero, the desk was created from discarded woodwork by an assistant to Richard Serra.

Barbara Mensch Over 30 years in the South Street Seaport Historic District, Ms. Mensch has lost a great deal. Certainly, the sense of being a pioneer, with all the freedom and responsibility that entails, as well as a camaraderie with others in the same boat. Also, the connection through the fish market to something ancient and authentic. And on Sept. 11, 2001, she was stripped of the comforting notion she once had of living in a snug, safe enclave.

But she always had the Brooklyn Bridge and its monumental western anchorage, which — when seen from across Dover Street — is almost as imposing as a pyramid at Giza. She could glimpse these from her windows or behold them in an unbroken panorama from her rooftop perch. “This represented fortitude, dynamism, bravery and resolve,” Ms. Mensch said. “This was everything an artist wanted to look at.”

She said she emulated the work of the photographer Alfred Stieglitz, “who also approached living in Manhattan with the same consciousness: that is, photographing from his window the urban landscape and the high buildings heralding the 20th century.”

A view of the Brooklyn Bridge anchorage from Ms Mensch’s loft.The bridge figured centrally in her recent show, “New York Photographs,” curated by Bonnie Yochelson, at the Robert Anderson Gallery. It has served as such a muse that Ms. Mensch was inspired to explore its history by reading the notebooks of John A. Roebling, the engineer who designed the Brooklyn Bridge. “It’s all empirical,” Ms. Mensch said with awe as she described the intricate calculations found in Roebling’s pocket-size ledgers. “He’s figuring out how to make this bridge in his head. All the data he collected gave me the first realization that great art is really about to what level can you focus on something and get to the essence of it. If you can’t do that through your work as an artist, then do something else.”

Now, she has lost the bridge, too.

Ms. Mensch’s block, at Water and Dover Streets.Mind you, not completely. Ms. Mensch still has a view of it that most New Yorkers would envy. But a new apartment building at 254 Front Street is just high enough and wide enough to blot out the Brooklyn anchorage and part of the Brooklyn skyline. Josh Barbanel has reported in The Wall Street Journal that the penthouse apartment obscuring her view is listed to rent for $20,000 a month. This is the Manhattan real estate market in play. It is an event, not a tragedy; a small event at that. But it is a moment worth noting. Something important has been diminished.

“I feel very grateful that I had all these years here to nurture my work, because it was presented to me on a platter,” Ms. Mensch said on the rooftop the other day. A visitor could not help noticing that she was using the past tense.

David W. Dunlap/The New York Times.

01/22/2012: Review of Barbara Mensch: New York Photographs from Photograph Magazine

Barbara Mensch at Robert Anderson Gallery Posted January 22, 2012 by Jean Dykstra

Roebling's Folly, courtesy Robert Anderson Gallery

Barbara Mensch’s photographs of New York are like images from another era, rediscovered documents from the time of Stieglitz and Strand. The romantic pictures, on view at the Robert Anderson Gallery through March 3, are love notes to New York, and particularly to that much-photographed structure, the Brooklyn Bridge. Mensch’s Water Street loft, where she has lived for more than 30 years, looks out onto the bridge, and it is the sole subject of 12 of the prints on view. The geometric lines of its cables and the vaulting arc of its towers are captured in lovingly sepia-toned gelatin silver prints.

A second room is devoted to photographs from her series “New York on Foot,” images of industrial structures, back alleys, and down at the heel neighborhoods. The last days of The Thunderbolt, for example, a deteriorating roller coaster on Coney Island that was torn down in 2000, is memorialized by Mensch in a wistful selenium-toned print.

Mensch has done long-term projects devoted to other New York City landmarks, including the Fulton Fish Market, which was the subject of two books, The Last Waterfront (1985) and South Street (2007). There is a poignancy to her work, which has to do not only with the transformation of New York City, but with the transformation of photography itself. Her pictures are reminders of the richness and depth of traditional black and white film, printed by the photographer who shot it.

by Jean Dykstra

01/19/2012: Favoring Film in a Digital Age-Lana Bortolot article in The Wall Street Journal

LANA BORTOLOT (to see Barbara Mensch image currently showing at the Robert Anderson Gallery, enter Favoring Film in the Digital Age into Google)

It's been a while since Kodak was considered "cutting edge," so recent news of the company's shaky future has brought little surprise. The Eastman Kodak Co., which sold its first push-button camera in 1888, has gradually reduced its chemical and photographic paper stock; it retired its Kodachrome film in 2009; and though it invented the first digital still camera in 1975, somehow the company was asleep at the wheel as its competitors raced ahead. Recently, its shares have plummeted as it has worked to finalize the details of a bankruptcy-protection filing.

"Kodak yellow was as familiar a color brand as Coke red, but without the stamina, as technology events have shown us," said Max Kozloff, a local photography critic and photographer.

From image makers to image exhibitors, New York's photography community seems divided by the prospect of the company's demise. Fine-art photographers may mourn the nearly extinct darkroom, but few in the commercial sphere linger in the nostalgia of the silver gelatin print.

Laurence Miller, whose Midtown gallery represents a range of historic, modernist and contemporary photographers, said the demands of the art market have eclipsed Kodak's technology.

Barbara Mensch's 'Cable Studies' (2009), at the Robert Anderson Gallery.."It's a requirement of today's scale: photographers are seeing larger, using larger-format cameras and embracing the world in a bigger way," he said. "Photography is one long technological revolution. If you want to lament the end of film, you'll have to put yourself back 100 years ago and lament the end of glass plates."

But for Brian Young, owner of Phototechnica, one of a handful of traditional photo labs left in the city, it's a matter of aesthetics. "I have yet to be seduced by any black-and-white digital technology. I love Tri-X," he said of the black-and-white film made by Kodak. "It can't be replaced by another product because nothing else is the same. Lots of photographers feel their relationship to film is as intimate as their spouse."

Mr. Miller represents artists such as Burk Uzzle, a former LIFE magazine and Magnum photographer who has shot analog his entire career, but now digitally color-corrects and prints his images. The hybrid process marries film's aesthetics and digital technology's convenience. Mr. Uzzle, whose dark images of charred items are on display at Mr. Miller's gallery through March 31 in an exhibit called "Burned," said he won't miss Kodak should the company fail.

At the Robert Anderson Gallery on 57th Street, Barbara Mensch's black-and-white photographs document not only a past process (Kodak no longer makes the chemistry), but a city that's harder to find. From her top-floor studio in a warehouse abutting the Brooklyn Bridge, Ms. Mensch has, since the late '70s, snapped the waterfront in all its grit and glory.

Her work chronicling the city also, in some ways, mirrors traditional photographic processes. Likening the formerly working waterfront to the loss of an American technology like Kodak, she noted, "There's something very romantic about it. Each print shows that humane element."

And downtown at the Leica Gallery, Michael Crouser's "Mid-Career Retrospective" offers an artist who shoots exclusively with Kodak films, often focusing on vanishing cultures and traditions.

"The birth and life of digital has changed the way people use film," Mr. Crouser said. "But the idea of it being dead is simply not true—it's still supported by Kodak and the artists. The medium you choose is your personal expression; using film and paper feels like a craft to me."

01/12/2012: Barbara Mensch New York Photographs

Robert Anderson Gallery Presents Barbara Mensch: New York Photographs
January 12 – March 3, 2012

Barbara Mensch is best known for her photographs of the Fulton Fish Market, a project of the early 1980s which became the subject of two books: The Last Waterfront (1985) and South Street (2007). This exhibition showcases for the first time two bodies of Mensch’s New York photographs made in the past 15 years.

Barbara Mensch’s Water Street loft, where she has lived since 1979, abuts the anchorage of the Brooklyn Bridge. This New York icon has been her constant neighbor and photographic subject. One room of the exhibition is devoted to the bridge in its many aspects, seen from Mensch’s windows, from her roof, and from water’s edge. Variations in weather, time of day and composition render this familiar subject startling and otherworldy. The twelve sepia-toned prints on view will form the basis of a limited edition portfolio, with an essay by London Times literary editor Erica Wagner.

A second room of the exhibition, New York on Foot, presents works that are the product of Mensch’s longtime habit of wandering the city with camera in hand. Always dressed for work in comfortable clothes and boots, Mensch is ready to climb, stretch or squat to capture an unusual view of the most ordinary sights, often seen in snow, fog, torrential rain, or wintry dark. She shares this preference for photographing in extreme weather with Alfred Stieglitz, the city’s first great street photographer. Mensch’s choice of the Rolleiflex camera aligns her with the great photojournalists of the mid-twentieth century, who created daring compositions within the square negative format. Her black-and-white prints suggest the drama and romance of mid-century New York as we know it from films and magazines. Mensch’s love of industrial structures, dark alleys, and working class neighborhoods recalls the rough years of the 1970s and early 1980s, when New York felt neglected by the respectable middle classes and was embraced by young artists like Mensch, who found freedom in its empty streets and abandoned buildings. These historical and photographic references lend her work rich layers of meaning and emotion.

Technically, Mensch is a traditional photographer who shoots and processes her own film. The Brooklyn Bridge photographs are sepia-toned gelatin silver prints, and New York on Foot consists of selenium-toned gelatin silver prints. Art historian Bonnie Yochelson has prepared the exhibition and the catalogue, and photographer John Cyr has assisted Mensch in the production of this new body of work.

Robert Anderson Gallery
24 West 57th Street, Suite 503
New York, NY 10003
Phone: 646-455-0393
Email: info@robertandersongallery.com

11/23/2011: New York Photo Review

Mirrors and Reflections: a group show. Barbara Confino."Mirrors and Reflections, a small well-crafted show at Robert Anderson, is a good introduction to one of photography’s great themes. Consisting mostly of black and white work, the exhibit offers us the chance to meditate upon one of the medium’s essential characteristics: its intrinsic relation to reflected light. From here it is not a great leap to consider the camera’s relationship to reflections of all kinds, particularly those we find in mirrors. There our doubles reside, those welcome or worrisome doppelgangers who present us with ourselves outside ourselves.

From W. Eugene Smith’s photograph of Chaplin looking at himself, to Kertesz’ model lying beside her distorted reflection in the funhouse mirror, to the 19th century lady photographing herself, to Joan Murray’s eleven year old taking stock of her body, images of varying qualities and styles play to this motif.

The show includes simple photographs of reflections as well: lights and shadows on water, mirror-like surfaces of lakes, night lights glistening on dark streets. All fairly standard issue. A nice surprise are the montages by John O’Reilly with their fragmented surfaces informed with cubist feeling.

All in all this is a modest show. Aside from few well-known images, such as Alvarez Bravo’s Retrato de lo Eterno and Steichen’s Little Round Mirror, most are lesser known variants on the title theme, yet there are enough real gems to warrant a visit.

11/18/2011: Mirrors and Reflections

The Robert Anderson Gallery's most recent show, Mirrors and Reflections, opened to a record crowd on the evening of 17 November 2011. This exhibition, in which each image contains either a reflection or a mirror, was curated by Evelyne Daitz and Alison Bradley. More than 60 photographs  are featured with images ranging from 1903 to the present era. Take a glimpse at the names of the great photographers who's work is being featured on the Exhibitions tab of this website.  Stop by for a look-you'll be pleased you did. Through 7 January 2012.

10/24/2011: Reed Bontecou Exhibition noted in October 31, 2011 edition of The New Yorker

Goings On About Town: Art Reed Bontecou.

Reed Bontecou
Bontecou, the head surgeon at a Washington, D.C., Army hospital during the Civil War, photographed wounded soldiers to document their injuries and treatment. His sepia-toned albumen prints were mounted in the elegant oval formats typical of the period’s popular carte-de-visite portraits, and his subjects do their best to strike a formal pose while half dressed and badly hurt. In the nearly fifty small examples here, grave young men display amputated limbs, bullet wounds, missing fingers, and disfigured faces. But Bontecou’s sympathy turns what could be mere medical curiosities into true portraits—complicated, touching, and unsettling. Through Nov. 12.



Date: Through November 12

Venue: Anderson
Venue Address: 24 W. 57th St., New York, NY
Venue Phone: 646-455-0393
External URL:robertandersongallery.com
Tickets:




Read more http://www.newyorker.com/arts/events/art/reed-bontecou-anderson#ixzz1bjsTxq00

10/04/2011: From Museum Publicity.com

Museum Publicity Announcements News and Information
.Home » Museum News
Robert Anderson Gallery Presents Reed Bontecou: Masterpieces of Civil War Portraiture from the Burns Collection
2 October 2011

The 43 albumen photographs on view at Robert Anderson Gallery compromise a rare, and for the most part, first time ever public view of the unique medical images by Reed Brockway Bontecou, MD, Surgeon in-Charge of Harewood U.S. Army General Hospital, Washington, D.C., from the Collection of Stanley B. Burns, MD. The exhibition opened to the public on September 28 and will be on view through November 12, 2011

In recognition of the sesquicentennial of the Civil War, Robert Anderson Gallery offers this rare collection of albumen portraits and cartes de visites of wounded soldiers, selected from Bontecou’s personal albums. The photographs represent a unique opportunity to view some of the most moving documents of the Civil War and the associated human casualties.

Reed Bontecou was responsible for pioneering, and taking, the largest number of photographs of wounded soldiers during the Civil War and was the single largest contributor of photographs and specimens to the Army Medical Museum and medical publications of the time. His close up images of surgery, anesthesia, and patients posing with their pathological specimens were unique to his time. Many photographs are of patients pre- and post- operation, views of patients showing the progression of specific treatments, or the various stages of diseases. Bontecou’s images are beautifully posed, and the sitters seem almost serene in his gaze, elevating clinical photography to an art form. They speak a universal language of war, or rather, what it can do in human terms. Bontecou was a master of exposing the nature of the sitter. Beyond the wounds, the amputations, and the gangrene, the subject is presented as naturally as possible. Some images are further enhanced by Bontecou’s own red pen, detailing the trajectory of the bullet that impacted on the patient. These images, with the hand drawn lines, were part of his personal Harewood Hospital teaching album.

Also on view are his Cartes de Visites, an amazing visual document of the medical aspects of war and examples not equaled until fifty years later during WW1. The CDV album is the pioneering effort by one physician to document war wounds and to use photography to teach physicians how to care for these wounds. Due to their historical precedence there can be no doubt that Bontecou’s CDV album, kept at Harewood U. S. A. General hospital, is the premier medical photograph album of the Civil War. On view will be one page of the album, comprised of 12 single CDVs, and four single CDVs from The Amy Medical Museum, Photographs Contributed by R. B. Bontecou.

Share

09/28/2011: Reed Bontecou: Masterpieces of Civil War Portraiture from the Burns Collection

The 43 albumen photographs on view at Robert Anderson Gallery compromise a rare, and for the most part, first time ever public view of the unique medical images by Reed Brockway Bontecou, MD, Surgeon in-Charge of Harewood U.S. Army General Hospital, Washington, D.C., from the Collection of Stanley B. Burns, MD. In recognition of the sesquicentennial of the Civil War, Robert Anderson Gallery offers this rare collection of albumen portraits and cartes de visites of wounded soldiers, selected from Bontecou’s personal albums. The photographs represent a unique opportunity to view some of the most moving documents of the Civil War and the associated human casualties.

Reed Bontecou was responsible for pioneering, and taking, the largest number of photographs of wounded soldiers during the Civil War and was the single largest contributor of photographs and specimens to the Army Medical Museum and medical publications of the time. His close up images of surgery, anesthesia, and patients posing with their pathological specimens were unique to his time. Many photographs are of patients pre- and post- operation, views of patients showing the progression of specific treatments, or the various stages of diseases. Bontecou’s images are beautifully posed, and the sitters seem almost serene in his gaze, elevating clinical photography to an art form. They speak a universal language of war, or rather, what it can do in human terms. Bontecou was a master of exposing the nature of the sitter. Beyond the wounds, the amputations, and the gangrene, the subject is presented as naturally as possible. Some images are further enhanced by Bontecou’s own red pen, detailing the trajectory of the bullet that impacted on the patient. These images, with the hand drawn lines, were part of his personal Harewood Hospital teaching album.

Also on view are his Cartes de Visites, an amazing visual document of the medical aspects of war and examples not equaled until fifty years later during WW1. The CDV album is the pioneering effort by one physician to document war wounds and to use photography to teach physicians how to care for these wounds. Due to their historical precedence there can be no doubt that Bontecou’s CDV album, kept at Harewood U. S. A. General hospital, is the premier medical photograph album of the Civil War. On view will be one page of the album, comprised of 12 single CDVs, and four single CDVs from The Amy Medical Museum, Photographs Contributed by R. B. Bontecou.

The exhibition opens to the public on September 28 and will be on view through November 12, 2011. Press inquiries should be directed to Alison Bradley at info@robertandersongallery.com or by phone, 646 455 0393.


September 13, 2011: Kelton/Sugimoto at Robert Anderson Gallery Review in the New Yorker

Goings On About Town: Art
Chuck Kelton and Go Sugimoto

Chuck Kelton and Go Sugimoto
Kelton, who has printed work for many of the great black-and-white photographers, shows his own handsome, unique photograms, the most arresting of which were made at night with moonlight on trees. Stark white silhouettes of bare trunks and branches stand out in high relief against black voids or shimmer eerily in a pair of silvery, solarized images. Nature is further abstracted in several photograms of jagged rocks that look like torn-paper collages and recall both Aaron Siskind and Al Held. Working with a white-on-white palette, Sugimoto photographs pieces of curled, flopped, or folded paper in a focus so soft that they nearly disappear in a delicate, powdery haze. Through Sept. 24.

Date: Through September 24
Venue: Anderson
Venue Address: 24 W. 57th St., New York, NY
Venue Phone: 646-455-0393
External URL:robertandersongallery.com
Tickets:



Read more http://www.newyorker.com/arts/events/art/chuck-kelton-and-go-sugimoto-anderson#ixzz1XpsqQBaT

July 20, 2011: The New York Photo Review of Chuck Kelton and Go Sugimoto Show

The July 20, 2011 edition of the New York Photo Review contains the following review of the Robert Anderson Gallery's current show:

Two contemporary silver gelatin masters are featured in this cool and rejuvenating show at Robert Anderson Gallery. In the front room are high contrast photograms of natural objects by the well-known printer Chuck Kelton; in the back are light- filled images of white paper on a white background by a newer presence on the scene: Go Sugimoto.

Largely stark black and white images, Kelton’s photograms might, at first glance, be taken for torn paper collages. But as in any good minimalist work, closer inspection brings richer pleasures. Using with rocks and tree branches, they were made at night by exposing the paper to moonlight. Surprisingly, moonlight turns out to be an important factor in the images. Because the exposure is long and the moon is moving across the sky, the shadow of the three dimensional objects on the paper changes over time. Additionally, the brightness of the moon may change with changing sky conditions. The white areas acquire a penumbra of shades that add an unexpectedly three-dimensional quality to the images. And the border between the black and the white areas on the prints, while not sharp, becomes a rich history of the exposure time.

The white on white photographs by Go Sugimoto take us to the opposite extreme in minimalist photography. White on white is not a new premise in photography, of course, but these pieces are masterfully realized. Sugimoto (no relation to the reigning monarch of minimalist photography Hiroshi Sugimoto) photographed curled scraps of paper, diffusely lit, which he then printed on low contrast paper. With just the bare minimum of shadow in places, his luminous images attain a glimmering presence on the wall, almost like a beam of light gently moving across the room.

Both photographers work rewardingly with the tonalities the black and white gelatin medium offers. The show is worth seeing if only to remind us just how beautiful these can be.


Don Burmeister

July 1, 2011: Works On Paper: Chuck Kelton and Go Sugimoto

Robert Anderson Gallery is pleased to announce “Works On Paper: Chuck Kelton and Go Sugimoto,” an exhibition of photographs that challenge our conceptions of the limits of the photographic practice. The artists share an exceptional ability to execute highly refined silver gelatin prints whose subject matter is both supported by their sumptuous printing and at one with it. Though their subject matter is divergent, both artists push photography beyond its comfort zone of the evidential and representational into a place of abstraction.

Kelton presents us with photograms, magical unique prints made directly by exposing the photographic paper behind the natural objects he wishes to utilize to convey an emotional force. A project of over 5 years, Kelton’s work is powerful in its presentation of abstracted shapes and natural wonders (tree branches, stones) on sublimely printed and toned papers and yet quiet in the awe it inspires, being made of shapes rather than the lines made reproducible by a negative. His work reveals an emotional journey made visible by the subtle manipulations of the natural world onto photographic papers expertly handled and developed with a command and precision rarely seen. Chuck Kelton is well known in the world of photography. As one of the foremost printers of black and white photography in the United States, he is distinguished both for his abilities in the darkroom as well as his long term relationships and collaborations with the artists he prints . Kelton is also an educator, currently teaching at ICP, and having taught master classes at the Woodstock Center for Photography, Anderson Ranch and, in conjunction with Danny Lyon, the Photography Workshop for Native American Teens in New Mexico. His knowledge of photography, refined over decades of practice and observation, create in his images a deep resonance of printed perfection.

Sugimoto’s Paper Work merge his sculptural forms, made from simple copy paper, into photography. The white on white images trap us into wonder of these photographs, where there is little to assure us if we are viewing an object, an abstraction or a photograph of something not quite apparent. Viewed at times as simple shapes and at other moments as complex forms which sometimes evade our understanding, the Paper Work presents us with images that occupy the realms of the tangible and intangible, the visible and the sublime. Pieces from Walk in the Night, Sugimoto’s earlier series, are also presented. These grainy black and white images, renditions of a fairy tale like nighttime landscape he made in his mind, are atmospheric and defy our ability to place them with confidence to a specific locale. Meant to convey an emotion of place and wondering, these early images reflect Sugimoto’s grappling with a subject matter made of thoughts and turned into a photograph.  As the writer Reiko Tomii pointed out in an interview in 2007, “The night photography of Sugimoto makes a ready comparison with that of Provoke, a group of radical photographers working in Tokyo almost four decades ago. The works of all are grainy, often blurred, and out of focus. However, whereas the Provoke photographers—especially Moriyama Daido and Nakahira Takuma—endeavored to document the urban life as it was lived and seen by denizens of the underground world, Sugimoto creates a study in abstraction, intent on seeing a netherworld of the city invisible to the ordinary eye.” Sugimoto’s work was first exhibited in the landmark show, Making a Home, Japanese Contemporary Artists in New York, at the Japan Society in 2007. Robert Anderson Gallery would like to extend a very special thank you to Esa Epstein, SepiaEye, for Go Sugimoto’s inclusion in this special show.

June 4, 2011: Dean Brown and Carleton Watkins Show Review, Wall Street Journal

The American West is big. Nineteenth-century Easterners got a sense of how big from the mammoth plate albumen prints, some as big as 16½ inches by 21½ inches, of Carleton Watkins (1829–1916). They showed grand mountain ranges, enormous Sequoia trees, cascading waterfalls, pristine lakes: It was a pretty terrific country we had ended up with. A century later Dean Brown (1936-1973) photographed much of the same area with a hand-held 35mm camera, and used the complex dye-transfer process to make modest 4-by-6-inch color prints of his negatives. Besides the differences in technology, there are important differences in sensibility. Whereas Mr. Watkins strove for awesome grandeur, Mr. Brown sought a rapport with nature.

The close inspection that Mr. Brown's small prints require reveals his sophisticated sense of composition, his delicate feeling for color and his appreciation for the play of light across a landscape. The little patch of bright sun on a distant cliff in "Navajo Reservation, Arizona Spider Rock" (October 1972) makes us peer into the shadows of the intervening canyon. The simplicity of "Hill Country, Texas. Danz." (May 1973), two trees reflected in shallow water and some fields beyond, produces an unspectacular, but very satisfying, image. Green trees seen in profile against hillsides of golden grass, "Near San Juan Capistrano, California" (August 1969) is another example of Mr. Brown's elegant colors and design.

William Meyers, Photography Critic, Wall Street Journal, June 4, 2011

May 5, 2011: Dean Brown and Carleton Watkins: The American Wilderness, A Century Apart

Dean Brown and Carleton Watkins: The American Wilderness, A Century Apart
This unique  show, which opened on 5 May, will be on view until June 23, 2011. The show brings together two very different yet convergent views of the American landscape. The exhibition presents a lineage of photographic depiction of the American landscape beginning with the grandeur of Carleton Watkins' (b. 1829  d. 1916) Mammoth Plate albumen print circa 1868 and six additional large albumen prints.  Watkins' images were seminal in shaping the perception of the then great uncharted Western expanses and uknown landscapes. Watkins offers us large format natural portraits from waterfalls, trees and other grand scenic views of Yosemite and the American west. By contrast, Dean Brown's (b. 1936  d.1973) color images from 100 years later are photographs of the natural terrains he encountered throughout the United States including Alaska. These images are meticulously printed in dye transfer and generally  in small sizes rendering them intimate and personal visions. Brown's images reflect a remarkably subtle yet wide-ranging color palette. The photographs of both Watkins and Brown are distinct rarities and the Robert Anderson Gallery is exceptionally honored to present them together. The efforts of Carol Brown in rendering this exhibition a reality are gratefully acknowledged.

February 1, 2011: Geoff Winningham, 1970's Texas and Suznne Opton, Chelsea Vermont, 1972-74

Geoff Winningham, 1970's Texas and Suznne Opton, Chelsea Vermont, 1972-74
As of 9 February 2011, the Robert Anderson Gallery is open. The outer gallery currently  features work by Geoff Winningham and Suzanne Opton. Geoff Winningham's images are from the early 1970's in and around Houston Texas. Winningham's images include those taken at professional wrestling matches, concerts (including Jerry Lee Lewis and Little Richard), high school football pep rallys, stock shows and rodeos and barnstormer performances (The Great Wallenda). Suzanne Opton's images are portraits, also  taken in the early 1970's, in and around Chelsea,  Vermont. These images depict family members living in the homes their parents and they grew up in. The differences in life depicted in  the early 1970's images of Texas by Winningham and of Vermont by Opton are striking.  In the back gallery, a number of images by Barbara Mensch depict scenes from the New York City  waterfront, many of which are Barbara's popular book "South Street." Among these images are a series of three entitled "Paris Bar, South Street and Peck Slip, NYC."