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Exhibition & Conversation: André Kertész at Stephen Bulger Gallery

Posted By Administration, Monday, October 22, 2012
Updated: Friday, January 3, 2014

Self Portraits

Exhibition Dates: October 27 – November 24, 2012
Opening Reception: Saturday, October 27, 2-5pm

Conversation in the Gallery:
Curator of the Estate of André Kertész & Stephen Bulger
Saturday, October 27

Spanning over eight decades of the Hungarian-born photographer's career and marking the 100-year anniversary since the artist's first photograph the Self Portraits exhibition of André Kertész work at the Stephen Bulger Gallery reveals much about the psyche of the man behind the lens.

Kertész received his first camera as a high school graduation present from his mother. Fascinated with the device from the beginning, Kertész first turned his eye on familiar subjects- his family and friends, but also himself. This began what would become a major movement, theme, even self exploration for the artist throughout his career and life. Kertész's built a spring loaded device to allow him to take self-portraits and even claimed to have built the world's first self-timer.

While in the army durring World War I Kertész received a ICA Bebe camera, which had a magazine of seven plates that allowed him to work in the field with greater ease. There Kertész continued to photograph himself alone and with fellow soldiers. We see him begin to negotiate as both photographer and participant. At times he turns towards us, at times he engages his surroundings and friends. These images seemed to inspire an awareness of self and self perception. After returning home from war, when feeling lost and even mildly depressed, he made images of himself in different persona- as a businessman, a scholar, an artist, a country bumpkin, a beekeeper, and eventually as a woman in drag. Where these images could at times be playful and exploratory later pieces revealed the self without the presence of a figure. As we trace Kertész's work to the USA we find him making projected self-portraits: Lost Cloud from 1937 and Melancholic Tulip from 1939 exemplify the series. Full of sentiment, mood, and a raw emotion these works become metaphoric. With a careful eye and a dedication of time we can perhaps claim to dig to the deepest corners of the mind of this early photographic master.

Accompanying Gallery exhibition will be a conversation between Robert Gurbo, Curator of the Estate of André Kertész, and Stephen Bulger. The autobiographical imprint of his work be explored in the discussion and in a forthcoming essay by Mr. Gurbo. The essay will be featured in an upcoming publication about the self portraits of André Kertész.

For more information on the exhibition, please visit Stephen Bulger Gallery

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Gallery Night on 57th St

Posted By Administration, Wednesday, October 10, 2012
Updated: Friday, January 3, 2014

Thursday October 11, 2012
5:00 - 8:00 pm

The gallery district will come alive on the evening of October 11th. With 34 galleries participating in this open-late event its quite the autumn activity. Of the participating galleries are several aipad members including Nailya Alexander, Bonni Benrubi, Howard Greenberg, Pace/MacGill, and Throckmorton Fine Art.

For more information please contact

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Review: RUSSIAN PHOTOGRAPHY 1908-1938 at Nailya Alexander Gallery

Posted By Administration, Wednesday, October 10, 2012
Updated: Friday, January 3, 2014


Through October 13

With sixteen photographers and only 25 prints this sampling of Russian photography offers but a glimpse at the many movements within the media in the early years of the 20th century. The artists include masters Max Alpert, Nikolai Andreev, Viktor Bulla, Semyon Fridlyand, Alexander Grinberg, Sergey Ivanov-Alliluev, Valentina Kulagina, Sergey Lobovikov, Moisei Nappelbaum, Nikolai Petrov, Aleksandr Rodchenko, Arkady Shaikhet, Arkady Shishkin, Mikhail Tarkhanov, Vasily Ulitin, and M. Vitoukhnovsky. We travel a visual timeline with modernist samples coming from Russian artists based in the West and pictoralist movements from artists within the country. Other genres touch on studio and environmental portraiture, nude studies, and the dawn of Soviet photojournalism. As the Soviet strength grew we see other movements fade. Forbidden for its lack of ideological power pictoralist works dwindle as do avant-garde movements accused of formalism- the later works in the Russian Photography 1908-1938 show tend toward propagandist. A satisfying scann, we leave intrigued by each frame, and are even a little hungry for more.

The show is closing soon, but worth the effort to catch.

For more information on the exhibition please visit Nailya Alexander Gallery

New Yorker Review

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NY Times Lens Blog Feature: Alejandro Cartagena

Posted By Administration, Friday, September 28, 2012
Updated: Friday, January 3, 2014

New Series Car Poolers
at Kopeikin Gallery

Last winter Dominican-born and Mexican-based photographer Alejandro Cartegena perched on a bridge that overlooked a highway running between Nuevo Laredo, Mexico and Laredo, Texas. From his hidden post Cartegena snapped overhead shots of passing traffic. The images captured were of regular but often unseen commuters. The bird's eye view revealed the backs of truck-beds full of equipment and hidden workers. Riding in the truck bed is illegal, so the men conceal themselves by lying down. The men fill every crevice un-occupied by equipment. We see they often they lay across, between, and on equipment. Like sardines the men are tightly packed- up to four across and at times an extra at the foot.

The images are as intimate as they are voyeuristic, and it is this in-between feeling that heightens tension and interest. The view Cartegena provides is a window into a larger reality. Many go to great lengths to make a living. They risk safety, the law, and even ego. The air of machoism is broken down as personal space is surrendered. The works are in-line with Cartegena's earlier projects and even seem to offer a metaphoric look inside his previous series, Suburbia Mexicana, which focused on new suburban communities popping up in the northern region of Monterrey. This new work becomes the inside-story. This is the behind-the-scenes look at a group of honest men earning an honest living. Still, this work we know reveals only the tip of the iceberg on the stories of these men, their families, their living condition, their determination, their drive. Their sacrifice reveals their pride.

The work is crisp, dynamic, and moving. A display of works beside each other enhances the presence of each frame, and the whole becomes a highway.

For more information on this work please visit the New York Times Blog

More on the artist and his work at Kopeikin Gallery

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Artist's Reception: Abelardo Morell at Bonni Benrubi Gallery

Posted By Administration, Thursday, September 27, 2012
Updated: Friday, January 3, 2014

Rock Paper Scissors

Exhibition Dates: October 4 - December 22, 2012

Reception with the Artist:
Thursday October 4th
6:00 - 8:00 pm

Abelardo Morell continues to render splendid from ordinary. This new body of work, Rock Paper Scissors, is yet another example of the artist's ability to elevate the every day.

Morell has been experimenting with the effects of the camera obscura for some years now with stunning result. Early explorations yielded monochromatic then color visions of melding of interior and exterior views. The view from a room was thrown back into the space from which the vantage could be seen. Space compressed, and beyond fascination one could potentially engage subtle layered dialogues from wealth and status to local and history. The new works have a bit more gristle and grit. They again borrow from the Obscura technique, but now with a more rugged approach- Morell created a "Tent Camera Obscura." A lightproof tent allows Morell to take his work on the road. Further inovation and use of a perioscope allowed Morell to cast the reflected image downward onto the ground. Images that result from this process overlap vista and vantage point in a litteral way. The process is simple, clean, thoughtful- one could argue it engages layers of image-making history that stretch as far back as the technology of the camera obscura to tropes that relate to impressionistic painting or even cubism. There is an intelligence to the work, but it is not overbearing. It is the purity of the process that is so delightful. We see clearly and we see in layers. Our eye finds distance first then pulls back into the details- the grounding layer that interrupts the picturesque views. It is the grassy earth in the Golden Gate Bridge From Battery Yates; the gravel of the rooftop in a view of Midtown Manhattan Looking East; the sand and seaweed in a seascape of Acadia National Park that pull us from the distance and to the reflecting plane. They spacial play is engaging, rewarding, and simply beautiful.

For more information on the exhibition, please visit Bonni Benrubi Gallery

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