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PDNB Gallery Discovers Photographic Gem

Posted By Administration, Tuesday, August 19, 2014
Most relevant photographic discovery since View from the Window at Le Gras

On view at PDNB Gallery through August 30, 2014


Discovered several years ago by PDNB Gallery Director, Burt Finger, this early photograph has been under investigation.  Mr. Finger has spent the past few years traveling the world, and visiting museum and private collections to establish the print in a timeline of photographic history.  His exhaustive research has led him to conclude that this discovery is indeed one of a kind.  No other print like it exists.

PDNB Gallery and Mr. Finger are trumpeting this photographic find as the most important image in photographic history since the famed View from the Window at Le Gras made by the father of photography Nicéphore Niépce's.  This work is on view at the gallery through August 30 and is being displayed as the View from the Window at Le Gras is at the Harry Ransom center at the University of Texas, in a darkly lit private viewing space.  Due to the sensitive nature of the print, reproductions are impossible, so no images are available of the work.  Curious viewers will need to make a pilgrimage to view the priceless work in person.

For more information on this thrilling discovery, please visit PDNB Gallery.

Tags:  PDNB Gallery 

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Danziger Gallery Relocates to 521 West 23rd. Street

Posted By Administration, Thursday, August 14, 2014
Danziger Gallery has announced a location-change.  The Gallery is moving two doors east to 521 West 23rd. Street.  Danziger plans to remain open by appointment only through the remainder of the summer, and open in September with an exhibition of large scale photographic color field landscapes by David Benjamin Sherry.

To preview the work in the forthcoming show please visit Danziger Gallery

Tags:  Danziger Gallery 

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Review: John Gossage at Fraenkel Gallery

Posted By Administration, Tuesday, August 12, 2014
Who Do You Love

Through August 23


Who Do You Love is a carefully selected group of 12 never-before-been-seen collages by John Gossage.  They are playful and thrilling, dynamic and graphic.  Gossage made this photo-driven work in the 1990's in tandem with his more direct photographic practice.  This selection represents but a glimpse of an extensive exploration dubbed photographic distractions by Gossage himself.  In Who Do You Love Gossage reminds us what a photograph does and how it functions as an object.  Photographs takes us to the past; they transports us to a moment that has happened.  In these works, however, we are reminded of the functional quality of the photograph as an object.  We are asked to become aware of the transportive nature of the image, and challenged to let that go.  Here photographs float outside their frames as independent elements with scraps of paper and handmade marks.  These images engage another level in the visual plane; they allow the photograph to exist in the present.

Review in Visual Art Source

Tags:  Fraenkel Gallery  John Gossage 

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Review: Jacques Sonck at L. Parker Stephenson

Posted By Administration, Tuesday, August 5, 2014
Archetypes

through August 15, 2014

In Archetypes, Jacques Sonck's first solo exhibition outside of Europe, we are greeted by a band of standouts.  Black and white images taken from the late 1970's onward capture all sorts of people: children and teens; adults and elderly; people on the street, on the job, or on a holiday.    His cross section of humanity gives breath to his own oeuvre, but there is nothing typical about any of his subjects.  Sonck's figures are classical yet surprising.  The framing and formal aspects of the work are fairly direct; the rapport between photographer and subject was immediate and extraordinary.  The personalities and quirky energy of the subject comes through their gaze, pose, or geste.  They are potent, direct, inquisitive, welcoming, and often playful, but always particular and just a little bit strange.  

In the blink of a lens Sonck preserved the inner character of his subjects, and through the works their spirits endure.  A boy dressed in a striped long-sleeve shirt and seated on a wide handlebar bike turns over his shoulder at us with an uncertain but piercing gaze.  Two teen girls in black leather jackets and thigh-high boots seem surprisingly soft and inviting through their attempt at self-affirmed poses.  A man in a long coat and cap almost becomes cartoonish.  He carries his briefcase and turns with a crooked grin at us.  We try to place his face.  We do this with many of Sonck's works:  we search our visual-memorial index and wonder where we saw these people.  There is something familial about his subjects.  Its like we know them though we know we couldn't have seen them before.  We are caught almost tricked by the instant, but the connectivity Sonck was able to achieve with the work translates to us as viewers.  Each frame proves a thrilling and memorable encounter.

For more information on this exhibition, please visit L. Parker Stephenson 

Review in Photograph Magazine.

Image Information:
Jacques Sonck, Untitled, 1989
Courtesy of L. Parker Stephenson


Tags:  Jacques Sonck  L. Parker Stephenson 

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Review: Brea Souders at Bruce Silverstein Gallery

Posted By Administration, Thursday, July 31, 2014
Last Call:  Exhibition Extended through August 15, 2014

The work of Brea Souders is playful and fragmented, and records as much it conjures.  Images from Souders first solo show at the gallery present as visual puzzles to be unlocked.  Each is different, and each will come together differently for different viewers.  Souders uses a variety of visual styles to make her work.  Some are montage-like; others feel like geometric paper cut-outs.  Some feel more loose and painterly, while others are more direct.  However they appear they are always playful and surprising.  Its as if each work is so concise that when realized it was done free from needing to inherently "belong" aesthetically to any other work.  They do belong.  They do unite, and each reveals as a potent piece of personal memory, collective past, art history reference, and linguistic exploration.  Souders questions these topics to produce, as she says, works that function like memory.  


". . . certain slices come forward, and they intertwine with a lot of smaller sensory memories tied to color, light or shape.  An entire day can be remembered as the way that the light caught someone's hair, the particular pattern on a guitar strap, the shape of the moon that night, and so on"  (Silverstein Press Release).



For more information on this exhibition and the work of Brea Souders please visit Bruce Silverstein Gallery.
Silverstein Press Release  

New Yorker Review

Image Information:
Brea Souders, Under Water
Courtesy of Bruce Silverstein Gallery 

Tags:  Brea Souders  Bruce Silverstein Gallery 

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