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Reviewed: William Larson at Gitterman Gallery

Posted By Administration, Tuesday, June 2, 2015

 

Fireflies by William Larson at Gitterman Gallery has received some critical attention in the Daily Serving, the New Yorker, and Collector Daily.  Larson's work challenges the limits of a photograph.  Larson was interested in integrating time into still images.  His process was unusual but certainly rooted the work to time.  It involved a cutting edge device in its day, the Teleprinter.  The teleprinter, an early fax machine, could transmit images and texts onto carbon-based paper over telephone line.  Larson combined dissimilar images and added printing interruptions and multiple- transmissions.  His resulting electronic drawings were layered to create, as Larson put it, "the imperfect operations of memory or dreams" (Gitterman Gallery Press Release). 

 

On view through July 2, 2015

Read more about the work or view the exhibition online at Gitterman Gallery.

Segments of Reviews and links to the Daily Serving, the New Yorker, and Collector Daily coverage of this show.

 

Image Information:

William Larson, Untitled from the Fireflies series

Courtesy of Gitterman Gallery

Tags:  Gitterman Gallery  William Larson 

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Wall Street Journal Review: Eliot Elisofon at Gitterman Gallery

Posted By Administration, Friday, March 6, 2015

Eliot Elisofon

 

on view through April 18, 2015

 

 

There is a reason Life magazine dominated the market for more than 40 years: It had great picture stories. Eliot Elisofon (1911-1973) was a Life photojournalist for almost 30 years, covering such diverse stories as Gen. George S. Patton’s campaign in North Africa and Ella Fitzgerald’s birthday. None of the 49 black-and-white prints at Gitterman were published in Life, but they demonstrate the talent that made Elisofon an asset. There are eight pictures from his 1939 “Playgrounds for Manhattan” project that was exhibited at the New School; children are shown in the dirt at a construction site, playing hockey in the street, crawling in a sewer pipe and idling in a puddle. Another series of eight pictures, “David Smith’s Studio” (1938), shows the young sculptor and his work with great sensitivity; Elisofon clearly understood what the artist’s modernist work was about.   - William Meyers 

 

Learn more about the exhibition or view works online at Gitterman Gallery.

Read he full review by William Meyers; link available via Gitterman Gallery.

 

 

Tags:  Eliot Elisofon  Gitterman Gallery 

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New Yorker Review: Edmund Teske at Gitterman Gallery

Posted By Administration, Tuesday, January 6, 2015

Edmund Teske

through January 24, 2015

 

Always on the verge of being rediscovered, the idiosyncratic American photographer (who died in 1996) may be too sincere to come back into fashion, but his experimental approach should appeal to photography’s boundary-busting avant-garde. Even Teske’s most straightforward photographs have a surreal theatricality reminiscent of George Platt Lynes and John Gutmann, but he rarely left an image unmanipulated. His figure studies and portraits (including one of Kenneth Anger) were often solarized, double-exposed, and overlaid with liquid passages of rust-colored toning. The results are agitated, feverish, and expressionist—each picture is less a document than a dream. 

   

Read the review in the New Yorker

Learn more about the exhibition or view the works online at Gitterman Gallery.

  

Image Information:

Edmund Teske, Kenneth Anger, Topanga Canyon

© Estate of Edmund Teske, Courtesy Gitterman Gallery

Tags:  Edmund Teske  Gitterman Gallery 

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Review: Eclectic at Gitterman Gallery

Posted By Administration, Wednesday, July 23, 2014
On view through August 1, 2014

Tom Gitterman's summer show Eclectic is aptly named.  Through 45 works by over two dozen artists Gitterman brings us a body of fragments.  Each image belongs to a greater whole, and many works carry the sense of their greater context as much as they leave it behind.  Though fragmented, we can't help but want to draw connections between disparate images.  Some works are easy to ally- several chemical abstractions by Cordier, Chargesheimer, and Catherineau connect with immediacy and set the stage for more links to be established.  We discover a desire to connect more works together though formal qualities, theme, or content.  Gitterman's grouping of images, even online, helps to influence these connections.  Untitled by Charles Wong, Avenue NYC by Joseph Szabo, and Elevateur de Grains by Willy Kessels speak to each other structurally- they have strong upward moving vertical lines and fast-holding anchor-points.  The figure, the landscape, the solitary moment and the street-scene are reappear as staging themes that surface and connect images.  Street-scenes, surreal images, and some over-arching dual themes found in portraits lift the most weight as far as content goes.

Wall Street Journal Review 

Visit this exhibition online at Gitterman Gallery


Image Information:
Adam Bartos, Paris, 1992
Copyright Adam Bartos, Courtesy Gitterman Gallery


Tags:  Gitterman Gallery 

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Artist's Opening Reception: Adam Bartos at Gitterman Gallery

Posted By Administration, Sunday, March 30, 2014
Adam Bartos

Exhibition Dates:  April 3 - May 31, 2014

Artist's Opening Reception:
Wednesday, April 2
6:00 - 8:00 pm

Adam Bartos's images are immediate, thrilling, and speak with immediacy to the world of driver-owned motor racing.  Bartos traveled to the local speedways of rural New York, Florida, and New Mexico where drivers race super-stock cars for sheer thrill.  Free from corporate sponsorship these events are crude.  Cars race on a quarter-mile of dirt-paved oval tracks for little prize money.  It is said that stock car racing began during prohibition when moonshiners ran illegal cargo on backroads in the dark of night.  This developed into the stock-car racing in weekend competitions.  The culture is rough and tumble and this translates into Bartos's tightly-framed shots.  Car seats and gas pedals, seat belts and helmets, engines, tires, and dislodged steering wheels speak to the home-grown nature of the sport.  Stock car racing is elemental and rough, dangerous and daring.  Bartos's images translate this world to us in pieces.  His almost painterly frames are gritty and tactile and emit fascination at the high-stakes fun of this country sport.

Adam Bartos's work is in such notable collections as the J. Paul Getty Museum, Los Angeles; the Museum of Fine Arts, Houston; the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; and the San Francisco Museum of Modern Art, among others.  His work has widely exhibited, and five books on earlier bodies of work have been published:  International Territory (1994), Kosmos (2001), Boulevard (2005), Yard Sale Photographs (2009), and Darkroom (2012).

For more information, please visit Gitterman Gallery

Image information:
Uranium Capitol Speedway, Grants, NM, 2012
Courtesy of Gitterman Gallery

Tags:  Adam Bartos  Gitterman Gallery 

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