| Gallery Name SORT BY | City/Province SORT BY | State/Country SORT BY |
|---|---|---|
| Nailya Alexander Gallery | New York | NY |
| Amador Gallery | New York | NY |
| Joseph Bellows Gallery | La Jolla | CA |
| Bonni Benrubi Gallery, Inc. | New York | NY |
| Daniel Blau | Munich | Germany |
| Janet Borden, Inc. | New York | NY |
| Brancolini Grimaldi | London | United Kingdom |
| Stephen Bulger Gallery | Toronto, Ontario | Canada |
| Robert Burge/20th Century Photographs, Ltd. | New York | NY |
| ClampArt | New York | NY |
| Commerce Graphics Ltd, Inc. | New York | NY |
| Contemporary Works/Vintage Works | Chalfont | PA |
| Catherine Couturier Gallery | Houston | TX |
| Stephen Daiter Gallery | Chicago | IL |
| Danziger Gallery | New York | NY |
| Keith de Lellis Gallery | New York | NY |
| Catherine Edelman Gallery | Chicago | IL |
| Etherton Gallery | Tucson | AZ |
| Kathleen Ewing Gallery | Washington | DC |
| Galerie f5,6 | Munich | Germany |
| Galerie Johannes Faber | Vienna | Austria |
| Fahey/Klein Gallery | Los Angeles | CA |
| Peter Fetterman Gallery | Santa Monica | CA |
| Fifty One Fine Art Photography | Antwerpen | Belgium |
| Fleischmann Vintage Works | Zurich | Switzerland |
| G. Gibson Gallery | Seattle | WA |
| Gitterman Gallery | New York | NY |
| Howard Greenberg Gallery | New York | NY |
| HackelBury Fine Art Limited | London | United Kingdom |
| HEMPHILL | Washington | DC |
| Michael Hoppen Gallery | London | United Kingdom |
| Charles Isaacs Photographs, Inc. | New York | NY |
| Jackson Fine Art | Atlanta | GA |
| K. & J. Jacobson | Great Bardfield, Essex | United Kingdom |
| James Hyman | London | United Kingdom |
| Steven Kasher Gallery | New York | NY |
| Kicken Berlin | Berlin | Germany |
| Robert Klein Gallery | Boston | MA |
| Klompching Gallery | Brooklyn | NY |
| Robert Koch Gallery | San Francisco | CA |
| Paul Kopeikin Gallery | Los Angeles | CA |
| Hans P. Kraus Jr. Inc. | New York | NY |
| Josef Lebovic Gallery | Sydney | Australia |
| M+B | Los Angeles | CA |
| M97 Gallery (Shanghai) | Shanghai | China |
| Lee Marks Fine Art | Shelbyville | IN |
| McNamara Gallery Photography | Wanganui 4500 | New Zealand |
 Gallery View ADDRESS 190 Wicksteed Street Wanganui 4500, New Zealand TEL 64-6-348-7320 WEB www.mcnamara.co.nz DESCRIPTION McNamara Gallery Photography opened January 25, 2002, and exhibits New Zealand and selected Pacific Rim photographically-based art. They are dedicated to exhibiting and promoting the medium, and exploring the range of practice. McNamara's interest is fundamentally in modern and contemporary art practice; however, they have an annual exhibition examining photographs from the 1960s to the 1980s. They also exhibit selected work from earlier periods. CURRENT EXHIBITIONS Available light: imagining more than we see Laurence Aberhart, Mark Adams, Fiona Amundsen, Wayne Barrar, Richard Barraud [Estate], Andrew Beck, Peter Black, Rhondda Bosworth, Murray Cammick, Joyce Campbell, Ben Cauchi, J.W. Chapman-Taylor [Estate], Richard Collins, Lisa Crowley, Hayden Fritchley, Frank Hofmann [Estate], Nikolai Kokx, Adrienne Martyn, Anne Noble, Max Oettli, Fiona Pardington, Trent Parke [Australia], Peter Peryer, Steve Rood, Andrew Ross [image above], Haruhiko Sameshima, Justine Varga [Australia] & Len Wesney June 7 – August 30 2013 Reception with some of the artists 5.30 pm Friday 7th June An edited version of this exhibition will be shown at Auckland Art Fair, August 7 - 11 Throughout the history of photography artists have exploited the creative potential of natural and artificial light in their work. Light, and its absence, is a source of inspiration and new technologies have expanded this field considerably. In this exhibition we explore the transformative quality of light on film "…light changes the ways we respond to the appearance of place…" [2]. Conversely, light pollution can distract from the creative effects of low light. Utilising available light, darkness becomes both tool and subject. Seemingly unremarkable objects and spaces unpredictably assume a mysterious otherness when emancipated from full light, allowing our imaginations to create the narrative; a perceptual or psychological truth. Restricted light thereby focuses attention, emphasising mood over subject matter and enhances the transcendent power of the medium. Visual legibility is subservient to emotional magnitude. Human presence may be intimated, via 'props', through absence. A stage set which, devoid of players, concentrates instead on the evidence of an absence. Capture of available light, and careful attention to tonal values, can also encourage our peripheral awareness. More light, and detail, can distract the mind. Harnessing the subtle effects of low light is possible with film; a photo-chemical continuum. "They [traditional photographs] are material objects tangibly connected to the world through the nature of their creation: impressions created with silver filaments suspended in animal gelatin, altered by light and chemistry."[3] Low light generally means longer camera exposure of the film and a consequent 'absorption' of time into the image. Expanding on this point in relation to Laurence Aberhart's work, Geraldine Barlow writes "[he] chooses a process of stillness, an extended measure of moments over which light acts upon a prepared surface,…There is a special sense of light in Aberhart's work, never entirely of the now." [4] Film has the potential to capture things the eye [and therefore the photographer] cannot see. This potential is expanded with new technologies such as night-vision equipment, which magnifies the available light or is sensitive to infrared light, transforming reality into a science-fiction alien melancholic place. Other equipment can record the infrared and ultraviolet parts of the spectrum, as well as those visible to the eye, creating 'wide-spectrum' black-and-white images. New sensors in digital cameras have a low-light capability such that there are no limitations to what hour of the day a photographer can work. [1] Todd Hido "…imagining more than we see…" [2] Ron Brownson, exhibition notes: In Shifting Light, New Gallery, Auckland, 2009 [3] Robert Burley The Disappearance of Darkness: Photography at the End of the Analog Era, Princeton Architectural Press, 2013 [4] Geraldine Barlow. Published to accompany the exhibition Laurence Aberhart: Monumental, Darren Knight Gallery, Sydney, May – June 2012 |
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| Andrea Meislin Gallery | New York | NY |
| Laurence Miller Gallery | New York | NY |
| Yossi Milo Gallery | New York | NY |
| Monroe Gallery of Photography | Santa Fe | NM |
| Robert Morat Galerie | Hamburg | Germany |
| Scott Nichols Gallery | San Francisco | CA |
| P.P.O.W. | New York | NY |
| Galerie Priska Pasquer | Cologne | Germany |
| PDNB Gallery | Dallas | TX |
| Flo Peters Gallery | Hamburg | Germany |
| Photo Gallery International | Tokyo | Japan |
| Serge Plantureux | Paris | France |
| Bernard Quaritch Ltd. | London | United Kingdom |
| Yancey Richardson Gallery | New York | NY |
| SAGE PARIS | 75007 Paris | France |
| Julie Saul Gallery | New York | NY |
| William L. Schaeffer/Photographs | Chester | CT |
| Scheinbaum & Russek Ltd. | Santa Fe | NM |
| Lisa Sette Gallery | Scottsdale | AZ |
| Bruce Silverstein Gallery | New York | NY |
| Andrew Smith Gallery, Inc. | Santa Fe | NM |
| Staley-Wise Gallery | New York | NY |
| L. Parker Stephenson Photographs, LLC | New York | NY |
| Swedish Photography | Berlin | Germany |
| Throckmorton Fine Art, Inc. | New York | NY |
| VERVE Gallery of Photography | Santa Fe | NM |
| Vision Neil Folberg Gallery | Jerusalem | Israel |
| Rick Wester Fine Art | New York | NY |
| The Weston Gallery, Inc. | Carmel | CA |
| David Zwirner | New York | NY |
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