First off, forgive me. I realized after my last post that I'm getting a little bit carried away with the exclamation points. Yes, I am that excited about long exposures and fun, delicious alternative photography. Absolutely delicious. Speaking of, this week's first exhibitor is one of my three favorite-favorite-favorite photographers.
Gelatin silver print
15 x 13 1/2 inches (38.1 x 34.3 cm)
Ed. of 5
15 x 13 1/2 inches (38.1 x 34.3 cm)
Ed. of 5
Proud Flesh
September 15 - October 31, 2009
980 Madison AvenueNew York, NY 10075
Oh Sally, Sally, Sally. She is an absolute inspiration to me. The woman has MAD SKILLS through her photographic processes. This current series is of her husband Larry. Gagosian Gallery describes it as "a series of candid nude studies of a mature male body that neither objectifies nor celebrates the focus of its gaze. Rather it suggests a profoundly trusting relationship between woman and man, artist and model that has produced a full range of impressions – erotic, brutally frank, disarmingly tender, and more." Talk about a great way to say "I love you" as an artist. Sally Mann is a master of the wet-plate collodion (glass plate) negative process. The work exhibited in Proud Flesh was made by way of wet-plate collodion negatives that were contact printed. I love the imperfection and beauty in the process... and just look at how delicate that lighting is across the arch of Larry's back (and look at me referring to 'Larry' as if he's a buddy of mine). Mann has such an evolved perspective of life and the earth around her. Check out What Remains for more Sally Mann goodness. I would love to just hop on a plane and check out this current series at Gagosian. Wouldn't that be great!
I finally got some glitches worked out and here's the rest of this week's post:
Franz Hanfstaengl
Portrait of Eugenie von Klenze, 1854
Salted paper print from wet-plate collodion on glass negative, Mounted on paper
Phone: 089 . 23322370
Fax: 089 . 23325033
Fax: 089 . 23325033
I had a post in here of some really sweet work where the artist turned her New York loft into a pinhole camera and had beautiful large negative prints. It was only after I wrote about and posted it that I realized that the exhibition was already over. Oops. To make sure you'll be able to go see work (still) being exhibited (if you find yourself jet-setting in the next couple weeks or so), I chose another piece of work that relates to Sally Mann's photograph we first looked at in this post. Hanfstaengl was also a master of wet-plate collodion negatives, just... 150 years(ish) before Mann. This photograph by Hanfstaengl is being shown in an exhibition called 150 Years of Nude Photography (roughly translated). After studying the wet-plate process and understanding how difficult it can be to do it correctly (a couple of fellow photographers and I are planning on finally trying it one of these days), I have so much respect for the art/process of it. And that salt print is so rich with information and tonal range! I love the drapes and drapes and drapes all over the scene that frame in the innocence of the sleeping girl. Good work, Hanfstaengl!
Lacock, nr Chippenham, Wiltshire SN15 2LG
Telephone: 01249 730459
Telephone: 01249 730459
It is officially time to photo-geek out! I am tickled that Morell decided to help us all out by turning a room of the Fox Talbot Museum into a camera obscura. How wonderful that is! When I was out boating a couple weeks ago, somehow we started talking about pinhole cameras and I was trying to explain the concept of the camera obscura. I could tell it wasn't making nearly enough sense so as we were sitting inside the camper, I got up and explained that if we blacked out all of the windows and made one little hole on one side of the camper to the outside, we could turn it into a camera obscura and big ol' pinhole camera. Oh, wouldn't that be great to have a camper as a huge, portable pinhole camera? If anyone has an extra camper hanging around that they'd like to donate for art's sake, I have a truck with a hitch waiting to haul it away for you! Anyway, just like if we were to have turned the camper at the lake into a camera obscura and had the image of the lake projecting itself upside down on the opposing wall, Morell did the same thing by projecting Lacock Abbey into the museum. Oh baby, that's good art! Has anyone come across that extra camper yet?
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