Yearly Archives: 2012

Ilulissat Icefjord 7

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July 2003

Signed and numbered on label, verso

Archival pigment print

24.8 x 29.5 inches
(Edition of 5 + 1 AP)
Contact gallery for price.

45.7 x 54.3 inches
(Edition of 5 + 1 AP)
Contact gallery for price.

58.7 x 70.9 inches
(Edition of 2)
Contact gallery for price.

Ilulissat Icefjord 09

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July 2003

Signed and numbered on label, verso

Archival pigment print

24.8 x 29.5 inches
(Edition of 5 + 1 AP)
Contact gallery for price.

45.7 x 54.3 inches
(Edition of 6)
Contact gallery for price.

58.7 x 70.9 inches
(Edition of 2)
Contact gallery for price.

Jim French (1932-2017)

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Jim French first began drawing and then photographing male erotica in the 1960s. Originally a successful fashion illustrator, French and an old army buddy partnered to open a mail order company in New York City they called Luger. French contributed homoerotic drawings of hyper-masculine types such as soldiers, cowboys, and bikers. Eventually he bought out his business partner, and by 1967, under the pseudonym Rip Colt, he founded the now infamous Colt Studio. Producing highly detailed drawings for various Colt Studio books, magazines, and calendars, French turned to the new Polaroid camera to shoot photographs of male models that eventually would serve as research studies. However, despite his great talent with the pencil, as time went on, French ultimately built a formidable reputation for himself as one of the most important photographers of the male form.

Artist Jesse Burke is taking over The New Yorker‘s Instagram account for one week!

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Artist Jesse Burke is taking over The New Yorker‘s Instagram account for o

Artist Jesse Burke is taking over The New Yorker‘s Instagram account for one week! Follow Jesse Burke @jesse_burke and The New Yorker @newyorkermag.

What a great summer image, huh? The flying animal is Jesse’s baby girl, Poppy.

For more of Jesse Burke’s work:
http://clampart.com/2012/02/jesse-burke/


Blog post by:
Brian Paul Clamp, Director

Rachel Papo | “Army Girl,” Marie Claire

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Rachel Papo’s photograph, “Stepping outside for a cigarette before taking a shower,” from her series, Serial No. 3817131, is featured in the new issue of Marie Claire. Roberta Bernstein interviews writer Shani Boianjiu about her debut novel, The People of Forever Are Not Afraid. Both Papo’s photographic series and Boianjiu’s book give “a rare insider glimpse at what it’s like to be a girl coming of age in the famously fierce Israeli Defense Forces.”

PDF of the magazine article
Rachel Papo, Marie Claire, September 2012

Browse Rachel Papo’s series, Serial No. 3817131

Mikiko Hara

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Mikiko Hara is a Japanese photographer known for her snapshot aesthetic portraits of strangers. Most of her photographs are taken in the streets, on public transportation, or in other public spaces, and they speak of the distance and isolation of people in these places—especially women. Hara originally studied philosophy before continuing her graduate studies at the Tokyo College of Photography. Due to the aesthetic of her work, Hara has described her image making as accidental—“photographs of somewhere, yet nowhere.” She has published three monographs—Hysteric Thirteen, These Are Days, and Change—the last for which she received the prestigious Ihei Kimura Photography Award. Hara’s work has been exhibited throughout Asia, Europe, and the United States.

Psalm 42, Morton Street, NYC

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1996

Signed, titled, dated, and numbered (10/10) in black ink, verso

Also signed and inscribed on old label, verso

Cyanotype

10 x 8 inches

Sold.

“In the hospital my prayer life grounded me in a time when I was losing everything, even possibly my life. It gave me structure to say my morning prayer, my midday prayer, my evening prayer, my Compline before sleep. It kept me safely in a space outside my head when I felt I might go crazy. Being in the AIDS unit in St. Vincent’s Hospital for months early on in the epidemic was almost like being in a war zone: endless moaning and crying from horrible pain, men dying in the bed next to mine. I kept my prayer book close at hand, using it as a shield. Slowly, new meanings in the texts were revealed to me as I read them over and over, and I’m absolutely certain that reading the Psalms kept me alive. As I began to lose my sight, I was unable to continue reading the dimming print, but just holding the prayer book on my chest or having it in bed gave me solace.”
—John Dugdale, Life’s Evening Hour (New York City: August Press Ltd., 2000), no. 15, np.