2017
Signed and dated, verso
Pinhole camera Chromogenic print (Unique)
24 x 20 inches
$3000.00
2017
Signed and dated, verso
Pinhole camera Chromogenic print (Unique)
24 x 20 inches
$3000.00
2017
Signed and dated, verso
Pinhole camera Chromogenic print (Unique)
24 x 20 inches
Sold.
2016
Signed and dated, verso
Pinhole camera Chromogenic print (Unique)
20 x 16 inches
$2400.00
2016
Signed and dated, verso
Pinhole camera Chromogenic print (Unique)
20 x 16 inches
$2400.00
2016
Signed and dated, verso
Pinhole camera Chromogenic print (Unique)
20 x 16 inches
$2400.00
2016
Signed and dated, verso
Pinhole camera Chromogenic print (Unique)
20 x 16 inches
$2400.00
2016
Signed and dated, verso
Pinhole camera Chromogenic print (Unique)
20 x 16 inches
$2400.00
2016
Signed and dated, verso
Pinhole camera Chromogenic print (Unique)
20 x 16 inches
$2400.00
2016
Signed and dated, verso
Pinhole camera Chromogenic print (Unique)
20 x 16 inches
$2400.00
2016
Signed and dated, verso
Pinhole camera Chromogenic print (Unique)
20 x 16 inches
$2400.00
2016
Signed and dated, verso
Pinhole camera Chromogenic print (Unique)
20 x 16 inches
$2400.00
2016
Signed and dated, verso
Pinhole camera Chromogenic print (Unique)
20 x 16 inches
$2400.00
2016
Signed and dated, verso
Pinhole camera Chromogenic print (Unique)
20 x 16 inches
$2400.00
2015
Signed and dated, verso
Pinhole camera Chromogenic print (Unique)
10 x 8 inches
$2000.00
2016
Signed and dated, verso
Pinhole camera Chromogenic print (Unique)
20 x 48 inches
Contact gallery for price.
2015
Signed and dated, verso
Six pinhole camera Chromogenic prints (Each unique)
24 x 20 inches, each
24 x 120 inches, overall
$10,000.00 + $1500.00 mounting/framing
Robert Calafiore employs a hand-built pinhole camera to create large-scale one-of-a-kind Chromogenic prints. The subject matter currently, a collection of ordinary glassware, is assembled by stacking, shelving, and balancing pieces into a single tableau within a larger construction. It is then transformed by the unique recording characteristics of the camera’s wide angle, the extended exposure, and the light sensitive paper’s recording abilities. Calafiore manipulates the still life to control the results; altering the saturation, color, density, and translucency of certain areas of the arrangement. His interest in process, traditional materials, and the reaction between light and chemistry, as well as the personal and universal stories told through every day objects, drives the work in his studio practice. Elevating the ordinary to the extraordinary and the everyday to a magical place remains a primary motivator. No digital tools are ever used. Reflecting on the endless flood and speed of changing technology, Calafiore steps back and invests in prolonged experimentation, investigation, and hands-on making that all speak to a change in how we use our bodies, noting the change in the physical dexterity of younger generations, and in the way we all see, interpret, and react to the world around us, given the on-going digital revolution.
Calafiore received his MFA in Photography from the State University of New York at Buffalo, and his BFA in Photography from Hartford Art School.
ClampArt is pleased to announce “Lori Nix/Kathleen Gerber | Empire.” Though Nix and Gerber have been working collaboratively for over sixteen years, this is the first exhibition at ClampArt to credit both artists equally for their imagery.
View the exhibition photos and press release in full
PDF of the press release
“Lori Nix/Kathleen Gerber | Empire”
1983
Signed, verso
Artist’s studio stamp, verso
Vintage gelatin silver print
14 x 11 inches
Sold.
This is an image of the “Pier 34” show. Guerrilla art shows that took place in unused City of NY buildings such as the “Real Estate Show,” or the “Times Square Show” that was held in an abandoned massage parlor, are examples of art collectives creating alternatives to the staid, exclusionary spaces of museums and galleries. They took the concept a step further with shows that were intentionally disposable, often leaving the artwork behind to be destroyed with the condemned buildings. The “Pier 34” show, organized by David Wojnarowicz and Mike Bidlo, was the apex of this artistic protest, with the murals, stencil, and graffiti paintings literally crumbling into the Hudson River as the decayed waterfront was left to rot by a corrupt and indifferent city government. This photograph offers one of the few examples that remain of Wojnarowicz’s amazing contribution to the exhibition.
This photograph is signed and stamped by Hujar on the verso as described above, and comes from the estate of Keith Davis, an artist from the Lower East Side who was also known as a commercial artist that worked for Artforum as well as MoMA. Davis employed Wojnarowicz and Hujar on occasional projects to help them subsist. He died in 1987. Keith Davis was the first person Wojnarowicz witnessed dying from AIDS which he writes about in his memoir, In the Shadow of the American Dream. It comes from the friend of Keith’s who holds his archive. This was a gift from Hujar to Davis.
G.E.
1990-1992
Signed in pencil, verso
Ektacolor print mounted to museum board (Edition of 20)
30 x 40 inches, sheet
25.625 x 38.125 inches, image
Contact gallery for price.
Literature:
Philip-Lorca diCorcia, Hustlers (Steidl: Göttingen, Germany, 2013), p. 7, full-page color illus.
Bennett Simpson, Philip-Lorca diCorcia (The Institute of Contemporary Art/Steidl, Boston, Massachusetts, 2007), cover, p. 17, full-color illus.
Peter Galassi, Philip-Lorca diCorcia (The Museum of Modern Art, New York City, 1995), p. 72, full-page color illus.
Lia Gangitano, ed., Boston School (The Institute of Contemporary Art/Primal Media: Boston, Massachusetts, 1995), p. 39, color illus.