Town Fire

2014

Signed and numbered, verso

Archival pigment print

30 x 40 inches, image
(Edition of 3 + 1 AP)
$3600.00

20 x 30 inches, image
(Edition of 5 + 1 AP)
$2600.00

12 x 18 inches, image
(Edition of 5 + 1 AP)
$1600.00

Please note that prices increase as editions sell.

Land Room

2014

Signed and numbered, verso

Archival pigment print

30 x 40 inches, image
(Edition of 3 + 1 AP)
$3600.00

20 x 30 inches, image
(Edition of 5 + 1 AP)
$2600.00

12 x 18 inches, image
(Edition of 5 + 1 AP)
$1600.00

Please note that prices increase as editions sell.

Decision Room

2014

Signed and numbered, verso

Archival pigment print

30 x 40 inches, image
(Edition of 3 + 1 AP)
$3600.00

20 x 30 inches, image
(Edition of 5 + 1 AP)
$2600.00

12 x 18 inches, image
(Edition of 5 + 1 AP)
$1600.00

Please note that prices increase as editions sell.

Cave Room

2014

Signed and numbered, verso

Archival pigment print

30 x 40 inches, image
(Edition of 3 + 1 AP)
$3600.00

20 x 30 inches, image
(Edition of 5 + 1 AP)
$2600.00

12 x 18 inches, image
(Edition of 5 + 1 AP)
$1600.00

Please note that prices increase as editions sell.

Blue Room

2014

Signed and numbered, verso

Archival pigment print

30 x 40 inches, image
(Edition of 3 + 1 AP)
$3600.00

20 x 30 inches, image
(Edition of 5 + 1 AP)
$2600.00

12 x 18 inches, image
(Edition of 5 + 1 AP)
$1600.00

Please note that prices increase as editions sell.

A Contemporary Glance

April 13 – May 26, 2017

Opening reception:
Thursday, April 13, 2017
6:00 – 8:00 p.m.

ClampArt is pleased to announce “Fabio Torre: A Contemporary Glance”—the artist’s first solo exhibition in the United States. Torre’s work is characterized by a persistent reflection on the relationship between photography and painting.

The photographic image has been elaborated over the years using the classic tool of oil painting not only to make a technical reproduction with a trompe l’oeil effect (as with photorealism), but also with the purpose of representing the “photographic” in more conceptual terms. Avoiding any sort of nostalgia, Torre’s work references analogue photography and classic black-and-white cinema from the 1960s in an attempt to draw a connection to contemporary imagery. By acknowledging photographic sequences, contact sheets, and photographic portraits, while rendering highly accurate representations of analog cameras, Torre’s paintings invert relationships between the observer and one who is observed.

“A Contemporary Glance” includes selections from three series: Hasselblad, Double Portraits and Young Men. Here the observer is involved in a play of glances, including first the mechanical eye of the cameras. The Hasselblads aim their fixed and ostensibly objective glances, but despite being machines, as Torre represents them in large scale, they seem to possess a kind of tactile and physical presence. Next, in the Double Portraits the human subjects are painted larger than life in black suits on white backgrounds imbuing them with a strong sculptural effect. The same sitter represented twice with minimal temporal or formal gaps is meant to invoke a kind of three-person dialogue with the viewer, establishing an intimate environment (often with erotic overtones). Lastly, the small portraits comprising the series Young Men depict some of the artist’s personal friends caught with intense expressions portrayed with minimal but extremely direct representation.

Fabio Torre was born in 1955 in Bologna, Italy, and now lives and works in Bagnarola di Budrio (Bologna). He has been exhibiting his work in Europe for nearly twenty years.

Lon of New York (1911-1999)

Alonzo James Hanagan was a New York male physique photographer who began his career in the late 1930s as a contemporary of George Platt Lynes. Better known as Lon of New York, Hanagan was mentored by Robert Gebhort, who taught him about lighting and the classical repertoire of masculine poses. Unlike his contemporaries who worked with mostly white, blonde, sun-kissed models, Lon chose to shoot mostly Mediterranean, Latino, African American, and working class men. He, like many other male portraiture photographers at the time, got his studio raided, was arrested, and got prints and negatives destroyed by the police on more than one occasion, which made him very weary about signing or mass producing his work.

Lon is considered part of the group of pioneering photographers responsible for the proliferation of male-on-male gaze photography, what historian of homoerotica Thomas Waugh has called “one of the greatest achievements of gay culture.” Lon of New York died months after the first public exhibition of his work at 88 years of age.