November 11, 1954/1997
Stamped in black ink, verso
Titled, dated, and numbered in pencil, verso
Gelatin silver print (Edition of 25)
20 x 16 inches, sheet
18.75 x 14.75 inches, image
Sold.
Literature:
Leddick, David. George Platt Lynes. Edited by Anatole Pohorilenko, Köln, Taschen, 2000, p. 167, full-page illus.
Leddick, David. The Male Nude. Köln, Taschen, 2005, p. 233, full-page illus., and back cover illus. [another example]
c. 1954
Studio stamp in black ink, verso
Silver print
9 x 7 inches
Sold.
1954
George Platt Lynes studio stamp in black ink, verso
Vintage gelatin silver print
5.5 x 9 inches
Sold.
Literature:
Crump, James. George Platt Lynes: Photographs from the Kinsey Institute. 1st ed., New York City, Bullfinch Press, 1993, pp. 65-67 [three other examples]
1954
George Platt Lynes studio stamp in black ink, verso
Vintage gelatin silver print
5.5 x 9 inches
Sold.
Literature:
Crump, James. George Platt Lynes: Photographs from the Kinsey Institute. 1st ed., New York City, Bullfinch Press, 1993, pp. 65-67 [three other examples]
c. 1940
Inscribed in black ink, verso
Vintage gelatin silver print
10 x 8 inches
Sold.
c. 1937
Stamped, verso
Vintage gelatin silver print
9 x 7.5 inches
Sold.
Literature:
Crump, James. George Platt Lynes: Photographs from the Kinsey Institute. 1st ed., New York City, Bullfinch Press, 1993, p. 140, illus. [related example]
c. 1947
Paul Cadmus and Jon Anderson stamps, verso
Vintage gelatin silver print
7.5 x 7 inches, image
Sold.
c. 1953
Vintage gelatin silver print
10 x 8 inches
Sold.
Literature:
Woody, Jack. George Platt Lynes: Photographs 1931-1955. 3rd ed., Twelvetrees Press, 1981, p. 100, full-page illus.
Image: © Louie Palu, “Eating grapes in Pashmul during a patrol in Zhari District, Kandahar, Afghanistan,” 2008, Archival pigment print.
Artist Louie Palu is speaking this evening at 5.30 pm at the Center for Creative Photography in Tucson, Arizona:
Documentary photographer and filmmaker Louie Palu examines the social-political issues involving war and human rights in his work. Palu’s series of conceptual newspapers on the Mexican Drug War and the detention center in Guantanamo Bay look into the creation, use, control, and censorship of photographs in the news. Additionally, he explores government and media message-shaping, how the public consumes photographs, and how photojournalism has shaped public perception in the post-9/11 age of terror. Palu’s lecture will focus on the contemporary news landscape and how his work is situated within it, amid the conflict and violence. He will also discuss his new documentary film, “Kandahar Journals,” the thesis of which addresses the impossibility of photographs to convey the reality of war.
Louie Palu is an award winning documentary photographer whose work has appeared in festivals, publications + exhibitions internationally. He is the recipient of numerous awards including a Pulitzer Center on Crisis Reporting Grant and is a 2011-12 Bernard L Schwartz Fellow with the New America Foundation. He is well known for his work which examines social political issues such as human rights, conflict, and poverty.
The Center for Creative Photography Auditorium
University of Arizona
1030 North Olive Road
Tucson, AZ 85721-0103
Tuesday, October 6, 2015
5:30pm
Free of charge
http://www.creativephotography.org/exhibitions-events/events/lecture-louie-palu
Browse all of Louie Palu’s work at ClampArt
Blog post by:
Brian Paul Clamp, Director
c. 1938
Artist’s name stamped in black ink, verso of mount
Mounted photogravure
9 x 7.5 inches
Sold.
Literature:
Crump, James. George Platt Lynes: Photographs from the Kinsey Institute. 1st ed., New York City, Bullfinch Press, 1993, p. 14, full-page illus.
From Emily Colucci’s extensive review for Filthy Dreams:
In an interview with “The Guardian”’s Dominic Rushe, photographer and porn star Peter Berlin explains, “I have wondered what it would be like to just have Peter Berlins on this planet. I think I’d prefer that. It sounds selfish. Very rarely have people made me stop the way I made people stop. If I was on a planet where everybody looked like me, I think I’d like that—but maybe it would be a mistake.”
While Berlin’s statement could be understood as an alternately comic and off-putting form of narcissism, his stunning photographic self-portraits, which are currently on view at ClampArt’s exhibition “WANTED: Peter Berlin,” reveal his inventive and influential use of his own body and self-created aesthetic as a revolutionary source of erotic pleasure. With his tight jeans or leather pants, blond pageboy hair and classical Grecian figure, Berlin’s portraits portray a distinct and enduring hypersexual gay male eroticism similar to Tom of Finland’s unwavering leathermen imagery. However—unlike Tom of Finland, who completed several portraits of Berlin, Berlin asserts his own body as an ideal, transforming self-portraiture into self-love.
Browse the exhibition “WANTED” at ClampArt
Browse all of Peter Berlin’s work at ClampArt
Image: Laura Stevens, “Sofia,” 2014, Archival pigment print.
ClampArt is pleased to announce that photographs by Laura Stevens from her series Another November are now available. You can view the entire body of work online: http://clampart.com/2015/09/laura-stevens/#/1. We also have a gorgeous portfolio of prints at the gallery, if you wish to see the photographs firsthand.
Stevens writes of the work: “Following the ending of a significant relationship in my life, an undoing began. Whilst adjusting to being a single woman, I started to create a photographic narrative based on the experience of losing love—directing other women to portray the gradual emotional and circumstantial stages along the well-trodden track of the broken-hearted.”
Employing cinematic drama and painterly aesthetics to illustrate themes of intimacy, relationships, and loss, Stevens shoots portraits of friends and acquaintances in rooms of their actual homes in Paris, where she now resides.
Browse Another November by Laura Stevens at ClampArt
Blog post by:
Brian Paul Clamp, Director
From Emily von Hoffmann’s interview with Rachel Papo for Pixel Magazine:
EM: The decision to home school one’s child, much like choosing a school district, is a very personal one that is often publicly judged and discussed. Did you find it difficult to get people to allow you into their homes to document the experience? How did you approach people?
RP: Yes, I absolutely agree and this is true not only in this case, but in any situation where children are being photographed. I approached each family in a very direct, honest and respectful manner and shared my previous work with them. Many of the parents wanted to know how I would use the photos and where they would end up. The families I met were all very proud of the path they have chosen so after they realized that my approach was that of an observer, that I was not judging their choices, they opened their doors for me every time.
Browse the series “Homeschooled” at ClampArt
Browse all of Rachel Papo’s work at ClampArt
From Eva Clifford’s article for Feature Shoot:
In her series entitled Homeschooled, Papo’s unobtrusive photographic style lures the viewer into the children’s ethereal, dreamlike worlds, and ultimately what shines through the finished project is the free, fragile spirit of childhood: kids skate on a frozen lake; a boy hurls a saucer of ice into the sky; a girl dressed as Thor squats underneath a tree, engulfed by firs and ivory blankets of snow. We see cosy domesticity and entire forests that seem to belong only to the kids. Yet while her images make it easy to see the appeal of this lifestyle, Papo makes it clear that she maintains a neutral standpoint throughout her approach to this controversial subject.
Browse the series “Homeschooled” at ClampArt
Browse all of Rachel Papo’s work at ClampArt
From Alexandra Klausner’s article for the Daily Mail:
The series zooms in on the lives of children who study, sleep, and play at their homes in the Catskill Mountains.
“As the criticism of the U.S. education system grows among parents, so does the appeal of homeschooling. Together with today’s increasingly fast-paced, connected culture, this choice seems an almost natural one for many families,” writes Papo.
“Though still a controversial and heated topic, the number of homeschooled children in America is growing rapidly. For the past year and a half I have been photographing a small number of families living in the Catskills who practice homeschooling,” she adds.
Browse the series “Homeschooled” at ClampArt
Browse all of Rachel Papo’s work at ClampArt
Image (left): John Arsenault, “There Never Was a Woman of My Dreams,” 2006, Archival pigment print.
Image (right): Pacifico Silano, “Pages of a ‘Blueboy Magazine’,” 2012, One hundred archival pigment prints.
John Arsenault and Pacifico Silano’s work is included in “Art AIDS America” at the Tacoma Art Museum: October 3, 2015 – January 10, 2016. Other artists include Shimon Attie, Bill Jacobson, Deborah Kass, and David Wojnarowicz, among many others.
This groundbreaking exhibition underscores the deep and unforgettable presence of HIV in American art. It introduces and explores the whole spectrum of artistic responses to AIDS, from the politically outspoken to the quietly mournful, surveying works from the early 1980s to the present.
Art AIDS America is organized by Tacoma Art Museum in partnership with The Bronx Museum of the Arts, and co-curated by Jonathan David Katz, Director, Visual Studies Doctoral Program at the University at Buffalo (The State University of New York), and Rock Hushka, Chief Curator at Tacoma Art Museum. Generous support provided by The Andy Warhol Foundation for the Visual Arts, The Paul G. Allen Family Foundation, Leslie-Lohman Museum of Gay and Lesbian Art, and Gilead Sciences, Inc.
Tacoma Art Museum
1701 Pacific Avenue
Tacoma, WA 98402
253.272.4258, T
Click here for more information
Browse all of John Arsenault’s work at ClampArt
Browse all of Pacifico Silano’s work at ClampArt
Blog post by:
Andrew Kurczak, Gallery Assistant
From Nicole Crowder’s article on Brian Finke for The Washington Post:
Even now, many of us still have the quintessential image of a flight attendant from the Golden Age of travel in our memories. Perfectly coiffed, effervescent and small in frame, she—always a “she”—is wearing a small cap and a smile.
Photographer Brian Finke explores this insular world and its evolution in his book “Flight Attendant.” He spent nearly two years traversing the friendly skies, following the life of flight attendants in the air and on the ground, from Delta and Hawaiian Air, to Hooters Air, Southwest, Air France, British Airways, Air Asia, and dozens more. His images of flight attendants waving, applying makeup and deboarding plans while smiling appear as if they were ripped from an advertisement in a glossy magazine.
Browse the Series “Flight Attendants” at ClampArt
Browse all of Brian Finke’s work at ClampArt
From Philip Richardson’s story for The New York Times:
In Texas, where football is an unofficial religion, a photography project documenting the sideline drama and athleticism of football and cheerleading would not be unwelcome.
But the photographer Brian Finke was a reluctant convert to this pastime, even though he was raised in suburban Houston.
“It was something very familiar growing up in Texas,” he said. “My two sisters were cheerleaders, so it was too close and overly familiar. I almost didn’t find the interest in it.”
Yet after high school—when he lived in New York as a student at the School of Visual Arts—Mr. Finke saw the film “Bring It On,” a sassy teen comedy about competitive cheerleading.
The movie would be the motivation in part for a project on these two historically related, but increasingly independent, competitive sports.
Browse the series “2-4-6-8: American Cheerleaders and Football Players” at ClampArt
Browse all of Brian Finke’s work at ClampArt
1974
Signed and dated, l.r.
Pencil on paper
11.75 x 8.75 inches
Contact gallery for price.
From Alison Nastasi’s article on Flavorwire:
Jeannette Montgomery Barron is known for her portraits of the New York art world and downtown scene in the 1980s—a vibrant, creative chapter in the city’s history. She’s photographed some of the world’s most famous artists, including Andy Warhol and Jean-Michel Basquiat (thanks to a 1984 assignment from gallerist Bruno Bischofberger), and cultural figures of the time. From the Mudd Club and the Palladium, to the Factory and Bianca Jagger’s social circle, Jeannette Montgomery Barron was there with camera in hand.
Browse Jeannette Montgomery Barron’s “Portraits from the 1980s” at ClampArt
Browse all of Jeanette Montgomery Barron’s work at ClampArt