2012
Signed and numbered on label, verso
Archival pigment print
16 x 20 inches, sheet
(Edition of 10)
$750.00
30 x 40 inches, sheet
(Edition of 10)
$2500.00
50 x 60 inches, sheet
(Edition of 10)
$4500.00
Archives
Untitled
2007
Signed and numbered on label, verso
Archival pigment print
16 x 20 inches, sheet
(Edition of 10)
$750.00
30 x 40 inches, sheet
(Edition of 10)
$2500.00
50 x 60 inches, sheet
(Edition of 10)
$4500.00
James Bidgood | “Out of a Dream,” Gayletter
From Cameron Keady’s interview from Gayletter:
Nearly all the images Bidgood created of beautiful boys swimming in shimmering lagoons, laying in flowers beneath a pink sunrise or standing in front of the Eiffel Tower were photographed in a space similar to the one I had just entered. It was Bidgood’s wild imagination and abilities to trick both the camera and the viewer that made these photographs seem so surreal.
Untitled
2015
Signed and numbered on label, verso
Archival pigment print
16 x 20 inches, sheet
(Edition of 10)
$750.00
30 x 40 inches, sheet
(Edition of 10)
$2500.00
50 x 60 inches, sheet
(Edition of 10)
$4500.00
Untitled (from the series “Fire”)
2007
Signed and numbered on label, verso
Archival pigment print
16 x 20 inches, sheet
(Edition of 10)
$750.00
30 x 40 inches, sheet
(Edition of 10)
$2500.00
50 x 60 inches, sheet
(Edition of 10)
$4500.00
Adam Ekberg monograph forthcoming in November
ClampArt is very happy to announce the publication of The Life of Small Things—Adam Ekberg’s first monograph (Waltz Books, Clothbound, 96 pages, 45 color plates, 11 x 9 inches). The book is due to be released in November 2015, and will include an introduction by Darius Himes, International Head of Photographs at Christie’s.
In his photographic interventions, Adam Ekberg presents moments both mysterious and delightful. His constructions, rendered in lavish color, are not easily decoded or resolved. A disco ball turning in the woods is simultaneously fantastic and lonely; as the beam of a flashlight bounces between mirrors in a small hallway, the scene radiates a warming light that will only ever live within the confines of the photographic frame.
Brought together for the artist’s first monograph, the images in “The Life of Small Things” confound expectations about what we perceive as the inevitability of the commonplace. Made over the course of the past decade, the series began as a response to Ekberg’s time as a hospice aide. Since then, his interventions have embraced a wide range of quiet surprises. Ekberg hints at the poignant beauty that can take shape, although fleetingly, when the spark of possibility hits the mundane.
To pre-order a copy of the book
Browse all of Adam Ekberg’s work at ClampArt
Blog Post By:
Keavy Handley Byrne, Gallery Assistant
Wine Dark Sea West
2015
Signed, verso
Cyanotype on albumen-coated watercolor paper (Unique)
15 x 22 inches
Sold.
Tall Ship
2014
Signed, verso
Cyanotype on albumen-coated watercolor paper (Unique diptych)
30 x 44 inches, overall
30 x 22 inches, each
$8000.00
Jill Greenberg | “Interview,” Ken Weingart Blog
From Ken Weingart’s interview with Jill Greenberg for his Art and Photography Blog:
KW: How did you get started in photography?
JG: I have been drawing, painting, and taking pictures since I was about eight or nine. I went to Cranbrook for elementary school, so I learned to print in the darkroom in 5th grade but was shooting even in 3rd and 4th grade.
My parents were photo hobbyists and they let me use their cameras. I used to set up still lifes of my model horses, and later I staged portraits of my Westie named Plato. I used to draw him and horses obsessively as a little girl. In high school I wanted to be a fashion illustrator or a fashion photographer, and I went to RISD for a precollege illustration program but ended up being a photo major at RISD after spending a summer on a scholarship at Parsons in Paris studying photography
Boston to New York
May 14 – June 20, 2015
ClampArt is very proud to present “Boston to New York: David Armstrong (1954-2014), Nan Goldin (b. 1953), and Mark Morrisroe (1959-1989).” These three artists largely represent the core of what has now been coined the Boston School—a group of artists who attended either the School of the Museum of Fine Arts or Massachusetts College of Art between 1971 and 1984. (Other unofficial members include Philip-Lorca diCorcia, Jack Pierson, Stephen Tashjian, etc.)
Elisabeth Sussman, the Sondra Gilman Curator of Photography at the Whitney Museum of American Art, writes: “[T]here was, and continues to be, a consistent Boston aesthetic. . . For all of the remarkable differences among these artists, similarities emerge—a strong engagement with the direct photograph and a consistent exploration of the group of people who constitute the photographers’ social milieu and through whose lives reveal the photographers’ beliefs (that is not too strong a word) about friendship and love, sexuality, and the potential of polymorphously gendered identity.” Not only friends with a shared artistic sensibility, these photographers were also routinely the subjects of one another’s images.
Sharing a non-romantic relationship and sometimes a home over a period of decades, Nan Goldin and David Armstrong first became close friends well before college at the Satya Community School, an alternative high school in Cambridge, Massachusetts, at age 14. Both of them then attended the Museum School, where they eventually met Mark Morrisroe in 1977. In fact, Armstrong was a strong advocate of Morrisroe’s admission. And, Goldin remembers: “[Morrisroe] left shit in my mailbox as a gesture of friendship.”
Armstrong soon moved to New York in the late 1970s, and Goldin followed him a year later, taking an apartment just around the corner. Morrisroe would not move to the city until later in 1986—just a few years before his death to AIDS-related complications.
ClampArt brings together a broad range of diaristic photographs by these three artists from the expanse of their amazing careers. The exhibition is in honor of David Armstrong, whose untimely death came in October 2014. The immense influence of these three photographers on younger generations cannot be overstated.
Untitled (Ghost Ship V)
2013
Signed, verso
Cyanotype on albumen-coated watercolor paper (Unique)
22 x 30 inches
$5000.00
Luke Smalley | “Daybook: Luke Smalley @ClampArt,” Collector Daily
From Loring Knoblauch’s “Daybook” post on Luke Smalley’s exhibition for Collector Daily:
Recreated motifs of stylized masculinity. Luke Smalley at ClampArt.
Browse the “Retrospective” exhibition at ClampArt
Browse all of Luke Smalley’s work at ClampArt
James Bidgood | “I Was a Woman. . . ,” The WOW Report
From Trey Speegle’s post on WorldOfWonder.net:
James Bidgood revolutionized gay male erotic imagery by taking the pulp and glamour aesthetic of the 40s and 50s and applying it to male erotic fantasies, like no one before. From a NYC tenement in the 60s, he created photographs, like the one above using vibrant colors and exaggerated props and costumes to celebrate homosexuality. His works were first published in underground magazines, and he was also the “Anonymous” maker of the film Pink Narcissus (1971), an explosion of colorful eroticism that stands the test of time. The 82 year-old gay icon lives in New York City and is still working.
James Bidgood writes: ““I was a woman three shows and approximately nine hours a night when Christine Jorgensen first hit the news. I was at the time a female impersonator working at Club 82. I think most of the rest of the cast pondered if perhaps we might follow Miss Jorgensen’s example. I really enjoyed wearing lavish costumes and seeming way movie star glamorous. . .”
Christopher Churchill | American Faith
From Nazraeli Press, with introduction by Arno Rafael Minkkinen (Hardcover, 122 pages, 12.8 x 11.8 inches). $100 + shipping.
Dave Anderson | One Block
Aperture, with essay by Chris Rose (Hardcover, 144 pages, 83 four-color plates, 7.8 x 10 inches). $15 + shipping.
Salem Suite
May 14 – June 20, 2015
Opening reception:
Thursday, May 14, 2015
6:00 to 8:00 p.m.
ClampArt is pleased to present “Salem Suite”—a series of photographs by artist Will McBride (1931-2015) from 1963.
Largely remembered as a celebrated documentarian of the new generation of postwar youth and the sexual revolution in Berlin in the 1950s and 1960s, McBride regularly photographed for a number of European periodicals, including most notably “Twen.” “Twen” caused quite a scandal when they published McBride’s portraits of his pregnant wife in an issue in 1960.
Later, in 1963, the magazine commissioned the artist to shoot a photo-essay on the School of Salem Castle—long considered one of the most elite boarding schools in Europe. McBride’s images chronicle many aspects of the students’ lives from meals and lessons to athletics, but by far the most famous photograph was shot in the communal showers. “Mike wäscht mit anderen Schule Salem (Mike in the Shower, Salem)” would go on to prove to be the most iconic image of the artist’s career.
Nonetheless, working in a documentary style for the purpose of telling a multi-faceted story, McBride would shoot literally hundreds of negatives while on assignment. Whereas “Twen” published a number of photographs from the series on the School of Salem Castle, the artist’s archive contained a treasure trove of unpublished and never-before-seen images from the same assignment. The “Salem Suite,” produced in 2014 before the artist’s death, includes a total of sixteen related photographs selected by the artist, and is being exhibited for the first time in the United States at ClampArt. The “Salem Suite” images epitomize McBride’s reputation for the celebration of the energy of youth.
Will McBride was born in St. Louis, Missouri in 1931, and grew up in Chicago. He studied painting under Norman Rockwell and later at the National Academy of Design in New York before earning a degree from Syracuse University in 1953. Then, from 1953 to 1955, he served in the U.S. Army at Würzburg, Germany. McBride stayed in Germany for the remainder of his life. Despite a successful career and the publication of many monographs, much of the artist’s work was never seen in the United States, as his photographs often included nudity, were usually controversial, and regularly became the subject of censorship.
The exhibition at ClampArt is accompanied by a book of the same title (Salzgeber & Co. Medien GmbH, Hardcover, 12 x 12 inches, 56 pages, $42).
Bosphorus Sky XIII
2017
Signed, verso
Cyanotype on albumen-coated Fabriano Artistico watercolor paper (Unique)
15 x 22 inches
$2500.00
Lori Nix | “Posthuman Utopia,” The Paris Review
From Dan Piepenbring’s article for The Paris Review:
Earth: it’s a neat-looking place.
Agèd. Spherical. Cerulean-ish.
Problem is, there are more than seven billion people here, gumming up the planetary works with such “advances” as “buildings,” “indoor plumbing,” and “rust-proof tension-mounted shower caddies.” Earth is so crowded with human beings that many of them live and work within mere feet of one another. It is, on Earth Day, something of a buzzkill.
Praise be to Lori Nix’s dioramas, then, for showing us how much better the world will be when humanity—that most entrenched of fads—passes, leaving our edifices to crumble under the forces of nature.
Browse the series “The City” at ClampArt
Browse all of Lori Nix’s work at ClampArt
Stephen Wilkes | “Photographer examines his growth,” The Observer
From Gabriela Malespin’s article for The Observer:
Acclaimed photographer Stephen Wilkes presented an array of his photographs at the Snite Museum on Wednesday as part of the museum’s Artist Talk series.
Wilkes presented his new photographic series “Day to Night,” a series of large-scale, time-lapse panoramas from locations such as Jerusalem, Times Square, the Eiffel Tower, and the Washington Mall. Wilkes’ panorama “Jerusalem” was featured in the Snite’s Scholz Family Collection from April 14 to April 22.
During his talk, Wilkes discussed how he develops the large scale panoramic photos for his series. The process requires positioning himself more than 50 feet above his subject on a crane and consists of more than 15 hours of work, Wilkes said.
“I take these views, views that I call part of our collective memory, and what I do is photograph for 15 hours on average. I shoot between 1500 to 2000 images of which I edit down to the 50 best moments from day to night and they seamlessly get blended together into one single photograph.
“I realized I stepped into something: the concept of changing time in a single photograph,” Wilkes said.
View Stephen Wilkes’ series “Day to Night”
Browse all of Stephen Wilkes’ work at ClampArt
Henry Horenstein has a solo show at PCNW
Henry Horenstein has a solo exhibition titled “Racing Days” on display at the the Photographic Center Northwest (PCNW) in Seattle from April 9 – June 13, 2015.
“Racing Days” presents black-and-white photographs of the thoroughbred racetracks across the United States, a project Henry Horenstein started in 1973. The images evoke the atmosphere of the tracks and the myriad of characters, big and small. Horenstein focused on the workouts, the backstretch activity, and the track action. He captured the grooms, clockers, and trainers to vendors of tout sheets, jockeys, and above all, the bettors. Horenstein will present a lecture the night of the opening entitled “Shoot what you Love” and talk about his many personal projects and published books.
“Racing Days (1976-1986),” Henry’s first monograph, looks at the changing world of thoroughbred racing through its people, places, and of course, horses. Limited copies of “Racing Days (1976-1986)” will be offered for sale at PCNW.
PCNW
415 Westlake Avenue, North
Seattle, WA 98109
http://pcnw.org/exhibitions/racing-days/
Browse all of Henry Horenstein’s work at ClampArt
Blog post by:
Brian Paul Clamp, Director