2018
Signed and dated, recto
Charcoal with red and white conté crayon on Rives BFK paper
22 x 15 inches
Sold.
Archives
Untitled
2018
Signed and dated, recto
Charcoal with red and white conté crayon on Rives BFK paper
22 x 15 inches
$800.00
Day to Night
In Wilkes’ latest series of photographs he combines his interest in architectural imagery evident in previous bodies of work with classic street photography to produce Day to Night. For each artwork in the series Wilkes repeatedly photographs an iconic New York City scene from a static vantage point for a minimum of ten hours in one session, “capturing,” as Wilkes puts it, “a fluid visual narrative of day to night within a single frame.”
Untitled
2018
Signed and dated, recto
Charcoal with red and white conté crayon on Rives BFK paper
22 x 15 inches
Sold.
Untitled
2018
Signed and dated, recto
Charcoal with red and white conté crayon on Rives BFK paper
22 x 15 inches
Sold.
141129 Painting 16676
2014
Signed, verso
Archival pigment print (unique)
Contact gallery for size and price.
Untitled
2017
Signed and dated, recto
Charcoal with red and white conté crayon on Rives BFK paper
22 x 15 inches
Sold.
Tel 1
Burns, Colorado
2012
Signed, titled, dated, and numbered, recto
Toned gelatin silver print
40 x 30 inches, sheet
(Edition of 15)
$3800.00
24 x 20 inches, sheet
(Edition of 15)
$2000.00
20 x 16 inches, sheet
(Edition of 25)
$1500.00
14 x 11 inches, sheet
(Edition of 25)
$1000.00
Yvette Marie Dostatni | “The Conventioneers,” Lenscratch
From Aline Smithson’s post for Lenscratch:
Yvette is one of those photographers who has no fear about entering different cultures and communities, bringing a level of enthusiasm, curiosity, wonderful seeing to her work wherever she is. “I have photographed everything from the pimp convention to the Polka Convention.”
Yvette is working on a book of the culture of Conventioneers and has launched a Kickstarter campaign to help raise funds to finish the project and create a book of this long term project of capturing people, who for a weekend, get to live out their of off-beat passions.
140918 Painting 447
2014
Signed, verso
Archival pigment print (unique)
Contact gallery for size and price.
Brian Finke | “Best Photobooks of the Year,” American Photo
From American Photo Magazine:
What makes a photo book great? “It has to embody originality and, ultimately, be a thing of beauty, a work of art,” wrote rare-book dealer Andrew Roth in his seminal collection, “The Book of 101 Books,” more than a decade ago. We concur. The following 54 books meet that test. These volumes also reflect current trends in photography–the evolution of the snapshot aesthetic, the manipulation of images, the storyteller’s art, the ubiquity of social media–which have emerged in the bound book without diminishing it. The photograph and the printing press were made for each other.
View a PDF of the original article
View the exhibition “U.S. Marshals”
Browse all of Brian Finke’s work at ClampArt
ClampArt at Miami Project
Please come visit ClampArt at Miami Project, now through Sunday evening.
Miami Project is located in Midtown Miami’s Wynwood Arts District:
110 NE 36th Street
Miami, FL 33137
Click here for a complimentary one-day ticket
The gallery is in Booth 117 showing a selection of gallery artists including Jill Greenberg, Lori Nix, Robert Voit, and Marc Yankus.
Blog post by:
Brian Paul Clamp, Director
Lori Nix and Scott Daniel Ellison are included in Girls’ Club exhibition
Left: Scott Daniel Ellison, “The Birthday Party,” 2009, Acrylic on panel, 6 x 6 inches. Right: Lori Nix, “Beauty Shop,” 2010, Archival pigment print.
Both Scott Daniel Ellison and Lori Nix have artworks featured in the Girl’s Club’s exhibition, “The Moment. The Backdrop. The Persona.” (November 7, 2014 – September 26, 2015)—an examination of the uses of narrative in contemporary art. The exhibition of works in drawing, painting, video, and new media reveals the continued power of storytelling in art today, and the myriad forms it takes.
“The Moment. The Backdrop. The Persona.,” an exhibition of works by more than thirty artists from the collection of Francie Bishop Good and David Horvitz invites the viewer to experience a singular isolated moment, an evocative backdrop, or a deeply imagined character (sometimes a combination of two or more). Mostly the work of female contemporary artists, many of the stories channel archetypal narratives from mythology and fairy tales. Others examine contemporary relationships across a vast range from sober examinations of self and environment to high melodramas.
Along with the exhibition, a full-color catalog will feature an introduction from creative director Michelle Weinberg and gallery director Sarah Michelle Rupert; a series of poems from writer-in-residence Laura McDermott; and interventions from artists Lisa Sanditz, Carolyn Swiszcz, Yanira Colado; and a collaborative project from Amalia Caputo and Marina Font.
Girls’ Club
117 NE 2nd Street
Ft Lauderdale, FL 33301
For more information
Blog post by:
Keavy Handley-Byrne, Gallery Assistant
Squeeze Chute
McCoy, Colorado
2010
Signed, titled, dated, and numbered, recto
Toned gelatin silver print
40 x 30 inches, sheet
(Edition of 15)
$3800.00
24 x 20 inches, sheet
(Edition of 15)
$2000.00
20 x 16 inches, sheet
(Edition of 25)
$1500.00
14 x 11 inches, sheet
(Edition of 25)
$1000.00
Post
Sweetwater, Colorado
2012
Signed, titled, dated, and numbered, recto
Toned gelatin silver print
40 x 30 inches, sheet
(Edition of 15)
$3800.00
24 x 20 inches, sheet
(Edition of 15)
$2000.00
20 x 16 inches, sheet
(Edition of 25)
$1500.00
14 x 11 inches, sheet
(Edition of 25)
$1000.00
Jen Davis | “The 17 Best Photobooks of the Year,” Humble Arts Foundation
From Jon Feinstein’s post for the Humble Arts Foundation:
It’s that time of year — nearly every photography blog and their respective grandparents compile highly curated yet potentially arbitrary lists of the best of the best, leaving victors with feelings of wild champion, and others heartbroken on the sidelines. In the past few years, narrowing a definitive list like this has become even harder than ever before as, despite claims of the “death of print,” we’ve seen a renewed interest in the photobook.
View the series, “Eleven Years”
Browse all of Jen Davis’ work at ClampArt
“Paintings”
Well known for her daring and experimental photographic portraits, Jill Greenberg has returned to drawing and painting with real, physical pigment. Applying and combining a variety of paints—from oil to acrylic to gouache—on a glass support, the artist lights the surface with a combination of artificial and natural light before photographing the abstract compositions by use of a high resolution digital camera back which allows for maximum detail. While contrast and hue are pushed in the digital capture software, the images themselves are all authentic recordings of the ever-changing light reflected off the paint. Greenberg’s wet and dry pigments fuse creating a dizzying and dynamic field of scrapes and bubbles.
Greenberg purposely took on the medium of painting in response to the appropriation tactics of certain Pictures Generation artists who mine photographic images from mass media, advertising, and the fine arts. These artworks, which have historically been understood to call into question Modernist conceits such as autonomy and originality, have now become so ensnared in the market, they have folded back upon themselves and raise ethical issues concerning fair use and, of course, copyright.
Brian Finke | “U.S. Marshals,” L’Oeil de la Photographie
John Arsenault | “For You!,” Musée Magazine
Brian Finke | “U.S. Marshals in Action,” Vice Magazine
From Matthew Leifheit’s extensive interview with Brian Finke for Vice Magazine:
What’s a more exciting or suspenseful image than a hostile looking lady with a gun in the smoke-filled cabin of an airplane? I recently had a chat with Brian Finke about how he put all this together [his series of photographs of U.S. Marshals].
Vice: Do you think you are telling the truth about these people, or are they characters that represent an idea you’re trying to communicate?
Finke: When I chose to recreate something, it’s because it’s something I’ve seen happen before. I don’t ask anyone to do something they wouldn’t do anyhow, but sometimes it takes more time to capture the image I want. I always try to stay true to the subject.
A lot of what I’m interested in shooting is traditionally journalistic in terms of subject matter, but seen in a way that does not adhere to a traditional documentary style.
Since making this series, I’ve gotten a number of requests to do stories related to guns. “Wired Magazine” sent me on an assignment to go photograph John McAfee. Three days after I came back to NY, he went on the run when he was accused of killing his neighbor in Belize.
View Brian Finke’s series “U.S. Marshals”
Browse all of Brian Finke’s work at ClampArt