Anne Arden McDonald

Fragility (Framed Abstract Camera-less Still Life Photograph in Black & White)

2018

Limited Edition Archival pigment print 25.5 x 31.5 inches Unframed This elegant archival pigment print was created by Shelly Lependorf and Stan Shire as part of their Glyph series. The somewhat abstract nature of the photograph's subject makes it difficult to identify at first, but upon closer inspection, it depicts a highly reflective pond surface with thin, curved branches sticking out of it, is implicit of symbols or handwriting, thus the title. Artists' statement: The foundation for our work is the photographic image with the optimal quality of light. Selecting the interplay of composition, form, rhythm, and line is the focus for our imagery. Integrating these elements in the computer is the next stage in the process of merging our visual and intuitive sensibilities toward a completed vision. Different perceptual effects arise from recording the world in photographs as opposed to interpreting it in paint: Our goal is not to emulate painting. Conceptual work in all mediums has blurred the line between photographers who make art and artists who use photography. The digital medium has established itself in the natural continuum of art history and the ongoing relationship of art with technology. This work forces us to consider a more serene world while reminding us that no contemporary experience is unmediated; technology touches everything. The use of the computer as a tool does not create; it assists creativity resulting in a synthesis of disciplines to be realized as a limited edition. The combination of archival pigment inks on Crane Fine Art paper framed with archival mattes and backboards insures permanence in excess of 175 years. The creative process will always remain in the mind and the soul of the artist. About the artists: Stan Shire is Professor Emeritus and former chair...

25 x 38 inches unframed Limited Edition Archival Pigment Print Edition of 15 $2000 framed $1700 unframed This elegant archival pigment print was created by Shelly Lependorf and Stan Shire as part of their Glyph series. The somewhat abstract nature of the photograph's subject makes it difficult to identify at first, but upon closer inspection, it depicts a highly reflective pond surface with thin, curved branches sticking out of it, implicit of symbols or handwriting, thus the title. About the Artists: Stan Shire is Professor Emeritus and former chair...

Abstracted landscape color photograph of clouds and blue sky on 4 panels Japanese Kozo paper infused with encaustic on 4 panels, each panel is 36...

Grid No.6, 2009 (Contemporary Framed Abstract Grid in Neutral Shades Black & Coffee) by Birgit Blyth 40" X 25" paper vertical chromoskedesic monoprint 44 x 29 inches framed, custom frame with black wood molding and anti-reflective glass This contemporary, abstract style chromoskedasic monoprint was created by experimental photographer, Birgit Blyth. Without the use of a camera, the artist produced this chromoskedasic image by applying the photographic chemicals to black and white photo pager and exposing it to light. The variety of caramel, toffee, brown and black tones is determined by the different chemicals used and the amount of time they are exposed to light. Here, the artist paints with the photographic materials in a gestural, linear motion. Beautiful hues of coffee, caramel, brown, grey, and black intersect to create unique abstract, intersecting grid patterns that resembles a basket weave motif. The photograph is complimented with a black metal frame with non-glare glass. It is equipped with sturdy wire on the back for instant and professional quality hanging. About the artist and work: Birgit Blyth is one of our most innovative and prolific photographers who works in a darkroom yet uses no camera! Blyth has been experimenting with a technique known as Chromoskedasic painting since the early ‘90s and variations on this concept have been shown at the gallery for the last 20 years. The unusual process involves the use of silver particles in black and white photographic paper to scatter light at different wavelengths when exposed. A chemist of sorts, Blyth demonstrates a thorough knowledge of how the various photographic chemicals will react when applied to paper and exposed. Each work is unique with palettes that resonate brilliant tonalities of brown, green, black, and purple. Using this technique, Blyth creates abstract crosshatching grids and most recently has developed a more gestural series of 20 x 16 inch chromoskedasic paintings that explores the ethereal qualities made possible by the unconventional material. Birgit Blyth succeeds at keeping her work fresh and cutting-edge using analog methods that are being quickly replaced elsewhere with digital technology. Though Birgit Blyth began her photographic career using conventional photographic methods, she quickly became more interested in alternative processes. In the mid 1990’s a colleague showed her an article in Scientific American and it was here that she first discovered the technique called “chromoskedasic” painting, which would eventually lead her to fully finding her voice as a photographer. Blyth had always aligned herself with and been moved by abstract expressionist painting. The series of veil paintings by post-abstract expressionist, Morris Louis, was especially inspiring to her and caused her to ask herself how she could do similar interpretations photographically. In “chromoskedasic” painting, she found the answers and would begin on a new path in her artwork. The term “chromoskedasic” is derived from Greek roots meaning color by light scattering. Developed by a photographer named Dr. Dominic Man-Kit Lam, this process exploits the capability of silver particles in black and white photographic paper to “scatter” light at different wavelengths when exposed to light and chemicals. In her mastery of this photochemical drawing process, Blyth has painted lush washes of color into her own “Veil Series;” she has envisioned landscapes, both rural and urban, with melting swirls and marbled colors into rich palettes of toffee and lead. She has used this essentially experimental process to help her “see” the world around her. Blyth says she continues to be fascinated by the process because it requires “a combination of discipline, experimentation, and imagination, making possible a wonderful balance between control and surprise.” Because the chromoskedasic work is all analog, Blyth spends much of her studio time in the darkroom, which has become a rarity in the current world of digital photography. She does however, continue her preference for experimentation in numerous directions, even employing aspects of the digital age – this exhibit will also feature a new series of pieces created with the now defunct but much loved SX-70 polaroid camera, scanned and archivally printed on 24” x 24” fine cotton rag paper. Whatever the process, Blyth’s work is, as the painter and poet, Peter Sacks noted, a blend of “precision and mystery, of articulation and atmosphere.” Her images leave us with the feeling of ongoing action despite the apparent stillness; of qualities both dreamy and stark as light hits a stand of birch trees in a valley or a group of buildings in New York City. As Morris Louis evolved a style of painting that produced a complete integration of paint and canvas, so too has Blyth, with photo paper and chemicals, created a perfect integration of method and content. Artist CV: Born: Kousted, Denmark Resident in U.S.A. since 1963 Education: Denmark and U.S.A. Project, Inc., Cambridge MA (Photography) DeCordova Museum School, Lincoln MA (Printmaking) Maine Photography...

unique chromoskedasic monoprint on B&W photo paper 14 x 11 inches unframed 20 x 16 inches in black metal frame with non-glare glass This contemporary, abstract style chromoskedasic ...

unique chromoskedasic monoprint on B&W photo paper 14 x 11 inches unframed 20 x 16 inches in black metal frame with non-glare glass This contemporary, abstract style chromoskedasic ...

It's really majestic piece. It's grand in size and its got a very beautiful and impressive contrast in shades. This piece is something very special... two Luminograms in one work of...

Title image of my "From the Ashes" series, which was my first alt process series; my camera photographs are covid born, due to having an unfinished darkroom at the time of the shutdo...

Unique silver gelatin print (photogram made sans enlarger). This unique black-and-white (handmade print) was one of my first underwater sparkler-o-grams. Mixed process triple exposur...

Gate Taught Version 1991. Large format silver gelatin photo. signed and dated. Zeke Berman’s still lifes are fabrications derived from the material of ordinary and intimate experience, reconstituted to satisfy the demands of improvised play, monocular vision, and the special characteristics of photographic description. They are concerned with the pictorial aspect of sculpture and the provisional nature of realistic indication. In the central tradition of still-life art, they aim to establish an unsuspected order in the congregation of unremarkable things. Since the late 1970's Zeke Berman has been making singular, studio-based photographs. These works reflect his long standing interest in visual cognition, optics and the intersection between sculpture, photography and drawing. The formal range of his work and his sculptural use of materials is varied, original and idiosyncratic. Berman’s work has been collected and exhibited in museums such as The Museum of Modern Art, The Metropolitan, Whitney, Art Institute of Chicago and LA County Museum. His work was featured in the first New Photography Exhibition, 1984, at MoMA. Awards include Guggenheim, NEA and NYFA Arts Fellowships. Berman lives and works in New York City. from MOMA A World of Its Own: Photographic Practices in the Studio examines the ways in which photographers and other artists using photography have worked and experimented within their studios, from photography’s inception to the present. Featuring both new acquisitions and works from the Museum’s collection that have not been on view in recent years, A World of Its Own brings together photographs, films, and videos by artists such as Berenice Abbott, Uta Barth, Zeke Berman, Karl Blossfeldt, Constantin Brancusi, Geta Brătescu, Harry Callahan, Robert Frank, Jan Groover, Barbara Kasten, Man Ray, Bruce Nauman, Paul Outerbridge, Irving Penn, Adrian Piper...

Spaceloom XXIII The Photographer is John Reed. It bears his stamp verso. An East Hampton Photographer who shot Jackson Pollock, Lee Krasner, Larry Rivers, Philip Guston, Conrad Marca-Relli, Syd Solomon, and James Brooks amongst other art luminaries. This is for the original vintage photograph. I believe the inscription is in the hand of Ibram Lassaw some also bear the photographers stamp. Lassaw was born in Alexandria, Egypt, of Russian Jewish émigré parents, he went to the U.S. in 1921. His family settled in Brooklyn, New York. He became a US citizen in 1928. He first studied sculpture in 1926 at the Clay Club and later at the Beaux-Arts Institute of Design in New York. He made abstract paintings and drawings influenced by Kandinsky, Sophie Tauber Arp...

The Photographer is John Reed. An East Hampton Photographer who shot Jackson Pollock, Lee Krasner, Larry Rivers, Philip Guston, Conrad Marca-Relli, Syd Solomon, and James Brooks amongst other art luminaries. This is for the original vintage photograph. I believe the inscription is in the hand of Ibram Lassaw some also bear the photographers stamp. Lassaw was born in Alexandria, Egypt, of Russian Jewish émigré parents, he went to the U.S. in 1921. His family settled in Brooklyn, New York. He became a US citizen in 1928. He first studied sculpture in 1926 at the Clay Club and later at the Beaux-Arts Institute of Design in New York. He made abstract paintings and drawings influenced by Kandinsky, Sophie Tauber...