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Thomas Michael AllemanLower Manhattan2008
2008
About the Item
Listing is for UNFRAMED print. Inquire within for framing.
Edition of 15.
If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production.
Shipping time depends on method of shipping.
Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current edition of the photograph.
ABOUT:
Since the inception of Sunshine & Noir in 2001, Alleman has shot extensively in Los Angeles, New York, San Francisco and other American cities. In his latest iteration Alleman takes a detour beyond the frenetic landscapes of urban America into Paris - playfully guiding the viewer through a simultaneously familiar and foreign geography.
In the exhibition, square and panoramic landscapes and iconic landmarks stretch across the gallery, where Alleman creates intrigue by re-expressing instantly recognizable subjects. Images with blurred, vignetted edges epitomize his surrealist style, haunting throughout the series. His artful mastery at capturing movement is seen in the invitational image, San Fernando Valley, LA, where a van is swallowed by a mass of twisted bicycles. The blurred clouds above give the illusion that the broken down vehicle is actually racing down the highway. This interesting paradox of a decrepit van seemingly in lively motion reflects Alleman’s trademark style - quirky, humorous, and often nostalgic.
His love for the ironic and misplaced becomes further evident in the panoramic California Theater Marquee, LA. Once grandiose, the hotel marquee takes on an eerie, carnival-like quality when shot dilapidated and discarded in a storage yard near the Hollywood Hills. To make his panoramas, Alleman exploits, “the very primitive technology” of his camera. The Holga, a medium-format plastic camera dating from 1982 allows him to “make terrible mistakes” on purpose. He intentionally “under cranks” the film-advance, such that several consecutive pictures bump into and overlap one another, causing the images to bleed and fade together to form an apparent panorama.
Despite “laughable failures” as “focus, exposure and parallax are uncontrollable,” Alleman’s deliberate camera choice achieves a dancing dynamic between lightness and darkness characterizing Sunshine and Noir. “The shutter sometimes bounces, causing partial double-exposures; light-leaks are inevitable, but random. Much to my surprise, however, the freaky results of that technical dysfunction resembled precisely the pictures I’d been dreaming of…” Alleman says.
An acclaimed lifelong photographer, Alleman’s career and technique travelled full circle, but by no simple trajectory. As a photojournalist when clarity and detail were paramount, he mastered Nikons and the highly technical Hasselblad. Opting for messier execution and rudimentary unruliness, Alleman discovers a somewhat hard-edged sentimentality in the show.
A Michigan State University English Literature graduate with no formal photography training, Alleman credits the influence of Henri Cartier-Bresson, Lee Friedlander and Garry Winogrand. As a magazine freelancer, Alleman’s photos have been published regularly in Time, People, Business Week, Smithsonian, and the National Geographic Traveler. Most notably, Alleman was named California Newspaper’s Photographer of the Year in 1995 and Los Angeles Newspaper’s Photographer of the Year in 1996. Nonetheless, the award he is most proud of came in 2011 from Photography Book Now, who awarded Sunshine & Noir, 1st place in the travel book category.
Black and White, Urban, Cityscape, Night
- Creator:
- Creation Year:2008
- Dimensions:Height: 12 in (30.48 cm)Width: 33 in (83.82 cm)
- Medium:
- Period:
- Framing:Framing Options Available
- Condition:
- Gallery Location:Hudson, NY
- Reference Number:1stDibs: G12060811497

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Listing is for UNFRAMED print. Inquire within for framing.
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Black and White, California, Los Angeles, Panoramic, Landscape, Abstract, American, LA, Californian, Theater, Landscape Photography, Still Life, Sign, California Sign, b&w, black & white, film photography, vignette, high contrast, california, letters
Listing is for UNFRAMED print. Inquire within for framing.
Edition of 15.
If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production.
Shipping time depends on method of shipping.
Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current edition of the photograph.
ABOUT:
Since the inception of Sunshine & Noir in 2001, Alleman has shot extensively in Los Angeles, New York, San Francisco and other American cities. In his latest iteration Alleman takes a detour beyond the frenetic landscapes of urban America into Paris - playfully guiding the viewer through a simultaneously familiar and foreign geography.
In the exhibition, square and panoramic landscapes and iconic landmarks stretch across the gallery, where Alleman creates intrigue by re-expressing instantly recognizable subjects. Images with blurred, vignetted edges epitomize his surrealist style, haunting throughout the series. His artful mastery at capturing movement is seen in the invitational image, San Fernando Valley, LA, where a van is swallowed by a mass of twisted bicycles. The blurred clouds above give the illusion that the broken down vehicle is actually racing down the highway. This interesting paradox of a decrepit van seemingly in lively motion reflects Alleman’s trademark style - quirky, humorous, and often nostalgic.
His love for the ironic and misplaced becomes further evident in the panoramic California Theater Marquee...
Category
21st Century and Contemporary Photography
Materials
Archival Pigment
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Price for UNFRAMED item
The Robin Rice Gallery proudly announces SUMMERTIME Salon 2018, an annual photography exhibit featuring gallery artists as well as a few newcomers. This year’s opening reception will be held on Wednesday, June 27th from 6 – 8 PM, and the show will be on view until September 23rd, 2018
Rice has brought together the works of 55 gallery artists and nearly a hundred photographs for this salon-style exhibition. From floor to ceiling, the walls of the gallery are a mosaic of various size photographs in sepia, color and black & white, expertly hung to fit together like pieces of a puzzle. “This is my favorite exhibition even though it takes months to curate and a week to install,” says Rice. “I love the moment when a viewer is first drawn to an image. Sometimes in’s indefinable; a moment when the viewer not only shares but reconnects to an experience remembered.”
Each year, the Summertime Salon matures and Rice’s annual masterpiece is revealed to showcase an exhibition stronger than the year before. Rice has a close relationship with the works of her photographers, and strategically curates the show to best exemplify the artists’ strengths, remaining cohesively linked by Rice’s aesthetic.
This year’s invitational image, Hoop and Ball by Nenad Samuilo Amodaj is from a series of one hundred photographs. Rice chose three photographs from Amodaj’s series to create a triptych on the back wall of her gallery for this exhibition. The invitational image is of a standing semi-nude woman in profile wearing a hoop skirt. Her entire head rests inside of a large white plaster ball that she holds above her. He explained: “I wanted to explore the abstract architectural properties of the hoop skirt, a clothing item with curious geometric form that appears both in nature and in the world of artifice.” Before photographing the model he created numerous figure drawings that helped solidify his vision for the series.
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