Lions Gallery Photography

From the David C. and Sarajean Ruttenberg Collection The Ruttenbergs are longtime art lovers who have collected abstract expressionist paintings, African art, sculpture, graphics, old watches and photographs-lots and lots of photographs. They started collecting them in the 1960s when the medium was still the stepchild of the arts. They kept collecting until they had more than 3,000 prints, 99 of which are in the Art Institute exhibit, ``The Intuitive Eye: Photographs from the Collection of David C. and Sarajean Ruttenberg.`` The show encompasses the entire history of photography with black-and-white and color prints from every genre, It includes street photography by Walker Evans and Garry Winogrand, glamour shots by Edward Steichen and Richard Avedon, nudes by Robert Mapplethorpe and Nicholas Muray...

After completing an MA in Political Studies at Queen’s University, focusing on identity politics and immigration, Cossette served in several public policy roles with the federal gove...

After completing an MA in Political Studies at Queen’s University, focusing on identity politics and immigration, Cossette served in several public policy roles with the federal gove...

Jacques Zucker was born in 1900 in Radom, Poland. He was a notably famous Jewish American artist mostly known for his expressionist figure paintings. In his young years he traveled t...

Jacques Zucker was born in 1900 in Radom, Poland. He was a notably famous Jewish American artist mostly known for his expressionist figure paintings. In his young years he traveled t...

Richard Milhous Nixon was the 37th President of the United States, serving from 1969 to 1974 when he became the only U.S. president to resign the office, as a result of the Watergate scandal. ---- Over a 50-year span, McDarrah documented the rise of the Beat Generation, the city’s postmodern art movement, its off-off-Broadway actors, troubadours, politicians, agitators and social protests. Fred captured Jack Kerouac frolicking with women at a New Year’s bash in 1958, Andy Warhol adjusting a movie-camera lens in his silver-covered factory, and Bob Dylan offering a salute of recognition outside Sheridan Square near the Voice’s old office. Not just a social chronicler, McDarrah was a great photo-journalist. For years, McDarrah was the Voice's only photographer and, for decades, he ran the Voice’s photo department, where he helped train dozens of young photographers, including James Hamilton, Sylvia Plachy, Robin Holland and Marc Asnin. His mailbox was simply marked "McPhoto." An exhibit of McDarrah’s photos of artists...

Mercedes Matter née Carles (1913 – December 2001) was an American painter and draughtswoman. Her father was the American modernist painter Arthur Beecher Carles who had studied with Henri Matisse. Her mother, Mercedes de Cordoba, was a model for Edward Steichen. Matter grew up in Philadelphia, New York and Europe. She first painted under her father's supervision at age 6 and would later recall being given a paintbox to use while working alongside him in the French countryside. At the age of 12, she returned to Europe and lived in Italy for over 2 years. She would later recount that her time in Italy—including Venice, Assisi, Rome, and Florence—was formative and her primary education in art history. Subsequent studies included at Bennett College in Millbrook, NY with sculptor Lu Duble, and in New York City with Maurice Sterne, Alexander Archipenko and Hans Hofmann. In the late 1930s, Matter was an original member of the American Abstract Artists. She also worked for the Works Progress Administration. She worked with Fernand Léger, who would become a close friend, on his mural for the French Line passenger ship company and again privately on another mural. Léger introduced her to Herbert Matter, the Swiss graphic designer and photographer whom she married in 1939. He also resided with the couple for a year sharing their studio and apartment. The Matters were active in the emerging mid-century New York art scene, and contact with other artists was important to them. Close friends included Jackson Pollock, Lee Krasner, Franz Kline, Philip Guston, Alexander Calder and Willem de Kooning. In 1943, the Matters moved to California. Matter was raising an infant son but the environment away from New York was affecting her work. She returned to New York in 1946. Beginning in 1953, Matter taught at the Philadelphia College of Art (now University of the Arts) for 10 years, and then at the Pratt Institute for 10 years. She later taught at New York University for several years. She was a visiting critic at Antioch, Brandeis, Cincinnati School of Art, Kansas City Art Institute, Maryland Institute College of Art, Yale University, Skowhegan and American University in Washington, DC.. In 1964, she founded the New York Studio School of Drawing, Painting, and Sculpture. A year earlier, she wrote an article for ARTnews titled What's Wrong with U.S. Art Schools? in which she criticised the phasing out of extended studio classes which served "that painfully slow education of the senses," which she considered essential. The article prompted a group of Pratt students, as well as some from Philadelphia, to ask Matter to form a school based on her ideas. The school was originally housed in a loft on Broadway and gained almost immediate support from the Kaplan Fund, Mrs. John D. Rockefeller III and the Ford Foundation. It granted no degrees, had only studio classes and emphasized drawing from life. Early teachers, chosen by the students, included the artists Philip Guston, Bradley Walker Tomlin, Charles Cajori, Louis Finkelstein...

Bernard Pfriem (09/07/1916 - 03/07/1996) was born in Cleveland, Ohio. He was most well-known for his large-scale hyper-realistic drawings of the human ...

Veteran Village Voice photographer Fred W. McDarrah Over a 50-year span, McDarrah documented the rise of the Beat Generation, the city’s postmodern art movement, its off-off-Broadway actors, troubadours, politicians, agitators and social protests. Fred captured Jack Kerouac frolicking with women at a New Year’s bash in 1958, Andy Warhol adjusting a movie-camera lens in his silver-covered factory, and Bob Dylan offering a salute of recognition outside Sheridan Square near the Voice’s old office. Not just a social chronicler, McDarrah was a great photo-journalist. For years, McDarrah was the Voice's only photographer and, for decades, he ran the Voice’s photo department, where he helped train dozens of young photographers, including James Hamilton, Sylvia Plachy, Robin Holland and Marc Asnin. His mailbox was simply marked "McPhoto." An exhibit of McDarrah’s photos of artists presented by the Steven Kasher Gallery in Chelsea was hailed by The New York Times as “a visual encyclopedia of the era’s cultural scene.” artists in their studios, (Alice Neel, Philip Guston, Stuart Davis, Robert Smithson...

Born on October 1, 1924, in Plains, Georgia, Jimmy Carter was 39th president of the United States (1977-81) and served as the nation's chief executive during a time of serious problems at home and abroad. Carter's perceived mishandling of these issues led to defeat in his bid for reelection. He later turned to diplomacy and advocacy, for which he was awarded the Nobel Prize for Peace in 2002. --- Veteran Village Voice photographer Fred W. McDarrah Over a 50-year span, McDarrah documented the rise of the Beat Generation, the city’s postmodern art movement, its off-off-Broadway actors, troubadours, politicians, agitators and social protests. Fred captured Jack Kerouac frolicking with women at a New Year’s bash in 1958, Andy Warhol adjusting a movie-camera lens in his silver-covered factory, and Bob Dylan offering a salute of recognition outside Sheridan Square near the Voice’s old office. Not just a social chronicler, McDarrah was a great photo-journalist. For years, McDarrah was the Voice's only photographer and, for decades, he ran the Voice’s photo department, where he helped train dozens of young photographers, including James Hamilton, Sylvia Plachy, Robin Holland and Marc Asnin. His mailbox was simply marked "McPhoto." An exhibit of McDarrah’s photos of artists...

Veteran Village Voice photographer Fred W. McDarrah Over a 50-year span, McDarrah documented the rise of the Beat Generation, the city’s postmodern art movement, its off-off-Broadway actors, troubadours, politicians, agitators and social protests. Fred captured Jack Kerouac frolicking with women at a New Year’s bash in 1958, Andy Warhol adjusting a movie-camera lens in his silver-covered factory, and Bob Dylan offering a salute of recognition outside Sheridan Square near the Voice’s old office. Not just a social chronicler, McDarrah was a great photo-journalist. For years, McDarrah was the Voice's only photographer and, for decades, he ran the Voice’s photo department, where he helped train dozens of young photographers, including James Hamilton, Sylvia Plachy, Robin Holland and Marc Asnin. His mailbox was simply marked "McPhoto." An exhibit of McDarrah’s photos of artists presented by the Steven Kasher Gallery in Chelsea was hailed by The New York Times as “a visual encyclopedia of the era’s cultural scene.” artists in their studios, (Alice Neel, Philip Guston, Stuart Davis, Robert Smithson...

Merce Cunningham - Mercier Philip "Merce" Cunningham (April 16, 1919 – July 26, 2009) was an American dancer and choreographer who was at the forefro...

Ivan Karp Sherman Drexler Ivan C. Karp (June 4, 1926 – June 28, 2012) was an American art dealer, gallerist and author instrumental in the emergence of pop art in the 1960s. Karp ...

TERRY EVANS (American b. 1944) "Between Kearny and Salina," June 13, 1990 Color photograph (chromogenic print, C Print) on photo paper, dated and hand sig...

TERRY EVANS (American b. 1944) "Terraced Plowing," September 4, 1990, Color photograph (chromogenic print, C Print) on photo paper, dated and hand signed...

Julius Shulman (October 10, 1910 – July 15, 2009) was an American architectural photographer best known for his photograph "Case Study House #22, Los Angeles, 1960. Pierre Koenig, Architect." The house is also known as the Stahl House. Shulman's photography spread California Mid-century modern around the world. Through his many books, exhibits and personal appearances his work ushered in a new appreciation for the movement beginning in the 1990s. His vast library of images currently resides at the Getty Center in Los Angeles. His contemporaries include Ezra Stoller and Hedrich Blessing Photographers. In 1947, Julius Shulman asked architect Raphael Soriano to build a mid-century steel home and studio in the Hollywood Hills. Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friends, Richard Neutra and Raphael Soriano, was first brought to light by Shulman's photography. The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs. Many of the buildings photographed...

Julius Shulman (October 10, 1910 – July 15, 2009) was an American architectural photographer best known for his photograph "Case Study House #22, Los Angeles, 1960. Pierre Koenig...

Gillian was born in India in 1933. Her British parents were part of the twilight of the British Raj. Gillian completed her secondary education and entered The University of Reading, England to study Fine art and painting, a five year study. She worked in Dallas, Texas making paintings, creating embroidered wall hangings...

HARRY BOWERS T E N P H O T O G R A P H S I DON'T LOOK FOR PHOTOGRAPHS I INVENT THEM I recall my first meeting with Harry Bowers in California a few years ago. As he produced his large-scale prints, I was at first flabbergasted, not only by their size, but by their seamless perfection. Technique appeared to be everything but then technique as technique simply vanished. After the first moment, tech­nique was no longer an issue, but rather a passageway to the imagery. Suffice it to say about Harry Bowers' working style that he is an obsessive man. Trained as an engineer, he has turned that discipline to art. His lenses, equipment and darkroom, much of it exactingly manu­factured by himself to answer certain needs, serve the desire of the artist to take photographic tech­nique to its ultimate perfection in invisibility and transparency. I respect obsession in art, and particularly in photography, because obsession in photography passes beyond the easy, middle ground of image making to a more demanding, more difficult, yet more rewarding end. Bowers' obsession is to eliminate "photography as technique." No grain, no decisive moments, no journalism, or, seemingly, direct auto­biographical endeavors appear in his work. Bowers is an artist of synthesis who controls his environment if only in the studio exactly to his liking. The images he creates are formal structures, saucy stories on occasion, which may offer hints of a darker, more frightening sexuality, but what you see is the end product of an experiment in which nothing save the original insight perhaps is left to chance. We seem fascinated with the idea of replication of reality in art. Popular painting frequently reproduces a scene "with the accuracy of a photograph," and photographs may "make you feel as though you were right there." The very invisibility of the photographic medium is important to Bowers, in that it allows him to maneuver his subject matter without concern for rendering it in an obvious art medium which would interfere with the nature of the materials he uses. The formal subtleties of Bowers' recent work are as delicious and ambiguous in their interrelationships as the best Cubist collages, yet while those col­lages always suggest their parts through edge and texture, these photographs present a structure through a surface purity. Bowers' earlier works, for example, the Skirts I Have Known series, were formed of bits of clothing belong­ing to Bowers and his wife or found at local thrift shops. These works fused an elegance of pattern and texture, reminiscent of Miriam Shapiro...

HARRY BOWERS T E N P H O T O G R A P H S I DON'T LOOK FOR PHOTOGRAPHS I INVENT THEM I recall my first meeting with Harry Bowers in California a few years ago. As he produced his large-scale prints, I was at first flabbergasted, not only by their size, but by their seamless perfection. Technique appeared to be everything but then technique as technique simply vanished. After the first moment, tech­nique was no longer an issue, but rather a passageway to the imagery. Suffice it to say about Harry Bowers' working style that he is an obsessive man. Trained as an engineer, he has turned that discipline to art. His lenses, equipment and darkroom, much of it exactingly manu­factured by himself to answer certain needs, serve the desire of the artist to take photographic tech­nique to its ultimate perfection in invisibility and transparency. I respect obsession in art, and particularly in photography, because obsession in photography passes beyond the easy, middle ground of image making to a more demanding, more difficult, yet more rewarding end. Bowers' obsession is to eliminate "photography as technique." No grain, no decisive moments, no journalism, or, seemingly, direct auto­biographical endeavors appear in his work. Bowers is an artist of synthesis who controls his environment if only in the studio exactly to his liking. The images he creates are formal structures, saucy stories on occasion, which may offer hints of a darker, more frightening sexuality, but what you see is the end product of an experiment in which nothing save the original insight perhaps is left to chance. We seem fascinated with the idea of replication of reality in art. Popular painting frequently reproduces a scene "with the accuracy of a photograph," and photographs may "make you feel as though you were right there." The very invisibility of the photographic medium is important to Bowers, in that it allows him to maneuver his subject matter without concern for rendering it in an obvious art medium which would interfere with the nature of the materials he uses. The formal subtleties of Bowers' recent work are as delicious and ambiguous in their interrelationships as the best Cubist collages, yet while those col­lages always suggest their parts through edge and texture, these photographs present a structure through a surface purity. Bowers' earlier works, for example, the Skirts I Have Known series, were formed of bits of clothing belong­ing to Bowers and his wife or found at local thrift shops. These works fused an elegance of pattern and texture, reminiscent of Miriam Shapiro...

HARRY BOWERS T E N P H O T O G R A P H S I DON'T LOOK FOR PHOTOGRAPHS I INVENT THEM I recall my first meeting with Harry Bowers in California a few years ago. As he produced his large-scale prints, I was at first flabbergasted, not only by their size, but by their seamless perfection. Technique appeared to be everything but then technique as technique simply vanished. After the first moment, tech­nique was no longer an issue, but rather a passageway to the imagery. Suffice it to say about Harry Bowers' working style that he is an obsessive man. Trained as an engineer, he has turned that discipline to art. His lenses, equipment and darkroom, much of it exactingly manu­factured by himself to answer certain needs, serve the desire of the artist to take photographic tech­nique to its ultimate perfection in invisibility and transparency. I respect obsession in art, and particularly in photography, because obsession in photography passes beyond the easy, middle ground of image making to a more demanding, more difficult, yet more rewarding end. Bowers' obsession is to eliminate "photography as technique." No grain, no decisive moments, no journalism, or, seemingly, direct auto­biographical endeavors appear in his work. Bowers is an artist of synthesis who controls his environment if only in the studio exactly to his liking. The images he creates are formal structures, saucy stories on occasion, which may offer hints of a darker, more frightening sexuality, but what you see is the end product of an experiment in which nothing save the original insight perhaps is left to chance. We seem fascinated with the idea of replication of reality in art. Popular painting frequently reproduces a scene "with the accuracy of a photograph," and photographs may "make you feel as though you were right there." The very invisibility of the photographic medium is important to Bowers, in that it allows him to maneuver his subject matter without concern for rendering it in an obvious art medium which would interfere with the nature of the materials he uses. The formal subtleties of Bowers' recent work are as delicious and ambiguous in their interrelationships as the best Cubist collages, yet while those col­lages always suggest their parts through edge and texture, these photographs present a structure through a surface purity. Bowers' earlier works, for example, the Skirts I Have Known series, were formed of bits of clothing belong­ing to Bowers and his wife or found at local thrift shops. These works fused an elegance of pattern and texture, reminiscent of Miriam Shapiro...

HARRY BOWERS T E N P H O T O G R A P H S I DON'T LOOK FOR PHOTOGRAPHS I INVENT THEM I recall my first meeting with Harry Bowers in California a few years ago. As he produc...

HARRY BOWERS T E N P H O T O G R A P H S I DON'T LOOK FOR PHOTOGRAPHS I INVENT THEM I recall my first meeting with Harry Bowers in California a few years ago. As he produced his large-scale prints, I was at first flabbergasted, not only by their size, but by their seamless perfection. Technique appeared to be everything but then technique as technique simply vanished. After the first moment, tech­nique was no longer an issue, but rather a passageway to the imagery. Suffice it to say about Harry Bowers' working style that he is an obsessive man. Trained as an engineer, he has turned that discipline to art. His lenses, equipment and darkroom, much of it exactingly manu­factured by himself to answer certain needs, serve the desire of the artist to take photographic tech­nique to its ultimate perfection in invisibility and transparency. I respect obsession in art, and particularly in photography, because obsession in photography passes beyond the easy, middle ground of image making to a more demanding, more difficult, yet more rewarding end. Bowers' obsession is to eliminate "photography as technique." No grain, no decisive moments, no journalism, or, seemingly, direct auto­biographical endeavors appear in his work. Bowers is an artist of synthesis who controls his environment if only in the studio exactly to his liking. The images he creates are formal structures, saucy stories on occasion, which may offer hints of a darker, more frightening sexuality, but what you see is the end product of an experiment in which nothing save the original insight perhaps is left to chance. We seem fascinated with the idea of replication of reality in art. Popular painting frequently reproduces a scene "with the accuracy of a photograph," and photographs may "make you feel as though you were right there." The very invisibility of the photographic medium is important to Bowers, in that it allows him to maneuver his subject matter without concern for rendering it in an obvious art medium which would interfere with the nature of the materials he uses. The formal subtleties of Bowers' recent work are as delicious and ambiguous in their interrelationships as the best Cubist collages, yet while those col­lages always suggest their parts through edge and texture, these photographs present a structure through a surface purity. "I follow fashion. I have closets literally full of clothes. I am a full-blown Comme des Garçons and Prada freak. I love clothes themselves as objects, and I also love the glossies – my love of fashion is how I discovered Wallpaper magazine" Bowers' earlier works, for example, the Skirts I Have Known series, were formed of bits of clothing belong­ing to Bowers and his wife or found at local thrift shops. These works fused an elegance of pattern and texture, reminiscent of Miriam Shapiro...

HARRY BOWERS T E N P H O T O G R A P H S I DON'T LOOK FOR PHOTOGRAPHS I INVENT THEM I recall my first meeting with Harry Bowers in California a few years ago. As he produc...

HARRY BOWERS T E N P H O T O G R A P H S I DON'T LOOK FOR PHOTOGRAPHS I INVENT THEM I recall my first meeting with Harry Bowers in California a few years ago. As he produced his large-scale prints, I was at first flabbergasted, not only by their size, but by their seamless perfection. Technique appeared to be everything but then technique as technique simply vanished. After the first moment, tech­nique was no longer an issue, but rather a passageway to the imagery. Suffice it to say about Harry Bowers' working style that he is an obsessive man. Trained as an engineer, he has turned that discipline to art. His lenses, equipment and darkroom, much of it exactingly manu­factured by himself to answer certain needs, serve the desire of the artist to take photographic tech­nique to its ultimate perfection in invisibility and transparency. I respect obsession in art, and particularly in photography, because obsession in photography passes beyond the easy, middle ground of image making to a more demanding, more difficult, yet more rewarding end. Bowers' obsession is to eliminate "photography as technique." No grain, no decisive moments, no journalism, or, seemingly, direct auto­biographical endeavors appear in his work. Bowers is an artist of synthesis who controls his environment if only in the studio exactly to his liking. The images he creates are formal structures, saucy stories on occasion, which may offer hints of a darker, more frightening sexuality, but what you see is the end product of an experiment in which nothing save the original insight perhaps is left to chance. We seem fascinated with the idea of replication of reality in art. Popular painting frequently reproduces a scene "with the accuracy of a photograph," and photographs may "make you feel as though you were right there." The very invisibility of the photographic medium is important to Bowers, in that it allows him to maneuver his subject matter without concern for rendering it in an obvious art medium which would interfere with the nature of the materials he uses. The formal subtleties of Bowers' recent work are as delicious and ambiguous in their interrelationships as the best Cubist collages, yet while those col­lages always suggest their parts through edge and texture, these photographs present a structure through a surface purity. Bowers' earlier works, for example, the Skirts I Have Known series, were formed of bits of clothing belong­ing to Bowers and his wife or found at local thrift shops. These works fused an elegance of pattern and texture, reminiscent of Miriam Shapiro...

HARRY BOWERS T E N P H O T O G R A P H S I DON'T LOOK FOR PHOTOGRAPHS I INVENT THEM I recall my first meeting with Harry Bowers in California a few years ago. As he produced his large-scale prints, I was at first flabbergasted, not only by their size, but by their seamless perfection. Technique appeared to be everything but then technique as technique simply vanished. After the first moment, tech­nique was no longer an issue, but rather a passageway to the imagery. Suffice it to say about Harry Bowers' working style that he is an obsessive man. Trained as an engineer, he has turned that discipline to art. His lenses, equipment and darkroom, much of it exactingly manu­factured by himself to answer certain needs, serve the desire of the artist to take photographic tech­nique to its ultimate perfection in invisibility and transparency. I respect obsession in art, and particularly in photography, because obsession in photography passes beyond the easy, middle ground of image making to a more demanding, more difficult, yet more rewarding end. Bowers' obsession is to eliminate "photography as technique." No grain, no decisive moments, no journalism, or, seemingly, direct auto­biographical endeavors appear in his work. Bowers is an artist of synthesis who controls his environment if only in the studio exactly to his liking. The images he creates are formal structures, saucy stories on occasion, which may offer hints of a darker, more frightening sexuality, but what you see is the end product of an experiment in which nothing save the original insight perhaps is left to chance. We seem fascinated with the idea of replication of reality in art. Popular painting frequently reproduces a scene "with the accuracy of a photograph," and photographs may "make you feel as though you were right there." The very invisibility of the photographic medium is important to Bowers, in that it allows him to maneuver his subject matter without concern for rendering it in an obvious art medium which would interfere with the nature of the materials he uses. The formal subtleties of Bowers' recent work are as delicious and ambiguous in their interrelationships as the best Cubist collages, yet while those col­lages always suggest their parts through edge and texture, these photographs present a structure through a surface purity. Bowers' earlier works, for example, the Skirts I Have Known series, were formed of bits of clothing belong­ing to Bowers and his wife or found at local thrift shops. These works fused an elegance of pattern and texture, reminiscent of Miriam Shapiro...

HARRY BOWERS T E N P H O T O G R A P H S I DON'T LOOK FOR PHOTOGRAPHS I INVENT THEM I recall my first meeting with Harry Bowers in California a few years ago. As he produced his large-scale prints, I was at first flabbergasted, not only by their size, but by their seamless perfection. Technique appeared to be everything but then technique as technique simply vanished. After the first moment, tech­nique was no longer an issue, but rather a passageway to the imagery. Suffice it to say about Harry Bowers' working style that he is an obsessive man. Trained as an engineer, he has turned that discipline to art. His lenses, equipment and darkroom, much of it exactingly manu­factured by himself to answer certain needs, serve the desire of the artist to take photographic tech­nique to its ultimate perfection in invisibility and transparency. I respect obsession in art, and particularly in photography, because obsession in photography passes beyond the easy, middle ground of image making to a more demanding, more difficult, yet more rewarding end. Bowers' obsession is to eliminate "photography as technique." No grain, no decisive moments, no journalism, or, seemingly, direct auto­biographical endeavors appear in his work. Bowers is an artist of synthesis who controls his environment if only in the studio exactly to his liking. The images he creates are formal structures, saucy stories on occasion, which may offer hints of a darker, more frightening sexuality, but what you see is the end product of an experiment in which nothing save the original insight perhaps is left to chance. We seem fascinated with the idea of replication of reality in art. Popular painting frequently reproduces a scene "with the accuracy of a photograph," and photographs may "make you feel as though you were right there." The very invisibility of the photographic medium is important to Bowers, in that it allows him to maneuver his subject matter without concern for rendering it in an obvious art medium which would interfere with the nature of the materials he uses. The formal subtleties of Bowers' recent work are as delicious and ambiguous in their interrelationships as the best Cubist collages, yet while those col­lages always suggest their parts through edge and texture, these photographs present a structure through a surface purity. Bowers' earlier works, for example, the Skirts I Have Known series, were formed of bits of clothing belong­ing to Bowers and his wife or found at local thrift shops. These works fused an elegance of pattern and texture, reminiscent of Miriam Shapiro...

Fans flock to "The Canyon of Heroes" along Broadway in lower Manhattan to cheer World Champion Mets Fred McDarrah bought his first camera at the 1939 World's Fair for 39 cents, but h...

Stanley Crouch (L) and Jose Torres (R) the boxer.

Richard Nixon inauguration Fred W. McDarrah, 1926-2007 Veteran Village Voice photographer Fred W. McDarrah Over a 50-year span, McDarrah documented the...

Malcolm X Funeral signed in ink Veteran Village Voice photographer Fred W. McDarrah Over a 50-year span, McDarrah documented the rise of the Beat Generatio...

Peter Newland of Fat

Fred W. McDarrah, 1926-2007 Veteran Village Voice photographer Fred W. McDarrah Over a 50-year span, McDarrah documented the rise of the Beat Generation, the city’s postmodern art movement, its off-off-Broadway actors, troubadours, politicians, agitators and social protests. Fred captured Jack Kerouac frolicking with women at a New Year’s bash in 1958, Andy Warhol adjusting a movie-camera lens in his silver-covered factory, and Bob Dylan offering a salute of recognition outside Sheridan Square near the Voice’s old office. Not just a social chronicler, McDarrah was a great photo-journalist. For years, McDarrah was the Voice's only photographer and, for decades, he ran the Voice’s photo department, where he helped train dozens of young photographers, including James Hamilton, Sylvia Plachy, Robin Holland and Marc Asnin. His mailbox was simply marked "McPhoto." An exhibit of McDarrah’s photos of artists presented by the Steven Kasher Gallery in Chelsea was hailed by The New York Times as “a visual encyclopedia of the era’s cultural scene.” artists in their studios, (Alice Neel, Philip Guston, Stuart Davis, Robert Smithson, Jasper Johns, Franz Kline), actors (Dustin Hoffman, Robert De Niro on the set of “Taxi Driver”), musicians (Janis Joplin, Alice Cooper, Bob Dylan) and documentary images of early happenings and performances (Yayoi Kusama, Charlotte Moorman, Al Hansen, Jim Dine, Nam June Paik). The many images of Andy Warhol include the well-known one with his Brillo boxes at the Stable Gallery in 1964. Woody Allen, Diane Arbus, W. H. Auden, Francis Bacon, Joan Baez, Louise Bourgeois, David Bowie, Jimmy Breslin, William Burroughs, John Cage, Leo Castelli, Christo, Leonard Cohen, Merce Cunningham, William de Kooning, Jim Dine, Mark di Suvero, Marcel Duchamp, Bob Dylan, Federico Fellini, Allen Ginsberg, Robert Indiana, Mick Jagger, Jasper Johns, Kusama, John Lennon, Sol Lewitt, Roy Lichtenstein, Nam June Paik, Elvis Presley, Claes Oldenburg, Yoko Ono, Robert Rauschenberg, Lou Reed, James Rosenquist, Mark Rothko, Ed Ruscha, Robert Smithson, Susan Sontag, Andy Warhol, and others. McDarrah’s prints have been collected in depth by the J. Paul Getty Museum and the National Portrait Gallery, Washington. His work is in numerous public and private collections. Lynn Nolan Ryan...

Robert Frank in Central Park. Shoot A film during Anti-War protests. April !5 1967 Robert Frank (born November 9, 1924) is an important figure in American photography and film. His most notable work, the 1958 book titled The Americans, was influential, and earned Frank comparisons to a modern-day de Tocqueville for his fresh and nuanced outsider's view of American society. Frank later expanded into film and video and experimented with manipulating photographs and photomontage. Frank was born in Switzerland. His father, Hermann originating from Frankfurt, Germany had become stateless after losing his German citizenship as a Jew. They had to apply for the Swiss citizenship of Frank and his older brother, Manfred. In 1946. Frank emigrated to the United States in 1947, and secured a job in New York City as a fashion photographer for Harper's Bazaar. After meeting Edward Steichen, participated in the group show 51 American Photographers at the Museum of Modern Art (MoMA) He worked as a freelance photojournalist for magazines including McCall's, Vogue, and Fortune. Associating with other contemporary photographers such as Saul Leiter and Diane Arbus, he helped form what Jane Livingston has termed The New York School of photographers during the 1940s and 1950s. With the aid of his major artistic influence, the photographer Walker Evans, Frank secured a grant from the John Simon Guggenheim Memorial Foundation in 1955 to travel across the United States and photograph all strata of its society. Cities he visited included Detroit, Michigan; Savannah, Georgia; Miami Beach and St. Petersburg, Florida; New Orleans, Louisiana; Houston, Texas; Los Angeles, California; Reno, Nevada; Salt Lake City, Utah; Butte, Montana; and Chicago, Illinois. Shortly after returning to New York in 1957, Frank met Beat writer Jack Kerouac on the sidewalk outside a party and showed him the photographs from his travels. Kerouac immediately told Frank "Sure I can write something about these pictures," and he contributed the introduction to the U.S. edition of The Americans. Frank also became lifelong friends with Allen Ginsberg, and was one of the main visual artists to document the Beat subculture Les Américains was first published in 1958 by Robert Delpire in Paris, and finally in 1959 in the United States by Grove Press, where it initially received substantial criticism. The Americans became a seminal work in American photography and art history, and is the work with which Frank is most clearly identified. In 1961, Frank received his first individual show, entitled Robert Frank: Photographer, at the Art Institute of Chicago. He also showed at MoMA in New York in 1962. A celebratory exhibit of The Americans was displayed in 2009 at the National Gallery of Art in Washington D.C., the San Francisco Museum of Modern Art, and at the Metropolitan Museum of Art in New York. By the time The Americans was published in the United States, Frank had moved away from photography to concentrate on filmmaking. Among his films was the 1959 Pull My Daisy, which was written and narrated by Kerouac and starred Ginsberg, Gregory Corso and others from the Beat circle. The Beats emphasized spontaneity, and the film conveyed the quality of having been thrown together or even improvised. In 1960, Frank was staying in Pop artist George Segal's basement while filming Sin of Jesus with a grant from Walter K...

signed in pen and annotated and stamped verso Brooke Shields (born May 31, 1965) is an American actress, model and former child star.[2] Shields, initially a child model, gained critical acclaim for her leading role in Louis Malle's controversial film Pretty Baby (1978), in which she played a child prostitute in New Orleans at the turn of the 20th century. The role garnered Shields widespread notoriety, and she continued to model into her late teenage years and starred in several dramas in the 1980s, including The Blue Lagoon (1980), and Franco Zeffirelli's Endless Love (1981). In 1983, Shields abandoned her career as a model to attend Princeton University, where she graduated with a bachelor's degree in French literature. In the 1990s, Shields has made appearances in other television shows, including That '70s Show and Lipstick Jungle.In the mid-1980s while at Princeton, Shields dated classmate Dean Cain. Shields has also been linked to John F. Kennedy Jr, actor Liam Neeson...

The funeral of Malcolm XFred W. McDarrah, 1926-2007 Veteran Village Voice photographer Fred W. McDarrah Over a 50-year span, McDarrah documented the rise of...

Giuliani in the Blue Room. He bought his first camera at the 1939 World's Fair for 39 cents, but he did not start taking photographs as a vocation until he was a paratrooper in occup...

Ed Koch at the waterfront greeting a passenger ship.

At a media party with Gordon Parks, Alan King and Genevieve Young. Veteran Village Voice photographer Fred W. McDarrah Over a 50-year span, McDarrah documented the rise of the Beat Generation, the city’s postmodern art movement, its off-off-Broadway actors, troubadours, politicians, agitators and social protests. Fred captured Jack Kerouac frolicking with women at a New Year’s bash in 1958, Andy Warhol adjusting a movie-camera lens in his silver-covered factory, and Bob Dylan offering a salute of recognition outside Sheridan Square near the Voice’s old office. Not just a social chronicler, McDarrah was a great photo-journalist. For years, McDarrah was the Voice's only photographer and, for decades, he ran the Voice’s photo department, where he helped train dozens of young photographers, including James Hamilton, Sylvia Plachy, Robin Holland and Marc Asnin. His mailbox was simply marked "McPhoto." An exhibit of McDarrah’s photos of artists presented by the Steven Kasher Gallery in Chelsea was hailed by The New York Times as “a visual encyclopedia of the era’s cultural scene.” artists in their studios, (Alice Neel, Philip Guston, Stuart Davis, Robert Smithson...

Geraldine Ferraro is a lawyer and former congresswoman from the state of New York.

Sylvia Miles and Larry Rivers

Celebration of Martha Graham (1986).

Please ignore the glare on the glass. Rare, early, signed and dated (verso) 1987 vintage silver gelatin print. this is one of a kind and not editioned according to correspondence I have from his studio. this is one of three. one of them has a label from Triton gallery in NYC (on the others you can see where it was) Image size is 13 x 8.75 inches (33.02 x 22.23 cm.) paper is 14X11 inches David LaChapelle (born March 11, 1963) is an American commercial photographer, fine-art photographer, music video director, film director, and artist. He is best known for his photography, which often references art history and sometimes conveys social messages. His photographic style has been described as "hyper-real and slyly subversive" and as "kitsch pop surrealism." One 1996 article called him the "Fellini of photography," a phrase that continues to be applied to him. David LaChapelle's photography career began in the 1980's in New York City galleries. After attending the North Carolina School of Arts, he moved to New York where he enrolled at both the Art Students League and the School of Visual Arts. With shows at 303 GalleryLaChapelle which also exhibited artists such as Doug Aitken and Karen Kilimnik , Trabia McAffee and others, his work caught the eye of Andy Warhol and the editors of Interview Magazine, who offered him his first professional photography job. LaChapelle's friends during this period included Keith Haring and Jean-Michel Basquiat Working at Interview Magazine, LaChapelle quickly began photographing some of the most famous faces of the times. Before long, he was shooting for the top editorial publications of the world, and creating the most memorable advertising campaigns of a generation. LaChapelle cites a number of artists who have influenced his photography. In a 2009 interview, he mentioned the Baroque painters Andrea Pozzo and Caravaggio as two of his favorites.[23] Critics have noted that LaChapelle's work has been influenced by Salvador Dalí, Jeff Koons, Michelangelo, Cindy Sherman, and Andy Warhol. His striking images have appeared on and in between the covers of magazines such as Italian Vogue, French Vogue, Vanity Fair, GQ, Rolling Stone and i-D. In his twenty-year career in publishing, he has photographed personalities as diverse as Tupac Shakur, Madonna, Amanda Lepore, Eminem, Philip Johnson, Lance Armstrong...

Christian Boltanski, El Caso, Parkett., Zürich. 1989 in the collection of the MOMA Museum of Modern Art NYC Miniature booklet with 17 photographs, 2 x 3 1/8” (5 x 8 x 0,6 cm) ring bound with perspex covers and printed title Ed. 80/XX, signed and numbered (this one is not signed or numbered and might be an artist proof) Guilty, Not Guilty. Themes central to Boltanski’s oeuvre find devastating expression in this tiny piece of pocket pornography containing images of brutal murder re-photographed by the artist from the Spanish detective magazine El Caso. [Ref. Bob Calle - Christian Boltanski Artist's Books 1969-2007, p.60]. Artists' book featuring 17 b/w photographs held together with two metal rings: "Luxury edition of a booklet with real glossy photographs, small enough to be hidden behind the hand... It pictures the bodies of victims of violent crime. By showing these photographs of half-naked corpses, bought nearer by close-up shots, the artist transforms the viewer into a voyeur who virtually becomes a sadistic partner in the crime." -- from Catalogue: Books, Printed Matter, Ephemera 1966-1991. references "Livres" by Christian Boltanski. Paris / Köln / Frankfurt, France / Germany : AFAA / Jennifer Flay / Walther König / Portikus, 1991. No. 69 in "Christian Boltanski : Catalogue: Books, Printed Matter, Ephemera, 1966-1991" by Christian Boltanski, Jennifer Flay, Günter Metken. Köln / Frankfurt, Germany : Verlag der Buchhandlung Walther König / Portikus, 1992, pp. 184 - 185. "Christian Boltanski : Artist's Books 1969 - 2007" by Christian Boltanski, Bob Calle. Paris, France : Éditions 591, 2008, pp. 60. Quote “There is in the work of the artist something of the high priest and something of the charlatan...

Pascal Kern (1952-2007) Icone (three panel triptych), 1987 Cibachrome print, inn copper handmade frame. (One is empty of photo on purpose.) Bearing artist label and inscriptions (frame verso) 48 x 48 inches. (each) Provenance: the Ginny L Williams...

these are original (signed with initials) proof prints c-print on Fuji crystal archive paper. there is some minor wear to the surface but it cannot be photographed and will probably not be visible when framed The National Museum of Women in the Arts presents P(art)ners: Gifts from the Heather and Tony Podesta Collection, an exhibition of 28 contemporary photographs and sculptures drawn from the more than 300 works the couple has donated to the museum. P(art)ners demonstrates the Podestas' shared collecting vision and honors their participation in the inaugural TEDWomen conference in Washington D.C. The Podestas' collaborative collecting practice inspired the NMWA staff to hand them the curatorial reins for this exhibition. The two have articulated the themes for P(art)ners and selected the works. Images of the female body or allusions to it (such as seen in G-Force Dive, a witty sculpture by E.V. Day (American, b. 1967) made from women's thong underwear stretched into the shape of fighter jets) present multiple views of contemporary feminine identity. These works exploring the female body are paired with photographs of architecture. Although they are built by and for people, the interior spaces lack human presence and appear surprisingly abstract. The Podestas note that images of constructed environments complement those of the human figure: "They are what remain of us when we're not there." Heather and Tony Podesta each head their own government relations firm in Washington, D.C., but they travel to contemporary art fairs and biennials around the world to discover outstanding new artists. P(art)ners features a striking series of photographs about travel by Nicoletta Munroe (American, b. 1968). For her "Paris Métro" series, Munroe, who has also worked as an art director in Hollywood, shot the brightly colored seats on the platforms of Paris's subway system. The rows of seats seem to stand in for the people who fill the stations each day. SURVIVAL L.A. A Group Show with Lisa Adams, SE Barnet, Kaucyila Brooke, Kathy Chenoweth, Martin Durazo, Kathleen Johnson, Hillary Mushkin, Nicoletta Munroe, Susan Otto, Christopher Pate, Steve Roden, Thaddeus Strode and Jody Zellen Raid Journal essays by: Holly Myers and Gordy Grundy UnNaturally features over 40 visually stunning works by fifteen artists who employ artificial materials to create simulations of nature that explore the frequently blurred boundary between culture and our environment, raising provocative questions about the mediated environment in which we live. UnNaturally plays on our nostalgia for an idealized pre-industrial past in which human beings and nature coexisted harmoniously in an unspoiled landscape. Artists includes Chris Astley, Gregory Crewdson, Jacci Den Hartog, Allan deSouza, Keith Edmier, Iñigo Manglano-Ovalle, Jason Middlebrook,Nicoletta Munroe, Roxy Paine...

HOLIDAY SITUATIONS,1999, color c-prints on Fuji crystal archive paper, each initialed on verso and inscribed "BAT" sheets 11 ¾ x 11 ¾", printed & published by Muse X, Los Angeles. (female nude manikin beside a snowy highway at dusk ), 1999 in the colection of Harvard University art museum where it is described as aInk jet digital print Born in 1958 in Long Branch, New Jersey, Long currently lives and works in California.Education B.F.A., University of the Arts, Phila, PA; Whitney Independent Study Program, New York, NY; M.F.A., Yale University, New Haven, CT. Since then, the artist has received a number of honors and awards, most recently the 2008 Award of Merit Medal for Sculpture from the American Academy of Arts and Letters in New York. He currently teaches as a professor in the Art Department at the University of California, Riverside. Long’s work has been the subject of major exhibitions worldwide. His most important solo presentations include CATALIN at The Contemporary Austin in Texas (2014), Fountainhead, a public commission in Dallas, Texas organized by the Nasher Sculpture Center (2013), Pet Sounds at Madison Square Park in New York City (2012), Seeing Green, a solo project in conjunction with All of this and nothing: The 6th Hammer Invitational at the UCLA Hammer Museum in Los Angeles (2011), 100 Pounds of Clay at Orange County Museum of Art in California (2010), and More Like a Dream Than a Scheme at David Winton Bell Gallery at Brown University in Rhode Island, which traveled to SITE Santa Fe in New Mexico (2005). His work has been included in many significant museum exhibitions such as the 1997 and 2008 Biennials, Whitney Museum of American Art New York; Open Ends, The Museum of Modern Art; NYC. Performance Anxiety, MCA, Chicago; Happiness, Mori Art Museum, Tokyo; Arte Contemporáneo Internaciona, Museo de Arte Moderno, Mexico City; ART/MUSIC: rock, pop, and techno Museum of Contemporary Art, Sydney; Almost Warm and Fuzzy, Des Moines Art Center, The Shape of Color: Excursions in Color Field Art, AGO/Art Gallery of Ontario, Canada; Gone Formalism, The Institute of Contemporary Art, Philadelphia, PA; The Uncertainty of Objects and Ideas, Hirshhorn Museum and Sculpture Garden, Washington D.C. SculptureCenter in New York, Museum of Contemporary Art Chicago, Magasin 3 Stockholm Konsthall, Hirshhorn Museum and Sculpture Garden in Washington, D.C., Institute of Contemporary Art, Philadelphia, Mori Art Museum in Tokyo, among other museums.Long's sculptures have explored the abstract autonomous art object as a psychological investigation into the nature self and others and have been made from diverse media such as coffee grounds, rubber and hair from Abraham Lincoln. He has collaborated with pop musicians such as Stereolab, Mark Mothersbaugh of Devo and with the renown choreographer Merce Cunningham. Since his relocation from NYC to LA Long's work has been inspired by the Los Angeles River which runs adjacent to his studio. Each year, after the furious flood season, a verdant and abundant growth of grasses, thickets, and trees emerges from the discarded office furniture, bedsprings, and shopping carts that get washed into the concrete channel providing a providing a dwelling for mallards, osprey, crayfish and heron. Captivated by the river and inspired by its unbiased intermingling of these elements, Long creates photographs, video and sculpture in and about the river and the myriad of imagery and meanings it offers. Published by Muse X Editions. An (now defunct) LA based innovative publisher of limited-edition prints, Muse X has launched its first group of prints and is just beginning to make itself known to artists, curators, dealers and collectors. Among works just off the press are otherworldly landscapes by Barbara Kasten and Oliver Wasow, a sizzling sunset by Peter Alexander, abstract compositions by Pauline Stella Sanchez and Jennifer Steinkamp, text and photo combinations by Bill Barminski and Nancy Dwyer, and conceptual photographs by Kevin Hanley. Doug Aitken, Polly Apfelbaum, David Levinthal, Richard Long, Christian Marclay...

A rare unsigned proof print from Muse X. this is the original Cibachrome print on heavy metallic photography paper. this is an original vintage color print c print. Lyle Ashton Harris (born 1965) is an American artist who has cultivated a diverse artistic practice ranging from photographic media, collage, photo montage, installation art and performance art. Born in the Bronx, Harris was raised between New York City and Dar Es Salaam, Tanzania. He graduated with a BA from Wesleyan University and received his MFA from the California Institute of the Arts. His work explores intersections between the personal and the political, examining the impact of ethnicity, gender and desire on the contemporary social and cultural dynamic. Known for his self-portraits and use of pop culture icons (such as Billie Holiday and Michael Jackson), His work has been exhibited internationally, including at the Whitney Museum of American Art, the Solomon R. Guggenheim Museum and the 52nd Venice Biennale. His work has been acquired by major international museums, most recently by the Museum of Modern Art in New York. His commissioned work has been featured in a wide range of publications, including The New York Times Magazine and the New Yorker. In 2014 Harris joined the board of trustees at the American Academy in Rome and was named the 10th recipient of the David C. Driskell Prize by the High Museum of Art in Atlanta. Born in the Bronx New York City, He currently lives and works in New York City and is an Associate Professor at New York University. Education Whitney Museum Independent Study Program, 1992 National Graduate Photography Seminar, Tisch School of the Arts, New York University, 1991 Master of Fine Arts, California Institute of the Arts, 1990 Bachelor of Arts (with Honors), Wesleyan University, 1988 Works in Public Collections Los Angeles County Museum of Art Miami Art Museum Museo de Arte Contemporáneo de Castilla y León, Spain Museum of Contemporary Art, Los Angeles Museum of Contemporary Art, San Diego Museum of Fine Arts, Boston Museum of Modern Art, New York Princeton University Art Museum The Solomon R. Guggenheim Museum, New York The Studio Museum in Harlem The Walker Art Center, Minneapolis The Whitney Museum of American Art, New York Selected Solo Exhibitions 2010Untitled (Black Power), Cokkie Snoei Gallery, Amsterdam Netherlands Ghana, CRG Gallery, NY 2008Sketches from the Shore, The Neil L. and Angelica Zander Rudenstine Gallery, Harvard University,Cambridge, MA 2004Lyle Ashton Harris, Galerie Nathalie Obadia, Paris, France Blow Up, Rhona Hoffman Gallery, Chicago, IL Rrose is a Rrose is a Rrose: Gender Performance in Photography, The Solomon R. Guggenheim Museum, New York, NY (catalogue) Traveled to The Andy Warhol Museum, Pittsburgh, PA Bang! The Gun as Image, Museum of Fine Arts, Florida State University, Tallahassee, FL 1998Distillation, Galerie Analix Forever, Geneva, Switzerland Alchemy, in collaboration with Thomas Allen Harris, New Langston Arts, San Francisco, CA. Traveled to Corcoran Gallery of Art, Washington, DC (catalogue) 1994The Good Life, Jack Tilton Gallery, New York, NY Face, Broadway Window, New Museum of Contemporary Art, New York, NY Selected Group Exhibitions 2014Radical Presence: Black Performance in Contemporary Art, The Studio Museum in Harlem, New York “The Progress of Love”, The Menil Collection, Houston, TX “The Romare Bearden Project”, The Studio Museum in Harlem, New York, NY 2011 “Hide/Seek: Difference and Desire in American Portraiture”, Brooklyn Museum of Art, Brooklyn, NY (catalogue) Kreyol Factory, Grande Hale de la Villete, Paris, France (catalogue) S&M: Shines and Masquerades in Cosmopolitan Times, [Co-Curator], 80 Washington Square East Galleries, New York University, New York, NY 2007 Think with the Senses, Feel with the Mind, 52nd Venice Biennale, Venice, Italy (catalogue) (NOT) GAY ART NOW, Curated by Jack Pierson, Paul Kasmin Gallery, New York, NY 2005 Male Desire Two, Mary Ryan Gallery, NY African Queen, The Studio Museum in Harlem, New York, NY The Squared Circle: Boxing in Contemporary Art, Walker Art Center, Minneapolis, MN 2002 Typical Men: Recent Photography of the Male Body by Men, Gallery of Modern Art, Glasgow Goddess, Galerie Lelong, New York, NY Welcome, Curated by Renato Bianchini, Citta Sant’Angelo, Pescara, Italy 1998 Diana.98, Museum fur Gegenwartskunst, Zurich, Switzerland Millenovecento, Galerie Analix B Polla & C Cargnel, Paris, France Black Nudes: New Identities, Gay Games Amsterdam 1998, Amsterdam, Netherlands Portraits, James Graham and Sons, New York, NY The Paranoid Machine, Shoshana Wayne Gallery, Santa Monica, CA Published Photographs Stanley, Alessandra, “Berlusconi, The Return,” The New York Times Magazine, April 15, p. 40, (photographed Silvio Berlusconi) Hyland, John, “Hot Chicks, Cool Rooms,” The New York Times Magazine’s Fashions of the Times, Spring Issue, p.185 2000Portraits of Cuban Link, Fat Joe, Jermaine Dupri, Jill Scott...

A rare unsigned proof print from Muse X. this is the original Cibachrome print on heavy metallic photography paper. this is an original vintage color print c print. Lyle Ashton Harris (born 1965) is an American artist who has cultivated a diverse artistic practice ranging from photographic media, collage, photo montage, installation art and performance art. Born in the Bronx, Harris was raised between New York City and Dar Es Salaam, Tanzania. He graduated with a BA from Wesleyan University and received his MFA from the California Institute of the Arts. His work explores intersections between the personal and the political, examining the impact of ethnicity, gender and desire on the contemporary social and cultural dynamic. Known for his self-portraits and use of pop culture icons (such as Billie Holiday and Michael Jackson), His work has been exhibited internationally, including at the Whitney Museum of American Art, the Solomon R. Guggenheim Museum and the 52nd Venice Biennale. His work has been acquired by major international museums, most recently by the Museum of Modern Art in New York. His commissioned work has been featured in a wide range of publications, including The New York Times Magazine and the New Yorker. In 2014 Harris joined the board of trustees at the American Academy in Rome and was named the 10th recipient of the David C. Driskell Prize by the High Museum of Art in Atlanta. Born in the Bronx New York City, He currently lives and works in New York City and is an Associate Professor at New York University. Education Whitney Museum Independent Study Program, 1992 National Graduate Photography Seminar, Tisch School of the Arts, New York University, 1991 Master of Fine Arts, California Institute of the Arts, 1990 Bachelor of Arts (with Honors), Wesleyan University, 1988 Works in Public Collections Los Angeles County Museum of Art Miami Art Museum Museo de Arte Contemporáneo de Castilla y León, Spain Museum of Contemporary Art, Los Angeles Museum of Contemporary Art, San Diego Museum of Fine Arts, Boston Museum of Modern Art, New York Princeton University Art Museum The Solomon R. Guggenheim Museum, New York The Studio Museum in Harlem The Walker Art Center, Minneapolis The Whitney Museum of American Art, New York Selected Solo Exhibitions 2010Untitled (Black Power), Cokkie Snoei Gallery, Amsterdam Netherlands Ghana, CRG Gallery, NY 2008Sketches from the Shore, The Neil L. and Angelica Zander Rudenstine Gallery, Harvard University,Cambridge, MA 2004Lyle Ashton Harris, Galerie Nathalie Obadia, Paris, France Blow Up, Rhona Hoffman Gallery, Chicago, IL Rrose is a Rrose is a Rrose: Gender Performance in Photography, The Solomon R. Guggenheim Museum, New York, NY (catalogue) Traveled to The Andy Warhol Museum, Pittsburgh, PA Bang! The Gun as Image, Museum of Fine Arts, Florida State University, Tallahassee, FL 1998Distillation, Galerie Analix Forever, Geneva, Switzerland Alchemy, in collaboration with Thomas Allen Harris, New Langston Arts, San Francisco, CA. Traveled to Corcoran Gallery of Art, Washington, DC (catalogue) 1994The Good Life, Jack Tilton Gallery, New York, NY Face, Broadway Window, New Museum of Contemporary Art, New York, NY Selected Group Exhibitions 2014Radical Presence: Black Performance in Contemporary Art, The Studio Museum in Harlem, New York “The Progress of Love”, The Menil Collection, Houston, TX “The Romare Bearden Project”, The Studio Museum in Harlem, New York, NY 2011 “Hide/Seek: Difference and Desire in American Portraiture”, Brooklyn Museum of Art, Brooklyn, NY (catalogue) Kreyol Factory, Grande Hale de la Villete, Paris, France (catalogue) S&M: Shines and Masquerades in Cosmopolitan Times, [Co-Curator], 80 Washington Square East Galleries, New York University, New York, NY 2007 Think with the Senses, Feel with the Mind, 52nd Venice Biennale, Venice, Italy (catalogue) (NOT) GAY ART NOW, Curated by Jack Pierson, Paul Kasmin Gallery, New York, NY 2005 Male Desire Two, Mary Ryan Gallery, NY African Queen, The Studio Museum in Harlem, New York, NY The Squared Circle: Boxing in Contemporary Art, Walker Art Center, Minneapolis, MN 2002 Typical Men: Recent Photography of the Male Body by Men, Gallery of Modern Art, Glasgow Goddess, Galerie Lelong, New York, NY Welcome, Curated by Renato Bianchini, Citta Sant’Angelo, Pescara, Italy 1998 Diana.98, Museum fur Gegenwartskunst, Zurich, Switzerland Millenovecento, Galerie Analix B Polla & C Cargnel, Paris, France Black Nudes: New Identities, Gay Games Amsterdam 1998, Amsterdam, Netherlands Portraits, James Graham and Sons, New York, NY The Paranoid Machine, Shoshana Wayne Gallery, Santa Monica, CA Published Photographs Stanley, Alessandra, “Berlusconi, The Return,” The New York Times Magazine, April 15, p. 40, (photographed Silvio Berlusconi) Hyland, John, “Hot Chicks, Cool Rooms,” The New York Times Magazine’s Fashions of the Times, Spring Issue, p.185 2000Portraits of Cuban Link, Fat Joe, Jermaine Dupri, Jill Scott...

MacConnel, Kim Robert (American, California, born 1946) Chindambaram Temple, India Medium: Collage of commercial photo prints on cardboard with acrylic, with mirror insets in the a...

A rare British Mandate Palestine, early state of Israel era, Black and White photography contact sheet. these were from a photo collection that included Robert Capa and other Magnum photographers. I do not know who this is by. It has VW written on the back and each one has a Volkswagen Beatle car on it. it might be early advertising memorabilia...

A rare British Mandate Palestine, early state of Israel era, Black and White photography contact sheet. these were from a photo collection that included Robert Capa and other Magnum photographers. I do not know who this is by. It has VW written on the back and each one has a Volkswagen Beatle car on it. it might be early advertising memorabilia...

A rare British Mandate Palestine, early state of Israel era, Black and White photography contact sheet. these were from a photo collection that included Robert Capa and other Magnum photographers. I do not know who this is by. It has VW written on the back and each one has a Volkswagen Beatle car on it. it might be early advertising memorabilia...

Hatay is a visual artist, a healer and a former Rock and Roll photojournalist. Born in Scotland of a Hungarian physicist/inventor and an English art dealer, she grew up in an international environment. Her father encouraged original thinking and experimentation; her mother nourished her creativity and her intuitive skills. Leaving her home in Schaffhausen, Switzerland, for Munich, Germany, she apprenticed to Bauhaus photographer Frl. Berthe Himmler. The next step was New York City where Hatay began to freelance in all aspects of photography. It was when she photographed Jimi Hendrix at Madison Square Garden on May 18, 1969 and was inspired by his music that she got a chance to spread her wings artistically. She was initially inspired by his energy, his vision and his originality. "Jimi Hendrix was absolutely amazing - it is not possible to put words to the Experience. He was, and still is, unique. I didn't know at the time I photographed him that he was interested in his music being a healing power. I learned a lot about this aspect of Hendrix about ten years later when I met people who knew him. When they heard how much I was interested in the healing aspects of his music, they shared their stories with me. I used some of this information in my two books, "Jimi Hendrix, The Spirit Lives On" and "Jimi Hendrix, Reflections and Visions". Nona's experimental techniques were used in her photographs on many other Rock stars, such as Tina Turner, James Brown, and Frank Zappa. She had a major exhibit of her work in Paris. ORIGINAL PHOTO ART one of a kind - experimental & hand painted are in many private collections & museums HARD ROCK CAFE INTERNATIONAL exhibits over 200 original Hatay photoartworks of MUSICIAN worldwide A few original vintage photoartworks available from Studio Hatay 2012 Limited edition archival giclee prints available September from Studio Hatay or Gallery shows ESSAYS, LIMITED EDITION PORTFOLIOS & EXHIBITS ( partial list ) 1968 THREE SUNDAYS IN WASHINGTON SQUARE New York City, NY - one copy handmade book 1969 NEW YORK CITY - essay/exhibit Peace Marches, other events, personalities, Abi Hoffman, Dick Gregory, Stan Lee, Moondog. others, and concerts Fillmore East and Apollo 1975 SAN FRANCISCO HOOKERS BALL (exhibit purchased by Margo St James) 1976 CASTRO STREET FESTIVAL (Sylvester performing) exhibit color (hand painted) expanded photographs 1978 HENDRIX PORTFOLIO limited edition boxed portfolio of 10 original experimental photographs of Jimi Hendrix with tape of 10 songs illustrated (designed to experience listening while looking at the multidimensional pictures and reading Hendrix's lyrics/poems) b/w 1980 THE ROSICRUCIAN PARK, San Jose CA (world headquarters) color photos & experimental b/w 1982 JAMES BROWN & TINA TURNER - limited edition portfolio 1983 COLOR EXPANDED PORTRAITS - hand painted photos - many exhibits & commissions 1986 COLOR EXPANDED VINTAGE CARS at Limerick CT exhibited AUTO ART...

Hatay is a visual artist, a healer and a former Rock and Roll photojournalist. Born in Scotland of a Hungarian physicist/inventor and an English art dealer, she grew up in an international environment. Her father encouraged original thinking and experimentation; her mother nourished her creativity and her intuitive skills. Leaving her home in Schaffhausen, Switzerland, for Munich, Germany, she apprenticed to Bauhaus photographer Frl. Berthe Himmler. The next step was New York City where Hatay began to freelance in all aspects of photography. It was when she photographed Jimi Hendrix at Madison Square Garden on May 18, 1969 and was inspired by his music that she got a chance to spread her wings artistically. She was initially inspired by his energy, his vision and his originality. "Jimi Hendrix was absolutely amazing - it is not possible to put words to the Experience. He was, and still is, unique. I didn't know at the time I photographed him that he was interested in his music being a healing power. I learned a lot about this aspect of Hendrix about ten years later when I met people who knew him. When they heard how much I was interested in the healing aspects of his music, they shared their stories with me. I used some of this information in my two books, "Jimi Hendrix, The Spirit Lives On" and "Jimi Hendrix, Reflections and Visions". Nona's experimental techniques were used in her photographs on many other Rock stars, such as Tina Turner, James Brown, and Frank Zappa. She had a major exhibit of her work in Paris. ORIGINAL PHOTO ART one of a kind - experimental & hand painted are in many private collections & museums HARD ROCK CAFE INTERNATIONAL exhibits over 200 original Hatay photoartworks of MUSICIAN worldwide A few original vintage photoartworks available from Studio Hatay 2012 Limited edition archival giclee prints available September from Studio Hatay or Gallery shows ESSAYS, LIMITED EDITION PORTFOLIOS & EXHIBITS ( partial list ) 1968 THREE SUNDAYS IN WASHINGTON SQUARE New York City, NY - one copy handmade book 1969 NEW YORK CITY - essay/exhibit Peace Marches, other events, personalities, Abi Hoffman, Dick Gregory, Stan Lee, Moondog. others, and concerts Fillmore East and Apollo 1975 SAN FRANCISCO HOOKERS BALL (exhibit purchased by Margo St James) 1976 CASTRO STREET FESTIVAL (Sylvester performing) exhibit color (hand painted) expanded photographs 1978 HENDRIX PORTFOLIO limited edition boxed portfolio of 10 original experimental photographs of Jimi Hendrix with tape of 10 songs illustrated (designed to experience listening while looking at the multidimensional pictures and reading Hendrix's lyrics/poems) b/w 1980 THE ROSICRUCIAN PARK, San Jose CA (world headquarters) color photos & experimental b/w 1982 JAMES BROWN & TINA TURNER - limited edition portfolio 1983 COLOR EXPANDED PORTRAITS - hand painted photos - many exhibits & commissions 1986 COLOR EXPANDED VINTAGE CARS at Limerick CT exhibited AUTO ART...

Abstract Surrealist Photo collage with painting. Mixed Media with or about Amos Keinan the Israeli Playwright and journalist. Yigal Tumarkin (also Igael Tumarkin) (born 1933) is an Israeli painter and sculptor. Biography Peter Martin Gregor Heinrich Hellberg (later Yigal Tumarkin) was born in Dresden, Germany. His father, Martin Hellberg, was a German theater actor and director. His mother, Berta Gurevitch and his stepfather, Herzl Tumarkin, immigrated to Mandate Palestine when he was two. Tumarkin served in the Israeli Navy. After completing his military service, he studied sculpture in Ein Hod, a village of artists near Mount Carmel. Art career Igael Tumarkin, 1980 Among Tumarkin's best known works are the Holocaust memorial in Rabin Square, Tel Aviv and his sculptures commemorating fallen soldiers in the Negev. Tumarkin is also a theoretician and stage designer. In the 1950s, Tumarkin worked in East Berlin, Amsterdam, and Paris. Upon his return to Israel in 1961, he became a driving force behind the break from the charismatic monopoly of lyric abstraction there. Tumarkin created assemblages of found objects, generally with violent Expressionist undertones and decidedly unlyrical color. Hebrew. His determination to "be different" influenced his younger Israeli colleagues. The furor generated around Tumarkin's works, such as the old pair of trousers stuck to one of his pictures, intensified the mystique surrounding him.Tumarkin has worked extensively in the medium of printmaking, producing over three hundred prints. He was encouraged by the print studios founded during those years in the USA, where prominent artists such as Jasper Jones...

Hatay is a visual artist, a healer and a former Rock and Roll photojournalist. Born in Scotland of a Hungarian physicist/inventor and an English art dealer, she grew up in an international environment. Her father encouraged original thinking and experimentation; her mother nourished her creativity and her intuitive skills. Leaving her home in Schaffhausen, Switzerland, for Munich, Germany, she apprenticed to Bauhaus photographer Frl. Berthe Himmler. The next step was New York City where Hatay began to freelance in all aspects of photography. It was when she photographed Jimi Hendrix at Madison Square Garden on May 18, 1969 and was inspired by his music that she got a chance to spread her wings artistically. She was initially inspired by his energy, his vision and his originality. "Jimi Hendrix was absolutely amazing - it is not possible to put words to the Experience. He was, and still is, unique. I didn't know at the time I photographed him that he was interested in his music being a healing power. I learned a lot about this aspect of Hendrix about ten years later when I met people who knew him. When they heard how much I was interested in the healing aspects of his music, they shared their stories with me. I used some of this information in my two books, "Jimi Hendrix, The Spirit Lives On" and "Jimi Hendrix, Reflections and Visions". Nona's experimental techniques were used in her photographs on many other Rock stars, such as Tina Turner, James Brown, and Frank Zappa. She had a major exhibit of her work in Paris. ORIGINAL PHOTO ART one of a kind - experimental & hand painted are in many private collections & museums HARD ROCK CAFE INTERNATIONAL exhibits over 200 original Hatay photoartworks of MUSICIAN worldwide A few original vintage photoartworks available from Studio Hatay 2012 Limited edition archival giclee prints available September from Studio Hatay or Gallery shows ESSAYS, LIMITED EDITION PORTFOLIOS & EXHIBITS ( partial list ) 1968 THREE SUNDAYS IN WASHINGTON SQUARE New York City, NY - one copy handmade book 1969 NEW YORK CITY - essay/exhibit Peace Marches, other events, personalities, Abi Hoffman, Dick Gregory, Stan Lee, Moondog. others, and concerts Fillmore East and Apollo 1975 SAN FRANCISCO HOOKERS BALL (exhibit purchased by Margo St James) 1976 CASTRO STREET FESTIVAL (Sylvester performing) exhibit color (hand painted) expanded photographs 1978 HENDRIX PORTFOLIO limited edition boxed portfolio of 10 original experimental photographs of Jimi Hendrix with tape of 10 songs illustrated (designed to experience listening while looking at the multidimensional pictures and reading Hendrix's lyrics/poems) b/w 1980 THE ROSICRUCIAN PARK, San Jose CA (world headquarters) color photos & experimental b/w 1982 JAMES BROWN & TINA TURNER - limited edition portfolio 1983 COLOR EXPANDED PORTRAITS - hand painted photos - many exhibits & commissions 1986 COLOR EXPANDED VINTAGE CARS at Limerick CT exhibited AUTO ART...

Hatay is a visual artist, a healer and a former Rock and Roll photojournalist. Born in Scotland of a Hungarian physicist/inventor and an English art dealer, she grew up in an international environment. Her father encouraged original thinking and experimentation; her mother nourished her creativity and her intuitive skills. Leaving her home in Schaffhausen, Switzerland, for Munich, Germany, she apprenticed to Bauhaus photographer Frl. Berthe Himmler. The next step was New York City where Hatay began to freelance in all aspects of photography. It was when she photographed Jimi Hendrix at Madison Square Garden on May 18, 1969 and was inspired by his music that she got a chance to spread her wings artistically. She was initially inspired by his energy, his vision and his originality. "Jimi Hendrix was absolutely amazing - it is not possible to put words to the Experience. He was, and still is, unique. I didn't know at the time I photographed him that he was interested in his music being a healing power. I learned a lot about this aspect of Hendrix about ten years later when I met people who knew him. When they heard how much I was interested in the healing aspects of his music, they shared their stories with me. I used some of this information in my two books, "Jimi Hendrix, The Spirit Lives On" and "Jimi Hendrix, Reflections and Visions". Nona's experimental techniques were used in her photographs on many other Rock stars, such as Tina Turner, James Brown, and Frank Zappa. She had a major exhibit of her work in Paris. ORIGINAL PHOTO ART one of a kind - experimental & hand painted are in many private collections & museums HARD ROCK CAFE INTERNATIONAL exhibits over 200 original Hatay photoartworks of MUSICIAN worldwide A few original vintage photoartworks available from Studio Hatay 2012 Limited edition archival giclee prints available September from Studio Hatay or Gallery shows ESSAYS, LIMITED EDITION PORTFOLIOS & EXHIBITS ( partial list ) 1968 THREE SUNDAYS IN WASHINGTON SQUARE New York City, NY - one copy handmade book 1969 NEW YORK CITY - essay/exhibit Peace Marches, other events, personalities, Abi Hoffman, Dick Gregory, Stan Lee, Moondog. others, and concerts Fillmore East and Apollo 1975 SAN FRANCISCO HOOKERS BALL (exhibit purchased by Margo St James) 1976 CASTRO STREET FESTIVAL (Sylvester performing) exhibit color (hand painted) expanded photographs 1978 HENDRIX PORTFOLIO limited edition boxed portfolio of 10 original experimental photographs of Jimi Hendrix with tape of 10 songs illustrated (designed to experience listening while looking at the multidimensional pictures and reading Hendrix's lyrics/poems) b/w 1980 THE ROSICRUCIAN PARK, San Jose CA (world headquarters) color photos & experimental b/w 1982 JAMES BROWN & TINA TURNER - limited edition portfolio 1983 COLOR EXPANDED PORTRAITS - hand painted photos - many exhibits & commissions 1986 COLOR EXPANDED VINTAGE CARS at Limerick CT exhibited AUTO ART...

Hatay is a visual artist, a healer and a former Rock and Roll photojournalist. Her past greatly contributes to the woman she is today. Born in Scotland of a Hungarian physicist/in...

Hatay is a visual artist, a healer and a former Rock and Roll photojournalist. Born in Scotland of a Hungarian physicist/inventor and an English art dealer, she grew up in an international environment. Her father encouraged original thinking and experimentation; her mother nourished her creativity and her intuitive skills. Leaving her home in Schaffhausen, Switzerland, for Munich, Germany, she apprenticed to Bauhaus photographer Frl. Berthe Himmler. The next step was New York City where Hatay began to freelance in all aspects of photography. It was when she photographed Jimi Hendrix at Madison Square Garden on May 18, 1969 and was inspired by his music that she got a chance to spread her wings artistically. She was initially inspired by his energy, his vision and his originality. "Jimi Hendrix was absolutely amazing - it is not possible to put words to the Experience. He was, and still is, unique. I didn't know at the time I photographed him that he was interested in his music being a healing power. I learned a lot about this aspect of Hendrix about ten years later when I met people who knew him. When they heard how much I was interested in the healing aspects of his music, they shared their stories with me. I used some of this information in my two books, "Jimi Hendrix, The Spirit Lives On" and "Jimi Hendrix, Reflections and Visions". Nona's experimental techniques were used in her photographs on many other Rock stars, such as Tina Turner, James Brown, and Frank Zappa. She had a major exhibit of her work in Paris. ORIGINAL PHOTO ART one of a kind - experimental & hand painted are in many private collections & museums HARD ROCK CAFE INTERNATIONAL exhibits over 200 original Hatay photoartworks of MUSICIAN worldwide A few original vintage photoartworks available from Studio Hatay 2012 Limited edition archival giclee prints available September from Studio Hatay or Gallery shows ESSAYS, LIMITED EDITION PORTFOLIOS & EXHIBITS ( partial list ) 1968 THREE SUNDAYS IN WASHINGTON SQUARE New York City, NY - one copy handmade book 1969 NEW YORK CITY - essay/exhibit Peace Marches, other events, personalities, Abi Hoffman, Dick Gregory, Stan Lee, Moondog. others, and concerts Fillmore East and Apollo 1975 SAN FRANCISCO HOOKERS BALL (exhibit purchased by Margo St James) 1976 CASTRO STREET FESTIVAL (Sylvester performing) exhibit color (hand painted) expanded photographs 1978 HENDRIX PORTFOLIO limited edition boxed portfolio of 10 original experimental photographs of Jimi Hendrix with tape of 10 songs illustrated (designed to experience listening while looking at the multidimensional pictures and reading Hendrix's lyrics/poems) b/w 1980 THE ROSICRUCIAN PARK, San Jose CA (world headquarters) color photos & experimental b/w 1982 JAMES BROWN & TINA TURNER - limited edition portfolio 1983 COLOR EXPANDED PORTRAITS - hand painted photos - many exhibits & commissions 1986 COLOR EXPANDED VINTAGE CARS at Limerick CT exhibited AUTO ART...