#gitterman gallery

[pinkblanc]

Allen Frame, Santiago, Mexico City, 2001

[desimonewayland]

Dan Mahoney and Jane Warrick, NYC, 1981

© Allen Frame, courtesy Gitterman Gallery

[klaus-like]

Laure Albin-Guillot ~ Nude (torso), 1927 | src Gitterman Gallery

(via)

[theaskew]

František Drtikol (Czech 1883-1961), Soul, 1930. (Source: Gitterman Gallery, Czech Avant-Garde 2023)

[itsloriel]

Joseph Szabo, Dawn with Kitten, 1976 Vintage gelatin silver print

Joseph Szabo | Smokin' by the School | 1976 - Gitterman Gallery

[tepot]

Allen Frame, John West, Dan Mahoney, and Darrel Ellis, NYC, 1981. Chromogenic print; printed later, 11 x 14 in. Gitterman Gallery

[ortodelmondo]

Saint Stephen's Gardens, Westbourne Park, London, 1957 © Roger Mayne - Courtesy Gitterman Gallery

[whiskeygonzo]

Drtikol · Cut-outs · early 1930s – un regard oblique

[talbottoresnick]

Skylar's Exhibition Review

On Wednesday, I went to an exhibition about Ralph Eugene Meatyard (1925–1972) at the Gitterman Gallery. This exhibition would last from September 8th to October 28th. According to the introduction made by the curator, it is "a selection of rare figurative works, most of which include masks, one of the artist's most recognizable motifs." It has approximately 30 small-scale pieces, each measuring around 6-7 inches.   The first striking piece in this exhibition for me is found in the "Bird in the Bush Infant Welfare Centre" series. In this photograph, the use of a long exposure time results in a dynamic blur of a child standing in the upper right corner, while an adult wearing a mask gazes out of the frame in the lower left corner. Both of them are set against the backdrop of a ruined, possibly abandoned house. The composition conveys a theatrical quality, effectively dividing the frame into indoor and outdoor spaces using stairs and a doorway, creating a sense of disconnection between the two figures.

Another compelling piece is an untitled work that demonstrates Meatyard's use of depth of field. The foreground features some doll heads, while in the background, a child appears somewhat vulnerable and lost, with a mask scattered amidst fallen leaves on a rock. The overall dim lighting of the photograph evokes a sense of foreboding and unease. It reminds me of the metaphorical storytelling approach of film director Andrei Tarkovsky in "Ivan's Childhood," where children's perspectives are used to explore themes of war and death. What does this photograph try to convey? Perhaps it's about loss, growth, or even death.   Overall, Meatyard's works immerse us in a world of enigma and evocative storytelling. Within this exhibition, Meatyard utilizes different kinds of elements including the high contrast and the obscurity in the darker regions, the figures concealed behind masks and enigmatic titles. Collectively, these elements contribute to a sense of ambiguity, inviting viewers to engage in the interpretive process. The photographer allows viewers the freedom to interpret his work, breaking the boundaries between reality and the fictional world. Moreover, the presence of ruined or decayed mansions and children is a distinctive feature throughout the exhibition. This contrast between the fading and deteriorating against the youthful and vibrant creates a moody and melancholic atmosphere that is deeply intriguing. 

[hodaismail]

Assignment 1: Khalik Allah

Khalik Allah is a visual artist who seamlessly combines the worlds of photography and filmmaking. His work is characterized by an emotional urgency and a rich color palette. Khalik uses several photography genres such as portrait, documentary and street photography. For him his photography is to affect how people of privilege think that’s why he captures people who aren’t cared about. His purpose in life is extend the life of other people by using his lens and talent. Which makes him succeed in shedding the light on these people in need. Khalik said: “Purpose in life is to extend the light into peoples’ lives”, he said that he wants to share the light of his life with those around him so that they can see it and feel valued. Moreover, he wants to connect with them through empathy and compassion so that he can extend the light of their lives. I do believe that photography could make a difference, in this case awareness definitely could be raised to help the people in need. Khalik’s photography shows emotions and feelings that people are going through. Photography could be a great way to send a message to different communities. The Photographs do not depict people in their best self but shows the ugly truth which is that they are suffering. Khalik is taking the pictures while they are high to show the bad conditions of their livings. However, there’s a feeling of empathy towards these people since they are living a harsh life and not a privileged one. We can take as an example the photo below named “Saphire Smoking”, the woman looks very desperate and looking up as if she’s waiting for someone to lead her or to help her. Maybe she is smoking to forget her everyday struggles and problems. She is sitting on the floor helpless and desperate. As Khalik said: “to make knowledge born”, and he is informing the world about the condition of many. His main objective is to help his community by his talent. However, some may argue that photography does not have the power to help these people. Also, some people say that he is taking pictures of unconscious or high people and that this is considered to be inappropriate.

“Sapphire Smoking” (2013). Film 35 mm. Khalik Allah, courtesy of Gitterman Gallery/Magnum Photos

Photography presents a big role from Khalik’s perspective since through his work, he has been able to create vibrant portraits of humanity. In 2017, his book, Souls Against the Concrete, he talked about the strength, resilience, and redemption that people can experience while living through poverty, addiction, and street life. According to Magnum Photos, Khalik Allah was able to gain a deeper understanding of a community that is in distress, especially the black community that frequents the area between Lexington Avenue and 125th Street. In 2012, he would return to this location, and he would only shoot at night. Through his passion for photography, he was able to restore the people's dignity. Actually, photography is a great way to share a specific vision. A picture could say so much and have a strong effect on the people who are seeing it. Finally, I believe that his type of photography could help and change these people’s lives to the better. Even if it did the slightest change in their lives at least it’s a change. Many people do not know anything about the living conditions that they live or even know that they exist, at least after seeing Khalik’s photography’s they will have some knowledge and will consider helping them. According to All About Photos.com, making eye contact is very important in a city, as it allows you to see the people around you. Through his work, Allah has been able to create a deeper understanding of people, and he has been able to connect with them through their expressions and their backgrounds. This is the power of Allah's work, as it allows us to see the people as individuals instead of just as a group. Even though his photos may not be easy to look at, his messages can still be shared and enlighten.

Works Cited

https://www.numero.com/en/photographie/khalik-allah-125-lexington-avenue-new-york-interview-alexis-thibault-wu-tang-clan-popa-wu-five-percent-nation-nobuyoshi-araki-robert-frank-daido-moriyama-sapphire

https://www.magnumphotos.com/shop/collections/fine-prints/sapphire-smoking-2013/

https://www.all-about-photo.com/photographers/photographer/1285/khalik-allah

https://www.youtube.com/watch?v=2tD_JRkfq_M

[sheltiechicago]

"Chicago," 1961.

Kenneth Josephson’s Proof of Concept

© Kenneth Josephson/Courtesy Gitterman Gallery

"Matthew," 1963.

"Chicago," 1964.

"Front Street, Rochester, NY," 1956.

[pinkblanc]

Allen Frame, Martin (At Window), Mexico City, 2000

[jodyleylac]

Intensity

[4eternal-life]

Joseph Szabo /American, b.1944

Hurt, 1972

Gelatin silver print; 22.5 x 31.8 cm

© 2017 Gitterman Gallery

[habitantes-oazj]

PH - Machiel Botman - Francesca. 1999. 

Gitterman Gallery

[newyorkthegoldenage]

The El, 1942.

Photo: Josef Breitenbach via the Gitterman Gallery