Ahead of Classic Photographs Los Angeles at the end of January, Point 102 is looking at some of the highlights from this year’s fair.  You can read the yesterday's post here.

Evelyn Hofer. Homage a Zurbaran [Still life No. 6], New York, 1997. 20 x 24 inch Dye Transfer Print. Signed and titled on verso in pencil. Image courtesy of Rose Gallery, Santa Monica CA

Evelyn Hofer. Homage a Zurbaran [Still life No. 6], New York, 1997.
20 x 24 inch Dye Transfer Print. Signed and titled on verso in pencil. Image courtesy of Rose Gallery, Santa Monica CA

Evelyn Hofer’s still-life of oranges and lemons has the look of the romantic soft-focus propaganda found in early Russian colour photographers such as Ivan Shagin. Hofer (1922-2009) was one of the first artists to adopt colour film as the main focus of her practice returning often, however, to black and white. Her work ranges from portraits to landscape and street photography and she often had a sociological concern at the core of her image-making.  Her work is represented at Class Photographs by Rose Gallery

Jennifer Greenburg. I was not the thinnest, nor the prettiest, but I was the winner!, 2015. Archival Pigment Print. Image courtesy of Wall Space Gallery, Santa Barbara CA

Jennifer Greenburg. I was not the thinnest, nor the prettiest, but I was the winner!, 2015. Archival Pigment Print. Image courtesy of Wall Space Gallery, Santa Barbara CA

Jennifer Greenburg’s photograph I was not the thinnest, nor the prettiest, but I was the winner’ (2015) is the newest work in our selection. Part of her ‘Revising Histories’ portfolio, Greenburg uses found images from the 1940’s to 60’s and replacing the central figure or character in each image with a photograph of herself. She is the blonde being felt up at the party, the new mother holding her baby or, as we see in the photograph here, the beauty contest winner. You really have to look for the deception to find it and it is only when viewing the whole set of images together that it is possible to notice a knowing look from the artist here or a change in photographic tone there. Greenburg has a solo exhibition coming up in March at jdc Fine Art, San Diego and is represented at Classic Photographs by Wall Space Gallery.

Anne Schwalbe. Rosen (roses), 2009. Type C print. Edition of 5. Copyright Anne Schwalbe. Image courtesy of L. Parker Stephenson Photographs, New York NY

Anne Schwalbe. Rosen (roses), 2009. Type C print. Edition of 5. Copyright Anne Schwalbe. Image courtesy of L. Parker Stephenson Photographs, New York NY

It is possible to get lost in Anne Schwalbe’s Rosen (roses). A late twilight walk in the gardens of a stately home, the fading light hitting the leaves. It has been raining earlier in the day and the remaining moisture heightens the greens and pinks of the rose bush. You can feel the brisk cold air, hear only the wind and then silence. Anne Schwalbe is a German artist whose work often focuses on the natural environment. She is represented by L. Parker Stephenson Photographs.

Karl Struss. Herald Square, New York, 1911. Platinum print, ca. 1911. Image courtesy of Lee Gallery, Winchester MA

Karl Struss. Herald Square, New York, 1911. Platinum print, ca. 1911. Image courtesy of Lee Gallery, Winchester MA

Karl Struss’ photograph of Herald Square,  New York, shows a city still very in the developmental stages of architectural growth. It is still possible to see a fair amount of sky and space between buildings to the left of the Flatiron Building on the right hand side. Struss made this photograph in the early part of his career, whilst he was still a student at Columbia University. The soft-focus foggy style of the image is due to a soft-focus lens that Struss himself invented called the Struss Pictorial Lens. Struss is represented at the fair by Lee Gallery.

Ansel Adams. Aspens, Northern, New Mexico, 1958. Gelatin silver print, 1975. Image courtesy of Alan Klotz Gallery, New York NY

Ansel Adams. Aspens, Northern, New Mexico, 1958. Gelatin silver print, 1975. Image courtesy of Alan Klotz Gallery, New York NY

Ansel Adams, of course, needs no introduction. This stark black and white image was taken in the Aspens, north of Santa Fe in New Mexico and shows dense wood and then utter blackness – hiding whatever your imagination can conjure. The tree in the foreground is too white, as if on fire. Adams was apparently driving through the mountains with his wife and assistants when he made these photographs and used his larger 8 x 10 plate camera. The Aspens are also known as “the shivering tree” as, it said, the leaves of the trees constantly tremble in even the slightest breeze. This meant that Adams was only able to make a short one second exposure, the composition worked out beforehand gives the photograph the feel of being both considered and snapshot. Adams is represented at Classic Photographs by Alan Klotz Gallery.

Laura Gilpin. Ghost Rock, Garden of the Gods, Colorado, 1919. Platinum print, printed ca. 1919. Image courtesy of Howard Greenberg Gallery, New York NY

Laura Gilpin. Ghost Rock, Garden of the Gods, Colorado, 1919. Platinum print, printed ca. 1919. Image courtesy of Howard Greenberg Gallery, New York NY

Laura Gilpin (1891-1979) began taking photographs during her childhood in Colorado before travelling to New York to study at the Clarence H. White School of Photography in 1916. This image of Ghost Rock in the Garden of the Gods, Colorado, was made during a summer break back in her home town. The Garden of the Gods is a national park and popular for its rock climbing due to its unusual and challenging rock formations. In Gilpin's photograph it’s unclear as to whether the rock is actually called Ghost Rock or whether the title refers to the almost transparent shadowy way in which the rock has been captured or indeed the many ghost stories which are associated with the Garden of the Gods in general. Gilpin is represented at the fair by Howard Greenberg Gallery.

Los Angeles Classic Photographs is open 30th/31st January at Bonhams LA, Sunset Boulevard

Running parallel to the fair proper there is a whole programme of talks, tours and photographic book singing/launches. Click here for the full programme

Posted
AuthorSacha Waldron

 

Old men dragon faces appearing in the carved doorways of a pagoda, the colossal Gautama Buddha presiding lordily over his empty surroundings, unpopulated streets and landscapes that seem to shimmer with their smudge-texture pencil-like surfaces.

Pugahm Myo: Carved Doorway in Courtyard of Shwe Zeegong Pagoda. August 20-24 or October 23, 1855. Linnaeus Tripe

Pugahm Myo: Carved Doorway in Courtyard of Shwe Zeegong Pagoda. August 20-24 or October 23, 1855. Linnaeus Tripe

British photographer Captain Linnaeus Tripe (1822-1902) joined the East India Company in 1838 as a cadet for the Madras Infantry and very soon progressed to the level of Lieutenant, joining his own regiment in South India. It was not, however, until an extended leave (due to illness) in England between 1851-1854 that he began to experiment with photography. He returned to India with his camera and began to make images of the previously un-photographed temples and structures he saw around him and, later on, scenes he encountered in Burma. He would go on to be commissioned by the Madras government to act as official photographer for Madras, capturing sculpture, street scenes, religious and spiritual sights, inscriptions and architecture.

Amerapoora Colossal Statue of Gautama Close to the North End of the Wooden Bridge. September 1 – October 21, 1855. Linnaeus Tripe

Amerapoora Colossal Statue of Gautama Close to the North End of the Wooden Bridge. September 1 – October 21, 1855. Linnaeus Tripe

To celebrate the 25th anniversary of the V&A’s Nehru Gallery which exhibits a range of objects and artefacts from their South Asian art collection and also the V&A’s autumn India Festival – the museum celebrates the prolific output of Tripe through some of his earliest images of India and Burma. The 60 images on display not only showcase the countries as subject but also give us an insight into the particular photographic working methods employed by Tripe at the time. 

Royacottah: View from the Top of the Hill, Looking North-Northwest and by North. December 1857 - January 1858. Linnaeus Tripe

Royacottah: View from the Top of the Hill, Looking North-Northwest and by North. December 1857 - January 1858. Linnaeus Tripe

Pugahm Myo: Thapinyu Pagoda. August 20-24, 1855. Linnaeus Tripe

Pugahm Myo: Thapinyu Pagoda. August 20-24, 1855. Linnaeus Tripe

Tripe used calotype, a waxed paper negative, rather than the traditional glass plate negatives used by his peers back in Europe. This seems to be as much a practical decision as an aesthetic one as waxed paper negatives, although not ideal in a hot tropical environment, could be easily transported without fear of too much damage or breakage - essential for a travelling photographer. The use of paper also resulted in a distinct soft-focus look to Tripe’s images as the fibres of the paper negative transferred onto the paper print. Although he did make prints with glass negatives on occasion and these were generally favoured due to the clean sharpness that was expected from standard documentary photography – the very slight textured blur of the paper negatives give the images a painterly quality that seems to radiate the heat of the streets, the humidity of the air and the atmosphere of a romantic Eastern world changing rapidly – the ancient recorded as its faces the ongoing modernity.

Captain Linnaeus Tripe: photographer of India and Burma (1852-1860) runs at the V&A until 11 October. There are lots of good resources and info available about the exhibition online including more detail into Tripe’s working methods, extensive biography and a reading list if you want to find out more.

www.vam.ac.uk/page/l/linnaeus-trip

Posted
AuthorSacha Waldron

How much better than a sip of wine from a manky cup that half the church have had a go at and a wafer that sticks to the roof of your mouth?

Every Sunday service should involve a chocolate fountain. It would improve visitor numbers no end.

This week's Photo of the Week comes from Caravan Gallery a collaboration between artists and photographers Jan Williams and Chris Teasdale that seeks "to document the reality and surreality of the way we live today" and indeed they do. From "Mr Cheap" pound shops to dilapidated seaside resorts, urban graffiti and suburban decorative aspiration - Caravan Gallery seem to capture the very best and worst of the UK in glorious postcardian technicolor.

The photography duo, who exhibit their work in their very own dedicated caravan gallery space are currently in the midst of a UK-wide tour and the roaming exhibition, extra{ordinary}:Photographs of Britain by The Caravan Gallery, has been travelling to locations all over Britain since March 2015. You can catch the current leg of the tour at Impressions Gallery, Bradford (until 29th August) before it moves on to Diffusion Festival 2015 at Ffotogallery, Cardiff, in October. Expect to see more of their work on the Point 102 blog over the coming year.

Chocolate Fountain in former church, Derby. The Caravan Gallery

Chocolate Fountain in former church, Derby. The Caravan Gallery

Posted
AuthorSacha Waldron