Art Photo Collector

“I’ve been asked if I think there will ever come a time when all people will come together. I would like to think there will. All we can do is hope and dream and work toward that end. And that’s what I’ve tried to do all my life.” Gordon Parks (1912-2006).

Gordon Parks was an extraordinary man who led an extraordinary life. Few individuals will ever match his range of interests and caliber of work. This humble tumblr post certainly cannot give the man his due.  All I would say to you, dear reader, is that Gordon Parks lived a life that proves anything is possible.

The esteemed Howard Greenberg gallery along with the Gordon Parks Foundation are currently hosting two exhibits celebrating his work in this centennial year of his birth. The shows end soon on October 27th. 

Since it is frankly impossible to represent, here, the breadth of Gordon Parks oeuvre in a couple of his photographs, I’ve chosen these two images of Ingrid Bergman on Stromboli (filming Stromboli) as one tiny example of Parks’ genius. Given the scandalous nature of the circumstances surrounding Bergman and Rossellini at the time, Parks cooly captures the psychological intensity—something he would do again and again throughout a breathtaking and audacious career. He was a Master photographer and polymath, a shining beacon of possibility, and one of my heroes.   —Lane Nevares  

“And why is it good? For its own sake. For magnifying the artist’s process. For exalting the principles of nature, the acquired wisdom of man and that to which he aspires—illuminations.”—Patti Smith

The aforementioned quote is from the preface to Lynn Davis’s monograph, Monument. It elegantly opens up the conversation of why one creates art. Whether it’s poetry, philosophy, prose, painting, sculpture, science, music or photography, the true believers seek the good. Patti Smith and Lynn Davis have been friends a long time. I suppose in their own ways they’ve been fellow travelers.

Lynn Davis’s work, which is widely known and collected, spans continents and invites contemplation. Through her old Rolleiflex camera she captures an austere graciousness in the remnants of civilizations past and present. The unique tone of her prints, seen first hand, is remarkable. But what captivates me most in her work is the spirit of travel, the connection to that inherent part of ourselves that wants to see the world.

Davis’s latest exhibit, “Modern Views of Ancient Treasures,” opens this Friday in Venice, Italy at the National Museum of Archaeology. —Lane Nevares

“Photographs open doors to the past, but they also allow a look into the future.” Sally Mann  

Artists can find inspiration anywhere, but it was a severe horse-riding accident six years ago that catalyzed Sally Mann to create her latest series, “Upon Reflection,” opening tomorrow night at Edwynn Houk Gallery.

Banged-up and physically incapacitated from the accident, Mann did what any artist impelled to create does: she looked within. Unable to carry around her large format camera, Mann took self-portraits whose reflections go deeper than the surface of her skin.

Choosing to use a mid-19th Century historical printing process, ambrotype, (with her own modern modifications) Mann’s handmade prints are a metaphor for her own recovery. These images are blurred, scratched, pitted, grainy, over/under exposed—all providing an organic reflection of an important artist who has never shied away from revealing the depths of her own psyche.  —Lane Nevares 

“My work is ultimately about emotion. It is about capturing a moment or a memory.”—Deborah Parkin 

The photographer and mother, Deborah Parkin, tell us that “September is the Cruellest Month.”  This is also the title of her latest series, forthcoming monograph, and new show opening next week in England at the beautiful “Theatre by the Lake” in Keswick, Cumbria. 

I discovered Parkin’s portfolio recently through Aline Smithson’s excellent photo blog Lenscratch. I immediately sensed the power of the work. Parkin’s portraits are deep, poetic and emotional—and all the more so when you understand that these historically processed, large format images are of her own children.  

Parenting itself is an unbelievable emotional journey.  Along the way, Parkin is documenting her own experience and trying to capture those fleeting moments that always pass too quickly. As the kids go back to school, and the summer slows to an end, maybe Parkin is right: September is the cruelest month.  —Lane Nevares

“The personality of the photographer, his approach, is really more important than his technical genius”—Lee Miller

Lee Miller lived an extraordinary life.  Born in upstate New York in 1907, she would later model for Vogue magazine, work as a professional photographer, explore Surrealism with Man Ray in Paris, become a war photographer in WWII, travel widely, and know many of the most important artists of the 20th Century. But above all the fascinating lives she led (and the price she paid), Lee Miller was a great photographer.

Presently on view at San Francisco’s Legion of Honor Museum is “Man Ray/Lee Miller: Partners in Surrealism.”  Any opportunity to see Lee Miller’s (and Man Ray’s) work first-hand, should be taken. Lee Miller’s work, perhaps not as famous as many of her contemporaries, nevertheless, stands the test of time. She left us a beautiful legacy. The exhibition runs until October 14th. —Lane Nevares

“I don’t want the images to end at the picture’s edge. They continue far beyond – to where thoughts leap, even as our eyes are engaged. Persistently impelled there by the picture. Transported.”—Tim Jørgensen 

The Danish photographer, Tim Jørgensen, asks us to explore the visual relationship between Architecture and Photography. Employing tilt-shift photography, he unveils what the naked eye cannot see. His wanderings through Dubai and Shanghai reveal cities in a state of aspiration: gleaming skyscrapers, luxury towers, and commercial decadence, the grand manifestations of the early 21st Century.

These photographs are from his series, “Displacements.” I discovered Tim’s work last year and met up with him in Copenhagen to sign him up to work with Nevares Fine Art .  His photographs impress me (and other collectors) with their attention to beauty, while pursuing new ways to visually interpret architecture. I no longer look at buildings the same way.  —Lane Nevares

“I have been very single minded with how I want to live my life. Make pictures and create an environment that brings me a sense of happiness.”—Cig Harvey 

I first came across Cig Harvey’s work earlier this year while touring The AIPAD Photography Show here in New York.  I found the work to be refreshing, striking and imbued with feeling.  In May, her monograph, You Look At Me Like An Emergency, was published, and I was once again reminded of her talent.

Cig Harvey is originally from Devon, a heartbreakingly beautiful place in the southwest of England, and now lives in the States.  She’s someone in love with photography, but perhaps it’s her ex-pat British sensibility that gives her photographs their unique point-of-view.  If photographs reflect ourselves and the photographers who take them, then Cig Harvey is one artist well-qualified to teach others how to find the magic.  —Lane Nevares

“The pictures have a reality for me that the people don’t. It is through the photographs that I know them.”  —Richard Avedon 

Seeing monumental work first-hand requires the right environment. The large-scale murals and portraits on display at Gagosian are impressive in scale, and beautifully presented.  Some murals extend 10 feet high and over 30 feet in width. Seeing them is believing them.

The Gagosian Gallery spared no expense in presenting the late Avedon’s work in a fresh and fascinating way. In addition to the design of the show, I appreciated seeing contact sheets, work prints, and other materials offering an insight into his creative process. There is no doubt that Avedon was a master photographer. But you’ll have to hurry up if you want to experience this show. The exhibit, which has been extended, ends on Friday.  —Lane Nevares

 ”The soul never thinks without a picture.” —Aristotle.

Pentti Sammallahti may be the most famous Finnish photographer you’ve never heard about. Born in Helsiniki in 1950, Sammallahti has been taking photos and creating distinguished monographs for some time now.  He is an expert craftsman and superb printer. And through his teaching, he has influenced a whole generation of Finnish (and many other) documentary photographers.

Seeing a new show of his work currently on display at the Nailya Alexander Gallery in New York convinced me that, despite my ardent attention to Photography and its history, an important artist can sometimes be overlooked. The deep, rich tones of his expert prints are exhilarating to see first hand. The subtlety and indescribable mystery to his work resonated deeply within me. Pentti Sammallahti is a major talent and though I am late to “discover” his work, I am humbled.  —Lane Nevares

“The camera is in itself a frontier, a barrier of sorts that one is constantly breaking down so as to get closer to the subject…” — Martine Franck

Martine Franck has been a member of Magnum Photos since 1983, and before that a member of two other photo agencies. In a world dominated by men, she has long distinguished herself as a photographer of grace and elegance. I have always admired her work for its sophisticated compositions and defining moments of beauty. Many of her images are iconic and familiar, even to those who are unsure of the photographer.

The Howard Greenberg Gallery in New York is currently exhibiting her work, “Martine Franck: Peregrinations,” until early August. This is an excellent opportunity to see some of these amazing prints first-hand and to reconsider Franck’s pioneering role in Photography’s history. Her work has influenced many. For those who would like to know her better, this Magnum-produced video of Franck discussing her life and her work is not to be missed. —Lane Nevares 

“Am I looking at a mask or am I the mask being looked at?” —Ralph Eugene Meatyard

On this Fourth of July holiday I’m reminded of the work of Ralph Eugene Meatyard. I’ve always admired him as a great American photographer, one whose time came too soon.

Born in Normal, Illinois in 1925, Meatyard lived a happy Family-man-life: wife, kids, Navy veteran, steady job as an optician, and a suburban home in Kentucky. Before his passing in 1972 (just shy of his 47th birthday) Meatyard had enjoyed great success, having exhibited in important museums and alongside other major-league photographers. He proved then that, despite his “conventional” lifestyle, creating meaningful and resonant work comes from deep within.

The photos of family and friends donning strange masks and his uneasy landscapes have always made me feel a restless tension—one that I must say I enjoy.  Not fully grasping how Meatyard is able to capture this disquiet is part of the magic.

Two concurrent exhibitions, one on view at the Philadelphia Museum of Art  and another at Peter Freeman, Inc. in New York attest to the staying power of Meatyard’s work. Often considered ahead of his time, Meatyard’s photographs, while being highly regarded by collectors, have never enjoyed popular posthumous acclaim. But who cares? See the shows and appreciate, first-hand, the work of a unique American photographer who continues to inspire, and to unsettle.  —Lane Nevares

“…in truth, my work is really part of my everyday life, it’s all in the same package.” Zoe Strauss 

Tomorrow night, Philadelphia-based artist, Zoe Strauss’s show, “10 Years, A Slideshow” opens at the Bruce Silverstein Gallery here in New York.  The show, recently on view as mid-career retrospective at the Philadelphia Museum of Art, was a great success.  Indeed, in the past decade, Zoe Strauss has become one of Philly’s most well-known artists. When one considers that she’s an avowed anarchist and lesbian, it is significant that the “City of Brotherly Love” has chosen to embrace her and her work.

Strauss is a photographer of the people.  An artist concerned with “the beauty and struggle of everyday life,” her photographs are successful because there is no separation/disconnect between her and the subjects she photographs.  There is no judgement, no arrogance, and no other agenda but to reveal truth and beauty.  Given her political leanings and her hard work making art accessible for everyone (see her I-95 Project), I don’t doubt her commitment. 

Other accomplished photographers like Milton Rogovin and Richard Billingham have documented folks at the margins of society with equally compelling portraits.  I ask: What separates these photographers from others documenting society’s marginalized people?  One word: Love.  —Lane Nevares

“Inspiration surrounds me. I can find it in the sprawling metropolis that I call home, the barren landscapes of the desert or in the classic beauty of the female form. My photography is a diverse mix, yet my approach is always the same – embrace the subject.” —Clay Lipsky 

Clay Lipsky’s photography reveals his passions.  An LA-based artist, Lipsky’s work covers a remarkable range of interests.  His various books and projects attest to this keen curiosity and urgency to explore. What remains consistent throughout his work, however, is his love of light and composition.  One can always tell it’s a Clay Lipsky image.

I became of fan of Lipsky’s work last year and immediately contacted him to collaborate with Nevares Fine Art.   It’s exciting to work with someone who’s constantly evolving and challenging himself to produce distinctive work.  Collectors and curators are taking note, and I’m excited to see where the muses take him.  —Lane Nevares

“When I think about it, and when I look closely at my pictures, they are all, in their own way, nothing but self-portraits—a part of my life.”  Christer Strömholm (1918-2002)

The great Swedish photographer Christer Strömholm is finally getting his due here in the United States.  The first American museum show of his work is now on view at the ICP in New York featuring his seminal series, Les Amies de la Place Blanche, documenting the intimate world of Paris’s red-light district (and transsexual community) at Place Blanche, in the late 1950’s and early 1960’s.

Strömholm’s influence on European photographers, particularly Scandinavian, is well known.  He was an educator and a mentor to many artists, some of whom like Anders Petersen would go on to influence another generation.  I would argue that Strömholm’s impact on photography, though under-appreciated outside of Europe, is much wider felt than we realize.  Though these images were taken 50+ years ago, they are as fresh and engaging as any photographer’s work on view today.  —Lane Nevares

“The truth is that anyone can make a photo. The trouble is not that photos are hard to make. The trouble is that photos are hard to make intelligent and interesting.” —John Szarkowski 

I recalled this quote recently while visiting the NY Photo Festival last week in Brooklyn. I enjoyed many of the exhibits, but I came away feeling that the Tokyo-Ga show was the stand-out.  The founder and curator, Ms. Naoko Ohta, has assembled quite a fantastic selection of contemporary Japanese photographers, many of whom were unknown to me.  I am happy to discover the work of two young photographers in particular, Masami Yamamoto and Junpei Kato .  

Yamamoto’s images offer mystery and chiaroscuro, while Kato’s clean lines and colors transcend banal, urban surfaces.  Both photographers are distinctly different, but are alike in how they capture Beauty by taking simplicity and giving it meaning—not an easy thing to do, but the results are intelligent and interesting. —Lane Nevares