Debbie Flemming Caffery, My Van's Camp 1987
This summer, Renaissance Press will be offering three intensive copper plate photogravure workshops, introducing students to the evolution of copper plate photogravure technique and imagery, from the processes inception to present day practices. Artists that wish to use Mylar for direct copper plate photogravure plate making and printing are also welcome. A comprehensive PDF detailing all aspects of photogravure taught at the workshop will be given to workshop participants.
This workshop is particularly interesting because Paul Taylor has been knee deep in perfecting the digital film positive. Anyone in alternative photographic process would benefit from tapping into his knowledge.
June 18,19, 20, 21, & 22
July 16, 17, 18, 19, & 20
August 20, 21, 22, 23, & 24
My first question when an artist inquires about being included in this collection is – do you work in copper? More often than not these days the answer is ‘no, polymer.’ So when I learned that German photographer Hendrik Faure did indeed work in copper, I was excited to see his prints.
His gallery describes his work as “lonely landscapes with richly textured, haunting results. Using objects in his studio Faure creates intimate microcosms combined with the reoccurring themes of life, beauty and decay. Flora and fauna wilt and dry alongside animals, reptiles, birds, skulls and mannequins. Despite the sombre nature of the subjects, his imagery is rich with emotive and silent composure. The distressed appearance of Faure’s photographs creates a venerable classicism. His sometimes-surreal scenes slowly reveal themselves amidst the distressed qualities of the gravure.”
First hand, Faure’s images beautifully tap the photogravure proccess to convey the intensity and beauty that this vetreran psychiatrist, insightful photographer and dedicated printmaker sees. To learn and see more, visit L A Noble Gallery.
For those that still doubt the fact that Alfred Stieglitz fully embraced photogravure for its expressive potential and nuance, you only need to visit the Alfred Stieglitz, The Art of Photogravure exhibit at the Amon Carter Museum of American Art which opened in Fort Worth on May 10.
The small show, curated by John Rohrbach, Senior Curator of Photographs, is comprised of ten large-format photogravures by Stieglitz. These exquisite versions of some of Stieglitz’s most important photographs were in his private collection at the time of his death. They reveal, first hand, how he experimented with different inks and papers in his efforts to best convey his personal vision. Of particular interest is the display of four slightly different prints of the same image, Spring Showers – three large and one small. The three large versions of this iconic Stieglitz masterpiece side by side represent a rare opportunity to compare nuance in his photogravure prints. The small version, still bound in an issue of in Camera Work 36, is nearly identical in it’s paper choice and ink color to one of the three larger versions offering strong evidence of Stieglitz’s personal participation in the printing of the Camera Work photogravures.
The exhibition is drawn from a generous gift of Doris Bry, who worked for many years as the assistant and exclusive art dealer for Georgia O’Keeffe and runs through October 19, 2014. Exhibit times are set from 10:00AM to 5:00PM on Tuesdays, Wednesdays, Fridays and Saturdays. On Thursdays, you can visit from 10:00AM to 8:00PM. The exhibit also runs at limited hours on Sundays at 12:00PM to 5:00PM. For more information, you can call 817-738-1933.
Exhibit includes Stieglitz large-format photogravures including The Terminal (10 x 13 in)
Photogravure: Master Prints from the Collection
May 11, 2013 – August 11, 2013
Curated by Peter Barberie, The Brodsky Curator of Photographs, Alfred Stieglitz Center.
This exhibition includes fifty-five works, most of them master prints from the 1880s through the 1910s by Pictorialist photographers such as Edward S. Curtis, Peter Henry Emerson, Gertrude Käsebier, Edward Steichen, and Alfred Stieglitz. There are also extraordinary examples from the 1930s by Man Ray, Paul Strand, and Doris Ullman, and contemporary works by Ian van Coller, Jon Goodman, Eikoh Hosoe, and Lorna Simpson.
Honickman Gallery, ground floor
David Spencer is a passionate collector of photography. His collection is based on a solid, if not inexhaustible, body of research he has worked diligently to accumulate over the past 15 years. Recently he launched PhotoSeed.com as a venue to share that information. PhotoSeed was launched quietly this summer, but the quiet did not last long. It was just awarded the coveted site of the week by Communication Arts Webpicks.
“PhotoSeed is a labor of love by David Spencer, a passionate and leading collector of vintage fine-art photography. The site, comprised of his personal collection, was populated in his free time and includes his detailed backgrounds for many of the works.
Defined by the depth of the collection and content, it’s a tool for new users and the curious, as well as scholarly researchers.”
So big congratulations to David for making it happen and a bigger thank you for sharing with the community the elusive information that you have tirelessly and diligently collected.
Wet Day on the Boulevard, 1894, Alfred Stieglitz
Alfred Stieglitz: In-Sight Evenings: Looking Deeper and Differently at the Arthur M. Sackler Museum @ 485 Broadway, Cambridge, MA 02138
In 1969 the Fogg Museum received a selection of photogravures by the legendary impresario of American modernism, Alfred Stieglitz (1864–1946). Drawn from the artist’s first portfolio of his own work, Picturesque Bits of New York and Other Studies (1897), the images signaled a critical sea change in Stieglitz’s approach to the fine art of photography, while their acquisition marked the advent of a new direction in collecting for Harvard’s art museums.
This In-Sight Evenings series features a talk by Deborah Martin Kao, Chief Curator; Richard L. Menschel Curator of Photography; Acting Head, Division of Modern and Contemporary Art, Harvard Art Museums on Stieglitz and his seminal work.
Wed. September 22, 2010, 6 pm – 8pm.
Harvard Art Museums/Fogg Museum
Tickets are $25.
Space is limited and registration is encouraged. For a full listing of member discounts, to register, or to request an In-Sight brochure, call 617-495-0534 or email email@example.com.
Two color photogravure, 11” x 11”. Courtesy of Moeller Fine Art, NY.
THE AMERICAN ACADEMY OF ARTS AND LETTERS ANNOUNCES 2010 ART AWARD WINNERS
New York, March 25, 2010 — The American Academy of Arts and Letters announced today the eight artists who
will receive its 2010 awards in art. The awards will be presented in New York City in May at the Academy’s
annual Ceremonial. The art prizes, totaling $62,500, honor both established and emerging artists. The award
winners were chosen from a group of 37 artists who had been invited to participate in the Invitational Exhibition of
Visual Arts, which opened on March 11, 2010. The Invitational Exhibition continues through April 11, 2010, and
features over 120 paintings, sculptures, photographs and works on paper. The members of this year’s award
selection committee were: William Bailey, Chuck Close, Eric Fischl, Jane Freilicher, Judy Pfaff, Martin Puryear,
Robert Ryman, and Ursula von Rydingsvard.
Five Academy Awards in Art of $7500 each are given to honor exceptional accomplishment and to encourage creative work. This year’s winners include:
Roger Fenton, Water Gate, Raglan Castle, 1856
Google alerts are great if you are searching for information on obscure subjects. That is exactly how I discovered Paul Morgan. Paul was offering a talk at the National Media Museum entitled ‘Paul Pretsch and Photogalvanography 1850 – 1870’. Surprised not only to find someone interested in the subject but also to see one of photography’s most prestigious institutions offering a talk on photogralvonagraphy, I emailed Paul to introduce myself and see if he would let me read his lecture.
Paul and I have since had in depth correspondence about Pretsch. He has provided me with a plethora of images and text regarding Pretsch, photogalvanography and Fenton. Eventually, I asked for Paul’s bio. Expecting to see something like Professor of Art History – Oxford, I was surprised to see that he is a layperson with a passion for creating, learning and writing — rendering his work on Pretsch all the more impressive.
From Paul’s bio….”I was educated at Rossall, then took a degree in Communication Studies at Aston in Birmingham. Have been through quite a variety of jobs, but the main spell was living and working with profoundly handicapped youngsters. Have always been involved in the arts, my own output including painting, drawing, photography, poetry, drama, and prose. Usually occupied in writing of some variety, in latter years mainly odd articles, covering subjects from local history to Captain Morgan the pirate. My interest in Pretsch came about from finding some photogalvanographic prints, but very little information about them. I ended up spending a decade intermittently pursuing the full story. Now have turned my attention to an investigation of the Battle of Loos in 1915, where my maternal Grandfather died.”
Paul has generously agreed to let me publish his work on Pretsch in the text section of the site. It is as comprehensive essay on Photogalvanography you’ll find, celebrating the forgotten innovation that lead to the first published photographic art portfolio in ink – Photographic Art Treasures.
Thank you Paul.
Theodor and Oscar Hofmeister, The Solitary Horseman, 1904
Swann Galleries Photographs and Photographic Literature
Sale 2191, October 22, 2009
Camera Work made a strong showing at Swann last month. While many lots in the sale passed or sold within or below their estimates, seven of the ten Camera Work lots commanded prices that exceeded their high estimates (including buyer’s premium.)
Numbers 2 & 19 $5,280
Numbers 7 & 8 $3,360
Numbers 13 & 15 $6,960
Numbers 16, 17 & 18 $4,560
Number 22 $3,360
Numbers 25 & 31 $6,480
Number 27 $4,560
To learn more about Camera Work pricing, visit Photogravure Gallery.
“There is a sense of panic out there…” were the words of Dick Sullivan, proprietor of Bostick-Sullivan. “Without it, photogravure in its present form will cease to exist. End of story,” were Craig Zammiello’s words. ”This is very big!!!! and harrowing!” said Jon Goodman.
What is all the fuss about? Well it appears as though Autotype, the only manufacturer of pigmented gelatin tissue, a material critical to the photogravure process, has decided to cease production… “It is with sadness that after 100 years of supply, MacDermid Autotype is now forced to discontinue the manufacture of Gravure Pigment Papers and films due to the withdrawal of two unique raw materials.”
Without this material, practicing photogravure ateliers have two choices – make their own gelatin tissue (a laborious and unpredictable prospect) or practice polymer photogravure – a distant second choice and not an option for purists.
Hopefully Richard Sullivan will come to the rescue. He is versed in manufacturing carbon tissue and is working diligently to save photogravure. Talking with him today, it appears as though he is making positive strides toward a product that might just be better than Artotype’s (thicker – allowing more depth in the etch). Too complicated for this layperson, the status of the situation can be followed on Richard’s forum, which – if you take the time to read it, illustrates just how complex this process is.
By the way, I must admit I was pleased to hear Richard, a legend in the world of alternative process, tell me that photogravure was among his top top three of all photographic processes when it comes to beauty.