25 to 36 of 52
I 1 2 3 4 5 I
Betty Hahn - Gridlock, Print #2
Betty Hahn
Gridlock, Print #2
Lisa Holden - Forest (from Series
Lisa Holden
Forest (from Series "Constructed Landscapes")
Lisa Holden - Lamia, Desert (Lilith Series)
Lisa Holden
Lamia, Desert (Lilith Series)
Lisa Holden - Pale Forest (from Series
Lisa Holden
Pale Forest (from Series "Constructed Landscapes")
Lisa Holden - Reading
Lisa Holden
Lisa Holden - The Daughters
Lisa Holden
The Daughters
Lisa Holden - The Mirror
Lisa Holden
The Mirror
Zhang Huan - To Add One Meter to an Anonymous Mountain
Zhang Huan
To Add One Meter to an Anonymous Mountain
Kim Joon - Duet-Incanto
Kim Joon
Claudia Kunin - Walpurgis Nacht
Claudia Kunin
Walpurgis Nacht
Achim Lippoth - Wolflinge #9 (Cub Scouts)
Achim Lippoth
Wolflinge #9 (Cub Scouts)
Dan McCormack - Ruby (Female Nude)
Dan McCormack
Ruby (Female Nude)
By Matt Damsker

Unlike in past periods, there's no mainstream or orthodoxy to art photography in today's post-postmodern era. Where once photographers held to the primacy of black and white printing or the nobility of superb formalism and painstakingly controlled exposure, contemporary photo art draws its legitimacy not from aesthetic conventions or the leadership of an elite few, so much as from an increasingly diverse and increasingly fractured perception of the world.

Thus, while there may be schools of contemporary photography––say, the exploratory, post-Soviet realism of Eastern European eyes such as Stanko Abadzic or Vladimir Birgus, or the rigorous experiments with color, landscape and geometry that distinguish the work of Marcus Doyle, Jerry Spagnoli and Charlie Schriener––there is no quintessentially contemporary work, and perhaps that is a good thing. Where Steichen or Steiglitz, Weston or Adams, Frank or Cartier-Bresson once defined the artistic moment, today's cross-influenced world of global media and instant communication is simply too fluid an environment for any aesthetic to dominate.

As a result, the photographers represented in this exhibit are compiling a new grammar of images, one that addresses both the triumph and the failure of the modern world and of modernism––its promise and delivery of progress on one hand, its failures of humanity and ecology on the other. Today's ambivalent portraits of skyscrapers and consumer products, shadowy images of urban prostitution, or dreamlike visions of man's encroachment on pristine landscapes speak to us in a multitude of visual tongues that recall the classic photography of the modern masters in many ways, and build upon the technological breakthroughs of ever more advanced films, cameras, and digital manipulation. And yet these photographs do not celebrate visual reality so much as mourn a fallen world in which so much is possible and so much goes unachieved.

Vladimir Birgus--Berlin
Vladimir Birgus--Berlin

The images of beauty and nudity struck by Sally Mann, Lisa Holden, Ernestine Rubin, Connie Imboden or Michael Philip Manheim are variously activated by vivid color saturations, painted effects, foreshortened perspectives, swirling multiple exposures or an isolating focus on body parts. All of these approaches confront our loss of innocence, our febrile possessive gaze and, always, our complicity in establishing the meaning of an artwork. By contrast, the architectural studies of Louis Baltz or William Christenberry could not be more straightforward in their depictions of the simple, hardscrabble facades behind which life, we must assume, struggles on.

Amidst these diverse visions of the fragments of today's world, of course, the temptation to connect them thematically or conceptually may be strong, but more than anything they speak to a kind of multiform freedom––the freedom to see, shape and reshape in new ways, and the freedom to find ever richer subject matter in our backyards, on our computers, or in our own heads. While photography's tendency has always been to beautify or ennoble the plainest particulars of the world, today's best photographers are more liberated than ever as they reveal to us that nothing is plain and simple anymore.

Contemporary Art Photography: A Selection
About This Exhibit
Image List

Exhibited and Sold By
Contemporary Works / Vintage Works, Ltd.

258 Inverness Circle
Chalfont, Pennsylvania   18914   USA

Contact Alex Novak and Marthe Smith

Email info@vintageworks.net

Phone +1-215-822-5662

Call for an Appointment


Share This

Share on facebookShare on twitterShare on linkedinShare on pinterestShare on tumblrShare via email
25 to 36 of 52
I 1 2 3 4 5 I