Alexey Titarenko: The City is a Novel

Nailya Alexander Gallery is excited to announce the release of Alexey Titarenko's monograph The City Is a Novel, published in Italy by Damiani. The monograph, Titarenko's first major publication, features over 140 photographs of his work in St. Petersburg, Venice, Havana, and New York. The book also includes essays by curator, writer, and art historian Gabriel Bauret; Brett Abbott, curator of photography at the High Museum of Art; and Sean Corcoran, curator of prints and photographs at the Museum of the City of New York.

Damiani writes, "Famous for introducing long exposure and intentional camera movement into street photography, Titarenko created powerful metaphors to document the century's historic changes. His haunting, ghostlike images have become icons of the era of the collapse of the Soviet state."

Nailya Alexander Gallery will hold a book signing for The City is a Novel on Wednesday, September 9, from 6 - 8 PM, during the opening of our fall show, Soviet Photography: 1920s-1930s. The book will be available for purchase at the gallery for $60.00. It can also be preordered from Amazon in advance of its September 29 release date.

Jane Hilton: American Cowboy


Red Rock, Valley of the Gods, 2015

Nailya Alexander Gallery is pleased to present American Cowboy, an exhibition of photographer Jane Hilton’s work documenting the 21st-century cowboys of the American West. American Cowboy opens Thursday, July 9 from 6 – 8 PM at 41 East 57th Street, Suite 704, and runs through July 31. Gallery hours are 11 AM – 6 PM, Tuesday through Friday, and by appointment.

Please note that the gallery will be open for the month of July from 11 AM – 6 PM, Tuesday through Friday, and by appointment. We will be closed for the month of August, and will reopen and resume normal hours on Tuesday, September 8.

Photographer, filmmaker, and former classical musician Jane Hilton was born in England and received a degree in Music and Visual Art from Lancaster University in 1984. Her fascination with the American West was sparked on her first trip to Arizona in 1988. “I grew up with the Hollywood cowboy movies of John Wayne and Gary Cooper,” Hilton told The Telegraph in 2010. “I remember watching them on television with my dad on Sunday afternoons. Those gunslinging cowboys defending their land and women folk, all played out in the spectacular scenery of the American West – it seemed a long way from suburban England.”

American Cowboy, Jane Hilton’s third solo show at Nailya Alexander Gallery, marks the culmination of nearly three decades documenting the striking landscape and unique culture of the American West. In Dead Eagle Trail (2010), Hilton photographed cowboys in their houses, surrounded by Western iconography and memorabilia; in American Cowboy, she captures them where they are truly at home, on the land, both dwarfed and ennobled by the vast plains and endless highways that have defined their way of life for almost two hundred years. Shot largely on color film with a 4 x 5” view camera, the resulting prints replicate the region’s deep, dusty earth tones and diffuse light with startling richness and detail. Yet Hilton is neither nostalgic nor naive. In “Big Chief Gas Station, New Mexico,” a shuttered Native American business stands as a derelict memorial to the ancient cultures that American cowboy helped displace, and speaks to declining economic prospects for tribes and ranches alike. As Hilton writes in the introduction to Dead Eagle Trail (Schilt, 2010), “Real cowboys will not disappear, but every generation produces fewer and fewer of them.”

In addition to American Cowboy and Dead Eagle Trail, Jane Hilton’s documentation of the American West includes extensive work in the wedding chapels of Las Vegas, as well as a fifteen-year span photographing and filming working girls and madams in the legalized brothels of Nevada. A book of portraits from the brothels, Precious, was published in 2013, and the series was featured in a solo show at Nailya Alexander Gallery. Hilton also produced a ten-part documentary film series for the BBC, “Love for Sale,” on life in the Nevada brothels.

Jane Hilton’s work has been exhibited widely in galleries and art fairs throughout Europe and the United States. This spring, photographs from American Cowboy were shown at the inaugural edition of Photo London, London’s first international photography fair. Her portrait of cowboy Pate Meinzer was shown at the National Portrait Gallery in London as a nominee for the Taylor Wessing Photographic Portrait Prize in 2009. Her work can be found in the permanent collection of the Philadelphia Museum of Art, and her photographs are published regularly in The Sunday Times Magazine and the Telegraph Magazine. In 2013, Jane Hilton was awarded an Honorary Fellowship by the Royal Photographic Society.

William Meyers book signing: Thursday, June 18 4:30 - 5:30 PM

Nailya Alexander Gallery is pleased to announce that photographer William Meyers will be holding a book signing on Thursday, June 18, from 4:30 - 5:30 PM. Meyers will be signing copies of his new book Outer Boroughs: New York Beyond Manhattan (Damiani, 2015). The photographs from this series are on display at the New York Public Library through June 30.

The NYPL writes, "Photography's longtime love affair with New York City has typically been centered on Manhattan, rather than on any of the city's four other boroughs, the 'outer boroughs.' For nearly two decades, between 1990 and 2008, William Meyers sought to correct this imbalance by taking his camera to overlooked and underexplored locations in the Bronx, Brooklyn, Queens, and Staten Island. The photographs in this exhibition represent Meyers’s selection of images from that project, printed as a portfolio and acquired by The New York Public Library in 2008. Organized visually rather than thematically or geographically, the images are meant to be encountered as the photographer did himself — 'as a curious pedestrian willing to be surprised as he wanders the streets and boulevards of his city.' The photographs, the earliest of which were taken twenty-five years ago, also stand as visual reminders of New York City's constant evolution. 'The city I photographed,' says Meyers, 'has been replaced by a much more vibrant one.'"

The signing will take place at Howard Greenberg Gallery, located on the 14th floor of the Fuller Building at 41 East 57th Street. Nailya Alexander Gallery is located on the 7th floor. We invite you to visit the gallery before or after Meyers' signing.

Alexey Titarenko in the Jardins du Palais Royal

Alexey Titarenko, "Fifth Avenue, New York," 2010

Alexey Titarenko, Fifth Avenue, New York, 2010

Happy summer from Nailya Alexander Gallery! If you are in Paris this summer, we invite you to see Alexey Titarenko's work on display in the Jardins du Palais Royal as part of the exhibition Le Parfum Dans Tous Les Sens, on view through June 14. Titarenko's work will also be part of the first annual Festival du Regard at the Manège Royale, Place Royale, in the Parisian suburb of Saint-Germain-en-Laye, from June 19 through August 29.

If you are in New York, we invite you to visit the gallery for Nicholas Hughes: Nowhere Far, on view through June 27. This is the first show in the United States of Hughes' most recent body of work, "Aspects of Cosmological Indifference," and his second solo show at Nailya Alexander Gallery. Gallery hours are 11 AM - 6 PM, Tuesday through Saturday, and by appointment. We are also excited to announce our next show, Jane Hilton: American Cowboy, opening on July 9. Look out for more information on this show later this month.

Nicholas Hughes: Nowhere Far

 

Nicholas Hughes: Nowhere Far
May 28 – June 27, 2015
Opening reception: Thursday, May 28, 6 – 8 PM

Nailya Alexander Gallery is pleased to present Nicholas Hughes: Nowhere Far, opening Thursday, May 28, from 6 - 8 PM at 41 East 57th Street, Suite 704. This is the first show in the United States of Nicholas Hughes’ most recent body of work, “Aspects of Cosmological Indifference,” and his second solo show at Nailya Alexander Gallery. Gallery hours are 11 AM – 6 PM, Tuesday through Saturday, and by appointment.

Nicholas Hughes was born in Liverpool in 1963 and studied photography at the London College of Communication. From an early age, he was a passionate environmentalist. Inspired by thoughtful, socially conscious writers like Thoreau and Seamus Heaney, and deeply influenced by the effects of the Chernobyl disaster on nearby North Wales, Hughes dedicated himself to the task of addressing humanity’s increasingly problematic relationship with nature — while avoiding the pitfalls of polemical and topical documentation in a world already supersaturated with images of destruction and decay.

“For Hughes, finding unspoilt areas of wilderness untouched by human presence proved nearly impossible,” writes Martin Barnes, senior curator at the Victoria & Albert Museum, London. “Only the sky or the ocean offered the edge of human interference and, with it, a metaphorical rather than an actual space.” The result is “Aspects of Cosmological Indifference,” the first verse of which, as Barnes observes, combines the ethereal with the ecological, and the earthly with the epic. The vast distances between human and cosmos are collapsed, and in the inertness of space, light and color come alive, producing a series of celestial portraits in which the same sky shows a different face each time. “The images are desolate, almost bleak, but there seems to be a calm about them,” Sarah Nardi writes of Hughes’ early work. “They seem to reassure us that the existence of life or the lack thereof is inconsequential to the universe.”

Hughes’ theoretical concerns are borne out in his artistic process, which marries the analog to the digital as deftly as it does the physical to the atmospheric. Shot on color film and printed by hand in a traditional color darkroom after select digital adjustments, Hughes’ meditations on the threat of ecological destruction simultaneously pay homage to a set of endangered photographic skills and resources. In each rich, vivid print, the light that animates the sky seems diffused in the image itself.

Hughes’ work has been shown in over sixty group and solo exhibitions worldwide, as well as at the world’s major photographic art fairs in Paris, Los Angeles, and New York. His photographs can be found in the collections of the Museum of Fine Arts, Houston, TX; the Gana Art Center, Seoul, South Korea; and the Victoria and Albert Museum, London, England, which selected his work to appear in a travelling exhibition in India in 2010. His first limited-edition book, “Aspects of Cosmological Indifference,” was published in 2013. This summer, his work will be featured in the Harvard University Press publication Photography and the Art of Chance, by Robin Kelsey.

Nicholas Hughes is based in the United Kingdom. He is represented in London by The Photographers’ Gallery.

New Yorker review of Alexey Titarenko: New York

 

We are pleased to share Vince Aletti's review in this week's New Yorker of "Alexey Titarenko: New York," closing this Saturday, May 16.

"Black-and-white cityscapes suggest memories in which some details are blurred and others are highlighted. (The effect is achieved through long exposures.) In the past, Titarenko has depicted crowds in his native St. Petersburg as apparitions drifting past massive stonework. His recent pictures of New York feature sidewalks full of solitary figures, but the mood is less oppressive and the surfaces have a silvery sheen. The images are often sparked with gold toning: windows glow as if reflecting setting suns, and an antique fire-alarm box takes on the aura of a museum piece. Through May 16."

Photo London 2015

 

Nailya Alexander Gallery is excited to be participating in Photo London 2015, a major international photography fair that will take place at Somerset House in London from May 21-24, 2015. The fair will feature 70 of the world's major photography galleries, as well as an innovative public program designed to open up new audiences for photography and showcase emerging talent.

Nailya Alexander Gallery's booth will be located at Stand B5/Room East G40. We will be showing Russian vintage and contemporary photography, including vintage work by Aleksandr Rodchenko, Arkady Shaikhet, Max Alpert, Boris Ignatovich and Semyon Fridlyand. Contemporary work will be shown by Alexey Titarenko, George Tice, Pentti Sammallahti, Irina Ionesco, and Boris Mikhailov, among others. We look forward to seeing you at Photo London 2015!

Alexey Titarenko: New York

Nailya Alexander Gallery is pleased to present “Alexey Titarenko: New York,” opening Wednesday, March 25, from 6 - 8 PM at 41 East 57th Street, Suite 704. This is the first show of the photographer’s ongoing body of work in New York City, featuring a selection of photographs from 2004 to the present. Gallery hours are 11 AM - 6 PM, Tuesday through Saturday, and by appointment.

Born in 1962 in St. Petersburg, Titarenko rose to prominence in the 1990s for his series of photographs of his native city, where his application of long exposures, intentional camera movement, and expert printmaking techniques to street photography produced a powerful meditation on an urban landscape still suffused with a history of suffering. In the decade that followed, his pursuit of the city of his youth led him as far afield as Venice, whose architecture served as a model for St. Petersburg, and Havana, whose streets and buildings remained frozen in the Soviet era.

For the past eight years, Titarenko has turned his lens toward a very different city: New York. In this work, Titarenko brings his longstanding concerns with time and history to bear on a relatively young city known for its relentless, headlong pace. Titarenko’s distinctive long exposures and selective toning highlight the way that architecture not only gives form to the lives of a city’s inhabitants, but also stands as an embodiment of its history. Even in New York, time stands still, if just for a moment: in the defunct fire alarm boxes still posted on busy street corners; in the turn-of-the-century façades adorned with the multivalent, overlapping signage of the modern era; and in buildings like the Domino Sugar Factory, a powerful example of the city’s rich past meeting its implacable present.

Titarenko crafts each print by hand in his darkroom, producing a rich, subtle range of tones that renders each print unique. Such masterful printing is particularly suited to Titarenko’s longtime interest in water and its relationship to the city, bringing out the the texture and reflective quality of the snow, the rain, the clouds, and the East River, and infusing each image with moisture and light.

Alexey Titarenko’s photographs have been shown in over thirty solo exhibitions and over forty group exhibitions around the world. His work can be found in the collections of the Philadelphia Museum of Art; the Baltimore Museum of Art; the Museum of Fine Arts, Boston; the Museum of Fine Arts, Houston; the J. Paul Getty Museum, Los Angeles; the George Eastman House; the Yale University Art Gallery; the Bibliothèque Nationale, Paris; the Musée de l’Elysée, Lausanne; and the State Russian Museum, St. Petersburg.

Alexey Titarenko lives and works in New York City. "Alexey Titarenko: New York" runs through May 16.

GALLERY UPDATE

This winter has been an exciting time at Nailya Alexander Gallery, with the opening of “Solarized” in November and a successful trip to Classic Photographs L.A. last month.

“Solarized” closes on Saturday, February 28, and we invite you to come see the show before the works are taken down at the end of the month. The show, which spans the course of the twentieth century, features unique works by over a dozen photographers, including Irina Ionesco, Edmund Teske, Erwin Blumenfeld, Todd Walker, and Alexey Titarenko. All the artists featured have experimented with the striking phenomenon of solarization, in which extreme exposure or re-exposure to light causes a distinctive and unique tonal reversal in photographic prints and negatives.

We are also excited to announce our next show, “Alexey Titarenko: New York,” opening on March 25th, as well as our participation in the upcoming fairs AIPAD (April 16-19 at the Park Avenue Armory) and Photo London (May 21-24 at Somerset House).

We look forward to seeing you at “Solarized,” on view until February 28 at 41 East 57th Street, Suite 704, Tuesday through Saturday, 11:00 – 6:00.

The WSJ Review, October 18, 2014

This is what is meant by “fine prints.” That is, to appreciate Denis Brihat’s photographs of flowers, vegetables and fruits you have to see his actual prints. The colors he achieves are so delicate that no reproduction, say in a newspaper rendering or an online digital image, adequately captures them. Mr. Brihat (b. 1928) moved to Provence from Paris in 1958 and lived in seclusion on the Plateau des Claparèdes. There he studied nature and perfected his printing techniques. The time-consuming processes involve toning the prints with minerals—salts of silver, gold, sodium, iron and uranium, among others.

Most of the works on display at Alexander are extreme close-ups of a single flower, fruit or vegetable and, in some instances, just part of one. “Pavot (Poppy)” (1999) is 16 by 20 inches, the entire frame filled with the one flower set against a white background. The poppy’s petals are elegant but fragile, and seem translucent; the reddish color modulates through a wide range of shades, the result of gold toning. The effect is very pleasurable.

Mr. Brihat paid the same attention to a black tulip, a ranunculus, a chrysanthemum, an orchid, a gardenia, an amaryllis and a hibiscus. His speckled white pear is delicate and erotic. “La peau et les racines de l’oignon (Skin and Roots of Onion)” (2002) is an extreme example of Mr. Brihat’s ability to wrench beauty from meager materials; striations show clearly on the thin bits of onion skin, whose coppery tones are set off against the opaque black of the roots.

By WILLIAM MEYERS