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

"The Cosmos of Denis Brihat," September 10 - November 8, 2014

Nailya Alexander Gallery is pleased to present The Cosmos of Denis Brihat, opening on September 10th from 6 to 8pm. The exhibition will run through November 8th at the Fuller Building, 41 East 57th Street, Suite 704 (corner of Madison Avenue). Gallery hours are 11am-6pm, Tuesday through Saturday, and by appointment.

Denis Brihat (b. 1928, Paris) first made his photographs in 1943. In 1948, he attended the Rue de Vaugirard photography school, and in 1955 encouraged by Robert Doisneau, he started working for the RAPHO agency. Brihat spent a year (1955-1956) photographing in India, where he produced work that won him the Prix Niepce in 1956 and an exhibition at the Société Française de Photographie. In 1958, he moved to Provence, where he settled at Bonnieux to concentrate on his personal research and the themes of nature. Living in seclusion on the then deserted Plateau des Claparèdes, he at last could create the photography he had always longed for: images that revealed the complexity and beauty of nature through a completely immersive experience. Several important exhibitions mark this period, notably at the Musée des Arts Décoratifs in Paris in 1966 and at MoMA (New York) with Pierre Cordier and Jean-Pierre Sudre in 1967. In 1968, Brihat started his experiments in color by using metal toning and etching process of the gelatin surface, techniques he tirelessly pursued and honed ever since. The color in Brihat’s toned prints is mineral, made of the salts of silver, gold, sodium, iron, and uranium among others, and is achieved solely through classical darkroom processes. The resulting prints are sumptuous and delicate. Of remarkable richness, they expose the color of light, something far greater than the color of things.

“When Brihat enlarges a slice of lemon to the size of a cathedral rose window, when he puts a single acacia seed or spike of lavender on a neutral background – a background of nothingness  – he raises these tiny harbingers to the power of the cosmos, and infinity is certainly what he intends to possess, infinity withdrawn from the wear of time, an eternal infinity.” (Michel Tournier)

Denis Brihat has had exhibitions both in Europe and the US since 1963.  He received Grand prix photographique de la ville de Paris in 1987. His works can be found in museum collections such as Bibliothèque Nationale, Paris; Centre Pompidou, Paris; European House of Photography, Paris;
Cantini Museum, Marseille; Museum of Modern Art, New York; Center for Creative Photography, Tucson, AZ; and Victoria and Albert Museum, London.

Alexey Titarenko in ARTnews and The WSJ review

Alexey Titarenko was featured in the June edition of ARTnews. The feature, entitled "Photographer Transforms Crowds into Shadows and Black and White into Color," by Rebecca Robertson appeared in the "Studio" section. To read onliine click here

"About a Woman" exhibition was reviewed in the Wall Street Journal on June 28th. Click here to read it online. The exhibition will be up throuhg July 25th. 

About a Woman, May 21 - July 25, 2014

Nailya Alexander Gallery is pleased to announce About A Woman, the exhibition featuring photographs by Sarah Moon, Deborah Turbeville, Marcia Resnick, Grete Stern, Jacques-Henri Lartigue, Alexander Rodchenko, Many Ray, Alexander Zhitomirsky, A. Tsoukker, Baron Adolf De Meyer, Ann Rhoney, Heather Evans Smith, Cirenaica Moreira, David Tippit, Steve Wilson, Jan Lauschmann, George Seely, and Alexey Titarneko.

The exhibition will open on May 21st and will run through July 25, 2014. Gallery hours are 11-6pm, Tuesday through Saturday and by appointment.

Irina Nakhova: Moscow Diary

Nailya Alexander Gallery is pleased to present “Irina Nakhova: Moscow Diary,” opening on Wednesday, April 2nd, 6-8pm, at the Fuller Building, 41 East 57th Street, Suite 704 (corner of Madison Avenue). The exhibition will run through May 17th, 2014.  Gallery hours are 11am-6pm, Tuesday through Saturday, and by appointment.

Irina Nakhova (b. 1955), an installation artist and academically trained painter, shares her home and studio between Moscow and New Jersey. She graduated from the Moscow Institute of Graphic Arts in 1978 and is a member of the unofficial artists’ group, now known as the Moscow Conceptual School. She has been a member of the Moscow Union of Artists since 1986. Nakhova achieved wide acclaim for her Rooms (1983-7), the first "total installation" in Russia.

Nakhova has been selected to represent Russia in the 56th Venice Biennale in 2015, where she will be the first woman to have a solo exhibition in the history of the Russian Pavilion. In 2013, she won Russia’s prestigious Kandinsky Prize for Project of the Year.

Our presentation will feature the installation Without a Title, exhibited at last year’s Kandinsky Prize, and shown for the first time in the United Sates. This installation uses manipulated photographs in a variety of media from Nakhova’s personal and family archive that dates from the 1920’s to the present. Also featured are Skins (2009), photo sculptures Pillows (1997) and several paintings from the installation Renovation (2012).

Nakhova has had over 30 solo exhibitions in North America, Europe, and Russia. She taught contemporary art at Wayne State University in Detroit (MI), Carnegie Mellon University in Pittsburgh (PA), and The International Summer Academy of Fine Arts in Salzburg, Austria. Her artwork is in museums and private collections in France, Germany, Great Britain, Italy, Russia, Spain, Sweden, Switzerland, and the United States.