Alexey Titarenko (b. 1962)
Flatiron Building (Couple), New York, 2003
Unique toned gelatin silver print, handmade in the darkroom by the artist
Signed, titled, dated, and editioned by the artist on verso
12 x 12 inches, edition of 15
17 x 17 inches, edition 2 of 10
Alexey Titarenko (b. 1962)
New York Public Library, New York, 2017
Unique toned gelatin silver print, handmade in the darkroom by the artist
Signed, titled, dated, and editioned by the artist on verso
12 x 12 in. (30.5 x 30.5 cm), edition of 10
16 x 16 in. (40.6 x 40.6 cm), edition of 10
The prints from the New York series are notable for his application of partial bleaching and selective sepia, selenium, and gold toning, as well as for the use of the nineteenth-century Sabatier effect, also known as pseudo-solarization. The toning is seen here in the soft warmth of the lampposts on the snow-covered pavilion outside the iconic New York Public Library building. Titarenko’s masterful printmaking also helps to highlight his longtime interest in water and its relationship to the city, bringing out the texture and reflective quality of snow and rain and infusing each image with moisture and light. A print from this edition can be found in the collection of the Museum of the City of New York.
Alexey Titarenko (b. 1962)
Midtown Sunrise, New York, 2018
Unique toned gelatin silver print, handmade in the darkroom by the artist
Signed, titled, dated, and editioned by the artist on verso
17 x 17 inches, artist proof
In Midtown Sunrise, an everyday scene — a tree on a busy city block — becomes a moment of awe and grace. Titarenko frames a solitary tree in the center of a whirlwind of passers-by and vehicles and crowns its branches with a halo of gold. A print of this photograph can be found in the collection of the Museum of the City of New York.
Alexey Titarenko (b. 1962)
58th Street, New York, 2012
Unique toned gelatin silver print, handmade in the darkroom by the artist
Signed, titled, dated, and editioned by the artist on verso
12 x 12 inches, edition 7 of 10
Titarenko is known for applying long exposure to street photography, an innovation that introduces the notion of time to the two-dimensional print. This technique reaches its peak in his photographs of New York, where buses, taxis, trains, and planes are in the constant movement against a backdrop of both turn-of-the-century façades and the multivalent, overlapping signage of the modern era. In this photograph, this use of long exposure combines with Titarenko’s painterly application of selective toning. A crowd surging across 5th Avenue and 58th Street softens into a blur; while the viewer’s eye is drawn to a taxicab, a street lamp, an American flag, a traffic light, and the dynamic play of the sunlight through the branches of a tree. In the lower right corner, a single figure sits in contemplation, his posture reminiscent of Rodin's famous sculpture Le Penseur (The Thinker). A print from this edition can be found in the collection of the Museum of the City of New York.
Alexey Titarenko (b. 1962)
Domino Factory, New York, 2011
Unique toned gelatin silver print, handmade in the darkroom by the artist
Signed, titled, dated, and editioned by the artist on verso
10 x 10 inches, edition 2 of 10
Domino Factory, New York, 2011, frames the iconic Domino Sugar Refinery in Williamsburg, Brooklyn, against the backdrop of the Williamsburg Bridge and the skyline of lower Manhattan. Shot less than ten years ago, this image already captures so much that no longer exists — the factory, built in 1856, is currently being redeveloped, and the skyline is now all but remade by the presence of the mammoth tower at One World Trade Center. Titarenko’s masterful palette is on full display here, from the pure but muted highlights in the snow and in the wake of the passing tugboat to the myriad shades of the skyline and clouds. Notable, too, is Titarenko’s command of texture, which allows him to evoke in a visceral way both the coarse, aging brick of the refinery as well as the silvery sheen of the East River.
Alexey Titarenko (b. 1962)
Couple with Umbrella, 2014
Unique toned gelatin silver print, handmade in the darkroom by the artist
Signed, titled, dated, and editioned by the artist on verso
7 1/2 x 7 1/2 inches, edition 20 of 25
In this photograph, shot outside the New York Times building in Midtown Manhattan, a couple huddled together under an umbrella is the focal point in a rainy urban scene. The surrounding city — the tall buildings against the sky, the traffic filling Eighth Avenue, the other passers-by — are rendered in innumerable shades of gray, while the couple at the center is emphasized with rich, darker tones, approaching but never quite reaching pure black. Titarenko’s selective toning gives warm, muted hues to the umbrella they share, as well as to the soft light on the distant horizon, which is reflected in the glass awning overhead. The overall effect is to evoke a classic New York City scene, as well as a moment of intimacy in a famously teeming and fast-paced city.
Alexey Titarenko (b. 1962)
Fire Alarm Box, Little Italy, New York, 2013
Unique toned gelatin silver print, handmade in the darkroom by the artist
Signed, titled, dated, and editioned by the artist on verso
7 x 7 in. (17.8 x 17.8 cm), edition of 25
12 x 12 in. (30.5 x 30.5 cm)
A print of this photograph can be found in the collection of the Museum of the City of New York.
Ann Rhoney (b. 1953)
Silk Dress Coming, 1982, painted 2018
Gelatin silver print with applied oil paint
Image: 13 1/8 x 8 7/8 in. (33.3 x 22.5 cm)
Paper: 14 x 11 in. (35.6 x 27. 9 cm)
The catalog for the Metropolitan Museum of Art’s 2012 exhibition Faking It wrote on Silk Dress Coming, “…the silver dress undulates like molten steel and its carefully positioned streaks of rust and lavender rhyme with those of the admirer’s übermasculine conveyance. The chromatic affinities allowed Rhoney to propose a narrative relationship to which the ‘natural’ color of commercially available film would have been indifferent.”
Jurek Wajdowicz (b. 1951)
Untitled, 81K_6964, 2018–2022
Archival pigment print
Blind embossed stamp and signed by the artist
37 1/2 x 25 1/2 inches
Jurek Wajdowicz (b. 1951)
Everything is beautiful and (almost) nothing hurt, 2012–2020
Archival pigment print
Blind embossed stamp and signed by the artist
37 1/2 x 25 1/2 inches
Jurek Wajdowicz (b. 1951)
Untitled, 8AJ–2946, 2014
Archival pigment print
Blind embossed stamp and signed by the artist
37 1/2 x 25 1/2 inches
Jurek Wajdowicz (b. 1951)
Untitled, F81_3991, 2020
Archival pigment print
Blind embossed stamp and signed by the artist.
22 x 15.5 inches (56 x 39cm)
42 x 29.5 inches in (107 x 75 cm)
Jurek Wajdowicz (b. 1951)
Untitled, 8AH_2122, 2014
Archival pigment print
Blind embossed stamp and signed by the artist.
Print size:
22 x 15.5 inches (56 x 39cm)
42 x 29.5 inches in (107 x 75 cm)
Jurek Wajdowicz (b. 1951)
Untitled, 8AG_0308, 2014
Archival pigment print
Blind embossed stamp and signed by the artist.
Print size:
22 x 15.5 inches (56 x 39cm)
42 x 29.5 inches in (107 x 75 cm)
Jurek Wajdowicz (b. 1951)
Queen of Solitude, 2016
Archival pigment print
Blind embossed stamp and signed by the artist.
Print size:
22 x 15.5 inches (56 x 39cm)
42 x 29.5 inches in (107 x 75 cm)
Jurek Wajdowicz (b. 1951)
Untitled, 75C_1401, 2015
Archival pigment print
Blind embossed stamp and signed by the artist.
Print size:
22 x 15.5 inches (56 x 39cm)
42 x 29.5 inches in (107 x 75 cm)
