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
17 x 17 inches, edition 2 of 10
In his photographs of the Flatiron building, from 2003, Titarenko creates a poetic, Whistler-like palette; the prints glow with soft twilight and imbue magic to golden street lights. These photographs echo with the famous image of the landmark building by Edward Steichen.
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 1 of 5
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. As Sean Corcoran, curator of photography at the Museum of the City of New York, wrote in his essay for Titarenko’s 2015 monograph The City is a Novel, “For Titarenko, each city and its people dictate the images he creates. His images reflect his attempt to reach a deeper understanding of place through the effects of history. It should not be surprising, then, that Titarenko’s vision of New York resonates with the work of Alvin Langdon Coburn and Alfred Stieglitz—men who strived to embody the dynamism of the city and its people in photographs at the turn of the twentieth century. As Titarenko’s relationship with New York grows and changes, so too will the photographs he creates. It is the nature of his working method.”
Alexey Titarenko (b. 1962)
Couple with Umbrella, New York, 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)
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.
George Tice (b. 1938, Newark)
Esso Station and Tenement House, Hoboken, NJ, 1972
Double-coated platinum-palladium print, printed 2017
Image 36 x 28 in. (91.4 x 71.1 cm)
Paper 45 x 30 in. (114.3 x 76.2 cm)
Frame: 47 x 39 1/2 inches
Edition 2 of 15
Before there was Exxon, there was Esso. Tice has revealed the unmistakable essence of American post-war design in this photograph: from the aquiline neon sign to the glistening chrome that frames the 1970s Chevy Impala. The bright, springy neon shimmers before a background of melodramatic sky and architecture. Printed from three negatives in double-coated platinum palladium, Esso Station is a true masterpiece.
George Tice (b. 1938)
Aspen Grove, Aspen, Colorado, 1969, printed 2016
Platinum print
28 x 36 in. (71.1 x 91.4 cm), edition 2/15
Frame: 39 1/2 x 46 1/2 inches with optimum museum non-glare plexiglass
Pentti Sammallahti (b. 195)
Petrohan, Bulgaria, 2003
Gelatin silver print
5 13/16 x 8 7/8 in. (14.8 x 21.4 cm)
Signed and dated in pencil on recto
Pentti Sammallahti (b. 1950)
Signilskar, Finland (White Rabbit), 1974
Gelatin silver print
Signed and dated in pencil on recto
6 x 7 3/8 inches
Pentti Sammallahti (b. 1950)
Helsinki, Finland (dog stretching), 1982
Gelatin silver print
Signed and dated in pencil on recto
6 x 6 5/8 inches
Pentti Sammallahti (b. 1950)
Solovki, White Sea, Russia, 1992
Gelatin silver print
Signed and dated in pencil on recto
6 1/2 x 14 inches
Ingar Krauss (b. 1965, East Berlin, Germany)
Untitled (Harvest Worker, Beelitz), 2006
Gelatin silver print mounted to aluminum, signed, titled, dated, and editioned '1/8' in ink on a label
and with a Marvelli Gallery, New York, the label on the reverse, framed, 2006
image: 39 ¼ by 32 ¼ in. (99.7 by 81.9 cm.)
frame: 41 ¼ by 34 in. (104.8 by 86.4 cm.)
Ingar Krauss’ portraits have a psychological depth rarely seen in contemporary photography. In his series Birds of Passage, Krauss focuses on issues of migration, labor, and identity by photographing the seasonal workers who travel to Germany each year to perform arduous labor for very little pay. In this portrait of a harvest worker, Krauss communicates a strong sense of individuality and the difficulty of his labor - but also his confident stance, with just a hint of melancholy in his eyes. This unusually large gelatin silver print is mounted on aluminum, lending even more gravity to this striking portrait. The photograph was exhibited in 2009 in the show This is not a Fashion Photograph at the International Center of Photography, curated by Vince Aletti.
Ann Rhoney (b. 1953)
Silk Dress Coming, 1982, painted 2018
Gelatin silver print with applied oil paint
Signed and titled on verso
13 1/8 x 8 7/8 inches
With a tenacious questioning of the camera’s ability to register the nuances of color as seen by the human eye, Rhoney has created works of art since the 1970s that marry the light of photography with the colors of painting. By applying transparent paint to the surface of the print, she fulfills photography’s promise of true luminosity, and reveals a dazzling spectrum of blues, pinks, and greys unattainable in traditional color photography.
Jurek Wajdowicz (b. 1951)
Untitled, 81K_6964, 2018–2022
Archival pigment print
Signed and numbered by the artist on verso
25 1/2 x 37 1/2 inches, framed
A poem, a piece of music, or a vision? Through Jurek Wajdowicz’s lens, light, color and form create near abstract images defined not only by what the artist reveals but by what we ourselves uncover in his work. Created without computer enhancements, his works negotiate the space between photography and painting, as the intimacy and minimalism of each piece gives the sense that the colors and shapes have been applied directly by the artist’s own hand.
Jurek Wajdowicz (b. 1951)
Everything is beautiful and (almost) nothing hurt, 2012–2020
Archival pigment print
Signed and numbered by the artist on vers
25 1/2 x 37 1/2 inches, framed
Jurek Wajdowicz (b. 1951)
Untitled, 8AJ–2946, 2014
Archival pigment print
Signed and numbered by the artist on verso
25 1/2 x 37 1/2 inches, framed
Jurek Wajdowicz
Untitled, F81_3991,2020
Archival pigment print
Blind embossed stamp and signed by the artist.
Print size:
15.5 x 22 in (39 x 56 cm)
29.5 x 42 in (75 x 107 cm)
Jurek Wajdowicz
Untitled, 8AH_2122, 2014
Archival pigment print
Blind embossed stamp and signed by the artist
Print size:
15.5 x 22 in (39 x 56 cm)
29.5 x 42 in (75 x 107 cm)
Jurek Wajdowicz
Untitled, 8AG_0308, 2014
Archival pigment print
Blind embossed stamp and signed by the artist.\
Print size:
15.5 x 22 in (39 x 56 cm)
29.5 x 42 in (75 x 107 cm)
Jurek Wajdowicz
Queen of Solitude, 2016
Archival pigment print
Blind embossed stamp and signed by the artist
Print size:
15.5 x 22 in (39 x 56 cm)
29.5 x 42 in (75 x 107 cm)
Jurek Wasjdowicz
Untitled, 75C_140, 2015
Archival pigment print
Blind embossed stamp and signed by the artist
Print size:
15.5 x 22 in (39 x 56 cm)
29.5 x 42 in (75 x 107 cm)
