#gittermangallery

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#gittermangallery#khalikallah#kleamckenna#herbertmatter#photography#streetphotography#harlem#contemporaryart#blackandwhitephotography#newyork#soulsagainsttheconcrete#aipad2018#pghphotofair#parisphoto2018#parisphoto#altprocess#modernart#giacometti#nyc#moma#thephotographyshow2018#carnegiemuseum#provincetown

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„Stills“
JAMES HERBERT
First edition, 1992
9 x 12 inches
104 pages
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#jamesherbert #artistbook #bwfilm #gittermangallery


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Thames and Hudson has just released the US printing of this important book. So happy to be included. A detail of my picture is included. #civilizationthewaywelivenow #thamesandhudson #m97gallery #gittermangallery #thamesandhudsonusa


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"Paul Cadmus and George Tooker, Provincetown” by PaJaMa, c. 1947. Vintage gelatin silver print, Gitterman Gallery. .
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In 1937 painters Jared French (1905 - 1988) and Margaret Hoening French (1906 - 1998) were married and joined forces with fellow painter Paul Cadmus (1904 - 1999) to form a photography collective that took the name PaJaMa, a combination of their first names. Behind the camera capturing the dreamy, homoerotic black and white images the collective specialized in was a complex personal configuration, as Cadmus and French were not only lifelong friend but longtime lovers; in front of the camera in this image are Cadmus and his lover, painter and frequent PaJaMa model George Tooker. The pair are captured in silhouette on a Provincetown beach, where the group frequently vacationed and photographed extensively. .
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#PaJaMa #paulcadmus #jaredfrench #margaretfrench #margarethoening #photography #blackandwhitephotography #queermodernism #queermodernisms #lgbthistory #gayhistory #gayculture #queerculture #arthistory #modernism #modernist #modernart #gayart #gayartists #queerart #queerartists #malenudephotography #homoerotic #homoeroticart #provincetown #provincetownart #onthebeach #gittermangallery


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Always a treat to see an original print of this. My grandmother Francesca photographed by my grandfather Daniel Masclet in 1927, appropriately entitled “le beau gosse”.
#parisphoto2018 #gittermangallery #danielmasclet #family


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Adam Bartos / Mombasa, Kenya (park), 1980

In the 1970's, while attending film school at NYU, Bartos began working with color photography. Mentored by Evenlyn Hofer and influenced by William Eggleston. He's produced a wide-ranging body of work that takes him all over the world: Kenya, Russia, Mexico, Los Angeles, Paris, and Long Island.

#theinvisiblelibary #color #photography #colorphotography #adambartos #mombasa #kenya #park #1980 #africa #ocean #pigmentprint #gittermangallery #contemporaryart #modernart


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@klea_mckenna La China Poblana (1), 2018
Toned gelatin silver print; unique photogram with impression, 41 1/2 x 78 in. (105.4 x 198.1 cm)
Impression of a handmade skirt, heavily sequined with an eagle and snake emblem. Mexico, made 1920s, altered in 1940s. ...I had heard the story before, or one of the many embellished versions
of it, that in the late 1600’s a young Rajasthani woman in India was kidnapped by pirates and sold into slavery. She was taken across the sea to Mexico, to the colonial city of Puebla. Once there, a series of unlikely plot twists led her first to life in a Catholic convent and then into marriage to a wealthy merchant. This enigmatic woman became a local icon known as “La China Poblana” (the Asian woman from Puebla). Her personal style was as captivating to the people of Puebla as was her history, and they began to emulate her global look. She merged the draped, sheer fabrics and mirrored details of Indian saris with the local woven shawls and full skirts of Mexico. The China Poblana style evolved over the following centuries in Mexico to integrate patriotic colors and symbols, as well as new materials such as sequins, first made of metal, then of gelatin and celluloid. Later Frida Kahlo embraced it as a nod to indigenous identity politics and imbued it with her bohemian cool, making the style internationally recognizable. Throughout the 1940s and early ‘50s, my own grandmother, living on an island off the coast of Southern California, dressed in a simplified version of this look. The history of fashion is a history of appropriation, and the origin of a new style is often seeded by foreign influence. But rarely does a seed carried across continents and oceans by one lone woman grow into a symbol of a nation’s identity... - Klea McKenna

#gittermangallery
#kleamckenna


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Gagagaggorgeous!! #kleamckenna ‘s new work — textile photograms (but that doesn’t tell you the half) — At #gittermangallery — making a trip to midtown worthwhile! .
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#galleryvisit #artworld #artadvisor #artconsultant #artcollector #livewithart #experimentalphotography #contemporaryart


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Pratt Institute Photography Gallery is pleased to present a solo exhibition of work by #allenframe, #pratt Adjunct Professor of Photography, curated by #liagangitano, Director of @participantafterdark. Three new photographic installations made in Rome are presented with previous photographs made in Florence twenty years ago, as well as one of Frame’s earliest Super 8 films. Revisiting a practice he began around 1990 in which photographs from his own archive were combined with found photographs, Frame’s recent wall compositions emanate from discrete photographic collections found in thrift stores, interspersed with found drawings, paintings, objects, and text, at times combined with photographs made by the artist. Frame is the recipient of the Abigail Cohen Rome Prize in Visual Arts from the #americanacademyinrome in 2017/18.

#gittermangallery


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@klea_mckenna Manton de Manila (2), 2017
Gelatin silver print; unique photogram with impression, 42 x 75 1/4 in. (106.7 x 191.1 cm)
Impression of a hand embroidered silk Manton de Manila or Piano Shawl. Spain, 1930s (+2 details)

A garment designed for movement in an era when women’s mobility was limited by everything from their clothing to their class. It is said that the women of Spain requested the fringe, and then demanded that it be longer and longer still… so that it would sway and ripple with each shift of their bodies, amplifying their movements. The shawls came from the East via the Manila Galleons, the Spanish trading ships that for 300 years, beginning in 1565, brought the material world of “the Orient” to Europe. The silk was farmed, woven and embroidered in China with images of frogs, fish and cranes. The shawls traveled from Canton, China to the Port of Manila, crossed the feral Pacific to Acapulco, were carried across Mexico to the Atlantic Coast, and then shipped to Seville (accompanied by the Navy to fend off pirates). But the symbols of frogs and fish were
lost in translation. The women of Spain wanted blooming roses and songbirds and fringe so long that it fell like hair down their backs. The market spoke, and the #mantondemanila was born—a shawl which only ever passed through Manila, despite the name’s implications.
Movement. From one continent to another, from the upper-class ladies to the #flamenco dancers and the Romani caravans all across Europe. Eventually it adorned the pianos of anyone who could afford one. The knotted fringe, which lives much longer than the body of the shawl, was often torn from the fragile silk to be reused, stitched anew to scarves and dresses as fashions changed. Somewhere in this migration, the shawl’s swirling fringe became a symbol of bohemian abandon. So that by the era of my childhood it was draped over every mantel or curtain-less window in every hippy home in California, and #stevienicks was dancing, spinning her web, with fringe flying around her like a storm.

From the artist book Generation by #kleamckenna . Download a copy from our website under publications.

#gittermangallery #contemporary


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KLEA McKENNA: Generation opens Wednesday, September 12, 6-8 pm

@klea_mckenna , Imperfect Offering (2), 2018
Gelatin silver print; unique photogram with impression, 71 x 40 in. (180.3 x 101.6 cm)
Impression of fragment of silk tapestry embroidered with gold-wrapped thread. China, 1890s.
2nd image is a detail

#kleamckenna #gittermangallery #contemporaryart #altprocess


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Generation by Klea McKenna opens @gittermangallery on Wednesday September 12 with a reception from 6–8 pm.⠀

The show presents the artist’s new work alongside images from two previous series Automatic Earth and Web Studies. Each series is characterized by her use of photograms, emphasizing the strong relationship between the physical contact and the light sensitive printing surface.⠀

The show, running in conjunction with another exhibition of her work in Los Angeles at @vonlintelgallery (through October 20th), will be open through November 10.⠀
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📷Klea McKenna, Your Eyes Aren't Eyes. They're Bees (1), 2018. Courtesy Gitterman Gallery.⠀
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#gittermangallery #show #kleamckenna #photography #exhibition #newyork #photographmag


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KLEA McKENNA: GENERATION opens Wednesday, September 12, 6-8 pm
Paint Me Bare (3), 2018
Toned gelatin silver print; unique photogram with impression of 48 nylon stockings (United States, 1950s-1960s) 
36 1/2 x 42 1/2 in. (92.7 x 108 cm)

@klea_mckenna #kleamckenna #gittermangallery #nylonstockings


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Gitterman Gallery is proud to present an exhibition of contemporary work by Klea McKenna. The exhibition opens on Wednesday, September 12th from 6–8 p.m. and continues through Saturday, November 10th.
This exhibition marks her first solo show in New York and the beginning of her representation by Gitterman Gallery. It is presented in association with Von Lintel Gallery in Los Angeles where McKenna will have a concurrent exhibition from September 7th through October 20th.

The exhibition presents McKenna's most recent work Generation alongside work from two of her previous series Automatic Earth and Web Studies. With each series, McKenna uses the photogram process innovatively to create unique gelatin silver prints that contain both vivid detail and ethereal abstraction. She pays homage to her subject's histories while re-animating them through her engagement, revealing nuance, depth and energy.

To read more please visit our site under NEWS

Klea McKenna, Snakes in the Garden, 2018, Gelatin silver print; unique photogram with impression, 39 3/4 x 36 1/2, Impression of a salvaged fringe of a silk piano shawl or Manton de Manila. Spain via China and the Philippines, 1890s.

#kleamckenna #gittermangallery #photogram #altprocess #contemporaryart @klea_mckenna


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I’m excited to announce that I’m now showing with @gittermangallery in NY. I’ll have a solo show, Generation, opening both there and at @vonlintelgallery in LA this September. I’ve been busy!
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“Snakes in the Garden” unique photographic relief/photogram. Selenium toned. 40x37 inches.
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#womenartists #photographicrelief #photographicrubbings #photogram #altprocess #kleamckenna #fashionhistory #mantondemanila #gittermangallery


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Kenneth Josephson, Chicago, 1961

#kennethjosephson #gittermangallery


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Peter Hujar, Andrew, c. 1980

#peterhujar #gittermangallery


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Allen Frame, Alfredo, Mexico City, 2008

#allenframe #gittermangallery


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Josef Breitenbach, Patricia, New York, 1942

#josefbreitenbach #gittermangallery.com


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Machiel Botman, Julia, 2007

#machielbotman #gittermangallery


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Ferenc Berko, Paris, c. 1935-37

#ferencberko #berko #gittermangallery #paris


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Adam Bartos, Kenya (lamp and pitcher), 1980

#adambartos #gittermangallery


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Roswell Angier, Indian Head Bar, Holbrook, Arizona, 1980

#roswellangier #gittermangallery


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