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photo-eye Gallery Magical New Images from Maggie Taylor Delaney Hoffman
photo-eye Gallery is thrilled to release four new images from represented artist, Maggie Taylor. A master of photomontage, Maggie Taylor's new photographs speak to the importance of the journey, rather than the destination.
Maggie Taylor, If I had a boat, 2021, Archival pigment print, 8 x 8″, Edition of 15, $1500

This week at photo-eye Gallery, we’re ecstatic to premiere four new images from represented artist Maggie Taylor.

Maggie Taylor has been making masterful, complicated photomontages for almost 30 years. By working from scans of collected objects and archival images alongside her own photographs, Taylor invents fantastical characters and whimsical scenarios that leave ample room for interpretation while still managing to prioritize aesthetics. 

Oftentimes, the narratives communicated are those of transience, both because of the artist’s process and because of her chosen imagery. There is a seamless movement between the analog and digital realms for Maggie Taylor, with physical prints rendering like paintings despite their beginnings as increasingly complicated Photoshop files. This sense of perpetual motion especially applies to this new work, with all four images, including If I had a boat at the top of the page, communicating four distinct journeys. 

Beginning with The Conundrum, let’s take a brief walk through Maggie Taylor’s wondrous world together, shall we?

Maggie Taylor, The Conundrum, 2021, Archival pigment print, 8 x 8″, Edition of 15, $1500

The Conundrum is an image that manages to pose poignant questions about individuality, free will and fear while somehow offering the viewer an opportunity for a chuckle at the same time. A single dog stands at the dock, seemingly still and at attention, while a boat full of his compatriots sits close by. Are they coming? Or are they going? Are they desperate for their friend to join them, or are they begging for help, scared of the sharks surrounding them? That question is up to the viewer, and the answer can change, but perhaps the most important question, as posed by the fish, is whether there are any sharks at all.

Maggie Taylor, Wanderlust, 2021, Archival pigment print, 8 x 8″, Edition of 15, $1500

Wanderlust is an intriguing image for all of the things that it doesn’t tell us. In this fantasy world, even the trees are ready to uproot and replant when they get tired of the scenery, seemingly leaving behind beautiful blue pools. Alongside these blue pools, we’re greeted by a pair of ornate blue shoes and are left with the question of who they belong to, and why were they left behind?

Maggie Taylor, Night Ferry, 2021, Archival pigment print, 8 x 8″, Edition of 15, $1500

The last new image of Maggie Taylor’s up for discussion is the haunting Night Ferry, wherein a headless boy and his catfish dog head an illuminated gondola over a vast expanse of water. Who is the guiding force behind this enterprise? Is it the illuminated head that leads the way or the raven that sits and calls out from the light post in the back? This visibility is intentional, and this boat is meant to be some sort of beacon, but the question of who the boat is for and where it takes its passengers is left for us to figure out.

Images featured in this post will appear in Maggie Taylor's forthcoming monograph, entitled Internal Logic, set for release in January of 2022. Mark your calendars and keep your eyes peeled!

• • • • • 

Print costs are current up to the time of posting and are subject to change.

photo-eye Gallery is proud to represent Maggie Taylor.

For more information, and to purchase prints by Maggie Taylor please contact Gallery Director Anne Kelly or Gallery Assistant Delaney Hoffman, or you may also call us at 505-988-5152 x202

Book Review India Photographs by Harry Gruyaert Reviewed by Blake Andrews “The prolific Belgian photographer Harry Gruyaert recently turned 80. Whereas most octogenarians take their foot off the gas pedal in later years, Gruyaert shows no signs of slowing down. His pace of book production has been prodigious of late. He’s published no less than five since 2015 through Thames & Hudson in London. All have been retrospectives of a sort, sifting through Kodachrome files to carve out a slice of his multi-decade career, focused around a place or theme. .."

India. By Harry Gruyaert.
Photographs by Harry Gruyaert

Thames & Hudson, London, UK, 2021. 224 pp., 11¾x9½x1".

The prolific Belgian photographer Harry Gruyaert recently turned 80. Whereas most octogenarians take their foot off the gas pedal in later years, Gruyaert shows no signs of slowing down. His pace of book production has been prodigious of late. He’s published no less than five since 2015 through Thames & Hudson in London. All have been retrospectives of a sort, sifting through Kodachrome files to carve out a slice of his multi-decade career, focused around a place or theme.

The most recent book is India. Gruyaert first traveled to the country in 1976, and he’s made a dozen return trips since, both alone and with family, shooting thousands of photos. After twelve expeditions, one would expect a visitor to develop some bearings. But India defies easy comprehension. Indeed, its inscrutability is one facet which has continually drawn him back. “Today I realize I don’t know anything about India,” Gruyaert writes calmly in the new monograph. “As soon as you think you’ve understood something, an event occurs that makes you reconsider.”

For a certain type of photographer, such unsettled terrain is just the recipe for good pictures. Gruyaert shoots a style of street work which relies on chance and movement. He first stuck a toe in the Indian waters with a 200mm telephoto, compressing street scenes from a safe distance. When that lens was stolen (fortuitously, as it turned out) he switched to a normal one, got closer, and then plunged into the deep. There are some early examples of his telephoto phase in the book but much of the contents fall into the second camp. For these, Gruyaert immersed himself thoroughly into the streets, shooting at relatively close range.

“India is bewildering,” he writes. “It takes you off-guard and makes you lose your bearings.” His photos support the claim. Their general effect is in-your-face. Occasionally they veer into outright disorientation, combining color swatches, limbs, walls, and signs, and autos into chock-full frames which require some effort to disentangle. The deep umbra of Kodachrome and Gruyaert’s timing — he favors twilight outings — also play a role, working symbiotically toward a broody palette that feels continually underexposed, and visually weighted. In the hands of a less talented photographer, this dimness might be detrimental. For Gruyaert it operates more like mood lighting, allowing faces and figures to pop from the shadows, while less important material recedes.

Fans of Gruyaert will recognize a few familiar classics. His stellar shot from Jaipur 1976 is here, for example, magically silhouetting a bird over a busy pedestrian causeway. His jigsaw chiaroscuro from Trivandrum, Kerala, 1989 is included as well. Collaging snips of Lenin, police, bikes, and background murals into a cohesive frame is a delicate task. Just ask Alex Webb or Raghubir Singh. Gruyaert famous photo makes it look easy. That said, the well-known images here are outnumbered by a huge raft of unseen or under-publicized work. He has done a deep dive into the archives for this book, and come back with dozens of newly minted treasures.

The book includes 125 photographs in total, spanning thirty-two years. They are presented without captions (a rear index adds that info) and organized into small groupings by date, place, and style. These are ordered in turn into broad chapters labeled by category: Invitation, Rivers, Streets, Street, Illusion. Each is marked with a title and an entertaining excerpt from Jean-Claude Carriere’s Dictionnaire amoureux de l’inde, a 1981 impressionist travelog. But with the exception of Rivers (subtitled Varanasi, and focused tightly on that city), the chapters are fairly amorphous and unrestrained. For myself, and for most readers I suspect, this structure is somewhat lost to the mix. Gruyaert’s pictures seem more about being out in the world than conceptual framework, and are probably best enjoyed as such.

Such a book might have been published without incident as recently as last decade. But in 2021 notions of identity, representation, and inclusion are in rapid flux, and this book arrives amid shifting sands. The trope of Western photographers exoticizing less developed corners of the world leaves a bad taste in some mouths, and Gruyaert’s Magnum (where he has been since 1982) is dead-center in the mix. He finds himself there one of a small white male Magnum army tromping through post-war India, stretching back to the founder Henri Cartier-Bresson, and continuing through Werner Bischof, Steve McCurry, Carl De Keyzer, Max Pinckers, and others.

Whether the fruits of their labors are celebrated or critiqued as a colonial treasure hunt will depend on one’s point of view. Personally, I’d like to have my cake and eat it too. White patriarchy is a systematic disease, surely as real and foreboding as anything in these pictures. But Gruyaert’s talent is equally authentic. His ability to compose on the fly puts him in very rare company — right up there with Raghubir Singh and Raghu Rai — and his pictures, whether of India or elsewhere, deserve attention, accolades, and future books.

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Blake Andrews is a photographer based in Eugene, OR. He writes about photography at
photo-eye Gallery Put a Bow on It! | photo-eye Gallery's 2021 Gift Guide Delaney Hoffman
photo-eye Gallery's annual holiday gift guide featuring incredible, affordable works from our represented artists!
Ah yes, centered.

It’s that time of year again, and by that time of year, I mean that it’s time for photo-eye Gallery’s annual Put a Bow on It gift guide!

Despite all of the difficulties that this year has put in front of us, I am happy to say that we have almost made it out! November and December bring promises of cozy fireside nights, snow-frolicking and beautiful meals with family and friends. Alongside the many joys of winter, however, are the many stresses of the holidays, the most prevalent of which is the pressure to find the perfect gifts for those special people in your life.

Luckily, photo-eye Gallery is here with a plethora of beautiful presents for your favorite photography or contemporary art lover! There’s nothing like the gift of a limited edition artwork to tell somebody that they’re truly one of a kind, and these unique, affordable pieces will supply beauty that lasts a lifetime. By purchasing from us, you’re not only supporting photo-eye Gallery, but also the independent artists who we represent as well!

Our gallery staff has compiled a list of beautiful objects from our flat files that are both under $1500 and available for local pickup on purchase. If you don’t live in Santa Fe, no worries! We offer shipping both domestically and internationally.

Take a look at the items below — you’re guaranteed to find something that fits the style you’re after, all for under $1500! Thank you for supporting photo-eye Gallery!

Jo Whaley, 62: Noctuid

Steve Fitch, Beresford, South Dakota, June, 1988

 Interested in Steve Fitch's work? Check out American Motel Signs II in our Bookstore here! 

4. Maggie Taylor, Fancy of Flight, Archival pigment print, 8 x 8″ image in 16 x 16″ mat, Edition of 15, $1500

Maggie Taylor, Fancy of Flight

Pentti Sammallahti, Helsinki, Finland, 1981

Interested in Pentti Sammallahti's work? Check out Me Kaksi in our Bookstore here

Interested in Rachel Phillips' work? Check out Divinations in the Bookstore here!

Kate Breakey, Butterfly

For any purchase inquiries or questions, please contact photo-eye Gallery directly via email or telephone at or 505-988-5152 x202!

If you would like to discuss one of the pieces included our gift guide, we would encourage you to contact us as soon as possible to confirm current availability and the shipment timeline.

>> For more curated selections of works that make perfect gifts, check out our other posts from the Put a Bow On It series here! <<

• • • • • 

Print costs are current up to the time of posting and are subject to change.

For more information, and to purchase prints by any artists listed above please contact Gallery Director Anne Kelly or Gallery Assistant Delaney Hoffman, or you may also call us at 505-988-5152 x202

Book Review Bugis Houses, Celebes Photographs by Ursula Schulz-Dornburg Reviewed by Brian Arnold "I first went to Indonesia in 1992, where I lived in a small bungalow in Pengosekan, surrounded by rice paddies owned by the royal family of Agung Rai. Pengosekan is a village outside Ubud and Monkey Forest in Southcentral Bali, well-known for both painting and having some of the best gamelan musicians on the island. I was there on a study abroad program researching Balinese Hinduism and gamelan (the bronze percussion orchestras unique to Bali and Java). As part of my coursework, I remember a particular seminar on theoretical architecture in Bali, about domestic architecture as an expression of Hindu philosophy..."

Bugis Houses, Celebes. By Ursula Schulz-Dornburg.
Bugis Houses, Celebes
Photographs by Ursula Schulz-Dornburg

MACK, London, UK, 2021. 64 pp., 6¼x8½".

“Like floating boats on a yellow-green sea of paddies, the houses stand motionless between heaven and earth… Facing the main road that runs along the west coast of South Sulawesi, they stand frozen in time.”
— Sirtijo Koolhof

I first went to Indonesia in 1992, where I lived in a small bungalow in Pengosekan, surrounded by rice paddies owned by the royal family of Agung Rai. Pengosekan is a village outside Ubud and Monkey Forest in Southcentral Bali, well-known for both painting and having some of the best gamelan musicians on the island. I was there on a study abroad program researching Balinese Hinduism and gamelan (the bronze percussion orchestras unique to Bali and Java). As part of my coursework, I remember a particular seminar on theoretical architecture in Bali, about domestic architecture as an expression of Hindu philosophy.

In traditionally designed Bali domestic architecture, the base measurement of a dwelling isn’t calculated in inches or meters, but rather by the wingspan of the domicile’s patriarch. He will be measured from fingertip to fingertip, arms stretched to the longest point, and this distance will be used to calculate the perimeters of the walls, the height of the roof, and even the dimensions of the compound. In doing so, the life of the family is embedded in the architecture, literally and symbolically.

The new book by Ursula Schulz-Dornburg, Bugis Houses, Celebes, was photographed in Sulawesi (or at one time the Celebes) in 1983. Schulz-Dorburg went to Indonesia with two anthropologists to photograph the Torajo, a people of Central Sulawesi famous for residential dwellings designed to imitate the spacecrafts that first left them on the island, according to local mythology. While returning to Makassar, the capital of Sulawesi, to leave for Europe, she stopped to photograph houses she saw on the outskirts of the city, a part of Sulawesi occupied by the Bugis — yet another people in the remarkable, unique array of linguistic and ethnic complexity that constitute Indonesia.

Comparing Bali and Sulawesi is a little like comparing New York and Nebraska, but there is still something to learn about the Bugis while thinking about Balinese Hinduism, as both islands were at one time governed by the Majapahit and the Mataram, the Hindu-Buddhist empires that once dominated the archipelago. Whether or not these Bugis’ houses were designed with the same architectural theory described to me in Bali, it is clear that those inside the dwelling, the external forces of the environment, and the cosmos all play equal roles in shaping these homes.

Already familiar with The Land in Between, I understood the incredible rigor and sensitivity Schulz-Dornburg brings to her world travels and commitment to architectural photography. Given my own background in Indonesia, I was excited to see her newest publication about the Bugis. With my first viewing, I’ll confess, I was surprised, maybe even disappointed. These pictures do not have the technical and conceptual rigor of The Land in Between — the pictures in Bugis Houses look overexposed (easy to do in that relentless Indonesian sun), and the colors off balance accordingly. Now that I’ve really studied it more closely, I find it a delight, and quickly fell in love with this simple, little book.

Similar in size to a novel, only 64 pages, and with a cover that feels like finely coated linen, the book is a pleasure to hold. The reproductions are small, and all feature closely cropped houses built on stilts, with just enough of the landscape revealed around the dwellings to let us know this is a sparsely populated community dependent on rice and other agricultural products, with little to no modern technology to help them live with the harsh but rich tropical landscape. With just a couple of exceptions, there are no people in the pictures, and when we see them, they are easy to miss. While I was originally put off by the color and exposure of the film, I know to see them as an appropriate expression of the tropical sun. The small reproductions help articulate the humility of the homes they document and help control the limitations of the original photographs.

In an afterward written by Dutch anthropologist Sirtijo Koolhof (an Indonesianist, a specialist in Bugis culture), we do learn something about the construction of the houses and how they correspond to a specific cosmology. They have a clear relationship to the bodies they hold: “From a horizontal perspective, the Bugis house resembles a body, head, foot, and a navel.” Unlike Bali, Sulawesi converted to Islam centuries ago, but Koolhof lets the viewer understand that the Bugis practice a form of Islam that still allows for their earlier animistic beliefs: “For their well-being, people staying in the house should always lay down with their head pointing in the opposite direction of the foot side of the door. In a private section, behind the central wall, the house’s main post is located, the ‘naval’ of the house, where the family presents offerings to the spirits of the house and to their ancestors.” Koolhof’s contribution helps substantiate what the photographs document — a deceptively simple life, but one full of complex and challenging relationships with the landscape and cosmos, and like any home, an essential refuge for supporting the families they shelter.

The types of houses Schulz-Dornburg documented can still be founded in Sulawesi but are largely a thing of the past, having finally given way to more solid structures built from brick and mortar. She must have recognized the changing times, and thus seized upon the necessity of recording these lives they represented. The Land in Between represents 30 years of work, though the pictures in Bugis Houses, represent an idea generated much more quickly, photographed in just a matter of days or hours before she left Sulawesi. Nevertheless, the book presents as a clear idea, modest in its production values, but bold in recording the lives embodied by such simple residential architecture.

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Brian Arnold
is a photographer and writer based in Ithaca, NY, where he works as an Indonesian language translator for the Southeast Asia Program at Cornell University. He has published two books on photography, Alternate Processes in Photography: Technique, History, and Creative Potential (Oxford University Press, 2017) and Identity Crisis: Reflections on Public and Private and Life in Contemporary Javanese Photography (Afterhours Books/Johnson Museum of Art, 2017). Brian has two more books due for release in 2021, A History of Photography in Indonesia: Essays on Photography from the Colonial Era to the Digital Age (Afterhours Books) and From Out of Darkness (Catfish Books).
photo-eye Gallery Michael Kenna's Temporal Poetics Delaney Hoffman
photo-eye Gallery features work from gallery artist Michael Kenna!


Michael Kenna, Ratcliffe Power Station, Study 18, Nottinghamshire, England, 1984, Gelatin-silver print, 6x9″ image in 16x20″ mat, $2500

Michael Kenna, though now known internationally as a master photographer and darkroom printer, once wanted to be a priest. The artist spent seven years in a Catholic seminary boarding school while growing up in Northwest England, and though a career in the clergy wasn’t what Kenna was destined for, the discipline and reverence that he was surrounded with as a young boy are still legible in his photographs today.

Formally stunning and masterfully printed, Michael Kenna’s images present themselves with a simplicity that allows them to criss-cross over time and space. Each subject of Kenna’s lens, whether it be in France, Italy, Japan, or his own Northern England, is granted the same level of intense time and attention. 

In general, Kenna’s images are exposed for an hour or more, completely erasing the presence of individual humans passing through, while the marks they make and the structures they build remain as defining features of the landscape. Through his brilliant compositional eye, the viewer is able to see straight through Kenna’s image-making process, literally. All that the viewer is left to interpret are the visual features of the landscape that captivated the photographer, with all other noise having been erased by strategic shutter speed. 

There are few photographers working today who utilize minimalism and the compositional motif of the line so effectively as Michael Kenna, who drags the viewers' eyes up and down the crags of a city skyline with the same intensity as a gently sloping fence covered in winter snow. Through the simplification of man-made intervention on a landscape to that of an approachable line, or series of lines, Michael Kenna has tapped into a universal sense of elegance that he has been stoking for almost three decades.

View images from Michael Kenna below, and make sure to take a look at his most recent monograph, Northern England 1983-1986, in our bookstore for a view of never-before-seen photographs from the artist’s early work!

>> View Northern England in the photo-eye Bookstore <<

Michael Kenna, Skyline, Study 3, Dubai, United Arab Emirates, 2009, Gelatin-silver print, 8x8″ image in 16x20″mat, $2500

Michael Kenna, Hillside Fence, Study 4, Teshikaga, Hokkaido, Japan, 2002, Gelatin-silver print, 8x8″ image in 16x20″ mat, $7000

Michael Kenna, Moss Landing Power Station, Study 2, California, USA, 1987, Gelatin-silver print, 8x8″ image in 16x20″ mat, $3000

Michael Kenna, Seven Trees, Castello di Canossa, Italy, 2007, Gelatin-silver print, 8x8″ image in 16x20″ mat, $2500

Michael Kenna, Yuanyang, Study 1, Yunnan, China, 2013, Gelatin-silver print, 8x8″ image in 16x20″ mat, $3500

>> Purchase Northern England 1983-1986  by Michael Kenna! <<

>> Purchase the 2022 Michael Kenna wall calendar! <<

>> Learn about how Michael Kenna thinks about his amazing images <<

• • • • • 

Print costs are current up to the time of posting and are subject to change.

photo-eye Gallery is proud to represent Michael Kenna.

For more information, and to purchase prints by Michael Kenna please contact Gallery Director Anne Kelly or Gallery Assistant Delaney Hoffman, or you may also call us at 505-988-5152 x202

Book Review The Hotel Photographs & text by Sophie Calle Reviewed by Odette England "I dismember the book page by page. Isn’t taking a photograph a sort of dismembering of the world? Consider subbing dismemberment for another word. Word is in world. There is no L in Moyra or Davey or Peter or Hujar or The Shabbiness of Beauty or Vanishing. Rather, lots of love, lonesomeness, lust, looking, and light..."

The Hotel by Sophie Calle.
The Hotel
Photographs & text by Sophie Calle

Siglio Press, New York, 2021. 248 pages, 212 illustrations, 6x8."

You shouldn’t invite me to a dinner party. I mean, I’m a reasonable guest. I arrive on time, bearing something nice (flowers, wine, dessert, pet treats). I offer to help serve or dry the dishes. I have a non-offensive laugh. You can seat me on the upside-down trash can that doubles as a spare chair, I won’t complain. I also know a few two-drink-minimum party tricks, like applying lipstick using only my breasts. But when I go to the restroom, my inner spy manifests: I will inspect the contents of your medicine cabinet.

Why? Because that’s where your uncensored life is. It’s one of the few concealed spaces of a home I can access without detection. Peek at a private version of you, presented in rows with reasonable lighting, revealing much more than your refrigerator. Your birth control preferences, meds you’re taking; wow, you use that brand, yeesh… I check out your stuff and draw conclusions. I know you know: it’s estimated almost 40 percent of folks admit that they put things away before guests arrive. Good thing, too; otherwise I’ll treat myself to a spritz of that classy perfume, thank you so much. It’s also a project I thought about as a student: thrusting my Speedlite into the shallows of friends’ little cupboards, then using their surnames or addresses as captions.

Few would do more justice to such a project than Sophie Calle. The only photographer I’d invite to stay with me long-term to see her take, in words and pictures, on the unflattering reality of my life. Remember in 1999 when the world gave birth to the Big Brother franchise? John de Mol Jr. missed an opportunity by not inviting Calle to direct what would become the biggest reality competitions on the planet. Though, it’s more fun to think of Calle turning down the offer. She has already syndicated her creative genius in more persuasive, compelling ways. One being her latest photobook The Hotel, first included in the 1999 book Double Game (long out of print). Now, a single standalone book and available in English for the first time.

The first spread is a black-and-white image of a bed. The book’s gutter separates left side from right. There are two pillows top of frame, then a sheet, wrinkled and turned down; then a patterned stained bedspread. Along the bottom of the page the text reads: On Monday February 16, 1981, I was hired as a temporary chambermaid for three weeks in a Venetian hotel. I was assigned twelve bedrooms on the fourth floor. In the course of my cleaning duties, I examined the personal belongings of the hotel guests and observed, through details, lives which remained unknown to me. On Friday March 6, the job came to an end.

It may seem Calle is giving the game away. Far from it: The Hotel becomes spicier and weirder with every page turn.

Let’s pause to consider Monday February 16, 1981, two days after Valentine’s Day (when almost a third of cheaters have affairs in hotels). Calle is 28 years old. A hand grenade explodes and kills the man carrying it at a stadium in Karachi, before Pope John Paul II arrives to celebrate mass with 70,000 people. It’s the year Ronald Regan is shot, Kiev’s Motherland Monument opens, and The Smurfs make their television debut. People are listening to Dolly Parton’s 9 to 5 on the radio. It’s also International Pancake Day. Why does any of this matter? This is a sliver of the backdrop to which Calle pokes her lens and pen into the lives and suitcases of strangers whom she is entrusted to clean up after. It provides some context, and context is everything.

Now for some theories about hotel land. The TV remote control is the dirtiest object in your room. Big suitcases mean high-maintenance guests. Never use the decorative cushions; they spend most of their lives on the floor. If you leave out your expensive shoes, they will be Cinderelled (yes, borrowing guests’ clothes happens outside of films like Maid in Manhattan). Oh, and having a fourth floor in a hotel is bad luck, a bit like a gate thirteen at an airport.

There are twelve color images positioned at intervals in The Hotel, full-bleed portraits of the beds in each of the rooms assigned to Calle. They are frontal, formal, clinical photographs. Beds made, the perspective direct. Everything is in its place. Each followed by a black and white photograph of an opposing view. Beds are now messy, angles off-kilter. Neatness replaced with the creases of cuddles, courtship, and conversation. On the next page, we’re given the room number and dates of occupancy, followed by seesaw arrangements of Calle’s adroit storytelling. It’s here the content hovers between police report, diary, press photo caption, missing cat poster, home shopping network catalog, photocopy log, and medical invoice. In short, a genre all its own.

Combining image and text well in a photobook is tricky. Calle is a master. Neither triumphs over the other. Calle takes to words like a surgeon wielding a favorite ten-blade. Each sentence is a balance between rudimentary and essential. So too with her camera. I feel Calle’s gaze touch every object. I hear her inhale the musty smell of the hotel iron that has infected your poly-cotton shirt. Her lips so close to its collar she can almost taste its texture. All the while she unravels, labels, authenticates her version of your life in the starkest, most enchanting minimalism.

I’m not distracted by assessing the technical quality of the pictures. I could care less about the focus, film grain, or camera used. This is not a book about darkroom techniques or rules of thirds. It’s about interactions of evidence that excite, amuse, even titillate.

The Hotel
, as a book-object, is meticulous. It presents, in size and weight, like a good quality bible kept in the bedside top drawer. Its cloth cover bearing three different patterns, replicating the hotel’s soft furnishings. The endpapers a shade of heritage green used in carpet made for high traffic areas. Also, for paint that hides sinful stains on hotel walls. It even comes with a bookmark in the shape of a miniature hotel doorknob hanger that says JOYFULLY RESTING… ah, Calle, I adore your sense of humor.

What stands out to me about The Hotel is how we assume we could possibly know anything true about a stranger through their ordinary stuff. What Calle reveals is much more than getting close to it, using flash to photograph it, writing about it, et voila! So many inferences, so many conclusions. There is no greater context-cutter than the camera and its offspring, the photograph. No one exorcises reality like these partners in crime. Yet we give them so much latitude, so much faith, hope, and charity.

The Hotel
documents Calle’s experiences while also probing complex relationships between photography, discretion, instinct, and appetite. Indeed, why as photographers we often lean into snooping and sneaking. Curiosity doesn’t so much kill the cat as feed the camera. It removes some of the barriers to who we are and what we assume the world cannot see. It makes known the detritus of intimate acts that leave us vulnerable without us knowing. Calle proves that few if any spaces are ours and ours alone. Even spaces we assume are private (or neutral). Calle’s heightened senses gather information about us, our traits and personal concerns. She’s not looking for social cohesion or conformity. She’s not looking for damning evidence to support what she thinks she knows. Maybe she’s making snap judgements. Really, she’s just looking. Stripping away tiers of privacy we’re so accustomed to building up.

Why do we like insider photo projects like The Hotel? Because we’re curious about people. We enjoy secrets. We like to think about what people do behind closed doors. Yes, people take out their earrings and use them to clean their fingernails. They remove their wristwatches and sniff the sweaty skin behind. We pick our noses, rearrange our underwear, use utensils for purposes unintended. And then we lie about it or, worse, tell people we never lie. As I write this I wonder to myself how long an affair between a photograph and lie detector would last. Calle’s book shows us from all angles: none of us lie straight in bed.

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Odette England is an artist and writer; an Assistant Professor and Artist-in-Residence at Amherst College in Massachusetts; and a resident artist of the Elizabeth Foundation for the Arts Studio Program in New York. Her work has shown in more than 90 solo, two-person, and group exhibitions worldwide. England’s first edited volume Keeper of the Hearth was published by Schilt Publishing (2020), with a foreword by Charlotte Cotton. Radius Books will publish her second book Past Paper // Present Marks in collaboration with the artist Jennifer Garza-Cuen in spring 2021 including essays by Susan Bright, David Campany, and Nicholas Muellner.
photo-eye Gallery Opening Saturday November 20th, Brad Wilson:The Other World photo-eye Gallery
photo-eye Gallery is thrilled to announce the opening of The Other World: Animal Portraits, featuring images from represented artist Brad Wilson and celebrating the release of a book by the same name
Brad Wilson, Grand Cayman Blue Iguana #1, Albuquerque, NM, 2016, 22x29", Edition of 15, $2000

The Other World: Animal Portraits 
Opening and book signing: Saturday, November 20, 2021, 4 - 6 PM 
Exhibition on view: November 20, 2021 - December, 2021
photo-eye Gallery is currently located at 1300 Rufina Circle, Suite A3, Santa Fe, NM, 87507

photo-eye Gallery is thrilled to announce the opening of The Other World: Animal Portraits, featuring images from represented artist Brad Wilson and celebrating the release of a book by the same name. 

The Other World: Animal Portraits, published through Damiani Publishers in Italy, showcases images from Wilson’s well-known Affinity series. Animal subjects
practically jump off of the page in luminous detail, with each individuating trait articulated with a sharpness that usually feels reserved for the world
 of high fashion. Wilson’s technical eye and artistic sensitivity allows for the viewer to have a direct confrontation with the beauty contained within every bird, cat, animal and reptile that he photographs. Through the lens of the endangered, the artist attempts to achieve the ultimate goal of bridging the interspecies divide. 

>> View more images from the Affinity series <<

Brad Wilson, Chimpanzee #16, Los Angeles, 2016, 22x29″, Edition of 15, $2000
The Other World: Animal Portraits presents Brad Wilson’s beautiful, vivid wildlife portraits in lush color across full landscape spreads. Photographed on location in wildlife sanctuaries and conservancies, Brad Wilson’s emotive portraits showcase the singularity of each of his animal subjects in the small details that make them who they are. Wilson worked with animal handlers in sessions ranging anywhere from 1-4hrs (sometimes longer), most of which were comprised of waiting for the animals to present themselves to him. This method of photographing, which emphasizes an “authentic encounter” with the wildlife even in a modified studio setting, enables the audience to understand the relaxed, but incredibly powerful presence of each animal that Wilson captures. 

Brad Wilson, King Penguin #2, 2019, 22x29″, Edition of 15, $2000


As Wilson says:  

In each animal’s gaze we see a part of ourselves and catch a fleeting glimpse of another world, a world we once fully inhabit deserve to follow their own unique path into the future, wherever it may lead them. 

>> Purchase The Other World: Animal Portraits through photo-eye <<


Brad Wilson

Brad Wilson is a photographer based in Santa Fe, New Mexico. He studied studio art and art history at the University of North Carolina, Chapel Hill after which he moved to New York City where he eventually committed himself
to working as a commercial photographer and ne artist full time. He has produced two other titles in addition to The Other World, those being Wildlife (2014) and Tiere for Der Kamera (2014) through Prestel Publishing. Wilson’s images were selected as the global face of the Microsoft Corporation from 2016-2020 and is included in the collections of the New Mexico Museum of Art and the Blake Collection as well. 

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Given amounts are starting print prices and are subject to change.

photo-eye Gallery is proud to represent Brad Wilson.

For more information, and to purchase prints by Brad Wilson please contact Gallery Director Anne Kelly or Gallery Assistant Delaney Hoffman, or you may also call us at 505-988-5152 x202