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Showing posts with label Gallery Favorites. Show all posts
Showing posts with label Gallery Favorites. Show all posts

Maggie Taylor’s vivid photomontages are awash with whimsy, story and symbolism. In this month’s Gallery Favorites segment we each chose one image from Taylor’s exhibition Internal Logic that personally speaks to each of us, and detail what we find intriguing and delightful about each work. For this post, we are pleased to have Maggie share her favorite as well. 

We hope you enjoy viewing our favorite prints from the exhibition, and please reach out if you have questions about any of the selected artworks — Maggie Taylor’s Internal Logic is currently on view in the photo-eye Gallery, and the newly signed monograph, and limited edition that includes a print, is available through our bookstore- HERE.


Anne Kelly selects If I Had a Boat


Portrait of Gallery Director
Anne Kelly
One of the challenges and joys of collecting photography is deciding which artists to collect, and which images by that artist to select. When it comes to prolific artists, such as Maggie Taylor, the image selection process may seem daunting. My advice is to let the process be fun and organic and not let it intimidate you.

My first rule of collecting is select images you love, even if you can't yet identify why. You will have plenty of time to discover what about the image spoke to you. If you are looking for a more conscious strategy, try making a selection that contains a visual element that you have a personal connection with. I believe that art and music, have the power to stir the imagination and assist in revisiting fond memories. Images that have that transformative power are, in my opinion, rewarding and joyful to live with.

In following my advice, the image that I have selected from our current exhibition is "If I had a Boat". When I was growing up, my grandparents lived on a lake and my grandmother owned a small butterfly sailboat. Some of my fondest memories are watching my grandmother sail, and, as I got older, taking sailing lessons. When I focus on this image, I am temporarily transported back to those carefree Summer days on the lake...the sun on my skin, water splashing, the smell of sunscreen, and perhaps even my grandmother's voice in the distance.


Maggie Taylor selects The Game


Maggie Taylor, The Game, 2021, Archival Pigment Print, 15x15", edition of 15, $3,200

As is normally the case, my personal favorite image is the one I most recently finished. “The Game” started with an intriguing pair of dogs, painted at different times by different artists. I added in a third character — a combination of a baby elephant skeleton I photographed at the Natural History Museum in Oxford, England, a few years ago and a small painting of Napoleon I found at an antique sale. Since there was no person to interact with these creatures, I added the woman who exists in a different dimension, but still has the ability to play with the dogs. Probably the most fun aspect of working on this image was exploring all the possible color palettes and outfits for each character.





Jovi Esquivel selects The Gathering


Maggie Taylor, The Gathering, 2021, Archival Pigment Print, 15x15", edition of 15, $3,200 

Portrait of Gallery Associate
Jovi Esquivel
Within a cloud of aqua, a group of small boats carrying small animals, wearing paper crowns, circle a woman floating in a body of water; at the center of the photograph with her arms and hands open towards receiving, her soft, calm, gaze meets mine as I examine the fleet surrounding her. 

Throughout history, the open palm has been associated with truth, honesty, and openness; in this image, I'd like to think of it as a surrender to a sense of wonder. 

I grew up in Southern California, not in a coastal city, but the thirty-minute drive to my favorite beach made it an easy place to escape to. The view offered by HWY 1 (PCH), heading south toward the state park was the first gift of promise. Now, as a meditative practice, I try to recall as much detail as I can— the range of aqua between me and the horizon while I stand on the shore, the salty breeze, the shock from the touch of cold water that seems to wake every fiber in me. If you've been in the Pacific Ocean, you know it isn't an easy body of water to enter, but I've learned to respect its nature and in turn, it has taught me how to trust myself and follow my intuition. Submerging into its wildness reconnects my soul to my body.

The vivid colors found in Maggie Taylor's The Gathering reconnect me to the moments I have spent standing at my favorite shoreline, bracing myself physically to accept the gifts that come from surrender.


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Internal Logic — Photographs and Art by Maggie Taylor
Maggie Taylor's Digital Creations are built layer by layer, and object by object, through a disciplined studio process of trial and error.

Internal Logic highlights Taylor's sense of what makes an image 'work' and offers insights into the shape and contours of her inspirations.

*The Limited Edition contains one 8"x8" Archival Print.










photo-eye Gallery is proud to represent Maggie Taylor.

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


To learn more about these and other works by Maggie Taylor, or to acquire specific prints, 
please contact photo-eye Gallery Director Anne Kelly or Gallery Associate Jovi Esquivel.

1300 Rufina Circle, Unit 3. Santa Fe, NM 87507
Tuesday– Saturday, from 10am– 5:30pm
You may also call us at (505) 988- 5152 x202

photo-eye Gallery A Peek at Our Current Exhibition - Internal Logic Maggie Taylor, Anne Kelly & Jovi Esquivel In this Gallery Favorites segment we each chose one image from Taylor’s exhibition Internal Logic that personally speaks to each of us, and detail what we find intriguing and delightful about each work. For this post we are pleased to have Maggie share her favorite as well.
photo-eye Gallery Gallery Staff Favorites | Steve Fitch: American Motel Signs 1980–2018 photo-eye Gallery
This week, for the Gallery Favorites segment of our blog, we highlight images from the exhibition Steve Fitch: American Motel Signs 1980–2018 that personally resonate with each of us.

The online exhibition Steve Fitch: American Motel Signs 1980–2018, corresponds with Fitch's recent photobook American Motel Signs II 1980–2018, published by The Velvet Cell. In this book, Fitch documents the changing landscape, capturing the bright neon motel signs littered across long highway expanses throughout the West.

This week, for the Gallery Favorites segment of our blog, we highlight images from the exhibition that personally resonate with each of us. Take a look below! And please reach out if you have questions about one of the featured prints.
 — Anne & Patricia
 

Anne Kelly

Steve Fitch started collecting as a child. His collections included everything from coins, rocks, insects, and stamps to old gas pump handles. In 1971, Fitch began exploring the “blue highway” with his camera — collecting images of old motel signs and roadside attractions. Fitch views old motel signs as a form of Folk Art — evidence of the pre-franchised highway. No two motel signs are the same and were typically fabricated by skilled local craftsmen.  

While each motel sign that Fitch photographed is unique, because he is exploring typology there is also an implied similarity. Though Fitch’s motel sign photographs do make wonderful groupings they also function as successful singular images. Now, when collecting something that has similar characteristics such as coins, stamps, or vintage motel signs, how do you choose?  I think this is where it becomes personal. Fitch believes that there is an interplay between memory & photography. I agree and believe that has always been a part of my attraction to photography.
 
Anne Kelly, Gallery Director
anne@photoeye.com
505-988-5152 x 121 

Mesa, Arizona, December, 1980 


My first selection is Mesa, Arizona, December 1980. First of all, I enjoy the composition and color palette in this image. I have never been to Mesa, Arizona, but we do have roadrunners in New Mexico. Having discovered that they exist (outside of cartoons) when I moved here over 20 years ago I have a fondness for them.
 

Hackberry, Arizona, 2002

Steve Fitch, Hackberry, Arizona, 2002, archival pigment print, 15 x 15 inches, $650

My second selection is Hackberry, Arizona, 2002. This is yet another location that I have never visited, yet it feels familiar. In this image, it appears that the motel is long gone and has been survived by a bush. The original sign remains as a monument of what was. The neon has been removed by man or nature leaving behind a beautiful blue/green patina.  

Patricia Martin

The American landscape has been a source of inspiration for generations of artists, but the work by Steve Fitch stands out from conventional representations of the subject. Where photographers like Ansel Adams have sought the sublime in the majesty of the American landscape, and survey photographers have documented its notable and curious geological formations, Fitch's work depicts the American West as a drive-through scenery instead of an enchanting wilderness. His images of motel signs, capture the distinctive sights that have defined roadside America. 
 
Patricia Martin, Gallery Assistant
patricia@photoeye.com
505-988-5152 x 116
 

Cherokee, North Carolina, August 1982

 

Some motel signs are more interesting to look at in broad daylight. In Cherokee, North Carolina, August, 1982, several signs of mismatched size pile up to form one single sign in mustard colors. Sitting at the very top, is the silhouette of a legless Native American princess. What I enjoy about this image is how it captured the ingenuousness of the setting the aimless arrow-shaped sign pointing at a light post and the uninviting fenced pool the sign advertises. 
 

Albuquerque, New Mexico, March, 1980

 
What stands out for me in Alburquerque, New Mexico, March, 1980 is the color palette, the perfect color match of the cactus green on the "Cactus Motel" sign. I also appreciate how the entire sign, including the post that supports it, mimics the shape of a saguaro cactus, the archetypal symbol of the American Wild West.
 
 
 

 
 
 
 
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All prices listed were current at the time this post was published.


For more information, and to purchase prints, please contact Gallery Director Anne Kelly or Gallery Assistant Patricia Martin, or you may also call us at 505-988-5152 x202
 
 

photo-eye Gallery Gallery Staff Favorites | Michael Kenna: Il Fiume Po photo-eye Gallery
The online exhibition Il Fiume Po (The River Po) presents the natural and man-made surroundings of the River Po through Michael Kenna's captivating perspective, offering both mystery and stillness. This week, for the Gallery Favorites segment of our blog, we highlight images from the exhibition that personally resonate with each of us.

The online exhibition Il Fiume Po (The River Po) presents the natural and man-made surroundings of the River Po through Michael Kenna's captivating perspective, offering both mystery and stillness. This week, for the Gallery Favorites segment of our blog, we highlight images from the exhibition that personally resonate with each of us.

We hope you enjoy our selections from Michael Kenna: Il Fiume Po (The River Po) and please reach out if you have questions about one of the featured prints!

 — Anne & Patricia

Anne Kelly

I rarely stumble on a Kenna photograph that I don’t like. Sometimes, however, certain images will stand out, and it can be hard to articulate exactly why that is. Over the years, I have noticed that I tend to instinctually pause a bit longer when viewing images that I favor. On a more conscious level, I gravitate towards images that possess a bit of mystery — while simultaneously offering a sense of déjà vu.

Kenna photographs both the natural and man-made world with the same grace — a singular vision. He depicts the industrial landscape with the same reverence as a snow-covered tree in the forest.

From our current exhibition, I selected two images: 
 
 

Ponti di Spagna, Bondeno, Ferrara, Italy, 2018

 
In this carefully composed image, we see a single tree on the edge of a river, six birds are in motion — and the fog causes the river and sky to become one. On closer inspection, we see a subtle ring of water in the river — as though someone has just skipped a rock or perhaps one of the birds swooped down to take a drink. The photograph could have been composed a hundred years ago — or today, but it transports me to “now”.

Many of Kenna’s photographs are multiple-hour exposures. While making the exposure Michael patiently enjoys taking in the world around him. The evidence is the photograph. 
 
 

Night Power Station, Pila, Porto Tolle, Rovigo, Italy, 2018


I have always appreciated Kenna’s ability to approach industrial landscapes and the natural world with the same method. It appears that he addresses both with equal wonder and reverence. As a young boy, Michael spent quite a bit of time exploring the industrial landscape of northwest England — and it is clear to me that he hasn’t lost the sense of child-like wonder. 

In his adult years, Ford River Rouge, an industrial complex outside of Detroit, Michigan, and Ratcliffe Power Station in Nottinghamshire, England are two locations that Kenna has photographed extensively. This image is a bit different in that the river and absence of daylight become such a large part of the composition. The star trails in the sky and man-made light sources bring the power station to life.


Anne Kelly, Gallery Director
anne@photoeye.com
505-988-5152 x 121 
 
 

Patricia Martin

The work of Michael Kenna is magical and of admirable beauty. His images often transport me into an oasis of calm and solitude, reflection and imagination. To observe the world through his oneiric and evocative photographs is to enjoy an everlasting present. 

My favorite images from the current exhibition are the following: 
 
 
Tunnel of Poplars is a domesticated landscape where human presence is noticeable through its absence. A seemingly endless succession of trees flank an empty road. Like natural architectural lines organized in gradual shades of gray, the trees engage my gaze in a perpetual exercise of back-and-forth, an infinite loop. In this image, I enjoy the imaginary long walks I take along its placid path. 
 
 

River Po Headwaters, Pian del Re, Crissolo, Cuneo, Italy. 2019 


Michael Kenna, River Po Headwaters, Pian del Re, Crissolo, Cuneo, Italy, 2019, gelatin-silver print, 8" x 8", edition of 25, $3000
 
In River Po Headwaters, the river reads like a calligraphy mark, or the brushstroke in an abstract expressionist painting. Kenna's ability to draw out the essence of the space is mesmerizing. The long exposure in this image has made the snow blinding and the undulating river black. By blurring the details and creating a dramatic contrast between the elements, Kenna offers us a suggestive space away from the chaotic details of every day living. In this photograph, I like to follow the river up the mountain and imagine discovering its source.

Patricia Martin, Gallery Assistant
patricia@photoeye.com
505-988-5152 x 116




 
 
 
  
 
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All prices listed were current at the time this post was published.


For more information, and to purchase prints, please contact Gallery Director Anne Kelly or Gallery Assistant Patricia Martin, or you may also call us at 505-988-5152 x202
 




photo-eye Gallery Images of Spring | Gallery Favorites photo-eye Gallery
Warmer days and lovely flowers are returning to the Northern Hemisphere. To welcome the return of Spring, we have selected eight images from our flat files connected to this invigorating season.

Tom Chambers, Spring's Landfall, 2006, archival pigment print, 20 x 20 inches, edition of 20, $1600

Warmer days and lovely flowers are returning to the Northern Hemisphere. To welcome the return of Spring, we have selected eight images from our flat files connected to this invigorating season.

Gathered on our blog, you will find a virtual trip outdoors through our collection of spring-inspired images from talented artists like Diana Bloomfield, Keith Carter, Hiroshi Watanabe and others  of peonies, butterflies, bird houses and more.

Take a look and enjoy!

 

 DIANA BLOOMFIELD

Diana Bloomfield, Drifting Peonies, 2018, tricolor gum bichromate over cyanotype, 12 x 9 inches, edition of 5, $1200


 
 

LAURIE TÜMER

 
Laurie Tümer, California Fronds, archival pigment print, 5 x 6 inches, edition of 30, $700
 

KEITH CARTER

 
Keith Carter, Full Length Birdhouses, archival pigment print, 16 x 16 inches, edition of 25, $1600

 

 

PATTY CARROLL

 

Patty Carroll, Spring Strips, archival pigment print, 15 x 15 inches, edition of 20, $900
   » Conversation with Patty Carroll and Anne Kelly
» View More Work by Patty Carroll


 

 

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All prices listed were current at the time this post was published.


For more information, and to purchase prints, please contact Gallery Director Anne Kelly or Gallery Assistant Patricia Martin, or you may also call us at 505-988-5152 x202


photo-eye Gallery Favorite Photographs from 2020 photo-eye Gallery
Because we had the opportunity of viewing so many wonderful and inspiring images, narrowing this rather unusual year down to 7 photographs was a difficult task — in this post, you will find a few of our staff’s favorites.

 
The year 2020 needs no introduction. Despite it all, the arts proved to be a vital refuge for everyone during these uncertain times — offering space to heal and reflect. 
 
Because we had the opportunity of viewing so many wonderful and inspiring images, narrowing this rather unusual year down to 7 photographs was a difficult task — below you will find a few of our staff’s favorites.

A huge thank you for your interest and support this year. Enjoy our selection! And please contact us if you would like more information about our picks.
 
 

Thomas Jackson (see image above)

Thomas Jackson's whimsical and paradoxical constructions are inspired by self-organizing emergent systems in nature, such as schools of fish. The artist's practice explores ways to juxtapose the man-made against the natural by creating installations that are simultaneously in harmony and in conflict with their environments. To make images like Tulle no. 12, Jackson first imagines the composition, then constructs large kinetic sculptures from colorful objects (like colorful smoke bombs), and finally photographs them, resulting in a still image. To learn more about what goes on behind Thomas Jackson's images, read our interview with him here
 
 

Julie Blackmon 

 
Focusing on the complexities of everyday life, Julie Blackmon explores the conflicting demands of parenthood. Her carefully orchestrated narratives walk a darkly humorous line between lightheartedness and the chaos of our modern lives. Bubble, for instance, brings forth childhood memories of warm summer days playing outside. But, it also brings a subtle reminder of our pandemic times — when examined more closely, anxiety lurks, as unsupervised toddlers eat apples inside a giant transparent bubble. Are they sheltered or trapped? You may learn more about Julie's practice here
 

Mark Klett

Mark Klett, 4-25 1, gelatin silver print, 20 x 16 inches, edition of 50, $3500

With a career spanning over four decades, Mark Klett has advanced a new notion of landscape photography, one that reframes our idea of what “pictures of the land” can mean. His projects explore relationships between time, change and perception while exploring the language of photographic media as it evolves technologically. 
 
Around 1987, Klett started the saguaro portraits. He would find a cactus that interested him, like the one in 4-25 1, and make photographs of the entire plant from a similar distance — showing top, bottom, and arms. The series was originally given the name Desert Citizens.
 
As part of our video series photo-eye Conversations, photo-eye Gallery Director Anne Kelly and Mark Klett did a virtual walk-through of Seeing Time: A Forty Year Retrospective, his recent online exhibition with the gallery. They also discussed the artist's prolific career and the making of his book. Watch this stimulating conversation on Vimeo.
 
 

Maggie Taylor


The Harbinger, by Maggie Taylor, combines old photos and illustrations, mainly representing a crow cawing on top of an uncanny flying device and a polar bear placidly swimming across an iceless sea. The resulting artwork is a surrealistic dreamscape that commands careful attention from the viewer.

Taylor's photomontages, a combinatinon of the historical and contemporary, consist of 19th century daguerreotypes, old illustrations, found photographs, and diverse objects and artifacts — all layered together through meticulous digital image editing. You may learn more about her work here.

 

Mitch Dobrowner


Mitch Dobrowner has been photographing dramatic landscapes since his late teens. Moreover, working with professional storm chasers since 2009, he has traveled throughout America to capture extreme natural events, making stunning images of supercell storms and tornados. By waiting for the light and atmosphere to paint the landscape to his liking — accented by his custom-modified camera and long hours in the digital darkroom — Dobrowner has developed an unmistakable poetic style in the tradition of photography masters such as Ansel Adams and Minor White. With his high contrast expansive photographs of severe weather systems and towering majestic mountain ranges like Sunrise Over Lone Pine — Mitch Dobrowner has perfected the craft of landscape photography.

This year, as part of photo-eye Conversations, Anne Kelly asked Dobrowner about his practice and most recent work. Watch this amazing conversation on Vimeo
 
 

Edward Bateman

This enigmatic and alluring print, Yosemite Gateway No. 1, was created by photographing a 3D model. Produced by Edward Bateman during the ongoing pandemic, and with limited possibility of travel, the artist crafted the work from his kitchen table, using geographical data and a 3D printer. 
 
Bateman's unique process yields captivating, abstract images depicting plastic filaments that explore the concept of the sublime through representations of the majestic landscapes of Yosemite National Park. To view this extraordinary series, check out the artist's current online exhibition Yosemite: Seeking Sublime.
 
As part of our video series photo-eye Conversations, Anne Kelly joined Edward Bateman in an online view of his fantastic exhibition. They discussed Edward's process in re-creating Yosemite among other things. Watch this great conversation on Vimeo.
 

Reuben Wu

Reuben Wu, RW4288, 2020, archival pigment ink, 15 x 20 inches, edition of 10, $1000
 
The incredible work of Reuben Wu blends a myriad of influences, from science fiction to 19th century romantic painting. In photographs such as RW4288, Reuben captured the sublimity of a total solar eclipse and — instead of using his signature drone lighting — for this image, Reuben embraced the available light to make yet another otherworldly and masterful photograph.

As part of photo l.a.'s Virtual Connect + Collect, we hosted a live conversation between Reuben Wu and publisher Kris Graves. We discussed the process behind the artist's work and the books they have collaborated on. Watch this amazing talk here
 

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All prices listed were current at the time this post was published.
 
For more information, and to purchase prints, please contact Gallery Director Anne Kelly or Gallery Assistant Patricia Martin, or you may also call us at 505-988-5152 x202
 
 
 

photo-eye Gallery Gallery Favorites: Mark Klett | Seeing Time photo-eye Gallery
This week the photo-eye Gallery staff were assigned with the seemingly-impossible task of each picking a favorite piece out of this powerful and awe-inspiring exhibition.


Seeing Time: A Forty Year Retrospective, an online solo exhibition by renowned photographer Mark Klett, is the first in a series of our Gallery’s major online shows that use photoeye’s revolutionary new VisualServer X website builder.

Held in honor of his new book Seeing Time (University of Texas Press, 2020), this exhibition presents selected photographs from thirteen different projects, some never before seen. An artist of singular originality and vision, award-winning landscape photographer Mark Klett has built a profound and dynamic career that captures the space and history of the American West while evoking notions of time, perception, and cultural memory. 

The online show showcases approximately 100 images. Also, a selection of this work is currently on view at photo-eye Gallery in Santa Fe, NM. Contact the gallery at gallery@photoeye.com or 505-988-5152 x121 to schedule your visit!

» Inquire about Purchasing Prints

» Purchase Mark Klett's Book Seeing Time


This week the photo-eye Gallery staff were assigned with the seemingly-impossible task of each picking a favorite piece out of this powerful and awe-inspiring exhibition. Read more on their selections below.

Gallery Staff Picks


Anne Kelly, Gallery Director:

Selecting a favorite image is always difficult, particularly when choosing from a brilliant artist whose career spans over 40 years, so I couldn’t help but pick two this time.

Image 1:


Mark Klett, View from the Tent at Pyramid Lake, NV, 2000, archival pigment ink print, 22 x 29 inches, edition of 50, $2400

A great photograph can have transformative power. I have developed a close relationship with this image over the past few months. Whenever I need a little escape, I take a moment with this image and imagine that I am waking up in a tent at Pyramid Lake at 9:45 am. A perfect little day dream to lift my spirits during a time when travel is uncertain.  

Image 2:


Mark Klett, Facing South, Sunrise at Black Rock, NV, 9/18/00, gelatin silver print, 16 x 20 inches, edition of 50, $3500

Having spent the past two decades hiking in the South West, I relate to this image. Much like the previous photograph, viewing this image transports me back to moments that make me feel truly alive. Taking in the view after a day of exploring.

This image is part of a series that began when Klett first moved to the South West in 1982 — naturally he started to explore his new home with his camera & Type 55 Polaroid film.

Patricia Martin, Gallery Assistant:


Mark Klett's Time Studies series is comprised of a group of small-scale photographs that have been described by the artist as "equations" that address the question about the connection between time and transformation.

Six quarter moons particularly stands out for me from the rest of the images in the aforementioned series. The photograph is a perfect blending of science and poetry. The composition plays abstractly with the technical possibilities of the still camera, capturing within a single frame moments of what our eyes would otherwise be unable to grasp — while the several delicate and bold golden lines formed by the stars and the waxing moon passing through the atmosphere read as if they were poetry verses. Like a celestial poet, Klett uses the light from stars and the moon to scribe lines across the sky. Six quarter moons is meditative similar to a Rilke poem. The image is a harmonious collaboration between artist, machine and the celestial.


Mark Klett, Peering Into the Window of a Small Sanctuary Near Villa de Ponte, 1995, gelatin-silver print, 16  x 20 image, contact for price

ARTIST BIO

Mark Klett was born in Albany, New York, earned a B.S. in geology in 1974 from St. Lawrence University and an MFA in photography from the State University of New York, Buffalo, in conjunction with the Visual Studies Workshop in Rochester in 1977. Klett has received fellowships from the Guggenheim Foundation, the National Endowment for the Arts, The Pollock-Krasner Foundation, and the Japan/US Friendship Commission. Klett’s work has been exhibited and published in the United States and internationally for over thirty-five years, and his work is held in over eighty museum collections worldwide. He is the author/co-author of fifteen books. Klett lives in Tempe, Arizona where he is Regents’ Professor of Art at Arizona State University.




Mark Klett: Seeing Time: A Forty Year Retrospective
On view through October 2020


For more information, and to purchase prints, please contact Gallery Staff at 505-988-5152 or gallery@photoeye.com.