News

Gitterman Gallery will present a selection of vintage photographic works in the viewing room of Von Lintel Gallery from February 17th through 19th as a part of Photo Forward Los Angeles (produced by Photographic Arts Council LA). In addition we will be participating in the special event sponsored by FRIEZE Saturday, February 18th from 5–8 pm.
 
Gitterman and Von Lintel have had a long collegial relationship and share representation of several artists. We have a similar passion for both art historical and contemporary work and take great pleasure in seeing the dialogue between art from different periods and how each adds in their own distinct manner.

Strolling through North West London one weekend in 1956, British photographer Roger Mayne (1929–2014) happened upon Southam Street in the neighbourhood now known as Notting Hill. Captivated by the locals who had turned the street into their playground, Mayne found what he had been searching for – a community he could chronicle for the sheer joy of making art...  

"Because he lived in the neighbourhood, he saw many of his subjects frequently and they trusted him. The candid nature of his images comes out of his inherent honesty and decency.”...

“The photographer’s power to select…makes it possible for photography to be an art,” Mayne continued. “Whether it is good art depends on the power and truth of the artist’s statement.”

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...Mayne's photographs capture neighbourhoods still in war's shadow, but filled with the energy of the "sidewalk ballet"...

...Frame can turn a figure toward solitary contemplation, or add a layer of psychological tension or subtle romance to a passing encounter. In a sense, this control feels almost theatrical, with Frame orchestrating the scenes like stage sets; in practice, it was surely more improvisational than that, but the best of the moments feel elegantly synchronized, with action and atmosphere aligned in ways that support each other.

The more time I’ve spent looking at these photographs, the more I’ve become enthralled by their moods. Yes, this is a visual diary of sorts, with lives and friendships seen up close, but Frame hasn’t just made raw documentation for the sake of some misplaced adherence to authenticity and grit. Instead, he has allowed himself to infuse these pictures with serenity and longing, finding moments inside tumultuous young lives where something extremely subtle is taking place, and then opening up those instants into something freer. In this way, he’s made their spaces roomier and more unstable – cinematic, but also gently attentive to the things unspoken and only ephemerally visible.

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...Still, there is a precision to these images, a sense that Frame is deliberately investigating those liminal, transient moments in our lives. It’s hard not to look at these images and consider how they would have been taken and edited today, in a world in which our every moment is captured and shared. What is wonderful about the images in Whereupon is that we don’t need to know more. We have been given an introduction to the lives of these subjects, and that feels like enough.

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I first met Darrel Ellis in 1981. I was 30 and he was almost 23. He had just broken up with the actor José Rafael Arango and we were at an East Village neighbourhood gay bar called The Bar, at 2nd Avenue and East 4th Street, half a block from José’s apartment. The Bar had been in existence just a few years and had become a popular, low- key hangout with a pool table and jukebox, notable for the actors, artists, and writers who frequented it, including Peter Hujar, John Heys, Bill Rice, Jim Neu, Frank Franca, Bob Gober, Dieter Hall, Ken Tisa, Alvin Baltrop, Stephen Barker, and many others. That night at The Bar I brought Darrel home to my fifth-floor walk-up apartment in the West Village, which I shared with my roommate, an actress from Mississippi named Butch Walker. The bathtub was still in the kitchen. Our relationship started romantically but was very short-lived and quickly changed into a friendship..

Feser has constructed works that defy our internal logic of perspective, creating apparent rhythms and movements where there are none.

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There’s a certain quality of light that refracts from a pool of water on a warm summer afternoon. With each ripple, a sunbeam dissolves into a universe of radiant sparkle; the effect can be intoxicating. Christopher Russell has leveraged this phenomenon as a window into the sublime. Each picture acts as a kind of mason jar — captured and sealed tight within the frame is something wild and untamed: sun-kissed beams of light, rendered in luminous hues of cyan and magenta, cascading across waves of wind-swept water. 

Photographs from 1981 illustrate the artist’s archival care for his community.

...For Frame, this act of archival care carries special weight, since his own creative community’s legacy was disastrously impacted by the AIDS crisis. Curator and scholar Drew Sawyer sets the context for this body of work with his opening essay, focusing on Frame’s milieu and distinct use of color photography: “Part of the pleasure of these photographs for present-day viewers might come from recognizing well-known artists such as Robert Gober or Cady Noland. What made Frame’s psychologically imbedded pictures radical at the time was his use of color and his focus on the private lives of a queer community.” The photographs capture the moment, in the 1980s in downtown New York and Brooklyn, just before there was any awareness of AIDS, how it would remain ignored for so long, and how it would rip through the lives of those pictured. As Frame reflects in the monograph, “We were full of joy and hopefulness about our lives, about what we would accomplish creatively, about our close-knit relationships.”...

Fever (Matte Editions, 2021) was selected by Vince Aletti as one of his top 10 Photobooks.

Frame’s color photographs of friends hanging out in New York and Brooklyn in 1981 inevitably recall Nan Goldin’s, but his perspective is brighter, less fraught, with darkness all but banished from these naturally lit scenes. Goldin makes a cameo appearance here, but she’s just one of a cast of artists, performers, and writers whose interactions evoke the spirit of this fragile, charged moment: a fever that broke long before the decade was done. —Vince Aletti

ICP Perspective