MAAC ON THE MAP: Caught in Time
A Contemporary Photographic Exhibit
The Manhattan Art & Antiques Center
1050 2nd Ave, New York
Opening Thursday, October 19, 2017, 5:30 PM –7:30 PM
Exhibition open to the public daily until November 19, 2017
On Thursday, October 19, 2017 the Manhattan Art & Antiques Center will launch the contemporary photographic exhibit in the MAAC on the Map series entitled “Caught in Time”, at a stylish reception. This group show features 11 photographers: Julie Blattberg, Glen C. Goodenough, Shoun A. Hill, Erin Karp, Diana Leidel, Gaspar Marquez, Ira Merritt, Joseph O’Neill, Samuel Partal, Alissa Rosenberg and Sara Sill. This exhibition will be open daily to the public until November 19, 2017.
Visitors will have the opportunity to explore the work, curated by Paul Anavian and Michaela Boruta, in the six dedicated gallery spaces at The Manhattan Art & Antiques Center. The guests are also invited to discover the wonders of the remaining 50 galleries populating the space. The artists will be on hand to discuss their works in detail with the public.
This exhibition will also feature the popular “MAAC Mini’s” where each artist participates in a discussion about their artistic process in creating their work at a “meet & greet” brunch on Sunday, October 29 between 1pm – 3pm.
The curatorial vision for MAAC on the Map: Caught in Time centers on the excavation of memory. We stand at the boundary between the present and the past, and deconstruct the fragments of our personal histories to find the pathway to the future. We are tracing shadows seeking to understand our transient natures. We get trapped in images of the past, stuck in the quagmire of the forgotten, for a brief moment – caught in time…
MAAC on the Map is a contemporary art exhibition series that aims to give a platform to emerging and established artists at The Manhattan Art & Antiques Center – one of the nation’s largest fine art and historical design centers.
MAAC on the Map is a movement to give contemporary artists a new home on the Upper East Side and an opportunity to expose their work to a different audience. The injection of these vital contemporary artists shows that the Upper East Side is a potent destination for innovation, a creative hotspot where experience meets a new breed of artistic disruptor.
“German Cash Register, Vienna”
An aesthetic descendant of Aaron Siskind and Andre Kertesz, my work can be compared with the New Objectivists, but from the perspective of a female photographer in New York City at the turn of another century. A personal reverence for an age gone by brings a particular sensitivity to my signature graphic style: classic compositions and vintage Tableaux.
One hundred years ago –when men wore hats and ladies wore gloves –people worked with their hands to sew, build, and craft; the materials were pure: designs in steel, stone, and wood. My photographs respectfully capture remnants of this era, before they are gone.
When I take a photograph, I never know what I will find. But if I’m quiet; if I’m patient; if I let the subject do the talking; I nearly always discover something – a story that wants to be told. I hope that my photographs give voice to the unheard, give grace to the unseen night and day. My photography illuminates’ things that the are easily overlooked. It is urban and industrial in tone. Rather than offering a wider view of an entire edifice, I use my lens to look at details, offering a play of reflection, light, and shadow that happens naturally when someone is walking past the same building looking it up and down.
My lens attempts to freeze that moment when a viewer first notices something unique but might not have time to stop and take proper note. My photography exists in, and because of, distinct times and places. It often revolves around New York City. This city is my muse. It captured my soul as a child, and has never let it go. As an artist, I breathe in my context and exhale image. Whether it be a building, person, ornamentation, statue, or bridge. At different times of day or night, time of year, the city has a different look and feel. New York nourishes my creativity, and in return I want to share with the world what I love about it.
“Woman Chewing Gum”
This body of work I’m showing you is a quest for the unknown, a rediscovery of my involuntary consciousness, one perfect asymmetry in an infinite world which I find in the female form.
I experiment with the nude female body because is the source of my inspiration, I always felt the need to photograph it, I am convinced that I unconsciously wanted to capture the essence of the female beauty and it was paramount to fulfill my artistic expression and unique style of creating images in a nonlinear, almost mathematical way or in the context of a story , dissecting her aesthetics piece by piece.
Photography is the media of my choice but as a kid I was attracted to painting: especially Surrealism, Cubism and Expressionism, but it didn’t come easy to me, so I took a 35 mm camera and started to interpret my vision my own way with it.
“Contemplation on a Long Life”
A new series photographed in Van Cortlandt Park from Thanksgiving
2010 through 2016. Fleeting images captured by Ira’s camera abstracted in black and white. Events are witnessed and pass never to return the same. New days and new players remind us of what went before and we reflect on what was. This series evokes a post modernist expression of a park in an urban environment and how the human figure reacts with it as a transient.
I’m a documentary photographer/filmmaker and my goal with every image is to make a connection between the person in the photo and the one looking at the photo. These portraits are of African-American farmers in the south who are fighting to keep their land. Through these portraits I want to show the pain, loss, and hope in these farmers.
I shoot what is, and let the image speak for itself. These farmers are my ideals and inspiration. I need others to see the struggles and triumphs that these men, women and their families go through and they work not only their land, but work to keep it.
When people look at my work, and these farmers, I want them to feel a connection. Maybe the subject reminds them of someone or brings up childhood memories. When they see my work I’d like them to get a feeling of remembrance.
At its most fundamental level, my interests as an artist lie in exploring the possibilities and limitations of a particular medium. I compulsively study whatever objects or materials I come across, looking for unusual and unique ways to exploit their properties. A motif, which appears in most of my work, is the beauty derived from ruins and detritus. The camera has a unique ability to transform the most insignificant dirty fragment into a lustrous filigree pattern or surface. I work to push the limits of what might not be intuitively pleasing, auditioning the most humble debris or cast off junk. The resulting images reward close inspection.
“Don’t Fall Behind the Eight Ball”
“Youth is wasted on the young.” No one understands this statement better then someone who has moved beyond the years where they would be considered “young; an ever changing definition that is relative to the one that is reading the statement. I truly did not grow up thinking that I was an artist. I walked through life gathering experiences but not always seeing and appreciating the world around me. Now, during my midlife journey as a photographer and artist, I have gone back to looking at the world with a child’s eye. aIt is my belief that a great image is not always technically perfect, but is one that tells a story or evokes an emotion. It is an image that stops you in your tracks and makes you look again and again; makes you wonder; makes you feel; makes you think. That is what I strive for in my work and my life, to create images and a life that are perfectly imperfect in every way possible.
I am engaged in making art that melds with the world outside of the studio–– in our homes, our cities, and our day-to-day environment, where the media, government and society frame our consciousness, perhaps more than we know. This work has been primarily digital iPhone photos; large format studies of chairs (the omnipresent object of our daily world), looming canal houses in Amsterdam, or scenarios of everyday encounters at the intersection of public
life, fear, and dream. The latter focus on presumably innocent street activities, photographed in several cities, (Miami, Amsterdam, London and New York) that portray “surveillance” of the persons photographed. The subtext of the photos asks, “What is actually happening here?” “Am I seeing a crime being committed?”, “Who is observing?” and “What is being observed?”, referencing our expanding collective drive to watch and be watched, to be completely known yet not exposed.
“Afternoon Delight, Vernazza”
My appreciation for the beauty in this world likely dates back to hiking with my parents on Sundays as a child. They taught me to see the magic in nature, to appreciate what the Earth has to offer, to experience the details. I literally stop in my tracks when I see something I find beautiful, be it the curl of a leaf or a shadow on a wall that others fail to notice. That appreciation has allowed me to create an abstract, unusual, artful body of photographic work to which my viewers genuinely respond.
Details, in general, inspire me to shoot. I find unexpected elegance in the nuances of man-made, architectural structures, and I experience them in beautiful segments more so than I do as a whole. The wires on a colorful wall in Italy are what mesmerize me, while others pass by to photograph the fortress ahead.
In a world where we sometimes find ourselves overwhelmed with the ugly, there is so much beauty that we overlook; I try to focus on the beauty in the small details in this life.
“ACETATE Landscape Mist 2”
As a collage artist, I am interested in how things are connected to one another. It’s a technical challenge, an esthetic quest, and more subtly a personal search for examples of connectedness (harmony) in an often chaotic world.
In my early practice I used traditional techniques (cut, paste, glue) to physically connect separate materials together, using my own 35 mm photographs as the source of images. Subsequently, the advent of various digital computer programs afforded new ways of connecting pictures and creating different effects. The suspended reality of photo collage also inspires ideas for paintings, printmaking and design which are part of my current practice. Many of my works are influenced by Japanese screens, scrolls and fans – art forms that use systems of connected imagery to tell a story.
In early photographs, made on silvered plates or paper negatives, there is often a phosphorescent glow distorting the image. Ranging from blue to pink, this ghostly effect is the result of the primitive chemistry of the time and its inability to fully fix an image, rendering it continually sensitive to light. The appearance of these spectral traces marks the passage of time and reifies the photographic object as a kind of feedback loop, depicting the processes of its own production.
The resulting images inhabit a formal vocabulary that parallels gestural abstraction while also evoking the phenomenological quality of the photograph: erasures and voids, noise and interference: visual distortions which elicit the psychic distortions and abstractions of subjectivity. They are as much about interiority as surface. I am interested in the ways in which a photograph can function as a kind of excavation.
MAAC on the Map is a year long initiative featuring four contemporary art series in 2017. It is a drive to bring a stronger contemporary art presence into the surrounding neighborhood. A smaller program of “meet & greet” brunch event gives the public an opportunity to meet the artists and explore their inspiration, life and work in person. Videos of these talks will be available on the website after the event.
The Manhattan Art & Antiques Center in Midtown Manhattan, is the nation’s largest with over 50 galleries representing America’s top dealers in every category of arts and antiques. The Manhattan Art & Antiques Center is a veritable treasure trove of all that is beautiful, fascinating and unique for sale. Boasting three floors of historical design, fine art, decoration, silver, jewelry, European, Asian African art, and antiquities–this is a “must visit” for art lovers, collectors, interior decorators, or those just looking to be visually inspired. Whether you want to buy or sell, we welcome you to visit us 7 days a week.