BRAZIL. Rio de Janeiro. 2011.(based on a true story) – And Other Photographic Tales

Photographs by David Alan Harvey

April 1, 2016 – July 13, 2016

 

“It’s a lot of work living the life that you want to live, but that’s what I’m doing.”

 

 

David Alan Harvey became a photographer at age 11 when he used the profits from his newspaper route to buy a used Leica. After graduating from the University of Missouri’s Graduate School of Journalism and time at the Topeka Capital-Journal, a grant from the Virginia Museum of Fine Arts gave him the means to cover a variety of stories, including a year long reportage of Virginia Beach. He has produced over 40 photographic essays for National Geographic on subjects from hip hop culture to stock car racing. Among numerous other awards, he was named Photographer of the Year in 1978 by the National Press  Photographers Association.

 

Harvey has published multiple books including Cuba and Divided Soul, and the award winning book (based on a true story), a visual novella created to be rearranged and configured by the viewer. His work has been exhibited in the Corcoran Gallery of Art, the Nikon Gallery, the Museum of Modern Art, and Virginia Museum of Fine Arts. His photos have appeared in print in Time, The New York Times and Sports Illustrated. He joined the prestigious photo agency Magnum as a nominee in 1993, and became a full member in 1997. In addition to his own work he also created and curates burn magazine which showcases emerging photographers.

 

New York Times Magazine photography columnist Teju Cole described Harvey as not only a “ferocious technician,” but a photographer with a consistent and unsentimental eye for human emotion, and a sense of color that “is among the boldest and most viscerally affecting in the game.” Though he is widely recognized as a brilliant color photographer, during an interview at Look3 Festival in Charlottsville, VA in 2015, Harvey said “I’ve always looked at color as an incredible struggle, and I still think of myself as a black and white photographer.  When people describe me as a color photographer, I’m a little surprised.” Citing a strong influence of Ansel Adams and the zone system, Harvey said he isn’t really conscious of color, but concentrates on the light. Vivid and full of chaos, his photos are dreamlike, veering into surreal, simultaneously haunting and engaging the viewer.

 

A special reception with photographer David Alan Harvey will be held at Paul Paletti Gallery on Thursday, April 7, 2016 from 5-8 pm.

Insider Louisville Press

The Voice Tribune

The Voice Tribune- Magnum Opus

David Alan Harvey- Pictures from opening by Crystal Ludwick

 

 

Torii, Study II, Honshu, Japan 2007 by: Michael Kenna

Forms of Japan

Photography by Michael Kenna

September 25, 2015- December 31, 2015

 

(Louisville, KY.) Forms of Japan by Michael Kenna will be on display at the Paul Paletti Gallery during the 2015 Louisville Photo Biennial. The show will open September 25, 2015, from 5:00pm- 8:00pm.

 

Michael Kenna will be present for a book signing on September 30, 2015 from 5:00pm-8:00pm at the Paul Paletti Gallery for his newly released photo book, “Forms of Japan”, from which the images in the exhibition were selected.

 

Born in Widnes, Lancashire (England) in 1953, Michael Kenna studied to become a priest at St. Joseph’s College in Upholland. Deciding instead to study art, he attended Banbury School of Art in Oxfordshire, and London College of Printing, training as a commercial photographer.

 

He worked in advertising and commercial photography in London, moving to California in 1979, where he worked as printing assistant to Ruth Bernhard until 1987. Bernhard later wrote of Kenna’s photography: “His images hold a mirror to each viewer’s soul and conscience. They invite us all to participate in his experience, closing the circle between print, photographer, and onlooker.”

 

Known for his intimate landscape photography, devoid of people but containing evidence of humanity, Kenna has become one of the world’s best-known landscape photographers. He only photographs using film, mainly medium format (120mm), preferring the square images produced, and always in black and white. His work is characterized by its quiet elegance and pristine photographic qualities.

 

Michael Kenna’s work has been shown in Korea, Japan, China, Italy, Israel, India, United States, Germany, United Kingdom, Switzerland, France, Spain, Russia, The Netherlands, Belgium, Australia, and Mexico. His work is in the collections of the National Gallery of Art in Washington D.C., the Patrimoine Photographique in Paris, the museum of Decorative Arts in Prague, and the Victoria and Albert Museum in London. His commercial clients include Saab, British Airways, Range Rover, Volvo, Maserati, and Rolls Royce. Kenna has won several awards including Imogen Cunningham Award (1981), Golden Saffron Award (1996), Chevalier of the Order of Arts and Letters, Ministry of Culture, France (2000), and an Honorary Master of Arts from Brooks Institute (2003).

Kenna’s exhibition at the Paul Paletti Gallery is from his third book featuring Japan, drawn from 28 years of photographing the island nation. He has published over forty photography books.

Photograph by: Patrick Pfister

Photograph by: Patrick Pfister

Suicide Girl  by: Patrick Pfister

Suicide Girls by: Patrick Pfister

Less Than $90,000
(and other Recent Acquisitions)
August 7, 2015- September 23, 2015

Richard Prince has a history of appropriating other people’s work, changing it, and selling it for very high prices.  In fact, his photograph of a Marlboro Man commercial off of a television was the first photograph to sell at auction for over $1,000,000.  But his latest escapade in appropriation has produced an interesting twist.

Richard Prince “appropriated” the Instagram photos of several people, and put his own tag line at the bottom, had them blown up to 67” x 55” and reprinted on canvas.  That is unremarkable.  That some of these pieces actually sold for $90,000 at Frieze New York and Gagosian Gallery is hard to fathom.

Some of the Instagram photos he “appropriated” were made by the Suicide Girls, an international collective of women dedicated to celebrating an alternative vision of beauty through burlesque and film performances, and producing photography books.  Their response to Prince’s appropriation of their work was genius.  The Suicide Girls used their original work, with Prince’s added tag line, then added another tag line of their own to “re-appropriate” the work.  They blew the photos up to 67” x 55”, had them printed on canvas, like Prince, and sold them from the Suicide Girls website for $90.00 each, donating the proceeds to a charity. They sold their creations for 1/1000 of the price of Prince’s work.  I wonder how the people who paid $90,000 for the Prince pieces feel about this.

The Suicide Girls’ Instagrams are on display at the Paul Paletti Gallery from August 7 through September 23, 2015, along with other recent acquisitions of photographs by Brett Weston, Paul Caponigro, Aaron Siskind, John Sexton, Steve Sherman, Lois Connor, Russel Monk, and Ken Hanson.  And everything in the exhibit is considerably less than $90,000.

Richard Prince / Suicide Girls Instagrams

With regard to the Richard Prince / Suicide Girls Instagrams, someone need to speak up and point out that the emperor has no clothes.

I have never met Richard Prince, and have only read articles about him.  I do not know his thoughts or motivations.

What I can impart to you are my thoughts and opinions about his work.

I believe that this type of work is lazy and exploitative.

Is it a joke?  When Marcel Duchamp took a porcelain urinal, turned it upside down and entered it in an open art exhibit with the title “Fountain”, he was illustrating a point that everyday objects could be seen in a different way, and he was taking advantage of the open call for the exhibit to make a joke.  He never thought it would be taken seriously, much less give rise to the artistic directions of found art and conceptual art.

I think Prince’s work has more to do with the art of the “legal” rather than the art of the “creative.”

All of this is unfortunate for the person trying to appreciate and understand art. Is it an artist’s inside joke, or game played by very rich people?  But perhaps the joke is on them.  I wonder, what will happen to those pieces sold by Gagosian Gallery for $90,000? Do the buyers truly love the pieces as speaking to their souls, or is it just a financial investment?  Will they try to turn around and sell them for a profit in a few years?  Will someone else be gullible enough to buy them at that point?

It is a perfect financial scheme – the gallery promotes and sells a high dollar work, and for a while, the pieces get re-sold in secondary markets.  What happens when no one wants to buy it again?  It is like the dot com boom and bust of the 1990’s.  People kept buying an selling the stocks of companies that never made a profit.  The stock prices kept going up until people realized that the companies were not making a profit(!) and the companies failed.  The last people left holding the stock, like a game of musical chairs, lost the game and their money.

Will someone ever sue the gallery or artist for their financial losses?  Very unlikely.

Here’s the point: Buy what you love.  Don’t buy it because someone says it will go up in value.

There is a financial aspect to buying art, as there is with buying a house or car.  If you buy art because you love it, it will enrich your life every day.  It will grow to be an important part of where you live and work.  And perhaps it will increase in value.  And if so, you can make the choice of selling it, or keeping it to enjoy, or passing it on as a legacy to your children or to the community.  Art is a piece of history, and in a most important way, it is a piece of your history.

Round House and Moon by: Ron Seymour 2002

Round House and Moon by: Ron Seymour 2002

Lull

Farewell Selections by Mary Burks

February 4 – April 17, 2015

 

Lull: Farewell Selections by Mary Burks will be on display at the Paul Paletti Gallery from February 4 – April 17, 2015. Lull is a curated show from the private collection of Paul Paletti, including several works that have never been displayed.

 

Mary Burks is a BFA graduate from the University of Louisville Hite Art Institute where she studied under Mary Carothers and Mitch Eckert. Burks has been the assistant gallery manager since 2013 at the Paul Paletti Gallery and is now leaving to continue her career in the arts. Her final farewell is the show Lull, a curated show of Burks’s favorite pieces from the Paletti collection.

 

Lull is a place of tranquility through moments of quiet respite captured with a camera. Photographs of moonlit beaches, narrow and empty roads, and wind caught in fields of wheat exemplify photography’s ability to commemorate hushed breaths of day.

 

“In her years working at the Gallery, Mary’s connoisseurship of photography has grown more sophisticated and more personal,” says Paul Paletti. “Her selections for this exhibit reflect these elements and a tranquil embodiment of her unique voice, vision and feelings. This is a beautiful example of how one individual can gather diverse artworks together which express not only the photographers’ artistry, but the curator’s personality as well.”

 

The show is made of up of a diverse array of photographs by various artists including Mark Citret, Robert Stivers, Edward Steichen, and Brett Weston. Artists from the Kentuckiana area are also featured, including photographs by Mitch Eckert, Melissa Farlow, Daniel Lin, and Gayle Moore.

 

Indication: Neuralgia, Seizures

“Fantasy, Ingredient of Life,” Neurontin (Gabapentin), by Margaret Oechsli, 2013

 

Small Worlds

Photographs by Margaret Oechsli

October 2 – December 29 2014

 

Margaret Oechsli was born in Poland, where she earned a Master of Science at The University of Wroclaw and her PhD in Immunology at the Polish Academy of Sciences. Through the microscope, Oechsli has become a witness to a cellular world that we otherwise simply cannot see.

After having finished two postdoctoral fellowships in the United States, Oechsli made her home in Louisville where she became a US citizen. In 1999 she began to experiment with her microscope as an artistic tool, first photographing medications used in chemotherapy, relating to her clinical research. The images were featured in several galleries under the oncology theme. Reactions by both patients and doctors led her to photograph another field of medication, psychotropic drugs. Her interest in this field is centered on an “intellectual loop” of the mind altered by the medications, and processing the abstract images of the same medications.

There are parallels between Oechsli’s photographs to the abstract paintings of artists such as Kandinsky, Miro and Pollock. Her works question the distinction between nature and art, and also challenge us to consider the use of medications in our natural world.

Oechsli is an important artist in the world of photomicrography. Her works gained momentum by winning numerous awards with Nikon’s advocacy of the photomicrography field. She does not simply use the camera in the traditional scientific method; instead it is a tool for spotlighting the artistic images that exist within nature. In her works is the beauty of the world that lies at the molecular level.

“Diminutive, heavily accented, blazingly bright, exuberant and articulate, Margaret Oechsli is a wondrous surprise,” says Paul Paletti. “She is a scientist with a passionate artistic vision. Her large scale color photographs appear to explore caves, forests, aerial landscapes and celestial phenomena.”

Photographs by Oechsli have been exhibited at the Imperial Palace of Vienna, a touring international exhibit by Nikon, New Mexico Museum of Natural History and Science, Museum of Science and Industry in Chicago, and Galeria Marcholt in Katowice, Poland. She has been honored five times in the Nikon International Small World Competition. Her works have been published in New Physician, the International Journal of Science, the journal Science, and Nikon’s “Celebrating 25 Years of Photomicrography” calendar. Oechsli now resides in Louisville, Kentucky with her husband.

A special reception with the artist, Margaret Oechsli, will be held on Thursday, October 2, 2014 from 5-8pm.

Jerry Lee Lewis Ramada Inn, Boston, Massachusetts, 1976

Jerry Lee Lewis
Ramada Inn, Boston, Massachusetts, 1976, By Henry Horenstein

Henry Horenstein was raised in New Bedford, Massachusetts, where his love of country music began at the local music store, the Melody Shop. It was there that he was instructed by the store owner to buy his first LP, Johnny Cash Sings Hank Williams.

 

Horenstein began his university education as a historian, studying at the University of Chicago. Many of his professors, including Jesse Lemisch, taught that the most important role of a historian is to record stories of people and cultures that are not “successful.” It is the “successful” that are often remembered. The disappearance of unrecorded stories creates an untruthful history. Horenstein’s interest in photography grew, and he sought to utilize his photographic skills as a historian. He enrolled at the Rhode Island School of Design to continue his photographic education. His professor, Harry Callahan, guided him with the statement “Tell your truth and be yourself.”

 

This led Horenstein into music shows, concerts, country music parks, and honky tonks throughout the United States. Over the years he photographed such legends as Dolly Parton, Del Reeves, and Doc Watson. Horenstein also photographed the visitors of these local performances, recording their stories and histories.

 

Horenstein sees this culture as disappearing over the years, but his photographs will allow these stories to continue living. He hopes that along with Elvis Presley and Johnny Cash, we will remember the smoke-filled honky tonks and their patrons that once dotted the nation.

 

Photographs by Horenstein have been exhibited at the Smithsonian Institution’s National Museum of American History, George Eastman House, Fabrik der Kunste in Hamburg, Boston Museum of Fine Arts, and are included in the collections of the Library of Congress, Houston’s Museum of Fine Arts, and Atlanta’s High Museum of Art. Horenstein is the author of over 30 books, including several monographs and highly successful photography textbooks, which have been used by hundreds of thousands of students across the country. Horenstein is a professor of photography at RISD. 

 

Join us for a special reception with the artist Henry Horenstein on Thursday, September 4, 2014 from 5-8pm. We will also be hosting a look-a-like contest during the reception. Come dressed as either Porter Wagoner or Dolly Parton for a chance to win a “best dressed” prize.

 

Jane Russell by George Hurrell, 1946

Jane Russell by George Hurrell, 1946

Known as the “Grand Seigneur of the Hollywood Portrait,” George Hurrell transformed the vision of classic Hollywood and its actors. A native of Covington, Kentucky, he made his name in Hollywood as photographer to the stars, including luminaries such as Humphrey Bogart, Joan Crawford, Bette Davis, Greta Garbo, and Johnny Weissmuller.

Hurrell started his nearly 70-year career as a fluke, using photographs simply as reference for painting, which was his first passion.  After graduating from high school, he enrolled at the Chicago Art Institute, and later moved to the Academy of Fine Arts to study painting. “As long as I remember I wanted to be an artist,” Hurrell said.

In 1925 Hurrell moved to Laguna Beach where plein air painting was flourishing. He began to photograph commercially, and one of his first subjects was his friend Poncho Barnes, a famed female aviator and founder of the motion picture stunt pilots’ union. Barnes connected Hurrell to silent-screen stars including Ramon Novarro and Norma Shearer who hired Hurrell to photograph her in an attempt to land the leading role in The Divorcee. (She was successful, and won the Academy Award for Best Actress.) MGM was so impressed with the photographs that he was hired as the head of the MGM portrait gallery in 1930.

Hurrell set a new standard for Hollywood portraiture, creating an entirely new genre known as “glamour photography.”  His photographs used chiaroscuro and created a glow around the actors, as they emerged from the shadows. He later went on to work with Warner Brothers, advertising firms, and eventually started his own television production company.

In 1976 John Day & Company produced one of Hurrell’s first books The Hurrell Style, which was followed by commemorative editions and special edition prints. This led to his shooting modern-day stars such as Liza Minelli, Paul Newman and Robert Redford.

A 1965 exhibit of his work at the Museum of Modern Art in New York City created global awareness of his work, now held in places such as the George Eastman House, the Library of Congress, the Museum of Fine Art (Houston), the Getty Museum, The International Center for Photography, and the Smithsonian Institute.

A special reception for Stars of the Silver Screen will be held on Thursday, April 3, 2014, 5-8pm.

"Garrapata Beach" by Brett Weston

“Garrapata Beach” by Brett Weston

 

Staff Picks: Selections from the Paul Paletti Collection, will be on display at the Paul Paletti Gallery Jan. 3 – March 31, 2014.

 

Wally Bejgrowicz, Mary Burks, Leslie Holland, Renee Murphy, and Patrick Pfister make up the staff of the Paul Paletti Gallery. They have each dedicated from 2 – 9 years in supporting, promoting and advancing the gallery. The group offers an eclectic appreciation and relationship to the art of photography. They have come together to ensure the gallery represents the finest photographs in history and as a significant cultural resource to Louisville.

 

Staff Picks gives insight into each staff member’s appreciation and interests in the art of photography, as they become the curators of five distinctly individual ‘mini-shows’. All of these works were selected from the private collection of Paul Paletti, which have not previously been displayed at the Paul Paletti Gallery. The wide array of photographs includes works by Ruth Bernhard, Mark Citret, Susan Fenton, and Brett Weston, as well as works by over two dozen other 19th and 20th century photographers, ranging from the famous to the anonymous.

 

“My friends, who have each volunteered their time as gallery ‘staff’, have very diverse backgrounds, from photography professionals to people with no art background at all. Yet each one has come to possess a unique vision and aesthetic over the years working here, resulting in wonderfully quirky and varied choices reflecting their individual passions and personalities,” says Paul Paletti.

 

A special reception with all of the staff members/curators will be held on Friday, January 10th from 5-8pm. This event is free and open to the public.

 

Photographers included in the Staff Picks Show

 

Anonymous (several)

Bruce Barnbaum

Curtis Bell

Ruth Bernhard

Peder Sather Brugiere

Esther Bubley

John Burke

Carl Chiarenza

Barbara J. Crawford

Elliot Erwitt

Susan Fenton

R.C. Fuller

Ed Garber

Lynn Geesaman

Ron Haygood

Henry Horenstein

George Hurrell

Ken Josephson

Wayne Rod Lazorik

Ronald McKibben

Bruce Monk

Anne Noggle

Dennis Purdy

C.B. Ryder

Howard Schatz

Ron Seymour

Skeen and Co.

Charles West

Brett Weston

South African Family Traveling on a Train by David Turnley

South African Family Traveling on a Train by David Turnley

Mandela! Struggle and Triumph, will be on display at Paul Paletti Gallery Sept. 5 – December 30, with a reception held October 25, 2013 from 5 – 8 p.m.

A special reception to honor the life of Nelson Mandela will be held on Thursday, December 12, 2013 from 5-7:30pm.

Pulitzer Prize-winning photojournalist David Turnley spent a quarter-century documenting the struggle to end apartheid in South Africa, and chronicling the life and times of Nelson Mandela, the world’s most important civil rights leader. Mandela! Struggle and Triumph is a brief look into Turnley’s archives of Nelson Mandela and the country that held him as a political prisoner for 27 years, before electing him president in that nation’s first fully representative, multiracial election in 1994.

“In the course of my work in South Africa, I was arrested more than a dozen times, simply for doing my job. Like so many others who operated in and around the anti-apartheid movement, I worked under the assumption that I was being monitored and came to expect harassment and intimidation,” says Turnley.

As the first black South African to hold the office of president, Mandela’s government focused on dismantling the legacy of apartheid through tackling institutionalized racism, poverty and inequality, and fostering racial reconciliation. Turnley’s personal relationship with Mandela, as a family friend for over 30 years, is apparent in the intimate nature of these photographs, capturing both exceptional and ordinary moments.

“David’s images of South Africa before and during Mandela’s release – and those taken through the years of his presidency – are an important part of history. They tell the true story of the human condition and the desire for freedom from oppression and racism that continues today,” says Paul Paletti. “We are honored to host this exhibit. In his remarkable chronicle spanning three decades, David has photographed Mandela and the struggle against apartheid as much as any photographer in the world. There are many heroes in the global civil rights movement, but Mandela’s story is one that will be remembered for generations.”

Mandela! Struggle and Triumph will be open as part of the First Friday Trolley Hop on September 6, 2013, from 5-9pm. A special reception for David Turnley will be held on Friday, October 25, 2013 from 5-8pm, as a featured event of the Louisville Photo Biennial.

About David Turnley
A native of Indiana, David and his twin brother, Peter, began to photograph the inner city of Ft. Wayne as teenagers and came realize the power of photography. Through the camera, David actively seeks to engage with the diversity of people and cultures, bridging divides and creating understanding among people around the world. Both brothers went on to careers as globally respected and renowned photojournalists.

Turnley earned a bachelor’s degree in French Literature from the University of Michigan, where he is now an associate professor, and studied filmmaking at Harvard on a Nieman Fellowship. He holds honorary doctorates from the New School in New York and the University of St. Francis in Indiana. Turnley has photographed in 75 countries and received the Pulitzer Prize for his 1989 coverage of the fall of the Berlin Wall and Tiananmen Square. He was a runner-up for the Pulitzer four other times.

In addition, Turnley is a two-time winner of the World Press Picture of the Year, four Overseas Press Club Awards, and the Robert Capa Award for Courage. His award-winning films include Emmy-nominated “The Dalai Lama: At Home and in Exile” (2001 Cine Golden Eagle winner), and “La Tropical” (Best Documentary at the Miami International Film Festival).

Turnley has published eight books and directed and produced three feature-length documentaries. His latest book, Mandela! Struggle and Triumph, contains photographs and personal stories from his extensive years of photographing the evolution of South Africa and Nelson Mandela.

 

The Third Perspective: A Collector’s View

February 26 - August 30, 2013

L'Orangerie Stairs by Edward Steichen

L’Orangerie Stairs by Edward Steichen

The Third Perspective: A Collector’s View, will be on display at Paul Paletti Gallery Feb. 26 – August 30, with an opening reception held Tuesday, Feb. 26, 2013 from 5 – 8 p.m.

Over several decades, Paul Paletti has amassed an important collection of historic and contemporary photographic artworks of museum quality. As a collector, his intent has been to choose only those pieces in which the artist demonstrates a superlative degree of technical virtuosity offered with a distinctive vision.

“‘The Third Perspective’ is about the relationship I believe is created when a photographer shows a print he or she has made. Until then, the only perspectives that exist happen in front of, and behind the lens — between artist and subject,” says Paletti. “I made one of my first purchases from the remarkable Imogene Cunningham when I was a graduate student in photography. I never really looked back, but I got very serious about collecting about 20 years ago. The gallery is the culmination of that experience. And it just continues to grow because I am a truly passionate about photography, and a collector at heart.”

Beginning on Feb. 26, the gallery will exhibit some of Paletti’s most recent acquisitions, including work by Shelby Lee Adams, Bill Burke, Manuel Álvarez Bravo, Alvin Langdon Coburn, Harold Edgerton, Lynn Geesaman, C. Thomas Hardin, Bill Luster, and David Turnley. “In the last year or two, I’ve also acquired iconic works by Yousuf Karsh, William Klein, Danny Lyon, Steve McCurry, Eadweard Muybridge, and Edward Steichen, most of which are being displayed here for the first time. These photographers achieved international acclaim and are titans in the history of photography,” says Paletti. “To make the show even more personal, I’ll also be sharing insights on the process of collecting, and my experience with this sophisticated art medium that is varied, beautiful and highly collectible for everyone.” 

Different Worlds: Selections from Close Relations and Show

December 7 – February 22, 2013

The Slipper Room

Different Worlds: Selections from Close Relations and Show, will be on display at Paul Paletti Gallery Dec. 7 – Feb. 22, with an opening reception for the artist Friday, December 14, 2012 from 5 – 8 p.m.

Henry Horenstein was in college studying history with the goal of a PhD and an academic career when he was introduced to photography and the idea that he could continue studying history by photographing it.

Captivated by the documentary works of Danny Lyon and Robert Frank, Horenstein entered the Rhode Island School of Design (RISD) where he studied with Harry Callahan, Aaron Siskind, and Minor White.

Most of the works from the book Close Relations center on Horenstein’s early years of photographing and attending RISD. This was a time when he was still learning about art and developing a love and fascination for documentary work. Horenstein used the intimacy of family and friends to freeze time in order to glance at the cultural norms, the fiction, and the honesties in everyday life in suburbia. Horenstein consider these to be “his people,” and reveals their true nature in his first “serious” photographs with a sense of humor and quirkiness.

Later works by Horenstein exhibit his continued interest in using cameras to document the fleeting world around him through a variety of fringe activities and subcultures. In 2001 he began to document the neo-burlesque resurgence when he attended the first annual Tease-O-Rama in New Orleans, culminating in the book Show.

While the photographs of Close Relations are accessible and familiar, those from Show are edgy and provocative. The people in Show have created alternative lifestyles and themselves, showcased through a random mixture of burlesque, drag, sideshow and fetish. What they are doing is a fusion of ways to make a living, live a life, and create an art form through performance and persona. It is the embodiment of the advice given to Horenstein by one of his teachers that popular culture should be taken seriously. You wonder how much crossover there might be between the people in the seemingly different worlds depicted in Close Relations and Show.

Photographs by Horenstein have been exhibited at the Smithsonian Institution’s National Museum of American History, George Eastman House, Fabrik der Kunste in Hamburg, Boston Museum of Fine Arts, and are included in the collections of the Library of Congress, Houston’s Museum of Fine Arts, and Atlanta’s High Museum of Art. Horenstein is the author of over 30 books, including several monographs and highly successful photography textbooks, which have been used by hundreds of thousands of students across the country. Horenstein is a professor of photography at RISD.

 

Intimate Gems : The Landscapes of Lynn Geesaman

September 6, 2012 – November 30, 2012

Damme, Belgium, 6-95-5-12, Gelatin Silver Print

Damme, Belgium, 6-95-5-12, Gelatin Silver Print


“Intimate Gems: The Landscapes of Lynn Geesaman,” a poetic exhibit of photographs by Lynn Geesaman, will be on display at Paul Paletti Gallery Sept. 6 – Nov. 31, with an opening reception for the artist Thursday, September 6, 5 – 8 p.m.

Geesaman focuses on the graphic patterns of the organic world in connection with areas of nature shaped by man, to create a world of impressionist beauty and soft atmosphere with her photographs. Geesaman attests to being lucky, admitting, “I photograph something people already like to look at.” She has only minor cognizance of gardening or botany, believing that in-depth knowledge of those areas could actually be a distraction from her artistic process as she passes through foreign landscapes. The photographs in this exhibit are primarily small vintage works, hand printed by Geesaman in her signature style, to create the most intimate experience for the viewer.

Geesaman graduated from Wellesley College with a degree in Mathematics and Physics. After college Geesaman worked for a weapons lab in California where she met and married her husband, Donald. They subsequently moved to Minneapolis to pursue teaching careers. She turned her attention more fully to photography in the 1970s. A pivotal assignment came with the exploration of public gardens, where she delved into the relationships between nature and photography. During a residency at the Kentucky Bernheim Arboretum and Research Forest in 1992, Geesaman began exploring the use of color photography.

Photographs by Geesaman have been exhibited at the Art Institute of Chicago, Bibliotheque Nationale de France, Virginia Museum of Fine Arts, Museum of Fine Arts Houston, Philadelphia Museum of Art, and are included in the collections of the Whitney Museum of America, Royal Shakespeare Society, George Eastman House, the Museum of Contemporary Photography, and the MacArthur Foundation. Her works have also appeared in the Los Angeles Times, The New Yorker, The New Art Examiner, Art & Antiques, The Washington Post, Chicago Sun Times, and Art in America. Three monographs of her work have also been published: Hazy Lights and Shadows, Gardenscapes, and Poetics of Place.

Howard Schatz, Pregnancy Study 1104, Archival Pigment Print

Howard Schatz, Pregnancy Study 1104, Achival Pigment Print

With Child, a dynamic exhibit of works by Howard Schatz will be on display at Paul Paletti Gallery May 30 – Aug. 31, with an opening reception Wednesday, May 30, 5 – 8 p.m. Works from the exhibit are included in a book by the same name, which is the 18th of Schatz’s work.

“Howard Schatz’s work spans more than two decades, and focuses almost exclusively on the human body as a natural form of sculpture,” says Paul Paletti. “He is a true master of the photographic medium, and this exhibit offers a dramatic look at the process of pregnancy and motherhood. It’s especially interesting that the portraits of pregnant nudes are presented with companion images that include their newborn infants, emphasizing the vulnerability of new life.”

Formerly a renowned ophthalmologist and surgeon, Schatz uses his medical background as inspiration for his endeavors in fine art and commercial photography. With Child combines his love of photographing the human body with his experience witnessing the journey of birth during his medical school residency.

Works by Schatz were previously exhibited at the Paletti Gallery in 2007 during the release of Schatz’s 17th book, H2O. Along with his books WaterDance, The Princess, and Pool Light, photographs included in H20 use ballerinas underwater as a celebration of the body in relation to the landscape of dreams and brilliance of movement through weightless slow motion dance.

Schatz has contributed his artistic eye in the creation of photographs for clients such as Ralph Lauren RLX, Escada, Adidas, Louis Vuitton, and his works have been featured in O The Oprah Magazine, Vanity Fair, GQ, American Photo, The New Yorker, Black/White, Vogue, Sports Illustrated, Time and The New York Times Magazine. His work has gained national and international acclaim through various exhibitions and museum displays worldwide, including MACRO Museum of Contemporary Art, The Center for Fine Art Photography, Contemporary Art Gallery (Milan, Italy) and the World Press Photo Exhibition.

Shelby Lee Adams: Salt & Truth

March 2 – May 26, 2012

The Paul Paletti Gallery is pleased to announce a new exhibition by renowned photographer, Shelby Lee Adams featuring work from his new book, Salt & Truth. Please join us for an artist reception on Thursday, March 1, 2012 from 6 – 8pm. Adams will also attend the opening at the Gallery during the First Friday Trolley Hop, on the following Friday from 5 – 9 pm, and will lastly remain in Louisville for an artist talk and book signing at Carmichael’s Bookstore, located at 2720 Frankfort Avenue on Saturday, March 3, beginning at 4pm.

Please see below for a link to the New York Times slide show of Shelby’s work:

Sunday Review Section, The New York Times, November 13, 2011

Steve McCurry: Compassionate Vision

December 1 – February 29, 2012

The Paul Paletti Gallery is pleased to announce an exhibit of work by world renowned documentary photographer, Steve McCurry.

Afghan Girl, by Steve McCurry, which appeared on the cover of National Geographic Magazine in 1985, is probably the most famous photograph in the world. But this iconic image is not alone in showing McCurry’s compassionate vision. “Most of my images are grounded in people. I look for the unguarded moment, the essential soul peeking out, experience etched on a person’s face,” McCurry has stated.

In addition to his haunting and compelling portraits, McCurry has also photographed in many areas of international and civil conflict, including the Iran-Iraq war, the disintegration of the former Yugoslavia, Beirut, Cambodia, the Philippines, the Gulf War, and Afghanistan. McCurry’s passion for his subjects and their conditions is shown not only through his portraits, but also in his actions. He founded Imagine Asia, a non-profit organization dedicated to helping children in rural Asian communities by addressing fundamental education and healthcare needs.

McCurry, a member of Magnum since 1986, was the recipient of an unprecedented four first prizes from the World Press Photo contest. He has also been awarded the Robert Capa Gold Medal for Best Photographic Reporting from Abroad, an award dedicated to photographers exhibiting exceptional courage and enterprise. The National Press Photographers’ Association awarded him the Magazine Photographer of the Year, and he has twice won the Olivier Rebbot Award for best photographic reporting abroad.

Featured in countless exhibitions around the world, McCurry’s work is best known through magazine publications, most notably, National Geographic. McCurry’s books include The Unguarded Moment (2009), In the Shadows of Mountains (2007), Looking East (2006), Steve McCurry (2005), The Path to Buddha: A Tibetan Pilgrimage (2003), Sanctuary (2002), South Southeast (2000), Portraits (1999), Monsoon (1988), and The Imperial Way (1985).

Photo Biennial

October 1 – 31, 2011

The Photo Biennial, Louisville’s premier photographic festival, is set to take place throughout the city during the month of October. Embracing local, national and international photography, workshops, symposia, public discussions and more than 30 exhibitions city-wide, the Photo Biennial will celebrate artistic excellence in this rich and diverse medium. The Photo Biennial represents a cooperative effort among local museums, galleries, universities and other public venues to give viewers the opportunity to learn about and to appreciate photography, spanning its history to the present, and from the local to the global.

The Biennial will highlight a variety of themes with each week in the month. The First Friday Gallery Hop will provide the kick-off of coordinated gallery openings. The keynote exhibit, Rough Road. The Kentucky Documentary Photographic Project 1975 – 1977, featuring work from Bob Hower, Ted Wathen and Bill Burke at the Frazier History Museum, provides the base for the second weekend of events focusing on documentary photography. This theme is also the subject of a panel discussion of nationally recognized experts hosted by the University of Louisville’s Center for Arts and Culture Partnerships. A strong international focus will highlight a group of Canadian photographers represented by Elevator Digital in Toronto when they invade local galleries, the Mellwood Arts Center and the Kentucky International Convention Center during the third weekend of the Biennial. Finally, the world-renowned Slideluck Potshow will close out the Photo Biennial, integrating local emerging photographers’ works side by side with some of the most established and well-known photographers from around the world.

Started in 1999 by Swanson Cralle East Market (now Swanson Contemporary), Galerie Hertz, Zephyr Gallery and Erin Divine Gallery (a predecessor of Pyro), the Photo Biennial, has consistently grown due to the dedication and support of the artistic community in the Louisville region. Over the years, it has expanded to attract the national View Camera Magazine Large Format Conference in 2007, and became the first Louisville Visual Arts Festival in 2009. This year’s Biennial will continue this evolution with focused events each weekend, to educate and entertain the public with the richness and variety of photography as both a documentary and an artistic medium.

Click here for printable calendar.

Click HERE for a printable listing.




Bill Burke

September – November, 2011

The Paul Paletti Gallery is pleased to announce our exhibition of Boston based photographer, Bill Burke. This will also be the Gallery’s featured exhibit for this year’s city-wide Photo Biennial in October.

Burke’s documentary photographs are a haunting and poignant record of his travels and experiences in Southeast Asia and the U.S. The images are often interwoven with his written descriptions of the people and places, lending additional personal and historic elements. His subjects are compelling and exotic in their everyday lives.

Bill Burk was born in Milford, Connecticut in 1943. He received a B.A. in Art History from Middlebury College and a B.F.A. and M.F.A. in Photography from Rhode Island School of Design. He has received grants from the John Simon Guggenheim Foundation, the Ford Foundation and the Massachusetts Council on the Arts, as well as two artist’s fellowships from the National Endowment for the Arts. Burke has published a number of books including, They Shall Cast out the Demons, 1983; I Want to Take Picture, 1987; Mine Fields, 1995; and most recently Autrefois Maison Privee, 2004.

Burke has been the subject of more than 60 exhibitions, including over 20 solo exhibitions, at venues. His work is in the collections of the Museum of Modern Art, New York; San Francisco MoMA; Metropolitan Museum of Art; International Museum of Photography at George Eastman House; J. Paul Getty Museum; and the Smithsonian Institutions of American Art. Currently, Burke teaches photography at the School of the Museum of Fine Arts, Boston.

During the Photo Biennial the Frazier History Museum will also highlight Burke’s documentary work in the group exhibition, Rough Road. The Kentucky Documentary Photographic Project 1975 – 1977.

10th Year Anniversary

September, 2011

In celebration of its first ten years on Market Street and a decade as one of the original participants in “First Friday Gallery Hops,” the Paul Paletti Gallery will host a retrospective show Friday, August 5, 5 p.m. till closing.

“We’ve had great success being a part of the growth of the visual arts community and the revival of this part of Louisville,” said Paletti, who owns the gallery located at 713 East Market, in the area becoming known as NuLu.

“We’ve been showcasing exceptional photographers with national and international reputations from the first day we opened. This show was our way of thanking them for working with us and offering thanks to our patrons with a really special show of premier art,” he added.

Paletti has been a collector of photography for more than 40 years. His personal collection includes some of the most-recognized names in the art world. The August show which will feature works by: Ansel Adams; Shelby Lee Adams; Paula Chamlee; Mark Citret; Joe Freeman; Kirk Gittings; Frank Gohlke; Rolfe Horn; Kenro Izu; Neil Leifer; Daniel Lin; and Bill Luster.

Also, Gayle Moore; James Nachtwey; Anne Noggle; Elizabeth Opalenik; Howard Schatz; Bill Schwab; Steve Sherman; Michael Smith; Alfred Stieglitz; Edward Steichen; Maggie Taylor; Paul Taylor/Renaissance Press; Edward Weston; Minor White; John Willis; and John Wimberly.

Steve Sherman: A Landscape Seen

June – August, 2011

Steve Sherman is a self taught photographer whose work is largely influenced by his interest in landscape and the greater surroundings that culminated during his formative years. His work has achieved breathtaking clarity and indescribable depth through his use of ultra large format cameras and superlative mastery of traditional photographic processes. His focus, straight forward yet quiet, has consistently featured the natural landscape, but his oeuvre is far from singular and includes portfolios that highlight the “hand of man” on the industrial and urban landscapes.

Sherman has applied his love of the environment to help refine his photographic vision and technique while traveling to remote and extraordinary places around North America since 1981. Death Valley; Seven Falls, CT; Monument Valley, UT; Shiprock, NM; and Antelope Canyon are mere highlights of Sherman’s expansive photographic journey. According to Sherman, “The mystery, and the unknown which may lie around the next corner continues to fuel a passion that somehow has eclipsed 25 plus years in what seems like the blink of an eye.” Regularly using large format sheet film cameras ranging in size from 5×7 to 7×17, Sherman works exclusively with Black and White materials. He adheres to the charge that “real photographs are born wet,” and does not digitally enhance or produce his original hand-made photographs.

Sherman is a member of the New England Large Format Photography Collective (NELFPC), a group of eleven Large Format photographers from New England who are committed to foster an open forum for education and collaborative presentations with respect to photographic disciplines of the past and the technology of tomorrow. In 2007 the NELFPC spearheaded the first annual “Raid Our Gallery” fundraiser benefit for the Middlesex Hospital Cancer Center in Middlesex, CT. Sherman’s A Landscape Scene will open with a reception on Friday, June 3, 2011.

Napoli Senza Titolo (Naples Untitled)

May 13 – June 17, 2011

Untitled, Luciano Romano, digital image, 2008

The Paul Paletti Gallery is pleased to announce the opening of Napoli Senza Titolo (Naples Untitled), an Italian photography exhibit co-sponsored by the Italian Cultural Institute of Louisville and the Kentuckiana Cancer Research Foundation. The exhibit opens on Friday, May 13 and will continue through June 17, 2011.

Curated by Fabio Donato, Maria Frederica Palesinte and Marina Vergiani, Napoli Senza Titolo explores the ways in which public spaces in Naples have been used by Neapolitans during the past 40 years. Naples is a city of extremes, famous for its beauty and creative spirit, but also associated with environmental degradation and corruption. In the public’s mind, clichés and stereotypes on both ends of this spectrum prevail over a more tempered, multifaceted reality. In fact, the curators decided to call the exhibit Naples Untitled in order to encourage viewers to look at their city in a fresh way, uninfluenced by predetermined points of view or overt direction from the organizers. The photographs are untitled as well; this leaves viewers free to create their own personal narrative of Naples, narratives that are much more likely to incorporate many aspects of the city’s character by being formed through diverse images.

Inaugurated in Naples at the Palazzo delle Arti di Napoli in February of 2009, Napoli Senza Titolo is comprised of 38 black and white photographs from 20 of Italy’s most accomplished photographers, including Mimmo Iodice. It travelled to the Italian Cultural Institute in Chicago for an opening in November of the same year where it was meant to provide a preview of the International Forum of Cultures, an important UNESCO initiative designed to foster intercultural dialogue and debate, which will be hosted by Naples in 2013. The project was made possible by the Naples Center of the Documentation of the Arts, which granted curators access to its art archives, and the Center for Contemporary Arts PAN (Palazzo delle Arti Napoli).

Bill Luster: Photographic Memories

March 2 – May 31, 2011

Bill Luster, Inside The White House, digital print, 2010

The Paul Paletti Gallery is pleased to announce a retrospective exhibition of the works of local photojournalist, Bill Luster. This exhibition marks the Gallery’s first show devoted to a living local artist. In 2010, the National Press Photographers Association honored Luster with the Joseph Sprague Award, the highest honor in documentary photography for lifetime achievement. We are delighted to exhibit this acclaimed body of work from such a distinguished photographer.

Bill Luster began his career as a newspaper photojournalist in 1965, when he joined the staff of The Glasgow Daily Times, his hometown newspaper. Four years later, Luster moved to Louisville where he started working for The Courier-Journal and The Louisville Times, eventually serving as Director of Photography, photo editor, and chief photographer. Spanning more than five decades, Luster’s photographic pursuits have meant covering local news issues, exclusively meeting and photographing a number of US presidents, and travel and landscape photography all over the world. Luster has covered 45 Kentucky Derbies, four political conventions, four inaugurations, and was an official photographer for the inauguration of President George H.W. Bush. In addition, he has enjoyed exclusive access to four United States Presidents: Gerald R. Ford, Ronald Reagan, Bill Clinton, and Barack Obama. Two photo essays in The National Geographic add to his extremely accomplished collection as well as other photos that can be found in Time, Fortune, Sports Illustrated, Newsweek, Life, and the New York Times Magazine.

Luster’s photographs exhibit an unfailing artistry of design and composition, coupled with humanity and a deep sense of history. Whether working in color or black and white, his photographs distill the essence of the place, the event, and the emotions of his subjects with high drama and perfect timing. He is the quintessential photojournalist.

Born in 1944 in Glasgow, Kentucky, Bill Luster has been the recipient of many awards and honors for his photography. Preceding the Joseph Sprague award, which he received in July of 2010, Luster was awarded the title of Sports Photographer of the Year from the Kentucky News Photographers Association at Western Kentucky University, which had previously named him Visual Journalist of the Year in 2000. Also in 2000, the National Press Photographers Association (NPPA) awarded Luster the Joseph Costa Award for Innovative Leadership. Luster also received the Clarion Award for Environmental Reporting for work produced in Europe in 1984. He has two Pulitzer Prizes to his name, both of which he earned alongside members of The Courier-Journal’s staff under the leadership of C. Thomas Hardin. The first, awarded in 1976, was for Feature Photography for their coverage of the chaos around Louisville during court-ordered busing in 1975. The second was awarded to the news department including and the photography staff in 1989 for Local Reporting for their coverage of the nation’s worst drunk-driving accident, which occurred in nearby Carrollton, KY. Bill Luster currently lives in Louisville, KY, with his wife of thirty-three years, Linda, and their dog, Charlie. Their son Joseph lives in Hoboken, New Jersey and is a freelance writer.

A portion of all proceeds from print sales from this exhibition will be donated to the Leukemia and Lymphoma Society.

Jay Dusard: Direct Gaze

September 2010 – December 2010

Martin Black, Stampede Ranch, Nevada, Digital print from an 8x10-inch negative, ed. 50, 1982

Martin Black, Stampede Ranch, Nevada. Digital print from an 8x10-inch negative, ed. 50, 1982. Copyright Jay Dusard

Direct Gaze combines Dusard’s photography that spans more than two decades, from 1980 – 2002, providing a glimpse of the ever diminishing yet profoundly cherished American West.

Inspired by his personal connection to the people and cowboy culture of the west, Dusard captures panoramic landscapes and cowboy portraits with an authenticity only a trusted fellow cowpuncher could achieve. Among Dusard’s influences are his mentor, artist/photographer Frederick Sommer, and photographers Ansel Adams and Arnold Newman. Like Sommer, Dusard used an 8 x 10 view camera for most of the work produced on the during his travel to some 45 ranches from British Columbia to Chihuahua.

Dusard’s style is honest, open and uncomplicated in his portraits of the people living and working as modern day cowboys and they return this with their own candor and direct gaze at the camera’s lens, the photographer, and the eye of the viewer.

Born in 1937 in St. Louis, Missouri, Dusard has been the subject of museum exhibitions including: Charles M. Russell Museum, the Phoenix Art Museum, Glenbow Museum, Colorado Springs Fine Arts Center; Art Museum of South Texas, and the International Photography Hall of Fame.  Dusdard’s 1981 Guggenheim Fellowship launched his grandest adventure. With camera, bedroll, and saddle, he motored wide-ranging “circles” throughout the domain of working cowboys, vaqueros, and buckaroos. He “rode for the brand” with many of them and returned with timeless images. This “adventure” resulted in the publication, The North American Cowboy: A Portrait (1983), followed by Open Country, a book which earned third place in the 1994 Photographic Book of the Year competition.

Paul Taylor & Bill Schwab: Wet Plate

June 2010 – August 2010

Taylor Ortahisar I Capadochia

Ortahisar I Capadochia. Copyright Paul Taylor

Wet Plate showcased artists Paul Taylor and Bill Schwab, who use 4″ x 5″ to 8″ x 10″ view cameras and the wet plate process to create their photographic images.

As a part of the 2nd Louisville Visual Arts Festival, the gallery exhibited photographs created using the historic wet plate collodion process. This process, which was invented in 1851 and dominated photography until 1875, uses large format cameras to make negatives on plates of glass or blackened metal. These plates must be coated with a light sensitive solution, exposed in the camera, and then developed, all before the plate dries out.

Recent Acquisitions

December 2009 – May 2010

Aaron Siskind, Alice Beck 86, Gelatin Silver Print, 1966

Aaron Siskind, Alice Beck 86, Gelatin Silver Print, 1966

The exhibit included a select group of photographers including Carl Chiarenza, Rolfe Horn, Dominic Rouse, John Sexton, Aaron Siskind, Bradford Washburn and Edward Weston.

These photographs are specially priced for the holiday season, many at less than half the prices at galleries in New York, Chicago and Boston. These new acquisitions exhibit a wide variety of styles, and exemplify the true beauty and technique of black and white photography as an artistic medium.

Affordable Art Show

December 2008 – February 2009

This exhibit featured the photographs of Bruce Cook, Daniel Lin, and Gayle Moore.

Bruce Cook, a Louisville dentist, works with a large format camera to produce striking landscapes and environmental portraits. Daniel Lin, of Zionsville, IN, is a neurobiologist, for whom photography is both an artistic outlet and a refuge. Daniel creates landscapes and abstracts which are richly toned and atmospheric. Gayle Moore, of Indianapolis, creates delicate and elegant high key black and white photographs of flowers and botanical arrangements.

Bill Owens: Suburbia

April 2008 – May 2008

Bill Owens, We’ve been married two months and everything we own is in this room. gelatin silver print, 1973

We’ve been married two months and everything we own is in this room. Gelatin silver print, 1973. Copyright Bill Owens.

A 40 year retrospective of a unique and humorous vision of suburbia, the counterculture, and the gaze of the modern American worker. Owens has captured some of the most pivotal cultural phenomenon of the late twentieth century.

In 1969, he photographed the legendary free Rolling Stones concert at Altamont Speedway, where the Hell’s Angels served as security and killed one fan. Throughout the 1970s, Owens witnessed the massive immigration of rural people into Californian suburbs, and subsequently became one of the first photographers to aim his lens at the national growth of suburban sprawl, which resulted in his critically acclaimed book Suburbia (1973).

H2O: Howard Schatz

December 2007 – March 2008

Schatz Underwater Study 2461

Underwater Study 2461. Copyright Howard Schatz

The stunningly beautiful color images of ballerinas, models, and acrobats from Cirque du Soleil, all photographed underwater. Ethereal and elegant, Schatz’s figures soar, twist, and plunge in the invisible weightless underwater world of a slow-motion dance. These large scale, vibrant photographs are a celebration of beauty, brilliance, form, and movement.

Not only has Schatz had exhibitions in museums and galleries internationally, but he also has a substantial corporate clientele. His work has been published in magazines around the world and has been featured on major television stations in the U.S. and Europe.

The Classical & The Spiritual

John Wimberley

September 2007 – November 2007

Wimberly windows

Windows. Copyright John Wimberly.

Wimberley’s work is characterized by a fusion of his technical mastery and his spiritual vision.

His photographs display an elegance of the living essence present in his subjects, whether they be rocks, clouds, landscapes or detritus left by the hand of man. His recent subjects include Native American rock art sites, and the ghost towns and abandoned mining camps in Nevada.

After 40 years as a photographer, Wimberley’s work has been shown in more than 50 exhibitions, been published around the world and represented in over 400 public and private collections.

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Louisville, KY 40202

P. 502-589-9254
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Gallery Hours 9am to 5pm weekdays and by appointment

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