Gertrude Stein is a household name. But do you know Claribel and Etta Cone?Read More
So there may not be an Egyptian uprising in the basement of your local museum. But, there is probably some really amazing artwork you might never get to see.Read More
Despite how many artists, curators, and critics talk about “democratizing art,” original, blue-chip artwork will always be reserved for the wealthy. That’s just a fact.Read More
You’ve no doubt heard the stories about terrorists and the uber wealthy hiding money in Swiss bank accounts to evade taxes.Read More
Are you familiar with Hans Christian Anderson's tale of an Emporer so vain and easily duped, his tailors dress him in "invisible" fabric?Read More
Ysabel LeMay's phantasmagorical nature photographs defy all odds. In a world where nature photography has been done to death, LeMay' creates unique images that radiate with awe.
Ysabel LeMay found photography later in life, after a successful career working as a graphic artist.Seeking greater fulfillment, she turned to painting, and photography. By combining her graphic design skills with her unique photographic eye
LeMay creates ‘Wonderful Other Worlds’, which she builds through the process of hyper college. Combining her technical expertise with her painterly eye, LeMay creates photographs that challenge our perception of landscape.
Lemay’s photographs flora, birds, tree limbs, flowers, and anything else she finds along her daily walks. Once back in the studio, she assembles all her files and starts layering images, using hundreds of individual files to construct each final photograph.
Balancing color, light and subject, Ysabel LeMay creates pieces that vibrate with an intensity often experienced in dreams. Wonders continues LeMay’s dedication to the land and the endless beauty it evokes.
That tension between utilitarian purpose and artistic inspiration is the unexpectedly compelling strength of David Burdeny’s mesmerizing series of aerial abstractions called Salt.
In our hyper-connected age of GPS, Google maps and instant information, Bourdeny's large-format photographs of salterns occupy the hazy borderzone between the prosaic and the poetic.
Burdeny’s photographs aim to be more evocative and exalted than pedestrian. They seek to elevate our knowledge and experience of the world in more ways than one.
His images suggest the painterly expressiveness of Rothko, Still, Newman, Diebenkorn and late career Willem de Kooning. Salt manages to render into visual form the ineffable experience of drifting, of floating above it all, of being lost out beyond the humanly order of things.
Salt by David Bourney photographs are now available @HKPhotographs
One of Slim Aarons’ most famous quotes states that he built his career “photographing attractive people who were doing attractive things in attractive places.” Today, his fresco of this international Jet Set looks unreal — as if the world he depicted never existed.
The "fabulous life" was Aaron's specialty. Known for his glamorous poolside shots of the elite, Aaron's iconic images sweep you up in a fantasy unlike any other. His magical compositions and saturated blues create a Dolce Vita Esk feel to reality.
Sim Aarons was a visionary. As a young man, his photojournalism assignments inspired Alfred Hitchcock to create the leading role for Jimmy Stewart in Rear Window,, as the man who could not stop shooting, even with a broken leg.
An homage to sunny lawns, clean eager profiles, bright lakes, Hampton parties, pretty woman and, above all style- slim Aron's photographs are icons of a time past.
In his own worlds, “the landscapes, the beautiful boats, the colorful kayaks, the beach umbrellas, the ski-lifts … just all the colors. Photos of happy times.”
Slim Aarons photography is now available for sale @ HKPhotographs.
Toile in its classic sense is defined as a pattern of regal-looking people or animals in some landscape setting, like a garden or farm. The traditional pattern is usually featured in a single colorway — trad shades of green, red, blue, or black on a white background. Thankfully, these rules have gone out the window.
You can now find toile in every color palette (hello, pink!) and the designs often play around with scale. I'm also a big fan of the modern, cheeky twists on what images are now considered toile. You can find modern toiles that are whimsical and fun.
Marilyn Monroe and JFK, the Hells Angels to Vietnam: Bill Ray has captured them all. The Life Magazine staff photographer, featured in our recent publication “Both Sides of Sunset: Looking at Los Angeles,” is a master photographer of our generation, never shying away from capturing the essence of our culture, no matter how high the stakes.
Interviewed for America Tonight at Hamburg Kennedy’s Chelsea gallery space, Bill discusses his images from the 1965 Los Angeles Watts Riots
The August 1965 Riots were among the bloodiest, costliest and — in the five decades since they erupted — most analyzed uprisings of the notoriously unsettled mid-1960s. Rays work documented an utterly marginalized world that few people ever get to see up close.
See his interview below and more of Ray’s work available here at HKP.
Forget the disco era, the 1970s in New York City was all about danger. With pimps and prostitutes populating the streets, an economic collapse and a crime-filled subway system, the streets of Manhattan were gritty and dark. Photographer Leland Bobbe's captured it all, the rawness of New York at its societal and economic low. Leland’s award winning photographs tell more than they are showing. The photographer's images delve beneath the visible surface of the world we see and provide a glimpse of a hidden dimension that lies beneath. Like a poker player that a blinks, each image has a "tell" ... a crack in the facade that allows us to delve more deeply into the psychology and inner workings of his subjects.
As huge fans of Leland’s work at Hamburg Kennedy, we were thrilled with the opportunity to delve deeper into his process and a better understanding of the images we have been in admiration of for the last four decades.
1. Among your works, is there an era or individual photo that is your favorite? Why?
I’ve been taking photographs for many years and have done many different projects as well as individual pictures. I’m sure that if I thought about it I would be able to choose a favorite from each project. If I had to choose just one photograph however, it would probably be my photo titled Black Swan, which is a shot of at thrown away umbrella standing upright on a street in NYC with many blurred legs running through the frame that surrounds the umbrella perfectly. This was part of series of photos I did of thrown away umbrellas on the street titled Stormy Weather. I love this shot because of the mood, composition and randomness of a scene that people see every time it rains in New York but don’t necessarily stop to really see it. A once needed object tossed away like trash. It’s very New York and so am I.
2. Is there something you can get from a candid photo you can't get in the studio? Or vice versa? What is your preference?
There is something that I get from a candid photo that I can’t get in the studio but it works both ways. While I enjoy the complete control I have while working in the studio (light, the ability to direct etc.) there is a real rush I get from shooting candidly on the street. For me there is never anything preconceived about street photography. I never know what I’m going to see. I see it and then the next second it could be gone. I find that to be very exhilarating.
3. Which photographers influenced you, and how did they influence your thinking, photographing, and career path?
In all honesty, that many other photographers have never influenced me. I find my influence comes more from a state of mind fueled by rock and roll, Miles Davis’ music and great films. A boldness and simplicity runs through my work. In all of my portraits, although the subjects vary greatly, I always direct them in a similar way; which I think reflects my personality. I am a fan of photographers Steve Pyke, Garry Winogrand, Richard Avedon, and Harry Callahan and painters Mark Rothko and Edward Hopper. I find that the photos that might make me a bit nervous and uncomfortable to shoot are often my best.
4. What motivates you to continue taking pictures economically, politically, intellectually or emotionally?
I think the same thing that motivated me to pick up a camera in the first place still motivates me today. Simply put, I see things that I want to capture.
5. What is the one thing you wish you knew when you started taking photos?
How much time I would eventually end up spending in front of the computer years down the road.
6. What is your favorite work from the 1970s New York series?
This is a tough one and I’m going to take the easy way out and pick two. The first is titled The Life. It’s a shot of two prostitutes standing on 8th Ave near 42nd street with extremely glum expressions while the back of a man passes by in the foreground.
The second is titled Hydrant and is a shot of two down and out men on the Bowery against an old crumbling brick wall with a fire hydrant spewing water on the left side of the frame.
As I’m writing this I’m realizing there is something very similar about these two images. They both have the main subjects to the right side of the frame while an element of movement is occurring on the left side . . . a man walking by in one and the flowing water in the other. To me this similar element gives the sense of time moving forward even though the subjects are stationary and look totally stuck. Now that I think about it, even the first shot I mentioned, Black Swan has this element. I like this juxtaposition.
The works of Chester Higgins Jr. and Fox Harvard could not appear more dissimilar. Higgins has spent the past 30 years photographing the decency, dignity, and virtuous character of people of African descent. Whilst Fox Harvard (a regular fixture in the pop culture photozine C-Heads Magazine captures the beauty and sensuality of glamorous youth. Upon closer examination of these works, they bear more of a resemblance to one another than the obvious aesthetics. Yes, the black and white frontal portraiture, horizontal plane, the stark contrast and covered hair of both women is clear. Higgins portrait is of a Moslem woman hidden by religious ritual and duty; Harvard’s’ a voluptuous beauty thinly veiled, her face unobstructed revealing youth and sexuality. Yet both works incorporate strong emotive and sentimental qualities, wrestling with issues of memory, place, and identity, both Harvard and Higgins. Never sacrificed the beauty and humanity of their subjects to tell the story. Never defined by their condition, their subjects are human first.
Hamburg Kennedy Photographs is pleased to announce our Book Launch, Exhibition, and Book Signing of Both Sides of Sunset: Photographing Los Angeles. The event will take place June 18th, 6-8PM at our Chelsea Gallery, 514 W25th Street. Edited by Founder and Director Marla Hamburg Kennedy with a Forward by Ed Ruscha and published by Metropolis Books Both Sides of Sunset: Photographing Los Angeles reveals the luxury and depravity of Los Angeles in images captured by master photographers such as Bruce Davidson, Lee Friedlander, Daido Moriyama, Julius Shulman and Garry Winogrand, as well as many younger artists, among them Matthew Brandt, Katy Grannan, Alex Israel, Lise Sarfati, Ed Templeton, and many more.
See a selection of works available here and come June 18th for your own piece of the West Coast.
A favorite and best-seller at HKP, the work of Slim Aarons remains as timeless as ever. Featured in this months W Magazine, designer Michael Kors takes on the luxury and glamour of Aaron's photographs for his latest collection inspiration. Summer has never looked so fabulous!
In the Mood for... Glamour on the Go
“Jetset is a way of dressing that is luxurious and indulgent but entirely easy,” Michael Kors says. “I’ve always been inspired by those classic style icons from the ’60s and ’70s—they embraced an effortless chic that’s desirable today more than ever.”- Michael Kors, W Mag. June 2015
When I moved from being a contemporary art dealer to a photographer dealer back in 1992, a whole new world was opened to me. I was working at what was once considered one of the most important photography galleries in the US, G.R. Hawkins, who, along with a few others, brought photography to a collectible art form in the late 1970s and 1980s. At the time there were very few photo specific galleries and auctions for photography had only started in two decades earlier- the first in America was at The Swann Galleries in 1952.
At Hawkins gallery, I immersed myself in the study of the history of the medium, which, with photography coincides with the history of our American culture. I took graduate degree classes and like to consider I became somewhat of a novice scholar in my own right, with my own love and emphasis on Post-War American Photography such as Robert Frank. One of the first photographs I saw, and sold, was a Detroit publishing company “photo chrome” which was dazzling, beautifully colored, and completely imbued with how America looked over 100 years ago
I own a small collection; the images can sell for $250 or so; but Taschen released not too long ago this magnificent book called American Odyssey. It is brilliant on multiples levels and really takes one back to the entire period of time from 1888 to 1924- a pivotal period for the growth of America.
These rediscovered Photochrom and Photostint postcard images from the private collection of Marc Walter were produced by the Detroit Photographic Company between 1888 and 1924. Using a photolithographic process that predated the autochrome by nearly 20 years, they offered people the very first color photographs of The United States.
Mark Seliger is one of my best friends, who happens to be one of the greatest celebrity photographers working today. He has done decades of work for Rolling Stone and most recently Vanity Fair among many other notable achievements, not least of which is his brilliant band RUSTY TRUCK that everyone should go and listen. One of Mark’s best-known images is of Heidi Klum. I have written about the original Joe Shere photo. This is a take off some info on the original shot, which has been one of the great Jayne Mansfield/Sophia Loren images of all time
Romanoff’s Restaurant was the setting of an unforgettable image featuring Italian bombshell Sophia Loren sizing up her American counterpart Jayne Mansfield with a look of disapproval and a hint of envy for the generous cleavage displayed by Mansfield with confidence and nonchalance. So what was Sophia Loren really thinking in that moment? She told Entertainment Weekly an account of that night in 2014 saying,
"She came right for my table. She knew everyone was watching. She sat down. And now, she was barely… Listen. Look at the picture. Where are my eyes? I’m staring at her nipples because I am afraid they are about to come onto my plate. In my face you can see the fear. I’m so frightened that everything in her dress is going to blow—BOOM!—and spill all over the table."
The iconic image perfectly epitomizes not only the glitz and glamour of a bygone era, but the dichotomy of female relationships; vanity, jealousy, both confidence and insecurity. Mark took these themes and added a touch of humor when he appropriated this photo using Heidi Klum to invoke famous beauties of the postwar era at they’re most iconic.
It is obvious that street art, in its many forms, has become inextricably linked with the world of music. Not that it is unusual for the worlds of art and music to come together, just take a look back to the involvement of Andy Warhol the Velvet Underground, both in a management role and the iconic banana album sleeve, to see that they both serve each other. But the scene around graffiti and street art seemed to give birth to a whole new generation of artists that were inspired by music, who then fed their imagery back into the world of music. Two of the most well-known names in modern street art have been associated with the rock and roll side of music, the first being Banksy. The legendary street artist has been known to paint punk characters with slogans, while his work has appeared on several record releases, most notably that of UK band Blur.
Shepard Fairey has often created images of punk icons, as can be seen in the SID: Superman is Dead exhibition he did with photographer Dennis Morris. Fairey also created his own Obey records label and has created many album sleeves for a variety of bands,such as Billy Idols reworking of the classic David Bowie/Alladin Sane portrait.
D*Face inspired by hip-hop and punk, along with skateboarding and the DIY culture of zines, who is now creating album sleeves for Christina Aguilera and making portraits of dead musicians such as Kurt Cobain, Jimi Hendrix, Jim Morrison and Amy Winehouse for his 2014 exhibition Scars & Stripes- which goes to highlight the importance between likeminded individuals from the art and music worlds coming together for the right reasons, both to be inspired by the art forms. But likewise, as Banksy pointed out, you have to pay the bills and if someone offers £75,000 for your images, which is what the Blur album image generated, one can fully understand an artist saying yes even if they don’t like the music!
Mary Ellen Mark, an artist known for her photojournalism, portraiture, and her incredible humanist photography, passed away Monday in New York City. A Philadelphia native, she moved to New York City in 1967; where over the next several years she photographed demonstrations in opposition to the Vietnam War, the women's liberation movement, transvestite culture, and Times Square, developing a sensibility, according to one writer, "away from mainstream society and toward its more interesting, often troubled fringes". Her photography went on to address such social issues as homelessness, loneliness, drug addiction, and prostitution. She described her approach to her subjects: "I’ve always felt that children and teenagers are not "children," they’re small people. I look at them as little people and I either like them or I don’t like them. I also have an obsession with mental illness. And strange people who are outside the borders of society."
She had 18 collections of her work published, including Streetwise and Ward 81, and has been exhibited at galleries and museums worldwide. She received numerous accolades, including three Robert F. Kennedy Journalism Awards, three fellowships from the National Endowment for the Arts, the 2014 Lifetime Achievement in Photography Award from the George Eastman House. and the Outstanding Contribution Photography Award from the World Photography Organization.
Moving to NY in the mid 1970s and growing up as a young adult to adult there, the Twin Towers was synonymous with My Life In New York. For me, they were the anchors that held my life in place. While they were criticized for years as being architectural disasters- two monoliths entirely out of context to their environment- for me, they were pillars of utter strength and power. Which is why, I believe, their crumbling to dust left all of us feeling entirely helpless; as I too believe everyone felt similarly to how I did. Perhaps they were not the greatest achievements in architecture, but they surely were the symbols of New York City and they established the skyline.
When I recently saw these photographs by Camillo Jose Vergara, it took me back to that time. I remember walked around them and peering up; they were utterly sublime in the best way. It was dizzying.
These brilliant images brought me back to that time, and made me reflect on the last 15 years we have been without them, sort of like the loss of a loved one, but in some ways fundamentally deeper. Right when the towers went down, I had lived around the corner from them. I could not go home, and my animals were left stranded in my apartment.
I was allowed to go there accompanied by police a day after - flashlights in hand we made our way up to our 4th floor loft and found the place a mess (as the 3 dogs and cats had free reign and managed to unravel the entire loft like a skein of wool). I recall the distinct small that permeated the air down there-and I will never forget it.
A month or so later, in mourning as the whole world was, I decided to rally together and publish a little book called AN ELEGY: TWIN TOWERS. An Elegy that pays tribute to those icons of the Manhattan skyline. In just two dozen images, the editors have created a timeless and fitting tribute to the Twin Towers. From the calm grey cloth-subtly blind-stamped with an outline of the buildings-to the end-pages which perfectly evoke the exterior facade of the buildings
In honor of the Summer Season- Hamburg Kennedy presents a carefully curated collection in homage to sand, surf, beauties, and beaches. Our inventory of over 2500 works made this a tough one- here is a sample of some of our newest and most popular works of 20th century photography, modern and contemporary art, and contemporary photography