STREET now open! Chicago | Los Angeles | Miami | New York | San Francisco | Santa Fe
Amsterdam | Berlin | Brussels | London | Paris | São Paulo | Toronto | China | India | Worldwide
 
New York

Bruce Silverstein

Exhibition Detail
Cloud 9
535 W.24th St.
New York, NY 10011


March 10th, 2009 - April 25th, 2009
Opening: 
March 14th, 2009 6:00 PM - 8:00 PM
 
Equivalent, Alfred StieglitzAlfred Stieglitz, Equivalent,
1934, Gelatin silver print mounted to board , 3 9/16 x 4 11/16 inches
© Silverstein Photography-W. 24th St.
Equivalent , Alfred StieglitzAlfred Stieglitz, Equivalent ,
1925, Gelatin silver print mounted to board, 4 5/8 x 3/12 inches
© Silverstein Photography-W. 24th St.
Cloud Study , Imogen CunninghamImogen Cunningham, Cloud Study ,
1939, Gelatin silver print mounted to board , 9 1/4 x 6 1/2 inches
© Silverstein Photography-W. 24th St.
< || >
> QUICK FACTS
WEBSITE:  
http://www.brucesilverstein.com
NEIGHBORHOOD:  
chelsea
EMAIL:  
inquiries@silversteinphotography.com
PHONE:  
212-627-3930
OPEN HOURS:  
Tue-Sat 11-6
> DESCRIPTION

Cloud 9 is a group of nine original vintage photographs of the sky by esteemed photographers Imogen Cunningham, Alfred Stieglitz, and Edward Weston. Alfred Stieglitz photographed clouds from 1924 to 1935. He termed these cloud photographs Equivalents. For Stieglitz, the abstract forms and formations of clouds perfectly equated to the modern idea of equivalence, holding that abstract forms, lines, and colors could represent and evoke universal inner human states, emotions and ideas—a powerful notion which numerous later photographers recognized and emulated. Edward Weston's search for purity of form—the essential—seems simultaneously fulfilled and alleviated in his cloud studies. The abstract and impossibly fleeting nature of clouds played to his interest in form and texture, but even to Weston, clouds ultimately remain an elusive subject—free-association, subjective emotional reaction abound. Cunnigham’s clouds, while the most ‘cloud-like’ of the three, perfectly reflect her early interest in the abstract images created by the interplay of positive/negative space. This marked attention to positive/negative space in nature is seen also in her well-known masterpieces: Triangles, 1928 and Magnolia Blossom, 1925.


Copyright © 2006-2013 by ArtSlant, Inc. All images and content remain the © of their rightful owners.