The New Louvre | Small

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Untitled, , , 1855 Salt Print 18 X 14 Inches © Courtesy of Fred Torres Collaborations
The New Louvre | Small
Curated by: Kara Finnerty

505 West 28th St.
New York, NY 10001
January 17th, 2013 - March 9th, 2013
Opening: January 17th, 2013 6:00 PM - 8:00 PM



Fred Torres Collaborations is pleased to announce a historical exhibition of 19th Century salt prints by Edouard Baldus (1813-1889), and a survey of still-life pastels by Aaron Kasmin, from January 17 though March 9, 2013. There will be an opening reception, Thursday, January 17, from 6 to 8 PM. The artist, Aaron Kasmin will be present. Fred Torres Collaborations is located at 527 West 29th Street, New York.

In 1855 Baldus was commissioned to photograph the construction of the New Louvre, developed by architect Hector Lefuel. The photographic archive of the construction on the building and the surrounding neighborhood that resulted is widely considered Baldus’ greatest achievement. Examples from this archive were selected and comprise the exhibition; all date from 1855. The structures and detailed facades are documented in these salt prints amidst scaffolding, rubble, and in some rare cases, with the intrusion of passersby.

Malcolm Daniel, from the Department of Photographs, The Metropolitan Museum of Art, wrote in regards to this specific body of work, “As a collected whole, [these photographs] formed a new means of comprehending and communicating a complex subject, bit by bit, to be reconstituted by the mind. Only photography – precise, omnivorous, prolific, and rapid – and then only in the hands of an artist both sensitive and rigorous – could produce an archive as a new form of art.”

Aaron Kasmin was born in London in 1963 and studied at Chelsea School of Art. He lives and works in London. Kasmin’s subtle and balanced still-life drawings rendered in pastel capture the quiet beauty of observation and return to the art of drawing. These drawings are simple at first glance, but are created through painstaking layers of addition and subtraction of the pigment. The gap between abstraction and figuration is minimal because they are dealing with composition, scale, size and color in the depiction of these found materials, whether they be objects from nature or ornamental household trappings.