Pursuing the Sublime

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Perito Moreno Glacier, Argentina, 2000 Archival Pigment Print 72 X 29 Inches © Courtesy of the artist and Laurence Miller Gallery
Shore at Tango near Ejiri on the Tokaido, 1830 Woodblock Print 9.75 X 14.75
Heimat #19, Allgau, 2003 Inkjet Print 50.5 X 65 Inches (Framed) © Courtesy of the artist and Laurence Miller Gallery
Karikachi Mountian Pass in Moonlight, c. 1927 Woodblock Print 14 X 9.375
Ladakh, India, 1996 Archival Pigment Print 15.5 X 23 Inches (Framed) © Courtesy of the artist and Laurence Miller Gallery
Kintai Bridge (The Brocade Sash Bridge) at Iwakuni, Suo Province, 1859 Woodblock Print 13 X 8.625 Inches
Banff National Park, Alberta, 1986 Gelatin Silver Print 14 X 14 Inches © Courtesy of the Estate of Tseng Kwong Chi and the Gallery
Nagato Province, Shimonoseki, 1856 Woodblock Print 13.25 X 8.875
Grand Coulee Dam, Douglas co. WA , 1996 Gelatin Silver Contact Print 8 X 10 Inches © Courtesy of the artist and Laurence Miller Gallery
Pursuing the Sublime

20 West 57th Street
3rd Floor
New York, New York 10019
May 5th, 2016 - June 25th, 2016

Tues - Sat, 11am - 5:30 pm (SUMMER HOURS: Tues - Fri 11am-5pm)
figurative, traditional, drawing, photography


Laurence Miller Gallery is pleased to present PURSUING THE SUBLIME, an exhibition featuring five contemporary photographers in conversation with five nineteenth-century Japanese print makers. The exhibition highlights shared themes between art of different cultures, centuries and media, including a strong sense of abstraction. 

Common to all the works in the exhibition is the "pursuit" of the sublime, rather than the landscape itself.  Many depict people in or passing through the landscape, while others focus on the paths and bridges built to enable a journey through the landscape. 
Luca Campigotto's 2000 panoramic Perito Moreno Glacier, Argentina, shows more than the majestic field of ice, but rather people gathering at a promontory that affords a magnificent close-up view of the ice.  Shotei Hokuju's 1818 View of Ochanomizu, depicts a parade of people walking beside a river with Mount Fuji looming in the distance.  Peter Bialobrzeski's 2003 Allgau, from his series "Heimat," and Tseng Kwong Chi's 1987 Monument Valley, Arizonaare a commentary on the role of the artist as observer and participant.  Tseng's work anticipates our current fixation with the selfie.
The pursuit can be humorous, as in Toshio Shibata's 2012 Miyoshi City, Tokushima Precture, with a couple cruising above the treetops in an aerial lady bug car; and dark, as in Campigotto's military observatory and cave high in the Dolomites from WWI.
The ukiyoe prints selected for this exhibition depict a wide range of landscapes in which the human element is always present, whether featured in the design or simply represented by the artist's vision framing the composition. In these images, the relationship between man and nature varies significantly. In Utagawa Hiroshige's 1856 Meguro Chiyogaike, three women are leisurely strolling beneath cherry blossoms in a composition that characterizes man's relationship with nature as serene. In Katsushika Hokusai's 1830 Tokaido Ejiri Tango no ura ryakuzu, the design is dominated by the awe-inspiring mountain peak towering in the background, as oarsmen battle rough seas.  Works by Ray K. Metzker, Shotei Hokuju and Kawase Hasui are also featured.
Lastly, we thank Joan B Mirviss LTD for its generous contributions to the exhibition.
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