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  Thomas F. Barrow, Register Synthesis, Gelatin silver print photogram with applied spray paint, 1978

  THOMAS F. BARROW (b. 1938) Kansas City, MO

  Register Synthesis Photogram 1978

  Gelatin silver print photogram with applied spray paint

  Signed: Register Synthesis – 1978 – Thomas F. Barrow (in ink on back)

  Exhibited: J.J. Brookings & Co. (San Jose, CA): Thomas F. Barrow: Inventories and Transformations, A Twenty Year Retrospective, Nov. 6 – Dec. 16, 1986. This exhibit occurred simultaneously with the following two museum shows: the San Francisco Museum of Modern Art (Nov. 6, 1986 – Jan 11, 1987) and the Los Angeles County Museum of Art (Feb. 26 – May 10, 1987).

  Related photograph illustrated: Aperture: The New Vision: Forty Years of Photography, no. 87 (New York: Aperture Foundation, Inc., 1987), cover image.

  Framed size: H: 19 5/8” x W: 23 7/16”

  Thomas Barrow, American was born in Kansas City, Missouri. He studied at the Art Institute of Design in Chicago, Illinois and received his M.A. in 1967. At the George Eastman House, Barrow was the Assistant Director from 1971 to 1972 and served as the Associate Director of the University of New Mexico Art Museum from 1973 to 1976. Barrow started teaching photography in 1976 in the Art Department of the University of New Mexico and by 1985 he became the Acting Director of the University Art Museum. His Midwestern academic pedigree includes studying with Aaron Siskind at the Art Institute of Design in Chicago and with filmmaker Jack Ellis at Northwestern University in Evanston, IL. Barrow has received two NEA Photographers Fellowships in 1973 and 1978.

  Barrow has produced a series of silver-gelatin photograms and then applied spray paint to the prints. These combine the feeling of a split-toned black and white print and at the same time appear as color-print photograms. He has produced a series of photograms entitled Disjunctive Forms. His images appear as surreal assemblages of various found and created objects superimposed with stencil text. Barrow works in the “academic” tradition—his pictures are deliberately and consistently experimental, highly intellectualized, scholarly in their concerns, and chock-full of references to the work of other artists.

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  Ane Christensen Contemporary British Sterling Silver Bowl 1999

  ANE CHRISTENSEN (b.1972) born in Copenhagen, Denmark/ based in London, UK

  Bowl  1999

  Sterling silver

  Marks: AKC, 925, Z, British hallmarks

  H: 2 ½” x L: 12”

  Price: $5,950

  The starting point for all of metalworker Ane Christensen’s tableware is a single sheet of metal. Her aim is to develop a three dimensional object from a flat sheet without adding or removing any elements. Japanese paper packaging influences Ane’s work, but a more important influence is the half finished or half demolished structures of building sites that she says can hold unexpected sculptural qualities.

  Ane graduated from the Royal College of Art and has since been involved in exhibitions in London, Denmark and Copenhagen, including more recently at Collect, V&A.

  Ane makes pieces in a variety of metals including silver, stainless steel and powder coated copper.

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  Grant Mudford, Containers, Gelatin silver print, 1979

  GRANT MUDFORD (1944- ) Australia

  Containers   1979

  Gelatin silver print

  Signed and dated on back

  Framed size: H: 26 ½” x W: 30 ¾”

  “Since he moved to Los Angeles from Australia in the late 1970s, Grant Mudford has composed photographs that crisply examine the streamlined geometries of West Coast architecture and landscape. Mudford has zeroed in on the abstract formal relationships lurking within the designs of gas stations, strip malls and apartment buildings. The geometrical arrangements highlighted in his photographs of the masterful modernist structures of Rudolf Schindler and Craig Ellwood have disclosed a link between their midcentury architecture and the contemporaneous hard-edge abstractions of L.A. painters John McLaughlin and Lorser Feitelson.” – Art in America, “Grand Mudford at Rosamund Felsen, September 2003

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  Andre Kertesz, Paris, Gelatin silver print 1927

  ANDRÈ KÈRTESZ  (1894-1985)  Hungary

  Paris    1927

  Silver gelatin print

  Signed: Paris 1927, A.Kertesz, Page 150 (in pencil on back); ANDRÈ KÈRTESZ (stamped on back).

  Framed size: H: 16 5/8” x W: 17 13/16”

  Throughout most of his career, Kertész was depicted as the “unknown soldier” who worked behind the scenes of photography, yet was rarely cited for his work, even into his death in the 1980s. His work itself is often described as predominantly utilizing light and even Kertész himself said that “I write with light”. He was never considered to “comment” on his subjects, but rather capture them – this is often cited as why his work is often overlooked; he stuck to no political agenda and offered no deeper thought to his photographs other than the simplicity of life. With his art’s intimate feeling and nostalgic tone, Kertész’s images alluded to a sense of timelessness that was inevitably only recognized after his death. Unlike other photographers, Kertész’s work gave an insight into his life, showing a chronological order of where he spent his time; for example, many of his French photographs were from cafés where he spent the majority of his time waiting for artistic inspiration. Although Kertész rarely received bad reviews, it was the lack of them that lead to the photographer feeling distant from recognition. Now however, he is often considered to be the father of photojournalism. Even other photographs cite Kertész and his photographs as being inspirational; Henri Cartier-Bresson once said of him in the early 1930s, “We all owe him a great deal”.