Thomas Benton Hollyman: Chromes
March 3 - April 14, 2012
Opening Reception, Saturday, March 3, 6-8pm
One of the great editorial and commercial photographers of his time, this show focuses on a small, almost random selection of his Kodachrome work taken in the 1950s through the 1970s which he shot for Holiday Magazine. He referred to his color work as "chromes" as short-form for "Kodachromes", the legendary and now-discontinued famous Kodak film product. These image are a small selection of famous scientists, designers, the rich, entertainers, politicians and captains of industry from the thousands photographed by Hollyman from the Thomas Benton Hollyman Trust Archive, numbering more than half a million images taken over his legendary career.
Hollyman, and his two fellow colleagues at Holiday Magazine, Arnold Neuman and Slim Aarons, pioneered the style of photography now formally known as "environmental portraiture" and bringing it into to popular visual lexicon. This style is now widley used in most editorial and commercial portraiture.
The style often incorprated the subject staring into the lens in a stylized manner and was generally set against an iconic background or staged setting such as a glamerous resort, a castle or a corporate "power" setting. Other times the shot was styled to look casual, and to serve as a glimpse into the lives of the rich and famous. Generally, the portraits were of people living in a world of privelege which was not normally accesible to the common typical middle class American of the 1950s and 1960s. This iconic "environmental portraiture" style was more commonly known in the trade as "the Holiday look" and draws its roots from classic painting portraiture as best seen in the paintings of Velazquez such as "Las Meninas."
Indeed, this "Holiday look" and the magazine which pioneered this mass medium look is now being credited by cultural historians as having contributed to the rise of current American "celebrity and status" culture. This visual tradition has been carried on in the over-the-top expensively stylized portraits taken by Annie Leibovitz, who was mentored by Hollyman when he was President of the ASMP and gave its annual award to her just as she was expanding into her now tradmark Vanity Fair work. She is a direct descendant of the "Holiday look" tradition, although her large-scalee shoots are the equivelent of a Hollywood feature production with many dozens of people on set. She then extensively manipulates these images in post-production with an arsenal of digital tools and large teams of technicians. What makes Hollyman's images unique from the pre-Photoshop days, is that he did it all alone and generally worked without an assistant. Despite these constraints, Hollyman and company established a foundational editorial standard look which carried into their commercial work in advertisements and corporate annual reports and is now part of the editorial visual lexicon ranging from travel, food, fashion and reporting.
It is no accident that Hollyman's friend, Graydon Carter, editor of Vanity Fair Magazine called Hollyman a "giant" in his editorial column and had luncheon with him and his colleagues in New York City each month at Gallager's restuarant on the West Side.
Eastman Kodak’s Kodachrome film was the gold standard for color photography from 1935 until 2009 when it was discontinued. Kodachrome’s unique film emulsion resulted in rich and lush colors, as seen in Hollyman’s photographs. They are an escape to a different time; Jack Benny in his office in downtown Beverly Hills; Josephine Baker at an NAACP meeting in Chicago; actress Rita Moreno taking a swim in Palm Springs; Prince Vitaliano Borromeo in his palace near the Italian Lakes; the three Rockefellers, John D. III, Laurance and David, in front of the RCA building in 1953, and many others. Hollyman always saw himself as a journeyman photographer, not an artist, and simply referred to his Kodak-based color work as his "Chromes". This color work, found in his massive archive, is stored in an area simply labeled "Chromes" from which the exhibit draws its simple title. This show provides a small look at a few of his color images from the 1950s onward to the 1970s, from an enormous body of black and white and color work spanning more than 65 years. These images are authenticated by his Photographic Trust and are printed as a limited edition folio by the Thomas Benton Hollyman Photographic Trust.
His material is available in silver gelatin prints as well as archival fiber digital pigment prints which are issued and numbered on Open Editions and authenticated by the Thomas Benton Hollyman Trust. His images may also be licensed for reproduction in print and electronic media through the Gallery as well.
B.Hollyman Gallery oversees the Thomas Benton Hollyman Trust and has exclusive and sole access to the Thomas Benton Hollyman Archive which represents all his images made from his long 60 year career which spanned from 1936 to 1996. He passed away in 2009, leaving a large legacy of material we are pleased to curate.
Collected Works: Group Show
February 4, 2012 - February 25, 2012
Opening Reception Saturday, February 4, 6-8pm
Henry Horenstein: Animalia
November 19, 2011 - January 31, 2012
Gallery closed December 24, 2010 - January 2, 2012
Opening Reception with Henry Horenstein : Saturday, November 19, 6-8pm
10% of all "Animalia" sales will be donated to the Austin Center for Photography
“In some ways animals do resemble humans, no doubt. After all, they are our forebearers. Still, I believe animals are their very own creatures, with unique, often surprising and altogether amazing characteristics. And that's what I've tried to capture in these pictures.”
- Henry Horenstein
In collaboration with Austin Center for Photography (ACP), B. Hollyman Gallery will be exhibiting Henry Horenstein’s series Animalia, a collection of intimate and intriguing portraits of land and sea creatures made between 1995 and 2001. These portraits are at once abstract and telling. Horenstein shoots with a balanced uniqueness, experimenting with view, angle, and perspective. Each photograph is different, yet with a similar underlying mood. Some captivate the viewer with a macro look at scales, texture and animal skin. Others unveil the deeper nuances of personality and mystery. Some are simply quiet and beautiful. Horenstein worked in zoos and aquariums, not underwater or in the wild. He says, “I could almost always find my subjects; they couldn't get too far away. The other advantage was that I could isolate and freeze them in a constrained space, almost as though they were models, posing for me in a studio.” Shot with black and white film, and printed in sepia duotones, these works are a reminder to stop and explore the world around us. The large Chromogenic prints will be signed by the artist and will be available for purchase at the gallery. This collection can also be found in Horenstein’s book, Animalia, published in 2009 by Pond Press of Brooklyn, NY. Books will also be available for purchase at the gallery.
Austin Center for Photography’s Icons of Photography No.12 lecture series brings Horenstein to Austin on Friday, November 18 at 7:00pm. He will speak at the Blanton Museum of Art Auditorium on the UT campus. To purchase tickets, go to www.visitacp.org/events B. Hollyman Gallery is pleased to host a coinciding exhibit, and bring Austin the opportunity to view Horenstein’s photographs in person.
Horenstein’s diverse photographic career includes documentary work of various American sub-cultures, portraiture, abstraction, and landscape. Originally set to accomplish a PhD in history and embark on an academic career, the documentary work of photography greats Robert Frank and Brassai guided him to the camera. Horenstein entered in the Rhode Island School of Design (RISD) and studied under Harry Callahan and Aaron Siskind, completing his MFA in 1973. He has authored over 30 books, many on his own art but also several photography textbooks and teaching manuals that have been used by many colleges and universities throughout the past four decades. Horenstein currently lives in Boston and is a professor of photography at RISD.
Horenstein speaks of the influence Callahan had on him; “Harry encouraged me to “shoot what you love,” and to pay no attention to what others are doing. “Even if you make bad pictures,” he said, “you’ll have a good time.” Thank you for that, Harry.”
Past Shows at B. Hollyman Gallery
(See "Portfolios" Section to view these past shows, prints are available for purchase)
Thomas Benton Hollyman: Some Creatives
April 2 - April 30, 2011
Opening Reception: Saturday, April 2 from 6 to 8pm
One of the great photojournalists of his time, and filmmaker, this opening show focuses on the very few existing original vintage prints of "creatives" of the thousands photographed by Hollyman from the Thomas Benton Hollyman Trust Archive, numbering more than half a million images taken over his legendary career. Termed a "giant" by friend Graydon Carter, editor of "Vanity Fair" Magazine, Hollyman was not a big believer in "vintage prints". He chiefly submitted negatives for publication and made prints on demand as needed, believing that photography was essentially a mechanical medium to be leveraged as such. The silver gelatin print images in this show represent a small sub-set of prints he did make and keep for review and work-- what he termed "notable creatives" from 1939-1975 from an overall 60 year career which spanned from 1936 to 1996. He died in 2009. His contemporaries included Arnold Newman, Slim Aaron, Richard Avedon, Elliot Erwitt, Bruce Davidson, Alfred Eisendstadt and others, working with everyone in the industry, sponsoring and mentoring young emerging photographers and their causes. Over his storied career his images were published in "Life"Magazine, "Look" Magazine, "Town & Country" Magazine, and "Holiday" Magazine, where he was its photo editor for many years. He was also the Director of Photography for the original feature film "Lord of the Flies," revolutionizing film making with the first use of the zoom lens in film and a mobile tracking shots.
Walker Pickering: Nearly West
May 3 - June 1, 2011
Opening Reception: Saturday, May 7 from 6 to 8pm
Artist Talk: Saturday, May 14, 2011, 1PM
Preview during First Thursday, May 5th 6-8pm
‘Nearly West’ is a series Pickering has been working on for close to three years. Inspired by the open road and the temporary relocation it provides, these square-format photographs offer a thoughtful documentation of American places and things. With his smart use of color, Pickering captures rural roads, urban and natural landscapes, and traces of the people who live there in a way that transcends the banality of these everyday markers. The images are distinct in mood, each with a balancing peacefulness.
Pickering received his MFA in photography from Savannah College of Art and Design, and currently teaches photography at the Art Institute of Austin. He has participated in a number of solo and group exhibitions, and has been a photographer for the Texas House of Representatives, as well as darkroom printer for photographer and screenwriter, Bill Wittliff.
See a video of Walker Pickering discussing his show 'Nearly West' by clicking here.
JoAnn Santangelo: Walking the Block: Christopher Street NYC
June 4 - July 2, 2011
Opening Reception: Saturday, June 4, 6-8pm
Artist Talk: Saturday, June 11, 1pm
Preview during First Thursday, June 2th 6-8pm
In 2008, Jo Ann Santangelo began work on "Walking the Block", a series of black and white photographs documenting the LGBT community of New York City’s Christopher Street, located in the West Village. Home to the Stonewall Inn, the street was at the center of the gay rights movement in the late 1970s.
Santangelo focused on one block in particular on Christopher Street,a hangout and rallying point for New York’s LGBT African-American community. Throughout countless nights on Christopher Street, she was accepted into the tight-knit community; the relationships formed are evident in her present and intimate portraits and street scenes.
Santangelo attended the International Center of Photography in New York in 2008, where she was awarded The New York Times Foundation Scholarship and interned with Eugene Richards. After more than two years of documenting the Christopher Street scene, a project which is still on-going, and LGBT Veterans, Jo Ann relocated back to Austin, where she continues her photographic career.
Beau Comeaux: Implied Fictions
July 9 - August 20, 2011
Opening Reception: Saturday, July 9, 6-8pm
Beau Comeaux’s "Implied Fictions" are a mix of exploration and examination, existing at a point where art and science intersect. This body of work consists of large, contemporary color photographs driven by the photographer’s curiosity and imagination. Working with a digital camera, Comeaux begins his process by shooting long exposures at night, capturing an empty street, a house on the corner, a construction site, an open field. Alone in the solitude of the night he becomes the collector of raw materials, surveyor of the land and its artifacts. Post-shoot, he continues his creative process and transforms focus, light, and perspective to sculpt what his imagination envisioned. The result is a distorted reality encapsulated in an image that transcends the everyday. These surreal, dream-like scenes provoke a deeper examination of the spaces depicted, allowing the viewer to participate. The process of transforming a negative into his current realization of the scene was an early fascination to Comeaux. A switch to digital technology around 2004 led to new avenues of creativity by bringing the darkroom transformation experience to his color work.
Comeaux grew up in Southern Louisiana, and received his MFA in Photography in 2006 from the University of North Texas. He has participated in numerous solo and juried exhibitons in Texas and throughout the country. He was featured in the 28th Annual Members' Juried Exhibition at the Houston Center for Photography and was an artist chosen for the Texas Biennial in 2009. His work has been featured in numerous publications, most recently in Catherine Anspon’s book, Texas Artists Today. He currently resides in New York, where he is an Assistant Professor at Sage College of Albany.
Alberto Mena: While I Sleep
August 23 - September 24, 2011
Opening Reception: Saturday, September 10, 6-8pm
"I think there is a lot that we don't see. For instance, it is estimated that 23% of the universe is composed of dark matter, and 72% dark energy; something that we can't even see, and it is all around us. I find that completely fascinating.”—Alberto Mena
Photographer Alberto Mena makes pictures that meditate on dreams, the possible forms of alternate dimensions, and notions of other realities. His most recent body of work, While I Sleep is an exercise into seeing something void of color, while challenging the space between reason and reality. He produces large black and white digital photographs that fit somewhere between abstract and supernatural. He applies various digital elements to his process, beginning with stills from 1940s and 50s films; these stills serve both as inspiration and literally as the background for his images. Mena shoots scenes from his television screen, and begins his manipulation; often removing characters and pieces of the scene. He incorporates new objects to the reconstructed image, creating the surreal quality they promise to deliver. By combining familiar sets with the unknown, Mena contemplates the assumptions of our given world.
Mena received his BA in Studio Art at the University of Texas at Austin. He lives and works in New York City. This is his first solo exhibition in Austin, Texas.
A Special Evening With Photographic Icon Linda Connor
Friday, September 30, from 5pm to 7pm
All B. Hollyman Gallery sales proceeds of Connor's signed prints on sale that night will be donated to benefit the ACP.
In collaboration with the Austin Center for Photography, B. Hollyman Gallery is hosting a one-night exhibit and reception with ACP Icon Linda Connor on Friday, September 30.
Her works covers decades spanning the globe and is captured in the books she has published.
Starting at 6pm. Connor will speak briefly about an assortment of her recent works which will be on display in the Galllery and for sale for that one night.
SEE PHOTOS OF GALLERY TALK BY CLICKING HERE.
Linda Connor's images of India and the Near East put her on the map when the iconic curator John Szarkowski included her in his landmark 1978 exhibition and catalogue, Mirrors and Windows. Thereafter, her works have continued to investigate the transcendent implications of the landscape as well as lives inspired by a reverence to spiritual laws. Connor has photographed in Mexico, Sri Lanka, India, Nepal, and many other nations with her 8x10 camera. Through her exploration of people, their lands and customs she continues to seek out the visual forms of the sacred world.
She taught for many years at the San Francisco Art Institute and has been the recipient of many honors including a 1979 Guggenheim Fellowship and two NEA awards in 1976 and 1988. Her photographs have been included in many collections including those of the Museum of Modern Art, Art Institute of Chicago, San Francisco Museum of Modern Art, and Victoria & Albert Museum.
Learn more about Connor at the Museum of Contemporary Photography site by clicking here.
Loli Kantor: And If A Voice Was Heard
October 4 - November 12, 2011
Opening Reception: Thursday, October 6, 6 - 9 pm
Artist Gallery Talk: Thursday, October 13, 6pm
All B. Hollyman Gallery Show Proceeds Will Be Donated to the Yom HaShoah (Holocaust Remembrance Day) Fund at Jewish Community Association of Austin. Click here to donate.
the sky was silent
the earth was silent
and if a voice was heard
from earth water & sky
- Tadeusz Rozewicz, In the Midst of Life
Loli Kantor reminds us of the power of the photograph; the life it breathes, the destruction it stills. In her solo exhibition, And If A Voice Was Heard, Kantor shows us a collection of images anchored in history, loss and survival. Balanced by a personal exploration of her own roots, Kantor documents the complexities and remnants of Jewish life in Eastern Europe after the Holocaust.
Although Kantor’s show “And If A Voice Was Heard” was not deliberately scheduled to show during Yom Kippur, the holiest annual Jewish religious holiday (also known as the “Day of Atonement”) dedicated to atonement and repentance, her work is about coming to terms with her immediate family’s past and her very personal search and processing this through her art.
In 2004, Kantor traveled to Krakow, Poland to participate in a reclamation project in Plaszow, a former Nazi labor camp. It was here she began researching the whereabouts of her immediate family, many of whom had perished during the Holocaust. What ensued was a journey into Eastern Europe’s narrative of destruction, death, absence and grief, revealed to her along the many trips she took to Czech Republic, Poland and Ukraine. Using a variety of camera formats, the works were created in black and white and printed in gelatin silver. They are a poignant archive of survivors, empty synagogues, dilapidated monuments, and the faces, hands and homes of a generation old and new. Within a body of work so resonant with memory and what once was, Kantor also asks us to imagine what is to come.
Born in Paris to Polish parents, both who had survived the Holocaust, Kantor was raised in Tel Aviv, Israel. Her photography has been exhibited widely in the United States, and internationally in China, Ukraine, Poland, Spain, and Czech Republic. This past year she was named one of the top 50 photographers in PhotoLucida’s Critcal Mass Competition and is a 2010 New Orleans’ PhotoNOLA Review prize winner. She lives and works in Fort Worth, Texas.