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HackelBury Fine Art was delighted to participate in the third edition of Photo London, which took place at Somerset House, 18-21 May, 2017

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*Review works from the booth on Artsy


 
 

     
 
     

 

Printed and released for the first time since they were shot for Vogue in 1962 we introduced six new works featuring Dorothy McGowan, the star of Klein's seminal fashion satire 'Who are you, Polly Magoo' made in 1966. Combining fashion with his signature drawing with light connects back to William's first experimental photograms made in 1952.

We also featured three recently discovered images shot in the early sixties, applying his inimitable graphic dexterity to the familiar landmarks and lights of London, These are also printed and released for the first time in over sixty years.

 

 
     

William Klein has also been commissioned to make a monumental a8 metre mural for the outside of the Pavilion area, in the courtyard of Somerset House, Fashion + Light featuring classic fashion images from the 1950's and 60's as well as further fashion with light drawings.



 
   
 

A site-specific installation of sculptural works from the series Against Architecture and Eagduru was created for Photo London, relating to our exhibition at the gallery Against Photography II which ran from May to June 2017.

Ian McKeever’s site-specific installation at Photo London featured two recent series, Eagduru and Against Architecture (both 2012-13), which combine painting and photography. Exceptionally, for an artist who emerged in the 1970s within the context of British Conceptual art — a movement which rejected painting — McKeever's early work was characterised by a synthesis of abstract painting and analogue photography, juxtaposed as relative means of articulating an experience of the remote landscapes he would venture into on field trips.

In Eagduru, a photographic print and a canvas are adhered to separate but abutting plywood panels, returning to McKeever's earlier use of the diptych form as a dialectical device. Against Architecture breaks up the panels into puzzles of smaller blocks, and further erodes the decipherability of the images. Gradations of oil stain and photographic grain jar against brilliantly coloured monochrome inserts.

A series of raw plasterboard panels was erected against the white booth walls, drawing the viewer through an alternative spacial experience - the various, more or less provisional surfaces and planes on which the works are hung, reflect those of the works themselves. Against Architecture suggests both proximity to its noun and variance with it. A claim to pictoriality is challenged, as much by the atomised formal structures McKeever adopts in the works themselves, as by the makeshift structures he hangs them on. The installation explores the fragility of pictorial illusion that subsists amid a world of contingencies. In a contemporary visual culture in which images come cheap, the effect is to re-establish our sense of them as fugitive, mysterious and hard-won.


 
   
   
 



Presenting four large-scale works from the Blaze and Bliss series, along with a selection of special edition small-scale pieces from the Bliss book, with a focus on a glowing suite of circular works.

These geometric abstractions are contrasted with the delicate structures of a series of unique flower pieces, capturing a fleeting moment of light and time; illustrating perfectly the distinctive qualities of the dye-destruction process that have made possible over forty years exploration of light and time, both tangible and metaphysical.

 

 

 
 







"For the Starns, the six-sided nature of snow crystals appears less important than the ways in which the flakes hover between one state and another. As they are being photographed, they are in a process of alteration from solid to liquid, from organized form in space to aqueous blob on a surface, and thus suggest a transitiveness that photography, as a medium devoted to stilling the moment, would seem to contradict.

Similarly, as was true of the pictures of leaf veins and tree branches, light seems not so much to shine on the snowflakes as it shines through them. Instead of appearing as specimens, in the manner of 19th-century scientific observation, the snowflakes are objects of transformation. Few of the Starns' snowflakes are models of perfection, and in this they remind one of finding starfish and seashells scoured by the tides and left to dry on sandy beaches. Many have parts missing, or they have all their detailed armatures on one side but not the other. Here again, the Starns' images exceed the aesthetic register of the catalog. Unlike industrial structures, or manmade devices, imperfection is an essential part of their beauty and poignancy.

Here is material evidence of the Starns' interest in the phenomenological character of the natural world, cast into being against the certitude of our own impermanence. The photographs speak of the fragile delicacy of our ever-warming world while being themselves a visual bulwark against despair, and they draw us, like moths to light, to the pleasures of sight that but for the camera would exceed the human eye."







 
     
 

In After: Dreaming in Colour, Bill Armstrong imagines the history of photography as if in a dream, making colour interventions into iconic photographs from the first century of photography, from the beginning up until the invention of Kodachrome.

Armstrong’s process is to transform appropriated images by re-photographing and injecting color, either digitally or by manually using color filters and a light table—or a combination of both. After: Dreaming in Colour continues the arc of Armstrong's investigation into layering found or appropriated images that he has been pursuing since the late 1970’s, first with collages made from advertising posters and then with the blurred images of the Infinity series.

In his research, Armstrong has found that the standard histories of photography often somewhat arbitrarily pass over the fact that color has been around since the beginning: in Anna Atkins’ cyanotypes; in opalescent daguerreotypes; in hand–colored and sepia toned photographs. In response to this oversight, he has created his own dreamlike history of color photography. It’s a reverie filled with wit, humor and visual puns—and, as always, an eye for the contrast and harmony of colour.

 
     


 

 


   
     



© 2017 HackelBury Fine Art, Ltd. Copyright for all images is held by the respective artist or estate and they may not be reproduced in any form without express permission. All rights reserved.



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Telephone: +44 20 7937 8688
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