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William Klein: Painted Contacts + Photographs
13th September – 2nd November 2019

Smoke + Veil (x3) (Vogue), Paris 1958-2010-William Klein-HackelBury Fine Art London-black and white photographs of woman smoking with red blue green paint around

At the centre of this exhibition are William’s super-sized painted contacts, which have been an enduring feature in museum exhibitions throughout William’s career, including shows at the Tate Modern (2012-2013), the Centre Pompidou (2005), and the Espacio Fundación Telefónica, Madrid (until September 2019). Painted Contacts + Photographs marks the first time that these large-scale Lightjet c-prints are available to the public. This exhibition includes previously unreleased works from the series.

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The works in Painted Contacts + Photographs represent the totality of William Klein’s artistic practice by combining iconic aspects of his photographic, cinematographic, and painting career. The pieces on view span iconic moments in fashion and street photography including Smoke + Veil; Muhammad Ali, Miami; and Gun 1. They reference William Klein’s key films such as Muhammed Ali, The Greatest (1969) and In and out of fashion (1994). The scale of these works and their graphic paint strokes reference Klein’s earliest painted panel works, for which he first gained international attention.

At over two metres long, the super-sized painted contacts render Klein’s brush strokes larger-than-life and create a feeling of walking into William Klein’s world. Kinetic lines, circles, and crosses and bold patches of colour cut across the black and white photographs. The action captured in the photographs—which is already highlighted by the multi-frame contacts—is therefore further accentuated. There is no standing still in the realm of William Klein.

 

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Upcoming Events

 

Paris Photo | Grand Palais, Paris |  7th – 10th November 2019 | Booth C42

 

 

Art Miami - Save the dates - December 3-8 2019

Art Miami | One Herald Plaza, Miami |  3rd – 8th December 2019

Recent Events

Twenty-one | 14th June – 10th August 2019

Doug & Mike Starn - The no mind not thinks no things thing - #6, 2013

In celebration of the gallery’s twenty-first anniversary, HackelBury Fine Art is pleased to present Twenty-one. This exhibition looks to the future of the Gallery by highlighting new and key works from our artists. 

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Katja Liebmann: Early Work
2 May – 8 June 2019

Katja Liebmann-Journey 11-2008-toned cyanotype-Courtesy HackelBury Fine Art, London-©Kajta Liebmann

Katja Liebmann: Early Work, the artist’s first solo London exhibition since 2010, brings together five bodies of work from the artist’s early career which illustrate her on-going examination of the confluence of time, movement, and environment. Katja’s use of early photographic techniques—the pinhole, kallitype, and cyanotype—further reinforces the theme of time, reflecting on tools of the past to emphasise the fleeting nature of the present. Katja’s process, she stresses, is not nostalgic. Instead, it is a study into our continual progression over time.

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Pinhole photographs of Brussels and London are the earliest works on view. Although a steady flow of people passes by the homemade camera, exposure times of between 5 and 20 minutes render the bustling European streets empty and ghostly. An atmospheric, introspective feeling pervades and is carried through to the Gotham City series. In the Gotham City self-portraits, Katja navigates the streets of New York City wearing a Batman mask. The multiple-exposure kallitypes call to mind questions of multiple self-hood while the mask references the anonymity that is granted by an urban environment.

Similar to the multi-exposure Gotham City pieces, works in Berlin 328 and Berlin 200 combine multiple negatives in each piece. This series features blurred imagery of bridges and intersections taken from a seat in the number 328 and number 200 buses. Katja is a passenger on the bus and allows the bumps on the road to dictate when she presses the camera’s shutter button. The overlay of images mirrors the constant movement of the city and marks the passage of time.

Journeys and Dwellings are both cyanotype series, created one year apart. The Journeys photographs, taken through a moving train window, serve as a landscape of time. The process is reminiscent with that of Berlin 328. The goal is to capture speed and surroundings. The landscapes, void of human figures, hark back to her early pinhole photographs. Now an outsider only visiting the city she once called home, Katja returned to her old neighbourhood to create Dwellings. Memories of past places can be foggy and dream-like, a feeling that resonates with the softness of the images printed on handmade etching paper in Dwellings. This series brings the first chapter of Katja Liebmann’s early career full circle as her working environment moved away from Berlin. Only by looking back are we able to know where we now stand.

In Early Work the viewer is invited to consider how the past informs the present. The review of these five bodies of work references Katja Liebmann’s process of considering the past in order to take her forthcoming work in new directions.   

Katja Liebmann was nominated for the 1998 Citibank Photography Prize (now the Deutsche Börse Photography Prize) for these works from her early career and was awarded the prestigious DAAD scholarship in 1995. Much of her work is printed with ‘low-tech’ nineteenth century processes such as the Van Dyke process and other contact-print processes. Her work is in the permanent collections of the Royal College of Art, London; the Victoria and Albert Museum, London; the Charles Saatchi Collection, London; the LzO Art Collection, (Landessparkasse zu Oldenburg), Oldenburg; the Bishkek Art Centre, Kirgisien; and the Omsk Museum of Visual Arts, among others.

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Photo London | 16 - 19 May 2019
Somerset House | Courtyard Pavilion Booth G25

We were pleased to return to Photo London this year with artworks by Garry Fabian Miller, Oli Kellett, Pascal Kern, William Klein, Katja Liebmann, Ian McKeever, Nadezda Nikolova-Kratzer, Doug & Mike Starn, and Alys Tomlinson.

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Photo-London-2017.-Image-by-Graham-Carlow-1024x548

Alys Tomlinson: Ex-Voto | 7th March – 18th April 2019

Untitled 06-Ex Voto-Alys Tomlinson

In Ex-Voto Alys Tomlinson explores Christian pilgrimage sites in Lourdes in France, Ballyvourney in Ireland and Grabarka in Poland. Shot on a large format 5×4 film camera, the works evoke a stillness and reflect the mysterious, timeless quality present at these sites of great contemplation.

This exhibition coincides with the release of “Ex-Voto”, published by GOST Books with essays by Guardian writer Sean O’Hagan, Professor John Eade, University of Roehampton and Dr Rowan Cerys Tomlinson. Works from Ex-Voto will be on view at Side Gallery, Newcastle and with the Royal Photographic Society touring exhibition which opens first in Bristol.

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PhotographyShow-Logo 2019-Black Green

The Photography Show Presented by AIPAD
3-7 April 2019
Pier 94 | New York City
Booth 214

 

View HackelBury Booth 214 on Artsy

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Oli Kellett: Cross Road Blues
16th November 2018 – 23rd February 2019

PeachTree St Atlanta - HackelBury Fine Art

HackelBury Fine Art is pleased to announce British artist Oli Kellett’s first solo exhibition, Cross Road Blues, 16 November 2018 – 23 February 2019. This exhibition presents large-scale photographs from Kellett’s on-going Cross Road Blues series taken at urban intersections across America.

The series borrows its title from the legendary blues song by Robert Johnson which some claim is a reference to the singer selling his soul to the devil at a Mississippi Delta crossroads. The mythology surrounding Johnson’s song can be interpreted as a cautionary tale of the price paid for the American Dream, and Kellett’s allusion to it leaves the viewer wondering if the figures in his photographs chose their souls or their dreams at their crossroads.

The individuals and small clusters of people waiting in Kellett’s photographs seem to be part of a film set, strangely isolated in typically bustling urban centres and surrounded with cinematographic lighting. Like a film, each person tells a unique story about their American experience. One man waits for a passing school bus before crossing the street with a cast on his right foot (PeachTree St, Atlanta). A family stands together near the corner of the street (Hubbard St, Chicago), possibly deciding whether to walk or take the nearby stairs up to the train. Taken as a whole, the series shows commonalities that all humans share: waiting, thinking, deciding which way to go.

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Oli Kellett Stockton St, San Francisco - HackelBury Fine Art London - photograph of woman waiting between man crosswalks with her arms folded

Oli Kellett & Nigel Warburton in conversation
Saturday 9th Feb  11:00 - 13:00

Renowned British philosopher, author, and broadcaster Nigel Warburton was in conversation with photographer Oli Kellett at HackelBury Fine Art. They discussed how the Cross Road Blues series started and how it has evolved.

Oli's incredible large format Cross Road Blues photographs capture individuals in the American urban landscape. Working only with available natural light, Oli patiently waits until people, place and light all fall into place. These seemingly calm moments have a stillness that reimagine the city as a place of tranquillity and solitude.

Paris Photo (8-11 November 2018)
Main Sector booth #C40 + Prismes booth #SP4

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View HackelBury booth #C40 on Artsy
View HackelBury Prismes booth #SP4 on Artsy

Alchemy: Garry Fabian Miller, Pierre Cordier and Nadezda Nikolova-Kratzer | 12th October – 9th November 2018

Alchemy artworks - Garry Fabian Miller - Pierre Cordier - Nadezda Nikolova-Kratzer

Alchemy presents three generations of camera-less photography: Pierre Cordier made his first chemigram in 1956, Garry Fabian Miller began his darkroom era in 1984, and Nadezda Nikolova-Kratzer is making her London gallery debut with this exhibition. Just as alchemists experiment in both chemistry and spirituality, these artists deeply consider the chemical and physical properties of their mediums while simultaneously meditating on the human condition, giving form and concept equal weight.

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