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Events

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

Hope St, LA - 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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Recent Events

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

HackelBury Fine Art is delighted to return to Paris Photo, presented at the Grand Palais this November.

Fair hours:

Noon – 8pm from Thursday, November 8th to Saturday, November 10th
Noon – 7pm on Sunday, November 11th

Find out more and book tickets
View a preview of HackelBury booth #C40 on Artsy
View a preview of 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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Alchemy installation image Garry Fabian Miller - Pierre Cordier - HackelBury Fine Art
Alchemy installation image - Nadezda Nikolova-Kratzer - HackelBury Fine Art

Malick Sidibé: Look At Me
12th September – 6th October 2018

Malick Sidibé Look at me black and white photograph

Malick Sidibé: Look At Me is on view at HackelBury Fine Art, 12th September – 6th October, 2018. This exhibition is one of a series of exhibitions, events, and talks celebrating HackelBury’s twentieth anniversary. HackelBury presented Sidibé’s first solo gallery exhibition in London in 2002, marking a significant point in both the gallery’s and the artist’s exhibition history.

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Representing the full range of Sidibé’s artistic practise, this exhibition includes studio portraiture, nightlife photography, and representations of daily life in post-independence Bamako, Mali. In A Ye-ye posing, 1963 Sidibé captures a young man posing with sunglasses and bell-bottom trousers, showing his engagement with ye-ye pop music that was taking off in Europe at the time. As a whole, these photographs present 1960s and 1970s Bamako as a lively, cosmopolitan centre where youth asserted their presence as active participants in a globalised world.In 2003 Sidibé was awarded the prestigious Hasselblad Foundation International Award in Photography. He was the first photographer to be awarded the Lion d’Or for Lifetime Achievement at the Venice Biennale in 2007. Sidibé was given the Lifetime Achievement Award by the International Center for Photography, New York in 2009. A major retropective of his work took place at the Fondation Cartier in 2017.

Sidibé is regarded as one of the most influential West African photographers of his time. All works in this exhibition were printed from the original negative in Malick Sidibé’s lifetime and are signed by the artist.

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HackelBury: Twenty
14 June – 10 August 2018, HackelBury Fine Art

HackelBury: Twenty is an exhibition celebrating two decades of HackelBury Fine Art. This is the first in a series of exhibitions that will explore the gallery’s history of collecting and exhibiting work by photographers at the forefront of their practise.

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Focus on Bill Armstrong’s Renaissance series
14 June – 10 August 2018, HackelBury Fine Art

Bill Armstrong photographs reworked master drawings extremely out of focus, with the lens set at infinity, layering and isolating the figures against vivid backgrounds.

William Klein: Fashion + Light
9th March – 2nd June 2018

William Klein: Fashion + Light is on view at HackelBury Fine Art, 9th March – 2nd June, 2018. This stunning studio work was originally created for Vogue Magazine in 1962 and has only recently been fully rediscovered.

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Klein started making abstract light images from 1952. On the strength of this work, Alexander Liberman invited him to join Condé Nast in 1954. With an assured income from Condé Nast, Klein was able to embark on a personal project of street photography which he published in 1956 as Life is Good and Good for You in New York. That same year, Vogue Magazine printed several of his most iconic fashion images. In 1962 Klein combined his fashion photography with the light abstraction techniques he had pioneered a decade earlier. In 2015 HackelBury persuaded Klein to revisit this body of work and he agreed to release it for the first time.

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William Klein Fashion + Light Exhibition at HackelBury Fine Art 2018
William Klein Fashion + Light install - main space panorama
William Klein Fashion + Light install - Barbara Flowers
William Klein Fashion + Light install - Fashion Photography - Reception
William Klein Fashion + Light install - New York Photography and Abstract

Doug & Mike Starn Seaweed 2, 2011

Doug & Mike Starn, Seaweed 2, 2011

HackelBury at Photo London

Somerset House, Pavilion Booth G08, 17-20 May 2018

with artworks by Doug & Mike Starn, Garry Fabian Miller, William Klein, Ian McKeever, Stephen Inggs, and Alexandre Vitkine

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HackelBury installation image Art + Place London

Art + Place London
24th November – 2nd March 2018

Art + Place London: a group exhibition featuring the works of  Doug & Mike Starn, Garry Fabian Miller, William Klein, Ian McKeever, and Stephen Inggs

Art + Place London explores the themes and inspiration behind our simultaneous site specific installation, Art + Place Connecticut. The Connecticut installation of over fifty artworks is set against the backdrop of an ambitiously-designed Greenwich home. Art + Place London is on view at the gallery 24th November 2017 – 2nd March 2018.

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Installation image from HackelBury Fine Art, 2018 - Art + Place London - Ian McKeever
Installation image from HackelBury Fine Art, 2018 - Art + Place London - Doug & Mike Starn
Installation image from HackelBury Fine Art, 2018 - Art + Place London
Installation image from HackelBury Fine Art, 2018 - Art + Place London - Garry Fabian Miller
Installation image from HackelBury Fine Art, 2018 - Art + Place London - Mckeever and Inggs
Installation image from HackelBury Fine Art, 2018 - Art + Place London - Doug & Mike Starn

William Klein and The New York School
1940s and 50s Street Photograph
June – September 2017

The exhibition featured rarely seen 1950’s New York images by William Klein, and several photographers gathered together in Jane Livingston’s seminal 1992 book The New York School. 

Included works were all taken during the 1940’s and 1950’s. Read the bio for each artist below.

We featured beautiful small-scale pieces by New Yorker Rebecca Lepkoff, who was associated with the Photo League, the legendary group of New York based photographers dedicated to using photography to capture everyday life and promote social involvement, which was first established in the mid-1930’s.

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Rebecca Lepkoff

(American, 1916-2014)

Ted Croner

(American, 1922-2005)

Ted Croner was born in Baltimore, MD. and grew up in Charlotte, N.C. After joining the army during World War II, Croner worked as an aerial photographer with the United States Army Air Corps stationed in the South Pacific. In1946, Croner went to New York where he and Bill Helburn, another former Air Corps photographer, used their G.I. Bill aid to open a small photography studio on West 57th street in Manhattan. Shortly after that, Croner enrolled in Alexey Brodovitch’s photography class at the New School. Perhaps Croner’s best-known work, Taxi – New York Night, 1947-48, was taken while he was a student in Brodovitch’s legendary “design laboratory”.

In 1948 Edward Steichen , then the director of photography at the Museum of Modern Art in New York, chose to include Croner in two exhibitions at the Museum: “In and Out of Focus” and “Four Photographers” which included three other photographers: Bill Brandt, Harry Callahan and Lisette Model. Other exhibitions of Croner’s work followed. As he continued to accept commercial work at magazines like Harper’s Bazaar and Vogue, Croner pursued his own photography, producing vigorously experimental, cinematic images of cafeterias, solitary diners and the city after dark.

Interest in Croner’s work was revived with the publication of The New York School, Photographs by Jane Livingston in 1992 which followed the 1985 exhibition of the same name at the Corcoran Gallery in Washington, DC. For the cover of the book, Livingston chose a picture by Croner, “New York at Night, 1948″ which shows a Manhattan skyline reduced to abstract slashes of white light among black tall buildings against a gun-metal gray sky. This was followed by inclusion in the exhibition “By Night” at The Cartier Foundation in Paris in 1996, the Whitney Museum’s 1999 exhibition “American Century Part II” and in 2005, in the exhibition “At The Crossroads of Time: A Times Square Centennial” at the Axa Gallery in New York, and in “Street Seen: The Psychological Gesture in American Photography 1940-1959″ at the Milwaukee Art Museum in 2010.

Bruce Davidson

(American, born 1933)

In a career spanning more than half a century, Bruce Davidson is known for his dedication to the documentation of social inequality. Davidson attended Rochester Institute of Technology, as well as Yale University, where he studied with Josef Albers. He was later drafted into the army and stationed near Paris, where he met Henri Cartier-Bresson, one of the founders of the renowned cooperative photography agency Magnum Photos.

After his military service, Davidson worked as a freelance photographer for Life magazine and, in 1958, became a full member of Magnum. From 1958 to 1961, he created such seminal bodies of work as The Circus and Brooklyn Gang. In 1962, he received a Guggenheim fellowship and immersed himself in documenting the American Civil Rights Movement. In 1963, the Museum of Modern Art in New York presented his early work in a solo exhibition, the first of several.

In 1967, Davidson received the first grant for photography from the National Endowment for the Arts. For two years, he focused his lens on the neglected, poverty-stricken block of East 100th Street in Manhattan. The photographs were exhibited at MoMA in 1970, and remain one of his most acclaimed bodies of work. In 1980, he explored the vitality and distress of the New York City subway. From 1991-95 he photographed the landscape and layers of life in Central Park. More recently, he followed this exploration of nature to Paris and Los Angeles, carefully examining the relationship between nature and urban life.

Davidson received an Open Society Institute Individual Fellowship in 1998 to return to East 100th Street to document the revitalization and renewal that occurred in the thirty years since he last photographed it. His awards include the Lucie Award for Outstanding Achievement in Documentary Photography in 2004, a Gold Medal Lifetime Achievement Award from the National Arts Club in 2007, the Outstanding Contribution to Photography Award from Sony in 2011, and an honorary doctorate in fine arts from the Corcoran School of Art and Design. Classic bodies of work from his fifty-year career have been extensively published in monographs and are included in major public and private fine art collections around the world, including the Museum of Modern Art and International Center of Photography in New York, and the Smithsonian American Art Museum in Washington, D.C. He currently lives in New York City, and continues to make photographs.

Saul Leiter

(American, 1923-2013)

Saul Leiter was born in Pittsburgh, the son of an internationally renowned Talmudic scholar.  Leiter’s interest in art began in his late teens, and though he was encouraged to become a Rabbi like his father, he left theology school and moved to New York to pursue painting at age 23. In New York, he befriended the Abstract Expressionist painter Richard Pousette-Dart, who was experimenting with photography. His friendship with Pousette-Dart and soon after, with W. Eugene Smith, expanded his interest in photography. Leiter’s earliest black and white photographs show an extraordinary affinity for the medium. By the 1950s, he began to work in color as well, compiling an extensive and significant body of work during the medium’s infancy. His distinctively subdued color often has a painterly quality that stood out among the work of his contemporaries.

Edward Steichen included twenty-three of Leiter’s black and white photographs in the seminal 1953 exhibition “Always the Young Stranger” at the Museum of Modern Art; he also included twenty of Leiter’s color images in the 1957 MoMA conference “Experimental Photography in Color.” In the late 1950s, the art director Henry Wolf published Leiter’s color fashion work in Esquire and later in Harper’s Bazaar. However, over the next four decades, Leiter’s noncommercial work remained virtually unknown to the wider art world. He continued to work as a fashion photographer through the 1970s, contributing to such publications as in Show, Elle, British Vogue, Queen, and Nova.

Leiter is now held to be a pioneer of early color photography, and is noted as one of the outstanding figures in post-war photography. After several exhibitions at Howard Greenberg Gallery throughout the 1990s, Leiter’s work experienced a surge of popularity after a monograph, Early Color, was published by Steidl in 2006. Early Color was followed by a series of monographs and international exhibitions highlighting the depth and scope of his work in photography and painting, beginning with “In Living Color” (2006), his first major retrospective at the Milwaukee Museum of Art. Leiter was the subject of several solo shows thereafter, including the Fondation Henri Cartier-Bresson, Paris; the Jewish Historical Museum, Amsterdam; Musée de l’Elysée, Lausanne; and Diechtorhallen, Hamburg.

Leiter’s work is featured in the book The New York School: Photographs 1936-1963 by Jane Livingston and in Appearances: Fashion Photography Since 1945 by Martin Harrison. His work is included in the permanent collections of The Museum of Fine Arts, Houston; The Art Institute of Chicago; The Baltimore Museum of Art; and the Victoria and Albert Museum, London, among many other public and private collections. Leiter was the subject of an award-winning documentary by Tomas Leach, titled “In No Great Hurry: 13 Lesson in Life with Saul Leiter” (2012).

Saul Leiter continued to paint and photograph until his death in 2013.

Leon Levinstein

(American, 1910-1988)

Leon Levinstein was born in Buckhannon, West Virginia and attended college at the Maryland Institute of Arts.  Levinstein remained in Baltimore until he enlisted in the army in 1942, serving mostly in Panama, as a propeller repair mechanic with the Air Corps. Shortly after his discharge from the army, with the rank of a sergeant in October 1945, he moved to New York City to work as an art director in his cousin’s advertising agency. In 1947–48 he studied with John Ebstel and Sid Grossman at the Photo League, and then in 1948–51 with Stuart Davis and Alexey Brodovitch at the New School for Social Research. He studied with Grossman for another three years. In the 1950s and 1960s, his work was published extensively in major magazines such as Popular Photography and U.S. Camera Annual, and won Popular Photography 1952’s International Photography Contest. In 1956, Levinstein exhibited at Helen Gee’s Limelight Gallery, the only solo show during his lifetime. Both Alexey Brodovitch, artistic director of Harper’s Bazaar, and Edward Steichen, renowned photographer and curator at the Museum of Modern Art recognized Levinstein’s talent; Levinstein’s photographs were included in nine group shows at the Museum of Modern Art. Levinstein rarely worked on assignment and never made photography books. He earned his living as a graphic designer, not as a professional photographer, and generally remained aloof from the art world (he received a Guggenheim Fellowship in 1975). This lack of broader recognition did nothing to slow him down, and he continued to photograph throughout his life.

Levinstein’s work has a graphic virtuosity, using raw gestures and monumental bodies, balancing compassion and cruelty painting with shadows and light, portraying gently and directly the inhabitants of the streets he roams. He would skulk through crowds, blend in, and observe things that others would miss. Photographing strangers at close range, Levinstein captured the back alleys of New York City framing the faces, flesh, poses, and movements of his fellow city dwellers: couples, kids, beggars, prostitutes, families, society ladies, and sunbathers. Levinstein is best known for his candid and unsentimental black-and-white figure studies made in New York City neighborhoods from Times Square and the Lower East Side to Coney Island and Harlem.

Louis Faurer

(American, 1916-2001)

Louis Faurer was born to immigrant parents from the Russian/Polish border and spent his early years in South Philadelphia.  After graduating from the South Philadelphia High School for Boys in 1934, he spent a few summers as caricature artist in Atlantic City, New Jersey. Inscriptions of all sorts fascinated him, and he began studying at Philadelphia’s School of Commercial Art and Lettering in 1937. He also worked freelance–painting advertising signs and lettering posters. That same year, Faurer purchased his first camera, a used 35mm Kodak Vollenda.  Shortly thereafter, he won a prize in a weekly photo contest of the Philadelphia Evening Public Ledger.  Faurer never attended classes in photography, except for a brief course he took in the military (from 1941-1945, he was a civilian photographer for U.S. Army Signal Corps, Philadelphia).

In the late 1940s, Faurer and several of his colleagues from Philadelphia opened studios in New York. Like many photographers of his generation, Faurer sought employment working for magazines, but unlike his photojournalist peers, who pursued careers at such publications as Life magazine, he gravitated toward fashion photography. In 1947, Lillian Bassman, the first art director of the short-lived Junior Bazaar (later incorporated into Harper’s Bazaar), invited him to join the magazine’s staff. The new magazine also hired Robert Frank, a recent immigrant from Switzerland, and the two immediately struck up a friendship that would last for fifty years.

Faurer was a key member of the New York School of street photographers active from the 1930s to the 1950s. A loosely defined group that included Diane Arbus, Robert Frank, and William Klein, the New York School chose city life as its subject, preferred 35mm cameras, and rejected traditional documentary styles.

During the 1950s, he began to focus more on his professional assignments than on his own personal street photography, working steadily for magazines such as Glamour, Charm, and Seventeen, Vogue and Mademoiselle. He created most of his fashion photographs in the studio.

In 1968, Faurer moved to London and then to Paris to escape trouble with the Internal Revenue Service and conflict with his wife. He returned to street photography in Paris, but his photographs from this period lack the clarity of vision that marks his work from the 1930s through the early 1950s. When he returned from Europe in 1974, he tried to resume photographing the streets of New York, but both he and the city had changed.  In the fall of 1984, as he was exiting a bus, Faurer was struck by a car. This serious injury effectively ended his career as a photographer. He died in 2001 in New York.