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Upcoming Exhibition

November 16, 2016


HOMMAGE À CHRISTIAN BOUQUERET, November 16, 2016 – January 21, 2017

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Recent Press

October 31, 2016


HENRY HOLMES SMITH exhbition revieved in THE NEW YORKER by Vince Aletti.

The little-known American photographer worked closely with László Moholy-Nagy in Chicago, in the nineteen-thirties, and was similarly drawn to the medium’s experimental fringes. 

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Recent Press

September 20, 2016


HENRY HOLMES SMITH exhbition revieved in COLLECTOR DAILY by Richard B. Woodward.

This sample of 29 prints is therefore welcome and timely. The experimental spirit that he encouraged in his writings is more in synch with the zeitgeist than perhaps at any time since the late ‘60s-early ‘70s. Mariah Robertson and Matthew Brandt are only two of the many younger artists whose color pictures wouldn’t look out of place next to his.

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Recent Press

July 20, 2016


FERENC BERKO exhibition reviewed in PHOTOGRAPH by Ratik Asokan.

Just as the Cubists set about reducing the world to its constituent geometric shapes, Berko used his camera to uncover, as he put it, “the shape…the pattern, the form” that lay behind what the rest of us perceive as a muddled and complex reality. 

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Recent Press

July 19, 2016


FERENC BERKO exhibtion reviewed in COLLECTOR DAILY by Loring Knoblauch.

This sampler show of the work of Ferenc Berko makes a case for including the photographer in the between-the-wars Modernist and post-World War II Modernist conversations.  

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Recent Press

July 11, 2016


FERENC BERKO exhibition reviewed in THE NEW YORKER by Vince Aletti.

Displaced by the war in the thirties, Berko travelled to London, Barcelona, and Paris (where his work showed the influence of Henri Cartier-Bresson) and also to India, where some of the best pictures in this show were taken. His most distinctive images capture no place at all: they’re studies in texture, pattern, and form. 

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Recent Press

July 8, 2016


FERENC BERKO exhibition reviewed in THE WALL STREET JOURNAL by William Meyers.

The 33 black and white prints at Gitterman illustrate Berko’s commitment to the Bauhaus ideals of modernism and exploration.

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