May 20, 2015
WILLIAM LARSON exhibition reviewed on DAILY SERVING by Amelia Rina.
Each unique, grayscale print combines graphic marks and photo collage to produce a visual stutter of image, text, and line; like a cross-section of a hurricane, Larson’s work highlights possible instants in the continuum of images electronically whirling around us everyday.
May 1, 2015
WILLIAM LARSON exhibition reviewed in COLLECTOR DAILY by Richard B. Woodward.
In art, as in life, timing can be everything. William Larson’s collages, done with the electronic aid of teleprinters, were out of step with the photographic majority when he made them between 1969-75. Now, they arrive for exhibition in New York as many younger artists involved with photography are bored by realism and once again in the throes of an obsession with process and non-traditional image making.
April 9, 2015
WILLIAM LARSON, April 29 - July 2, 2015
William Larson's Fireflies series (1969–1978) were some of the earliest digitally generated works of art. Larson utilized a technology new to the time to present a dynamic way of image making that extended the vocabulary of montage.
March 27, 2015
ELIOT ELISOFON profiled on LIFE website by Krystal Grow.
As sensitive to light, texture and composition as he was to urban decay and social injustice, Elisofon’s early work was a combination of modern art and photojournalism, a blend that evolved over his lengthy career and positioned him as a versatile shooter.
March 17, 2015
ELIOT ELISOFON exhibition reviewed in THE NEW YORKER by Vince Aletti.
But the show’s over-all focus is broader, including New York streetscapes from the thirties, as evocative as anything by Berenice Abbott, and charming images of children at play that would pair nicely with those by Helen Levitt.
February 20, 2015
ELIOT ELISOFON exhibition reviewed in THE WALL STREET JOURNAL by William Meyers.
There is a reason Life magazine dominated the market for more than 40 years: It had great picture stories. Eliot Elisofon (1911-1973) was a Life photojournalist for almost 30 years, covering such diverse stories as Gen. George S. Patton’s campaign in North Africa and Ella Fitzgerald’s birthday.
December 30, 2014
EDMUND TESKE exhibition reviewed in THE NEW YORKER by Vince Aletti.
Always on the verge of being rediscovered, the idiosyncratic American photographer (who died in 1996) may be too sincere to come back into fashion, but his experimental approach should appeal to photography’s boundary-busting avant-garde.