Tag Archives: Photography

Harold Feinstein Accepts Book Award

Coney Island Teenagers, 1949

Coney Island Teenagers, 1949

ANNE REED GALLERY artist, Harold Feinstein, accepts the prestigious PDN (Photo District News magazine) award for Best Photo Book 2013 this week in NYC. We want to take this opportunity both congratulate Feinstein and acknowledge his incredible presence in the photography world for the last 60+ years.

Harold Portrait-ARG Harold Feinstein: A Retrospective (Nazerali Press), is the first career-spanning monograph of Feinstein’s work and was funded by the public using a Kickstarter campaign. The campaign was endorsed by The New York Times, NPR, and American Photo and it exceeded its goals in just 30 days! It is an honor to be chosen by PDN’s panel of notable art directors, photographers, and editors for this award. In addition, the book  received the Photo-Eye Best Book of 2012.

Feinstein, a member of the socially conscience Photo League group, was a distinct presence in what is often referred to as the “New York School of Photography.”  From historic NYC’s store fronts, to Coney Island’s smiling teenagers, to the Korean War’s troops – you are bound to recognize at least one of his iconic black and white images. His work has been featured in the Jewish Museum, the Muse d’Art Moderne in Paris, and the George Eastman House, among others, and 55 of his floral prints are installed in a performing arts center at Stanford University.

Window Washer, Harold Feinstein

Window Washer, 1974

We feel grateful to be included in Feinstein’s gallery representation. Currently, ANNE REED GALLERY is exhibiting selected images from Feinstein’s Coney Island portfolio which can be viewed here: Coney Island. We welcome any questions you may have about any of Feinstein’s work.

Harold Feinstien, Magnolia



“Dinner with an Artist” featuring Tom Chambers

“Dinner with an Artist” was inspired by the many dinners ANNE REED GALLERY’s owner, Barbi Reed, has had the pleasure of enjoying with gallery artists over the years. It was during these dinners that the conversation twisted and turned to the delight of all sitting around the table.

Lucca Luna, Photomontage

Lucca Luna, Photomontage, Archival Digital Print (Click for more information).

There was no more perfect way to relax and enjoy the camaraderie of artist, collectors, and staff after the intensity of curating, preparing for, and installing an exhibition. Today, we invite you to this virtual dinner table conversation with Tom Chambers to discuss his current exhibition: Illumination.

ARG: When did you first begin taking photographs and when did you start working with digital equipment? What was your work like prior to digital cameras and computers?

TC: I was hit with the travel bug early on. In the 1970’s I hitchhiked across the country and through the Canadian Rockies where I took photos of landscapes and wildlife with a 35mm Yashica camera. Later I attended Ringling School of Art where I majored in graphic design and minored in photography. In the early 1990’s I began using Photoshop software as a graphic designer, which gave me the opportunity to see the possibilities for artistic expression.  Since then I have been having fun making photomontages.

TomPhotoARG: Are there artists or other photographers who have influenced your work?

TC: When I first began creating photomontages using Photoshop, Mexican photographers who used magic realism had a huge impact on my images. Manuel Bravo, whose images convey a sense of the unexpected and irony, has been a source of inspiration as were the stark black and white images by his student, Graciela Iturbide, who explores the relationship between man and nature. I was drawn to Mexico which led me to create a series inspired by the Mexican ex votos, paintings of miracles made possible by the saints.

ARG: Did your upbringing on a farm in Amish country, Pennsylvania affect your work in any way? We’d enjoy hearing a little about how your early experiences might have influenced your work or directed your vision.

TC: Growing up on a farm in Lancaster, PA forged my connection with the out-of-doors. My family shared with me a respect for nature through daily living on a working farm with crops and livestock.  As kids, we used our imagination playing games in the fields and woods, rather than structured games and activities.

Autumn Moorage

Autumn Moorage, Photomontage, Archival Digital Print (Click for more information)

I was deeply influenced by my grandparents. They also lived on the family farm, yet their livelihood was painting and illustration. When my grandmother was able to corral me, she taught me to draw and paint, and gave me great encouragement to experiment in art. My grandfather, influenced by his acquaintance with NC Wyeth, introduced me to the art created by the different members of the Wyeth family. In particular, I was most influenced by Andrew Wyeth, son of NC, who incorporates a sense of emotionality into his landscapes. I hope that my photomontages also evoke an emotional response.

ARG: It appears that various series originate from or are inspired by a specific geographic location. What draws you to a region initially?

TC: I am inspired artistically by travel which allows exposure to art, literature, music, food, traditions and religion. I tend to select places where I can immerse myself in many different aspects of a culture. I am not one who likes to stay within the confines of a resort. The Ex Votos and Dreaming in Reverse series were influenced by repeated travel in Mexico, whereas the Illumination series was influenced by several trips to Italy.

ARG: In your statement you say your work is intended to “invoke a mood” in the viewer. What “mood” did you intend to invoke in the Illumination Series? Can you talk a little about the narrative that runs through this series?

TC: I was struck as I traveled through Italy by the stunning beauty of light and shadow. In particular, Tuscany and Venice spoke to me. In my photomontage work I attempt to replicate the sense of wonder I felt. Each image tells a story that ultimately is left to interpretation by the viewer.

Chambers walk_on_the_wild_side

Walk on the Wild Side, Photomontage, Archival Digital Print (Click for more information).

ARG: Your images appear to be saturated with rich, warm colors. How does color influence your choice of subject to photograph and include in your photomontages?

TC: I think that those warm colors invite the viewer to connect with the image by drawing the viewer into the image. When people describe my images they typically first mention my use of color.

ARG: Many of your images have an ethereal quality and all are very narrative. Do you envision the narrative prior to taking your photographs or does this happen only after you have the background photograph?

It really happens both ways. When I have an idea for a series, I make thumbnail sketches of ideas. Then, I will shoot separately the landscape and the different elements. Typically each image is a composite of five to ten elements. In some cases, I find a background or an object that inspires an idea for a photomontage.

ARG: What camera(s) do you use? We’d also be interested in finding out more about your library of images and your process in creating each new work.

TC: I use a Nikon D800 for shooting. I love the flexibility that the camera offers me. Not too big and bulky, I can drag it with me on vacations.  Using that camera and a small variety of high-quality lenses enables me to print large, sometimes up to 50 inches.

Maritime Sentry (from Marwari: Indigenous Spirits Series)

Maritime Sentry (from Marwari: Indigenous Spirits Series)

Even though I have folders of thousands of images, I really don’t keep a library of images as a source for creating photomontage. As I am developing a photomontage, I enjoy shooting what I consider the perfect shot for what I imagine will be the final product. Only occasionally, will I return to a shot which I have taken previously that might fit a current project.

ARG: We’re sure you have other places you’d like to photograph and other series in mind for the future. Is there anything you can tell us about where you might go next and your vision for the next series?

TC: Currently, I am completing some additional photomontages for each of my six series. I have some ideas percolating for a totally new series, but have not settled on a particular direction. While travel provides inspiration for my work, I don’t have any new plans for a series about a particular location.

ARG: We raise our glass to you and to your latest wonderful exhibition with ANNE REED GALLERY. Although we’ve many more questions for you, perhaps we should end this conversation by asking if there is there anything else you would like to say, either about your work or perhaps something totally unrelated.

TC: I thought that you might be interested in knowing that Modernbook Editions published a book of my work, “Entropic Kingdom”, in 2012.  The book contains highlights from my first 5 series, but this series “Illumination” was created after the book was published.

Thank you for showing my work at the Anne Reed Gallery.  I particularly appreciate your support for my work.

ARG: Thanks, Tom. We’ve so enjoyed sharing a conversation over a “virtual dinner” with you and we so look forward to more time with you in the future. It is an honor to exhibit your work. Congratulations on Illumination, a beautiful series. Cheers!

“Dinner with an Artist” featuring Mark Thompson

“Dinner with an Artist” was inspired by the many dinners ANNE REED GALLERY’s owner, Barbi Reed, has had the pleasure of enjoying with gallery artists over the years. It was during these dinners that the conversation twisted and turned to the delight of all sitting around the table. There was no more perfect way to relax and enjoy the camaraderie of artist, collectors, and staff after the intensity of curating, preparing for, and installing an exhibition. Today, we invite you to this virtual dinner table conversation with Mark Thompson to discuss his current exhibition: At the End of Light.


Artist MARK THOMPSON at work.

ARG: What early influences sparked your interest in art?

MT: My early memories are very image based – snapshots of times and spaces that for some reason fixed themselves in my mind. I think my desire to understand or come to terms with those memories and the world around me is at the root of my involvement in the arts.

Much to the irritation of my teachers, I apparently developed a habit of illustrating the margins of my school-books with drawings of tiny birds or any other stray whisp of thought that happened to catch my imagination… I must have been a quietly annoying pupil!

One other thing I remember is a small, framed print that hung in the living room of my childhood home. It depicted a shadowed forest path, and I can clearly recall tracing the lines with my finger and trying to imagine how it might have been created.

ARG: Was there anyone early on who deeply influenced or inspired you?

MT: My mother sometimes sketched my sister and I as children, and it always seemed a special and privileged act. The need to communicate visually always seemed to be there, and as I progressed through my school career I was lucky enough to have an art teacher who was, and no doubt still is a very kind and generous man. The art room seemed a refuge from the confusing mass of bodies and other subjects that meant little to me. His personality combined with the new materials I was introduced to, left a significant impression.

ARG: Viewers of your work are able to almost “feel” the temperature…and it makes us want to reach for a scarf!  Although your subject matter varies greatly from architecture to landscape and now, in this new series, a river’s edge, there is an ever-present “chill” and “emptiness” even in the urban scenes. Will you tell us about this attraction to these icy scenes that seem to convey a sense of isolation?

MT: This is probably the most difficult question I face as an artist, because it sits at the very core of my desire to communicate through a visual language. Part of my attraction to exploring the empty cold is purely aesthetic; I respond more intensely and intuitively to that particular palette. Winter seems to be a time when the world is stripped back, its bare bones revealed, and I find that I feel more myself at such times. I do think however that the emotional aspect of the work dictates it‘s visual rendering. The emptiness or isolation you mentioned are for me inherent in the process of making, since both the paintings and photographic works are concerned with memory and time passing or time gone.

Mark Thompson Painting

MARK THOMPSON: To be titled…, 2013

I have a great interest in early photography and its fugitive processes; for example, the long exposures that failed to register people walking on city streets. I see painting with the same eyes – a way to engage with or punctuate my own time as it falls away, and each work becomes a marker in my own history. The paintings and photographs are in many ways portraits of loss; a time and a space that has already gone, something seen for the last time. This sense of passing has become more apparent in my most recent architectural works. They are places that we are accustomed to seeing full of people, so their absence is felt more keenly.

ARG: You took most of the images for the End of Light series on the Canary Islands. What was your time like there? What draws you to your locations?

MT: The Canary Islands, Lanzarote in particular (where this series was taken) are an odd place. The islands are volcanic with lots of black rocks and very little soil, yet it primarily functions as a beach destination for English and German holidaymakers. Its position off the coast of Africa means that its climate is pretty friendly year round, but what I found particularly useful about that was the very predictable and short times for dawn and dusk. In all truth, if I hadn‘t had a very specific reason for being there I would probably have died of boredom!

The selection of locations is first and foremost an intuitive response. I am attempting to find something in the outside world that mirrors an image or a desire that I already carry in my head. It is often a chance find, however, that sparks this internal process – an image in a newspaper, an allusion in a book or film perhaps, which prompts a period of research. Inevitably what I actually find is somewhat different from what I‘m expecting, but I‘m more than comfortable with a ‘happy accident‘ now and then.


MARK THOMPSON: At the Edge of Light, i

ARG: You mention in your artist statement that you used traditional photographic techniques including leaving your camera’s shutter open for several minutes in order to catch the “end of daylight” for these images. Can you explain your process? Do you manipulate the image after the photograph has been taken or do you use the image as is?

MT: I‘m not sure why, but I distrust an image of mine that doesn‘t have a physical presence. I am also rather attached to the chemical process of developing and the individual character of types of film. In making these photographs I wanted to use a combination of materials that got as close as I could to how I see, and how my memory seems to function.

For this series I narrowed my camera selection down to a Holga. It is pretty much a toy – plastic through and through, but it has some unique qualities that I really value. As you mentioned, I keep the shutter open for an extended period and count to myself until it feels right to stop. I‘m by no means a purist, but I do try to keep the process as analogue as possible prior to printing, so the only manipulation I do is to clean up any imperfections or holes in the photographic emulsion and perhaps a small bit of cropping. The selection of digital printing however is very purposeful… I love the dense matt black and overall softness that is possible through the inkjet process.

ARG: Because your world extends throughout Europe and into the US, you are aware of the work of many artists.  Is there any artist in particular whose work you find particularly exciting today?


SALLY MANN: Faces 2004, © Sally Mann

MT: I am constantly excited by the work of Sally Mann. Her photographs continually surprise me with their beauty and unflinching gaze at us as animals. In a different way, the sheer mastery of Hiroshi Sugimoto and Thomas Joshua Cooper are constant sources of amazement. Within the realm of painting, Anslem Kiefer never fails to surprise me. His imagery is so rugged and dense with meaning – it‘s something I greatly admire. Recently I‘ve also been enjoying the work of Luc Tymans. His paintings are quiet but deeply serious and uncompromising.

ARG: When you moved from Great Britain to Germany several years ago, did that affect your work and if so, in what way?

MT: Moving to Germany was a huge change for me in so many ways. One of the immediate effects was that it really slowed my down. I stepped out of the London gallery and art fair world and was able to take stock of the direction my work was taking. Leaving all that is familiar, and finding oneself in a place where you are defined by your difference, is an experience I never expected to have. If nothing else it throws you completely off balance and you are forced to approach the world in a more direct and intuitive way. Fear also played a role… I had the distinct impression that I was a child lost in a forest of adult legs! Being outside of my ‘career‘ also allowed me the space to grow and approach architectural imagery with the possibility that I might fail. I am a better painter for having left Britain, if only for the fact that I am belligerently following my own path.

ARG: What type of music do you like and what do you listen to when you are working?

MT: Through the day my listening alters. Music is very important to me in the studio and I am quite an avid collector.  I almost fear revealing this, but I listen to a lot of extreme metal – It has a way of taking up space in my head and keeping me focused. As the evening draws in my listening softens to contemporary Jazz; people like Arve Henriksen, Tomasz Stanko, and Jon Hassell. I also very much like modern classical and have recently been listening to Rachel Grimes, Dakota Suite, that sort of thing…  Oh, and I can‘t get enough of a band called Bohren and der Club of Gore!

ARG: Would you care to tell us about what you are planning for future exhibitions or a new series?

MT: This year is quite a busy one for me. I have some work at the opening of a new gallery in Sweden in May, and two concurrent exhibitions in Germany towards the end of the year. I am aiming to make those shows purely architectural in theme. Speaking of which, I will be continuing my ongoing photographic body of work, and will also be exploring ways to make architectural photographs that carry a similar softness to ‘At the End of Light‘. Never a dull moment in my creative life!


MARK THOMPSON: At the End of Light, vi

ARG: Many artists are not particularly verbal, but you express yourself so well and think deeply about many things as well as have other interests and talents. Is there anything else you‘d like to comment on or reveal before we end this interview?

MT: One of the interesting things for me about preparing the negatives for this show, was the clear parallel I found between my approaches to photography and painting. As I alluded to earlier, being in Germany allowed me a certain space to push at the edges a bit: work with urban imagery in the paintings (no matter how long it took to finish one!), think about photographs away from the ‘decisive moment‘, and attempt to define my relationship to both as I move forward. Fetching up here also seemed to be the catalyst for exploring another strand of my creative rope, as it were.

Over the course of these few years I have started writing music and am currently working on my third album. I feel somehow as though each part of my work reinforces the others; I just wish there were more hours in the day! Or perhaps I need more hands…

ARG: Thanks, Mark! We’ve so enjoyed sharing a conversation over a “virtual dinner” and look forward to another meal of ideas and visions you might share with us in the future…  Cheers!