Book: Sam Falls, Problems with Decomposition

JTF (just the facts): Published in 2012 by Mörel Books (here). Paperback, 60 pages, with 31 color images. There are no essays or texts. (Spread shots below.)

Comments/Context: Sam Falls is one of a new crop of contemporary artists who has his roots in the soil of photography but is otherwise seemingly unconstrained by the traditional boundaries of medium or genre. The works in this thin volume traverse the borderlands between photography and painting, creating multi-layered hybrid images that investigate the less-than-obvious essence of still life objects and probe the conceptual connection between a photographic image of something and its physical imprint. He is clearly experimenting with the definitions of representation, pushing us to consider what information each artistic method is best at conveying.

The underlying premise of this series of works is elegantly simple and concise. Falls starts with studio set-ups of piles of tires and groups of fruits and vegetables, set against a rainbow of bright colored backgrounds. Photographs of these still lifes are then used as the foundation for painted overlayers, which are made block print style by covering the objects in question (or sliced halves of those items) with colored paint and laying down impressions right on top. Tires become interlocked circles like Olympic rings, blueberries become small dots, halved peppers become lumpy heart-shaped outlines, and bunches of bananas become radial arrays of stubby fingers, all executed in color-coordinated harmony. Together, the works show us both a crisp two dimensional image and a messy, tactile manifestation of the subject, mixed and interleaved in one combined portrait. The effect is playful and exuberant, while still retaining a brainy edge, and the smart wordplay between "composition" and "decomposition", between indestructible rubber and quickly rotting fruit, adds another flash of subtle cleverness. Overpainting photographs could easily come off as crafty or contrived, but Falls' works avoid this preciousness, adding a layer of relevant gestural movement to the static documentation provided by the underlying photograph.

This small book is neatly self-contained, offering a single body of work in enough depth to see the variations and permutations taken to their logical limits and sequenced with care to accent the natural rhythms of the changing subject matter and color palette. It's meaningful proof that a photobook need not be a door stop, and that an intimate, unadorned paperback presentation can be just the right formula for works that already have plenty of visual pop.

Collector’s POV: Sam Falls is represented by American Contemporary in New York (here) and by M+B Gallery in Los Angeles (here). He also had a solo show in New York at Higher Pictures in 2011 (here).

Transit Hub:

• Features/Reviews: NY Times T magazine (here), Art in America (here), Les Rencontres d'Arles (here)

 

2011 AIPAD Review, Part 2 of 2

The 2nd and final portion of our 2011 AIPAD Review is below. Part 1 of the summary (which includes an explanation of the format) can be found here.

Galerie Priska Pasquer (here): Lieko Shiga (3), August Sander (4), Shomei Tomatsu (4), Shin Yanagisawa (2), Daido Moriyama (1), Issei Suda (2), Rinko Kawauchi (5), Nobuyoshi Araki (2), Yutaka Takanashi (6). The Pasquer booth was one of the best edited displays at AIPAD, with a strong mix of vintage and contemporary Japanese photography (with a few vintage Sanders on an inside wall). Takanashi (one of the founders of Provoke) was a discovery for me; the modern prints below were priced at $4900 each. There were also some excellent early prints by Kawauchi and a superb Araki portrait.

M+B (here): Matthew Porter (4), Anthony Lepore (4), Hugh Holland (3), Mike Brodie (6), Alex Prager (1).

L. Parker Stephenson Photographs (here): Jan Yoors (3), Louis Faurer (1), Harold Roth (2), Lisette Model (1), Edward Steichen (1), Irving Penn (1), Erwin Blumenfeld (1), Umbo (2), Charlotte Rudolph (1), Zdenek Tmej (1), Raphael Dallaporta (6). I was intrigued by the scale and ornate detail of these Dallaporta pipe organ images. The large print was reminiscent of Candida Höfer for me, although the level of detail up close was even more meticulously precise; the smaller images were almost like post cards, yet with an astounding level of visual depth and granular accuracy. Prices were $15000 for the large print, $3500 for the smaller ones.

Stephen Daiter Gallery (here): Joseph Sterling (6), Aaron Siskind (5), Ken Josephson (2), Andre Kertesz (3), Berenice Abbott (1), Walter Peterhans (1), Herbert Bayer (1), Stanley Kubrick (1), Eliott Erwitt (3), Weegee (4), John Gossage (3), Lynne Cohen (4), Danny Lyon (2), Ruth Orkin (1), Dawoud Bey (1), Yasuhiro Ishimoto (1), Robert Frank (3), Alex Webb (2).

Michael Shapiro Photographs (here): Irving Penn (1), Helen Levitt (1), Robert Frank (3), Harry Callahan (1), Manuel Alvarez Bravo (8), Eugen Wiskovsky (1), Jaromir Funke (1), Josef Sudek (6), Pierre Dubreuil (1), Charles Sheeler (1), Man Ray (1), Robert Imandt (1), Fletcher Gould (1), Elmer Blew (1), R. Owen Shrader (1), Pirkle Jones (1), Lewis Baltz (6), Ansel Adams, (1), Brett Weston (1), Imogen Cunningham (1), Anonymous (8), Jefferson Hayman (group on outside wall). Shapiro's booth had two of my favorite vintage prints at the fair, hanging right next to each other. The Dubreuil study of spectacles and shadows was simply masterful, full stop. And I don't think I've seen more than a handful of River Rouge Sheelers out in the market since we started collecting, so it was terrific to look at this one up close. The amounts weren't labeled and the booth was crowded, so I didn't get prices for these two gems.

Yossi Milo Gallery (here): Pieter Hugo (2), Alison Rossiter (12), Sze Tsung Leong (2), Ezra Stoller (2), Simen Johan (1), Loretta Lux (2), Yuki Onodera (14).

Higher Pictures (here): Yvon (6), Sam Falls (1), Claire Pentecost (4), Jill Freedman (64), LaToya Ruby Frazier (1). Fall's image disregards all the distinctions that we normally make about the where the edges of the photographic process lie. He starts with photographic imagery, adds a layer of painterly Photoshop effects, and then overlays the resulting print with even more layers of acrylic and pastel. The mixed media result is an abstract hybrid, jolted by splashes of color; it's priced at $4500.

Eric Franck Fine Art (here): Robert Bergman (5), Richard Avedon (1), Antanas Sutkus (2), Rimaldis Vikstraitis (2), Marketa Luskacova (2), Martine Franck (2), Charlotte Bracegirdle (4), Josef Koudelka (1), Geraldo de Barros (4), Erwin Blumenfeld (2), Henri Cartier-Bresson (1), Graham Smith (4), Chris Killip (4), Layla Love (2), Karen Knorr (2), Katarzyna Mirczak (16), Norman Parkinson (6), Lottie Davies (2). Mirczak's grid of Polish prisoner tattoos on preserved skin fragments is an unsettling mix of the memorably grisy and the surprisingly symbolic. The set is priced at $15000.

Bonni Benrubi Gallery (here): Massimo Vitali (1), Georges Dambier (4), Abelardo Morell (7), Matthew Pillsbury (3), Andreas Feininger (12), Paolo Pellegrin (3).

Bruce Silverstein Gallery (here): Shinichi Maruyama (2), Michael Wolf (3), Andre Kertesz (12), Man Ray (2), Irving Penn (1), Marie Cosindas (1), Trine Sondergaard (4), Frederick Sommer (4, collage, drawing, painting), Aaron Siskind (3), John Wood (1), Arthur Siegel (1), Henry Moore (1), Nathan Lyons (5 diptychs), Todd Hido (1), Edward Weston (2). I though this early Siegel light drawing was fantastic, with its abstract waves of rhythmic saturated color; this is the kind of image that should have been in the photography room of MoMA's AbEx show, but wasn't. It was priced at $25000.

Scheinbaum & Russek (here): Luis Gonzalez-Palma (2), Eliot Porter (4), Harry Callahan (2), Edward Weston (4), Ruth Bernhard (2), Andre Kertesz (1), Walter Chappell (1), Manuel Alvarez Bravo (3), Edward Curtis (2), Ansel Adams (4), Paul Caponigro (3), Aaron Siskind (1), Minor White (1), William Garnett (1), Lee Friedlander (2), Diane Arbus (1), Henri Cartier-Bresson (1), plus two bins.

Laurence Miller Gallery (here): Simone Rosenbauer (2), Daido Moriyama (1), Toshio Shibata (1), Fan Ho (1), Fred Herzog (1), Ray Metzker (4), Denis Darzacq (2), Lee Friedlander (2), Stephane Couturier (1), Bruce Wrighton (15), Michael Spano (3), Jessica Backhaus (10). This is a 2010 image from Darzacq's Hyper series; this time his young subject is floating through what appears to be a carpet store; it was priced at $7500.

Robert Morat Galerie (here): Christian Patterson (5), Richard Renaldi (2), Richard Rothman (5).

William L. Schaeffer Photographs (no website): Edouard Loydreau (1), Carleton Watkins (1), Eugene Cuvelier (2), Minor White (1), Harry Callahan (1), Clarence White (1), Heinrich Kuhn (1), Walker Evans (1), Margaret Bourke-White (2), Robert Frank (1), NW Gibbons (2), plus three bins and one case of daguerrotypes. This is the kind of 19th century print that makes you rethink everything you think you know about 19th century photography; the massive Watkins tree is seen in crisp dark detail, almost with a modernist sensibility; it was priced at $75000, with a lifetime's worth of enjoyment thrown in for good measure.

Howard Greenberg Gallery (here): Ilse Bing (1), Martin Munkacsi (3), Edward Steichen (1), Charles Sheeler (1), Albert Renger-Patzsch (1), Arnold Newman (1), Minor White (2), Ansel Adams (1), Bruce Davidson (4), Saul Leiter (2), Peter Sekaer (5), David Goldblatt (5), William Klein (1).

James Hyman Photography (here): William Henry Fox Talbot (1), Horatio Ross (3), Roger Fenton (2), Hill & Adamson (3), Julia Margaret Cameron (1), Paul Reas (4), Ken Grant (2), Jem Southam (2), Anna Fox (4), Karen Knorr (4), Thomas Annan (2), Bert Hardy (1), Caroline Coon (2), Cecil Beaton (2), Roger Mayne (2), Lucien Clergue (1), JH Lartigue (1), Eugene Atget (1), Brassai (1), Andre Kertesz (1), Bill Brandt (1), Edward Weston (1), plus four bins. As flower collectors, this rich, dark Fox Talbot study is near the apex of the genre for us; no wonder it was $450000 (the shadow is from the velvet cover being pulled back).

Robert Mann Gallery (here): Kevin Kay (9), Jeff Brouws (33), Holly Andres (1), Julie Blackmon (2), John Mack (2), O. Winston Link (1), Fred Stein (2), Ansel Adams (1), David Vestal (2), Aaron Siskind (2), Joe Deal (2), Chip Hooper (2), Michael Kenna (4), Mario Giacomelli (3).

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ADMINISTRATIVE NOTE: For the rest of this week, we'll be on spring break. We'll be back next Monday with a backlog of gallery show reviews and auction previews for the upcoming New York photographs season.