Nikolas Muray & Tod Gangler
The beauty of color and the carbon print bring together artists Nickolas Muray & Tod Gangler.
Nickolas Muray, 1892-1965, immigrated from Hungary to NYC in 1913 where he
Muray and Kahlo had a 10 year off-again, on-again love affair. Images in this exhibition were made out of love for Frida. Except for the photo with the red shawl which was made for public, all of the other images were kept private until the negatives were discovered after Muray's death.
Frida Kahlo was one of the most photographed artists of the twentieth
Clouds by Tod Gangler
The earth is a spinning globe. Our atmosphere is gravitationally attached to the globe and it is also spinning. Since it is not rigidly attached, it sometimes spins faster than the globe and sometimes lags behind. One of the intriguing aspects of the atmosphere is the way its components vary in size; at one end of the scale are molecules, and at the other are gigantic storm systems and the entire atmosphere itself, so that sizes may range from
The precision of a photograph’s observation is always equal, always a
The ephemeral recorded in a photograph is specific: waves that travel for 7,000 miles across an ocean, water transformed from waves into atmosphere, dawn or evening light shimmering in the air above the ocean. Beauty, too, takes place in this particular, attached to and completely part of its object.
The objects or aspects known in this way - through our senses rather than by thought or non-sensuous intuition - start our minds moving back and forth. In a real picture of a real place our mind finds the limit of its starting place and the limitlessness of the world and the beauty beheld. We delight in the new found in the familiar.
I print my work in the rare color carbon print process. Color photography was invented with this process, in 1869, by the frenchman Louis Ducos du Hauron. Carbon printing has always been the most difficult but also the most beautiful of all photo printing processes. The carbon print is also the ancestor of several other elite print making processes, including Carbro and Dye Transfer.
Like M. du Hauron, I mix pigments into homemade photo-sensitive emulsions. It takes days to expose, process and transfer these emulsions, to build a picture on Italian watercolor paper out of many layers of pigmented gelatin. Color carbon prints startle with their bravura visual syntax, describing rich colors, finest details, and subtly nuanced tone transitions in a way that no other print process can.