Masters of Modern & Contemporary Photography
October 23 – December 21, 2013
Opening reception: Wednesday, October 23, 5:00 – 9:00 pm
Venue: Ikkan Art Gallery, Artspace@Helutrans
39 Keppel Road, #01‐05, Tanjong Pagar Distripark
Open: 12 Noon – 7:00 pm, Tuesday‐Saturday
Ikkan Art Gallery is pleased to announce its upcoming exhibition Masters
of Modern & Contemporary Photography, organized in association with
Pace/MacGill Gallery in New York, on view from October 23 – December
21, 2013. This exhibition will present almost 90 works by 17 important
international artists and photographers who have continued to shape the
world of fine art photography for the past century with their visions of the
Invented in the first quarter of the 19th century, photography has faced
many adversities and triumphs coming to its own as a medium. The artists
and photographers presented in this exhibition have found inspiration in
photographing their immediate surroundings, the urban environment, and
social landscape, like Harry Callahan who captured the cityscapes of
Detroit and Chicago, and set his wife Eleanor and daughter Barbara in
these locales, while William Christenberry, drawn to the American South
of his childhood, studies the evolution of buildings in their rural
surroundings. Lee Friedlander depicts storefront reflections, structures
framed by fences, posters and signs that combine to become the look of
modern life, as William Eggleston finds intrigue in commonplace subjects,
literally photographing the world around him.
Others have come upon their visions in nature. The seascapes of Hiroshi
Sugimoto often allude to themes of time and space, which appear vast and
infinite, as JoAnn Verburg combines soft lighting, varied focus and
thoughtful compositions to portray the sensuality of the natural world.
Emmit Gowin’s images of global irrigation, natural resource mining,
military occupation, and weapon testing on the environment exhibit
tension between a beautiful landscape and the harsh reality of human
impact on the environment, while Richard Misrach’s topography of the
earth, though unspoiled and dramatic, are further heightened in their
terrains devoid of human beings.
Others have portrayed the likeness of those near and dear to them as in
Chuck Close’s massive portraits of his friends and family, who in reflecting
on his condition of Prosopagnosia—also known as face blindness—has
realized how painting portraits has aided him in recognizing and
remembering faces, or the beloved Weimaraners of William Wegman.
Others still have traveled distances to find themselves present and
watchful in the unknown and foreign like Robert Frank, who drove a used
Ford across America in 1955 and 1956, traveling through thirty states and
photographing the things he saw, compiled into the monograph The
Americans, a complex portrait of American society during that period, and
Diane Arbus, who became deeply involved with people who caught her
eye, and found beauty in what was commonly perceived as deformities
and “unsightliness,” simply celebrating things as they are.
In the past 175 years of its development, photography has proven itself as
a valuable artistic medium, not just as a medium for memory, depiction,
advertising, or mechanistic reproduction, but a medium rich with
conceptual ideas, history, and a way of seeing and experiencing the world.
For inquiry: Ikkan Sanada at ikkan@ikkan‐art.com or (+65) 9088 7056.