Bruce Davidson

Time of Change

1963

Listing includes framing with UV Plexi ($900 value), free shipping, and a 14-day return policy. Seydou Keïta Untitled Portrait, 1952 - 1955 (02158) 23...

An iconic image. Beams of sunlight streaming through the windows at Grand Central Station, New York City, circa 1930. (Photo by Hal Morey/Getty Images) As an authorized Getty Images...

Renato D'Agostin No. 12 (Paris 2006) from Metropolis, 2006 Silver gelatin photograph, selenium-toned 16 x 20 inches (40.6 x 50.8 cm) Edition 1/10

Signed in pencil on mount recto Gelatin Silver Print Paper 16"x20", Matted 22"x28"

Silver gelatin print The present work is hand signed with the artist's copyright, dated 1983, and titled on the back. It is numbered 3 of an edition of only 10. On October 3, 1983, Madonna headlined a memorial concert in honor of Michael Stewart, a graffiti artist in the midst of the AIDS crisis who became a victim of police brutality. Madonna was only 24 years old in 1983, but had already signed her first record deal and was on the cusp of superstardom. In 1984, the year after Madonna appeared in Kroll's shoot, she would release chart hits Like A Virgin, Material Girl and Crazy For You, cementing her place as an international star. This photograph was taken by renowned photographer and editor Eric Kroll backstage at Danceteria - a gritty and popular after hours club and concert venue on West 21st Street in Manhattan, operating out of the first three floors in an old industrial 12-story building. The visible text "ACCUTUNKTIONA TO THE POINT!" and "UNK" are actual, gritty wall graffiti from the venue, adding to the candid nature of the shot. Eric Kroll is a notable photographer, best known for his many fetish subjects, and for documenting America’s seediest spots and denizens, sharing a certain aesthetic with fellow photographers Larry Clark and Richard Kern...

A camera is a window through which a photographer interacts with the world, and it's up to the operator to decide whether his camera will be a barrier or a mirror between he and his subjects. In the 1970s, Michael Abramson chose the latter path when he brought his camera to Pepper's Hideout on Chicago's South Side. Following in the footsteps of his acknowledged influence Gyula Halász, a Hungarian photographer better known as Brassaï who became the pre-eminent chronicler of the Paris nightlife he loved so much, Abramson initiated himself into the nightlife of Chicago's predominantly black neighbourhoods. He was very much a part of the scene he documented on film, drinking, laughing, and dancing with his subjects into small hours and becoming as much a part of the atmosphere as the locals who frequented the same nightspots he did. - Joe Tangari (Numero Group, 2009) This series won Abramson a grant from the National Endowment for the Arts in 1978 and launched his career as a photojournalist. Eventually the project resulted in a hardbound book, Light: On the South Side, including the Grammy and Mojo nominated album, featuring Chicago blues...

Singspiel, Stallion Portrait 2001 by John Reardon 76 x 51 cm Edition of 5 only Silver Gelatin Print, Mounted on Aluminium, Custom framed, UV protective Mu...

"Abramson comes much closer to recording the sound of these clubs than we would have any right to expect from a photographer." - Nick Hornby (London, 2009), Light On the South Side, ...

"I walked into a timeless place … full of supporting actors and actresses of every conceivable role," Abramson wrote in Light: On the South Side, published by Chicago's Numero Group ...

Walker Evans Class A Steam Locomotive: The Second Set of Drivers, 1958 Inscribed "For Calvert from Walker" lower right Gelatin silver print 10 x 10 1/2 inches Provenance The artist ...