View the full episode of George to the Rescue featuring artwork from Lux Archive!
We’ve got some big news folks! Interior designer Tyler Wisler of HGTV Design Star fame picked four pieces from Lux Archive to be featured on an episode of NBC’s George to the Rescue.
We were flattered to be welcomed on location during the TV production and got some fun behind-the-scenes footage of our art in action. Tyler even did a little promo video with us just to share his enthusiasm for Lux Archive. Thanks Tyler!
See the pieces Tyler selected: Visitors, Male Cardinal, Female Goldfinch and Dog. Plus, you can purchase the limited edition artwork from the episode and much more amazing art at LuxArchive.com
The episode is airing on NBC September 22nd, 2012.
Choosing Art for NBC’s George to the Rescue from Lux Archive on Vimeo.
David Reinfeld has studied with 20th century masters like Minor White and Aaron Siskind; artists who are famous for turning the ordinary into the extraordinary. David was heavily influenced by these artists and has now created artwork that is masterful in it’s own right.
As you see below, David takes common views, in this case trees seen throughout the seasons, and transforms them into carefully composed pieces of artwork. The contrast of color and form is fantastic. Each branch and each leaf are like brush strokes. The longer we look, the more mesmerized we become.
Seeing images like this inspires us to find the art in the everyday. And when we struggle, we have David to return to for continual inspiration.
As always, these images are available for purchase as a museum-quality, limited-edition prints! Visit our store for more information.
We all have our oasis from the hustle and bustle — our refuge from the outside world. Kerry Mansfield found hers high on the sea cliffs along the California coastline. For years Kerry returned to the same spot perched above the Pacific Ocean and relished in the surrounding solitude. In the process she began to capture intimate moments of others as they unwound in their own way. From this elevated vantage point, with skilled technique, Kerry melds individuals with their environment in an uncanny way. Human and natural elements combine to create singular expressions of tranquility.
Kerry writes: “We all seem drawn to a seashore, the crest of a tall hill, or even the sky, dangerously out of reach. When I find myself in these places, a sense of my own small place within the environment could easily elicit a sense of fear and unease, yet, inexplicably I find a peace not often found in the places over which I control.”
You can own these images as limited-edition museum quality prints. They come in three sizes: 13” x 16” (edition of 40), 20” x 26” (edition of 20) and 35” x 45” (edition of 10). If you love one, buy one. We expect these prints to go quick!
By Rebecca Horne
First, illumination. The flicked match alights spot on the candle wick. Jack be nimble, Jack be quick.
The spark that leaves the hand and arcs through space might be that of inspiration as it burns through the dark, seeking more heat. What looks effortless is the result of 19 separate exposures, one for each position of the match in its tumble.
For garage-inventor-photographer Caleb Charland, problem-solving in real time is significant, the film images are often the result multiple exposures. “I guess you could do it in Photoshop a lot quicker and easier but I enjoy the analog process” says Charland, “there is something to working within limits.”
Charland’s artist statement fittingly begins with a quote from Albert Einstein–a scientist who wrote that his own greatest gift was passionate curiosity: “The most beautiful thing we can experience is the mysterious. It is the source of all true art and all science. He to whom this emotion is a stranger, who can no longer pause to wonder and stand rapt in awe, is as good as dead: his eyes are closed.”
Albert would approve. Charland’s eyes are wide open. Charland: “Given that many measurements are based on the proportions of the human body its clear we measure stuff to find our place amongst it all and to connect with it in some way. For me, wonder is a state of mind somewhere between knowledge and uncertainty.”
Match Toss is available for purchase as a museum quality limited-edition print. Visit our store for more information.
We’re thrilled to announce that an interior design firm has used several pieces from Lux Archive to decorate a $7 million penthouse in New York City.
Not only that…the artwork will be shown on a HGTV television show later this year (more details to follow)!
Know what else is good news? You don’t have to be a millionaire to own artwork from Lux Archive. Our limited-edition prints come in a range of prices, many starting as low as $100.
Wall Street Journal Photo Editor Rebecca Horne interviews gallery director Robert Grunder.
Prior to taking on the directorship at blue-chip gallery Joseph K. Levene Fine Art in Manhattan, Robert Grunder trained his expert eye as a painter. Mr Grunder earned his MFA at the Andy Warhol founded New York Academy of Art, and studied closely with such painters as Mark Tansey, Eric Fishl, among others. Mr. Grunder has also held management positions at the Marlborough Gallery and artnet.com. Here he shares some of his considerable insights as a gallery director on collecting and finding what you love.
RH: I’m curious how you began your own collection. Can you tell me how you got started?
RG: My collection started in 1999, an artist gave me a small painting that was a study for a larger work in an exhibition I curated. The painting is by Peter Drake and depicts, in his signature style, a father and son watering a suburban lawn. He uses a reductive technique, sanding away the paint on a thickly gessoed surface to create light. The surface resembles old photos.
RH: Has the way you collect changed since then?
RG: It has changed immensely. Collecting art can become downright addictive. I started bidding and buying works from auction, benefit auctions, Oxbow and from artists themselves.
RH: What is the most satisfying thing about it?
RG: Supporting the arts in any capacity has always been fulfilling for me, but there is even greater satisfaction in surrounding yourself with beautiful and challenging works of art. At times it seems, the only limitation is wall space, especially for a New Yorker!
RH: How do you guide other collectors in building their own collections?
RG: The first thing I always ask a collector is “show me the one thing you can’t live without”. It may sound simple, but it’s important to buy art with your eyes and not your ears.
For example, for a first time buyer of Warhol prints I recommend browsing the Catalogue Raisonne to discover which prints the collector responds to most. It’s better to purchase a signature work, subject matter the artist is most known for, rather than the lowest priced.
If possible, you also want to buy the right work at the right time, there are opportune moments. For example, Jasper Johns prints, he is arguably America’s greatest living artist and the most skilled printmaker since Pablo Picasso. Given the limited number of paintings and drawings he has created his prints are, in my opinion, undervalued.
The Bottom line is you must love it.
Artist Jason DeMarte is fascinated by culture. He’s especially intrigued by consumer culture and the ways in which it’s products represent the natural world. He writes “This unnatural experience of the so-called “natural” world is reflected in the way we, as modern consumers, ingest products. What becomes clear is that the closer we come to mimicking the natural world, the further away we separate ourselves from it.”
DeMarte’s artwork is the result of careful compositing. He takes imaginary depictions of nature and combines them with commercial products or elements. The result is both powerful and pleasing. The viewer is invited to ponder the cultural themes that DeMarte raises while at the same time being able to simply enjoy a beautiful object of fine art.
Learn more about Jason DeMarte and purchase his limited-edition artwork in our shop.
By Rebecca Horne
Nenad Saljic is a Croatian artist who discovered his twin passions for photography and mountaineering early, while still in primary school. Looking at his impressive prints, it will not surprise you to know that he was almost expelled from school for spending too much time in the darkroom.
Saljic uses long exposures that condense time, creating records of the movement of the wind, water and trees, where light and shadow meet in a tremendous, blissful moment. Saljic writes: “Being mountaineer and caver from a very early age brought me to some magnificent destinations where human footsteps have rarely or never been before. The feeling is amazing and hardly explicable by words. I want my images to convey exactly that kind of transcendent experiences, to take the viewer into my deepest emotional journeys. I¹d like you to feel like traveling Jules Verne’s voyages when looking at my pictures; to make the impossible possible.”
These images are available as limited edition prints in our store where artist-signed pieces start as low as a hundred bucks!
By Rebecca Horne
Alessandro Puccinelli has salt water in his camera. And this is the way he likes it. Puccinelli is an Italian photographer who divides his time between Italy and Portugal. Puccinelli writes: “To some extent the sea is my guide through life; I think of the sea as an example and a source of knowledge. The presence of the ocean in my everyday life is a balancing factor that helps me reconnect.” Specifically, he is entranced by the moments when, “the sheer energy and immense power released by a stormy ocean encountering a solid obstacle like a rock.” These images were made at the Marina di Pisa, a short distance from where Puccinelli lives.
Your body is around 60 percent water — which is why you might respond on a cellular level to this spectacular display of moisture. There is a fantastical suggestion of an epic storm upending the horizon — I find myself looking for fish soaring in the sky. Where does the ocean end, and the sky begin? These heroic moments seem they could depict a battle between the gods of the sea and the heavens — perhaps Atlas grew tired at last of holding up the sky, hurled it at the sea, and Neptune rose to scold him.
These images are available as limited edition prints in our store where artist-signed pieces start as low as a hundred bucks!
Sky and Sea
An exhibition of new artwork from Lux Archive
On view at The Natural Wine Company
February 9, 2012 – May 9, 2012
211 North 11th St. Brooklyn, NY 11211
Opening reception Thursday, February 9, 6pm – 8pm
Lux Archive is pleased to announce Sky and Sea, an exhibition of twelve fine-art photographs by artists Alessandro Puccinelli, Paul Nelson and Nenad Saljic. The exhibition features three series of images, each a portrayal of one element from the natural world. All twelve images are new additions to Lux Archive and are available for purchase as limited-edition prints.
Please join us for our opening reception. The first twenty-five guests will receive a $25 voucher for use on the Lux Archive website. The Natural Wine Company will provide a free tasting of wines throughout the night.
For more information please email: email@example.com
Paul Nelson found inspiration for his Wild Birds Flying series from an unlikely source. The works of John James Audubon, a famous 19th century artist who painted every North American bird known at the time, inspired Paul to create a modern-day portrayal of these graceful avian creatures.
Paul has done an exquisite job of taking Audubon’s original concept to new heights. He uses complex photographic techniques to freeze the birds in flight as they are netted for tracking purposes or released into the wild (no birds are harmed in the process). The result, as Paul explains: “…strikes a balance that is at once beautiful, intimate, and compelling. Birds frozen in flight — the arresting images so surreal that they seem worlds apart from the avian creatures common to any backyard.”
Paul’s images are available as limited edition prints in our store where artist-signed pieces start as low as a hundred bucks!
By Rebecca Horne
Michael Schlegel is happy to sleep alone on a beach, waiting for the perfect confluence of the elements. Describing the patient alchemy that leads to his time exposures, Schlegel explains: ‘These moments often occur at dawn or dusk, in misty weather, or even at night, because light situations without direct sunlight hold more potential…I want the waters to move. I want the clouds to move. And I enjoy being alone in nature. I think the atmosphere in my images is conveyed much better without people in them — the viewer can more easily imagine being in that quite landscape, too.” Indeed.
Michael Schlegel’s starkly refined images offer up the raw materials of life — geological time and weather — in graphic relief. The Black Forest, near Schlegel’s home in southern Germany provided initial inspiration. The next subject for his minimalist vision was Iceland’s southern coast with its volcanic and glacial otherworldliness.
Michael’s images are available as limited edition prints in our store.
Wall Street Journal Photo Editor Rebecca Horne interviews renowned architect Glen Coben.
You may not know Glen Coben, but you probably know his work. During his 48 years as an architect, Mr. Coben has built many familiar spaces. Among Glen & Company’s recent projects are 59 restaurants, with 47 of them in New York, such as Mario Batali’s Del Posto. Before opening Glen & Company in 2000, some of Mr. Coben’s projects included: The Four Continents Bridge and The Isuzu Space Station in Japan; domestic and international NIKETOWNS; The Theater for the Academy Awards and The Hacienda Football Stadium in Los Angeles; and The Coca-Cola Sky Field in Atlanta, Georgia. Mr. Coben takes a collaborative approach to designing interiors, and sees artwork as an essential element.
RH: When planning spaces, how do you think about integrating artworks?
GC: We begin by understanding the mission of the project….what are the goals, what is the function, what will the guests experience in the spaces/spaces? Once we have the “outline” of the story, we begin to solve the problem spatially. Once we have the flow and spaces defined, we look at focal points and what nuances will assist us in adding layers to the narrative.
RH: How does this work–can you give an example?
GC: We designed a hotel which originally opened as “fashion 26 – A Wyndham Hotel” (it is now referred to as Hilton Fashion District). Our focus was to bring the notion of American Garment-making into a narrative. The front desk was designed as an homage to a sewing table….we commissioned an artist to create cast aluminum “bobbins” that are used to create a screen to hide the computer monitors. We also commissioned the artist Devorah Sperber to create a wall hanging piece as a focal element in the Lobby. Devorah works in spools of thread, which were the perfect complement to the theme! We also commissioned several photographers to create a series of images for the guest rooms….these images are of details of garment making….from a close-up of a sewing machine’s needle to a pile of buttons and the knot of a tie.
RH: Can you elaborate a bit on what you mean by “story”?
GC: The “story” of a project is the narrative we use to create a connection between the project and the guest. We always strive to “localize” and customize the guest experience…whether it is a retail store for Nike that tells the guest all about the product and imbues the space with the values of the brand, or a restaurant for a chef such as Dr. Miguel Sanchez Romera, where the story told was all about him–where he studied, where he practiced his medicine and what his passions are. The hard part is creating the narrative, but once it is established, all future design decisions are based on that “story”.
RH: How does art change the identity of a space? Do you work with images that play off shapes or colors already built into the space?
GC: Art selected or commissioned carefully adds to the overall narrative of the design. Conversely, art hung on a wall just for the sake of it is like a bad music soundtrack–it is obvious that it just wasn’t thought out!
RH: Are there guidelines you can use for both kinds of spaces- a home and a hotel room, or are they at odds with each other?
GC: No rules. Except the pieces need to “mean” something. Just as our designs are meant to tell stories, each of the parts of the puzzle need to add to that narrative.
RH: What is the most important function art can have in a space, in addition to adding to the design narrative?
GC: It shouldn’t smack the guest in the face–it should be in harmony with the space and surroundings.
Happy New Year Lux Archivers!
Kim Høltermand, our first artist of 2012, doesn’t have your typical curriculum vitae. It begins with his job description: Fingerprint Expert for the Crime Scene Unit of The Danish National Police. Now it’s common for artists to have day jobs, but this has got to be a first.
With this in mind, it makes sense that Kim is drawn to mysterious landscapes. He is attracted to the light in the early mornings when fog engulfs the Danish countryside — transforming familiar objects into intriguing characters. The lush, seductive images invite the viewer to undertake their own investigations.
Visit our shop to own one of these beautiful images. Prices start as low as $100 for a limited-edition print.
We’re excited to introduce the very talented Steven Wohlwender to the Lux Archive team this week. Steven has a masterful way of turning common sights into uncommon images. His photographs have a delicate pastel palette that consistently lull us into a dream-like state.
For Steven, bringing dreams to reality is completely intentional. He wants us to awaken to the charm of the world that surrounds us. It may sound “cliché” as Steven says, but he means it. He writes:
“Seek out the beauty, and don’t linger on the ugliness. Get out, at any time of the day, in any condition, because there’s a really good chance you’ll see something worth appreciating in life.”
Love Steven’s images? You can own them! Purchase his work in our shop where limited-edition museum-quality prints starts as low as $100.
Wall Street Journal Photo Editor Rebecca Horne tells us why art might be the best gift idea out there.
This year, please someone you love by giving them something they want. Not something they need. Sure, I could probably use some new socks. But would I be happy to see them under the tree? No, I would not! When I want to really make someone shine, I think wish list, not to do list.
My friends and I have given each other art over the years– with happy results. Giving visual art requires thoughtful attention to detail, but the rewards are rich and lasting. The most cherished gifts I’ve received are the images I have on my walls that remind me of my friends, our shared history, and the open space of imagination.
When buying art for friends I’ve strived to make it extra special by finding images that reference an experience we have in common. I’ve also given pictures including something that I know the recipient likes. One year I gave my homesick friend from Hawaii a gorgeous vintage botanical specimen print of the Hawaiian Ti plant, (also known as the Good Luck Tree). She was delighted with the print and treasured it with shrine-like placement in her apartment for many years. I’ve also given or received photographs of a beloved landscape or person, or a painting with a particular motif or pattern. Taking this approach makes the gift more than a pretty picture– it becomes a special message, something that strengthens the understanding and social bond between you.
I also keep the size of the image in mind– do they have room for a larger print? Or is a smaller, more intimate print more appropriate? I try to keep the frame simple and clean, or give it unframed, in protective wrapping if I’m not confident about the available framing choices.
I’d be remiss if I didn’t mention that giving art also provides an undeniable feel-good boost—especially because it is one way to foster creativity. After all, your money goes to an artist, and you’ve surprised the recipient with something unexpected that can give years of pleasure.
Today we are thrilled to introduce Rebecca Horne a new contributor to the Lux Archive blog!
Rebecca Horne is Photo Editor on the weekend edition for The Wall Street Journal and contributor to the Ideas Market and Photo Journal blogs on WSJ.com. Previously she was the Photo Director at Discover Magazine. At Discover she produced photography that garnered awards from PDN, American Photography, and Folio Magazine and launched and wrote a photography blog, Visual Science. Her own work in photography has been exhibited in the US and internationally.
Rebecca will take it from here — introducing the subject of a recent interview she did with renowned art collector Douglas Nielsen:
Douglas Nielsen’s art collection has attracted attention not just from people lucky enough to see it in his Arizona loft, but also from museum-goers. The Douglas Nielsen collection was the subject of an exhibition “Thanks for Being With Us: Contemporary Art from the Douglas Nielsen Collection” at the Tucson Museum of Art in July 2010. A former dancer, Douglas Nielsen has been a guest teacher and choreographer at more than 40 universities throughout the United States and abroad. Among the numerous awards and honors Nielsen has garnered are four fellowships from the National Endowment for the Arts, and a performing arts fellowship from the Arizona Commission on the Arts. Nielsen’s work in dance influences the way he appreciates visual arts, and how he has built his personal collection. He took some time out to discuss his approach with me for Lux Archive.
Rebecca Horne: How do you feel about the works in your collection over time? Has the work aged well?
Douglas Nielsen: In a word, YES. I re-appreciate the collection every time I review it. I couldn’t part with any of it. Before I acquire a fine art photograph I ask myself (as Avedon once said), can it ‘hold the wall’. If I don’t think so – I buy the book. I have way too many books – monograms and museum catalogues. In a way it’s a shame to have so many closed books around with fantastic images hidden inside them – but there is no need to ‘own’ everything – or have it in full view. But, back to your question, yes, what I do collect has definitely passed the test of time.
RH: How has your work as a choreographer influenced the way you look at art and built your collection?
DN: Choreography is such an ephemeral art form. Now you see it, now you don’t. The body is necessary in dance. A writer can write alone, and a painter can paint alone, but I can’t choreograph by myself. I need people. When the curator of the Tucson Museum of Art chose various images from my collection for the exhibit, I realized, that many of my photographs have reference to the human condition.
The frozen moment of a majority of my photographs capture the body in various circumstances: Bruce in his car by Nan Goldin, A man with a fan by Jo Ann Callis, Two men with colored circles over their faces by John Baldessari, The fat lady in the circus with her little dog troubles by Diane Arbus, Cindy Sherman as pregnant, a man with a Zebra skull over his face by Herb Ritts, The beauty composites by Nancy Burson– they all inspire and trigger my imagination. Gesture is essential to my work. I’m as much interested in ‘pedestrian’ movement, as in technical ‘dance’ vocabulary. To me, a dancer is primarily ‘human’, and secondarily a ‘dancer’.
RH: How do you feel about collecting photography vs. other types of art like painting and sculpture? What is your favorite photo or photographer from your collection?
DN: Favorites are fickle. I don’t have ‘favorites’. Seriously, I treat every part of my collection equally. There is a trick to that though – I move things around a lot. If an image stays in one place too long, I stop seeing it. By rearranging my collection, I rediscover it, and see it fresh again for the next while. In my loft, painting, sculpture, and photography all live intermingled equally.
RH: You’ve talked about trying to steer away from the “hierarchy of ‘what’s important’ ” –how do you do this, in practice?
DN: I remember seeing Andy Warhol at the flea market on Sixth Avenue one Sunday morning in the early 1970’s buying a cookie jar. I thought how refreshing that was that he could see the value in that. I have often been accused –especially by designers – of placing a five dollar hula doll next to a Burtynsky photograph – as if that breaks some rule of thumb. To me, they both have integrity. I absolutely do not perceive or measure anything by it’s ‘market value’. In my mind’s eye there is no ‘hierarchy’.
RH Do you look specifically for work that you feel will continue to be strong and relevant over time? If so, how do you try to do that?
DN: I very rarely search or ‘look’ for a specific work. The work finds me – and when that happens, we become friends. I trust that it will last, and so far it has. Like a relationship, the loyalty and respect continues as long as there is no betrayal. And, as of yet, nothing in my collection has betrayed me.
This week we welcome artist Ross Honeysett. Ross has had an illustrious career working with institutions like Vogue and the National Portrait Gallery that seek him out for his ability to create striking images characterized by bold beautiful aesthetics. His images are often simple and straightforward but creating them isn’t always as easy as it looks.
Dog, Ross’ pitch perfect portrait of a thoroughbred Weimaraner looking thoroughly comfortable, was a complex creation. Ross held a casting of over twenty canines just to find his winning match. He then went to enormous effort to combine multiple images together on a computer to create what appears to be such a natural pose. Sure, we’ve all seen that trick right?
With holiday shopping on everyone’s mind we would be remiss if we didn’t recommend Ross’ prints as a great gift idea. Dog, hanging over the family couch perhaps? Or you could get really cute and hang it over Fido’s favorite sitting spot. Plus don’t forget South Sea Trader. We see that fitting in perfectly in the guest bathroom or the den.
Also, we’re offering free shipping anywhere in the USA on all our prints from now until this Friday. Enter coupon code HOLIDAY_SHIP
Plus, don’t forget: order your prints by Friday to make sure they arrive in time for Christmas. Happy hunting everyone!
As winter approaches here in New York we can’t help but fantasize about escaping to warm exotic places. So today, with vacation on our mind, we introduce the work of UK artist Alex Telfer. Alex, is a highly decorated commercial and fine art photographer who has been honored by Communication Arts, Luerzer’s Archive, AOP, Paris PX3, IPA and many others. He frequently travels the globe shooting commissions and working on fine art projects.
Alex is constantly in motion but his vision is always steady. From the silky waters surrounding an island in Scotland to a bright beach scene in Spain, Alex brings the same artful eye to each landscape he encounters. His images are beautifully constructed and easy to appreciate. They leave us feeling relaxed and restful. It’s not quite a vacation but we’re happy to have had the trip.
Brighten your winter wall décor or give the perfect holiday gift! Purchase one of Alex’s prints or dozens of others at the Lux Archive shop.
Be sure to join us on our Facebook and Twitter @LuxArchive to stay up to date on news and special deals!
Today we’re excited to welcome artist David Ryle to the Lux Archive roster. David is an award-winning London based photographer who’s created a beautiful series of aerial photographs titled Desert Studies. David, fascinated by the “idea of nothingness,” flew a small plane throughout the desolate Mojave Desert in search of scenery that fulfilled his vision. The result is wonderful minimalist images that elevate forgettable landscapes into works of art. David writes:
“With roads dissecting through near barren spaces, the stripped down colour palette aims to show the harshness of the place, but also attempts to reveal a beauty through shape and form.”
What do you think of David’s images? Let us know! Join the conversation on our Facebook page and on Twitter @LuxArchive