Lynn Saville, Space for Rent, New York City, 2015

Courtesy: Alessia Paladini Gallery

Stampa ai pigmenti
Archival pigment print
Dimensioni / Size: cm. 50 x 60
Edizione / Edition: 6

Contattare Alessia Paladini Gallery per il prezzo.
Please contact Alessia Paladini Gallery for the price.

ll critico statunitense Arthur C. Danto descrive Lynn Saville (Durham, North Carolina 1950) come "la risposta newyorkese a Eugène Atget, perchè si aggira per la sua città alla fine del giorno, raccogliendo i frammenti del passato quando passano nel presente, poco prima che vengano inghiottiti dalle ombre”.

Scattando all'alba o al tramonto - posizionando il cavalletto in modo furtivo per non attirare l'attenzione delle forze dell'ordine - l'artista ritrae luoghi svuotati della loro dimensione primaria, che diventa altra, quasi un set cinematografico dietro al quale si svelano abbandoni dovuti alla dilagante crisi finanziaria, o a espansioni edilizie che cancellano un passato fatto di persone e di consuetudini ormai desuete. Sono fotografie fatte anche di attese, sembra quasi che questi luoghi stiano aspettando una nuova possibilità di rigenerazione. La quasi totale assenza della presenza umana nelle fotografie di Lynn Saville facilita questa impressione di trasformazioni in divenire, immaginarie: i pochi passanti appaiono furtivamente, quasi dei fantasmi, spesso fuori fuoco (anche grazie alle lunghe esposizioni richieste dalla poca luce naturale).

Lynn Saville non assume una posizione apertamente critica verso i temi dello sviluppo urbano, piuttosto, la riflessione si rivolge ai segni visibili che i cambiamenti economici operano sul tessuto urbano. Il suo impegno sociale è presente, ma non interferisce con il suo senso del colore e della luce, della composizione o con la sua curiosità verso la “mano invisibile” del mercato immobiliare e i suoi effetti, molto visibili, sulla vita di ognuno.
In questo modo, Lynn Saville riesce a trasformare l’ordinario, colmando i vuoti con immaginarie profondità.
Nelle sue iridiscenti, enigmatiche fotografie, Lynne Saville trasporta l’ambivalenza visuale ed emotiva del momento di passaggio tra notte e giorno suggerendo il contrasto tra ciò che è visibile e ciò che non lo è; le sue immagini sospendono il tempo, privando i paesaggi urbani delle loro consuete caratteristiche e abitanti.

Arthur Danto has described Lynn Saville as New York's answer to Eugène Atget, because she "prowls her city at the other end of the day, picking up pieces of the past in the present, just before it is swallowed by shadows."
The suggestion of the solar cycle chimes with Saville’s interest in economic cycles of prosperity and decline, of which vacant storefronts are, for her, iconic. Devoid of their former programs and the accouterments thereof, these locations await the next generation of renovation, remodeling and reuse.
They don’t wait idly: stripped of specificity, they gain atmospherics and often take on new personalities.
The near-absence of people in Saville’s pictures facilitates these imaginary transmutations by positing their loss of a function as commercial traffic dwindled. The few pedestrians appear ghost-like, seen as faint blurs or only in part (this effect, of course, is a function of the long exposures needed for low-light conditions).
In her work, the artist takes no moral stance on the issues of development, gentrification and displacement, but is concerned with the outward signs and symbols of economic change. She wears her social engagement lightly, not allowing it to encumber her feeling for color and light, her sense of composition, or her curiosity about the “invisible hand” of the real estate market and its visible effect on the fabric of everyday urban life. In so doing, she turns the ordinary inside out and opens up its imaginary depths.


Lynn Saville

USA @ USA

Dopo gli studi in storia dell’arte alla Duke University e al Pratt Institute, Lynn Saville (Durham,
North Carolina, 1950)si specializza in fotografia urbana e rurale. Vive a New York con il marito, il
poeta Philip Fried.
Le opere di Lynn Saville sono state acquisite da importanti collezioni pubbliche
e private quali:
Guggenheim Museum
New York Historical Society
MTA: Arts & Design Art Collection
Metropolitain Museum of Art (New York)
Art Institute of Chicago
North Carolina Museum of Art
International Center of Photography
National Portrait Gallery, Londra
Prudential Financial
The Mint Museum of Art, Charlotte, NC
Los Angeles County Museum of Art
Museum of Fine Arts, Houston
Milwaukee Art Museum
Denver Art Museum
Brooklyn Museum of Art
Museum of the City of Paris
Museum of the City of New York
California Museum of Photography
International Museum of Photography, George Eastman House
Oxford University, Bodleian Library
New York Public Library
PREMI E RICONOSCIMENTI
2021 Julia Margaret Cameron Award for Cityscapes
2017 MTA Arts for Transit Commission to Document “Grand Central Revealed”
1999 New York State Council for the Arts Grant
1989 New York Foundation for the Arts Photography Fellowship
1998 Premio Award, Scanno, Italy, Festival of Photography
MOSTRE PERSONALI (selezione)
2022 : University of Central Missouri; Alessia Paladini Gallery, Milan
2019 : Through the Lens Gallery, Durham, North Carolina
2017 :Grand Central Terminal, MTA Arts for Transit Lightbox Exhibition; Hodges Taylor Art Consultancy,
Charlotte; Griffin Museum’s Atelier Gallery at Stoneham Theatre, Boston
2016: Galerie Baudoin Lebon, Parigi; Florida Museum of Photographic Arts, Tampa, FL; Montgomery
Museum of Art, Montgomery, AL; Gallery Kayafas, Boston, MA
2015: Pratt Institute, Brooklyn, NY; Schneider Gallery, Chicago, IL; Florida School of the Arts, Palatka,
FL
2014: The University of Maine Museum of Art, Bangor, Maine; Schneider Gallery, Chicago
2013: Gallery Kayafas, Boston
2011: Schneider Gallery, Chicago
2010: Zoe Bingham Fine Art, Londra
2009: Yancey Richardson Gallery, New York; Kayafas Gallery, Boston
2008: Stephen A. Austin State University, TX; Montgomery Museum of Art, Alabama; Hodges Taylor
Gallery, Charlotte, NC
2007: Mint Museum of Art, Charlotte, NC; Pensacola Art Museum Pensacola Florida; Hiram College,
Hiram, OH,
2006: New York City MTA, Arts for Transit (installazione pubblica); Duke University, President’s
Gallery
2005: Duke University; Kathleen Ewing Gallery, Washington, D.C.
2004: The Photographers’ Gallery, Londra
2003: Yancey Richardson Gallery, New York City
2002: Brooklyn Public Library, New York
2001: Hiram College, Frohring Art Center, Hiram, Ohio
2000: Galerie Baudoin Lebon, Parigi
1999: The Photographers’ Gallery, Londra
1997: Yancey Richardson Gallery, New York; Jackson Fine Art Gallery, Atlanta, Georgia; John Cleary
Gallery, Houston, Texas
1996: New York University, Tisch School of the Arts, New York
1995: Columbia University School of Architecture; University of California, Berkeley, CA
1994: Moore College of Art, Philadelphia, PA; Photonica Gallery, New York
1993: Photo-four Gallery, South Suburban College, Chicago
1992: Mincher-Wilcox Gallery, San Francisco, CA; Marymount College, Tarrytown, NY
1990: University of Texas at Dallas, Texas
MOSTRE COLLETTIVE (SELEZIONE)
2021” :Julia Margaret Cameron Award Exhibition”, FotoNostrum Gallery, Barcellona; MIA Milan
Art Fair: Alessia Paladini Gallery, Milano
The Magic is in the Seeing: Philip Perkis and his Creative Legacy, Undercroft Gallery, New York,
“At Night”, Museum of the Big Bend, Alpine, Texas; Travelling without Moving, Alessia Paladini
Gallery, Milano” ;30 over 50,” Center for Fine Art Photography, Ft. Collins
2020: “Distinction,” Pacific Center North West, Seattle, WA
2019: ”Women Photographers Today,” Julia Margaret Cameron Award Winner for Cityscape , The
Space Nau Bostik, Barcellona
2017: North Carolina Museum of Art
2018” :Shifting Perspectives: Photographs of Brooklyn’s Waterfront”, Brooklyn Historical Society
exhibition at Brooklyn Bridge Park Warehouse
2016” :Lux: Manchester and the Modern American City” , Currier Museum of Art, Manchester,,
New Hampshire; “Urban Landscapes: Manchester and the Modern American City” at the Currier
Museum of Art, Manchester, New Hampshire; Into the Night: Modern and Contemporary Art
and the Nocturne Tradition, Tucson Museum of Art, Tucson, AZ
2015: Triangle Photography Festival, Neo-Pre-Proto-Post-Photography; Sky Exhibition, Griffin;
Museum of Photography, Winchester, MA; February Spotlights, ICP International Center of Photography,
New York
2014: Curator’s Choice Exhibition, Pro Arts, Jersey City Art Museum, Jersey City
2013: Santa Cruz Museum of Art, CA, “Photo ID”; College Saint Elizabeth, NJ, “Nocturnes” ; Tucson
Museum of Art, AZ, “Into the Night” ; Mint Museum of Art, Charlotte, NC, “Installation of artists
from permanent collection”
2008: Museum of Photographic Arts, San Diego, “The Photographer’s Eye”; Brooklyn Museum of
Art, Brooklyn, NY, “American Identities”; Harvard University, “Darkness, Darkness”
2007: Brooklyn Museum of Art, Brooklyn, NY, “American Identities”
2006: Westport Arts Center, Westport, CN, “Brooklyn”
2005: Duke University, Durham, N.C. “20/20: The Night Photographs of Lynn Saville and William
Gedney”; Opelousas Museum, Opelousas, Louisiana “New York Show”
2003: New York Foundation for the Arts, New York City, “Tanqueray No. Ten”;
2001: Samuel Dorsky Museum, New Paltz, NY, “Aesthetics of Contemporary Photography”
2000: Hudson River Museum, “Three American Night Landscape Photographers”; Deutsche
Bank
1995: Parsons School of Design, “Monuments and Memorials”
1991: Nikon House: New York ; Laguna Gloria Art Museum, Austin, TX
1990: Chevron Corporation Art Gallery, San Francisco, CA
INSTALLAZIONE PERMANENTE
Poet’s House, New York City in “The Green Room”: 29 Portraits of Poets

Per acquistare l’opera o per ulteriori informazioni potete contattare Alessia Paladini Gallery compilando questo form.
If you want to buy or if you are interested in further information please contact Alessia Paladini Gallery trough this form.

ENQUIRY FOR

Lynn Saville, Space for Rent, New York City, 2015








    ArtOnWall


    DESIGN POWERED BY