NEW YORK, NY.- Laurence Miller
launches its 2016 program with PARIS PHOTO REVISITED, a reinstallation of its stand at last months Paris Photo.
After 19 years, Paris Photo has become the largest and most prestigious of all the art fairs worldwide devoted to photography. However, the fair was unexpectedly cut short this year. In the wake of the terrorist attacks that struck the heart of Paris on the night of Friday, November 13th, the French Ministry of Culture closed all public buildings in Paris, including the Grand Palais, where PARIS PHOTO was being held. Approximately 25,000 visitors had been expected at the show that weekend.
PARIS PHOTO REVISITED provides a unique opportunity to view the works that had been on exhibit at our stand, paying tribute to the many artists who made great efforts to produce and deliver the works we had on display, and the consignors who generously lent us works for sale.
Helen Levitt: Twists and Turns
Helen Levitt's playfully poetic photographs, made over the course of sixty years on the streets of her native New York City, are notable for the way they find delightful twists within the daily lives of her subjects. The New York Times described her as: "a major photographer of the 20th century who caught fleeting moments of surpassing lyricism". One thing that set Levitt apart from the more socially concerned documentary street photographers of her time was her focus on the body language of her subjects. Frequently what her photographs are most about are dance-like gestures; by turns elegant, or comic, and sometimes both at once. Children were a particularly fruitful subject for Levitt, their games suggestive of both inventive whimsy as well as miniature allegories.
James Agee once described Helen Levitt's pictures of children thusly: The overall preoccupation in the photographs is, it seems to me, with innocence-not as the word has come to be misunderstood and debased, but in its full, original wildness, fierceness, and instinct for grace and form.
Helen Levitts photographs, in black and white and later in color, reflected her good humored creative vision while also giving an honest portrayal of her subjects. What she captured was every-day people performing a gritty yet graceful dance on the stage afforded by the sidewalks and stoops of New York City.