Edwynn Houk Gallery is delighted to announce the exclusive representation of Abelardo Morell (American, b Havana 1948), whose pictures transform and transcend the ordinary and everyday. Morell has been the subject of a major retrospective exhibition, “The Universe Next Door,” which started at the Art Institute of Chicago in June of 2013, toured to the Getty Museum, Los Angeles, and ended at the High Museum in Atlanta in May of 2014. Morell’s first exhibition at Houk Gallery was at the Zürich space in June of 2013.
Always intrigued with optics and how an image is constructed, Morell began his photographic career within the most steadfast of genres, the still life. His pared down images focused resolutely on simple, everyday items: a glass bottle, a page within a book, a child’s toy. In 1991, Morell, wanting to illustrate to his students the basic tenet of photography – light passing through an aperture and its projected image – stumbled upon what proved to be a turning point; Morell realized with his image “Light Bulb,” that any room, any space can be turned into a camera. Renowned for his camera obscura works, Morell has over the years perfected the technique and continues to use what is fundamentally one of the oldest, most primitive ways to make an image.
The passage of time and capturing it in a photograph has long fascinated Morell. In the beginning, his camera obscura photographs required exposures of several hours, but now with digital technology, it is much faster. He is able to show specific times of day in single images, moments can be pinpointed instead of hours passing.
Morell deftly balances a philosophical approach with a scientific rigor, and honoring a Modernist tradition, he continues to experiment, creating collages, cliché verre on glass, and for his camera obscura works, adapting a tent so that he can take the images outdoors. The effects of these images hark back to Impressionist painting where famous vistas are juxtaposed with unexpected, nontraditional surfaces, a marriage of two outdoor realities.
Morell lives and works in Boston. He studied at Bowdoin College and holds an MFA from Yale University, and an honorary doctorate from Bowdoin. In 1993, he was the winner of a Guggenheim Fellowship. Until 2009, he was a professor of photography at Massachusetts College of Art. Morell was the subject of a documentary film, “Shadow of the House,” in 2007. There are numerous publications and monographs on his work, including his illustration of Alice in Wonderland and ‘Book of Books,’ with an introduction by author Nicholson Baker. He was the recipient of the International Center of Photography’s Infinity Award in 2011. His work is in numerous private and public collections, including the Art Institute of Chicago, the Fondation Cartier, Paris, the Metropolitan Museum of Art, New York, San Francisco Museum of Modern Art, Victoria & Albert Museum, London, and the Museum of Modern Art, New York. Morell is the The Lucie Awards 2017 Honoree for Achievement in Fine Art.
None of these artists took a traditional approach to photography or landscape. And neither does the Denver Art Museum’s “New Territory: Landscape Photography Today.” Opening June 24, the exhibition features more than 100 works by 40 artists, including Messrs. Jeppesen, Ross and Chiara. Many of them have applied inventive, do-it-yourself technologies to the fundamentals of photography. The show explores how experimental work—focusing on process and concept—interacts with landscapes, said Eric Paddock, the exhibition’s organizer and curator of photography at the museum. It’s not always a pretty picture. Landscape, he said, “encompasses evil and wonder and danger and beauty.”
When Abelardo Morell decided to turn a floral bouquet into one of his celebrated photographs as a birthday gift for his wife, little did he know that this touching gesture would evolve into a major series of his work and become the subject of his forthcoming coffee-table book.
While his initial motivation to create a colorful floral still life was because it “felt more enduring than actual flowers, something in the making of that first photograph gave me a newly found spark to experiment in ways I had not done before,” he says. “Precisely because flowers are such a conventional subject, I felt a strong desire to describe them in new, inventive ways.”
Michael Eastman at Edwynn Houk Gallery
Missouri-born photographer Michael Eastman utilizes formal elements such as color, surface, and patina to express emotional narratives in his architectural images. In his expansive oeuvre, the artist aims to capture historical interiors and landscapes with a visual language that’s rich in color, architecturally precise, and emotionally evocative.
Abelardo Morell at Edwynn Houk Gallery
Cuban-born photographer Abelardo Morell is renowned for his mastery of a centuries-old technique of recording images with a camera obscura to capture urban and landscape scenes on monumental scales. View of Central Park Looking North, Spring, 2010 showcases the artist’s capacity to capture enchanting scenes that bring exterior spaces indoors.
Just as expressions like “corridors of the mind” and “window to the soul” illustrate a link between architecture and our inner world, the artists featured in Lived Space explore our psychological and physical attachments to the places we build and inhabit. In their work, interior rooms function as receptacles of memory, emotion, and identity. Some artworks show the human body merging with the built environment, while others present imaginary structures that exist solely in the artist’s mind. Drawn from deCordova’s permanent collection, the exhibition includes work by Kahn/Selesnick, Sarah Malakoff, Arno Rafael Minkkinen, Abelardo Morell, and Elaine Spatz-Rabinowitz, among others. Shown together, their artwork addresses our impulse to adapt and relate to our architectural surroundings, as well as the ways in which these spaces shape and inspire us.
On View Apr 4, 2018 - Sep 30, 2018.
Best known for his surreal camera obscura pictures and luminous black-and-white photographs of books, photographer Abelardo Morell now turns his transformative lens to one of the most common of artistic subjects, the flower. The concept for Flowers for Lisa emerged when Morell gave his wife, Lisa, a photograph of flowers on her birthday. “Flowers are part of a long tradition of still life in art,” writes Morell. “Precisely because flowers are such a conventional subject, I felt a strong desire to describe them in new, inventive ways.” With nods to the work of Jan Brueghel, Édouard Manet, Georgia O’Keeffe, René Magritte, and others, Morell does just that; the images are as innovative as they are arresting.
From Feb. 23 to 25, PHOTOFAIRS | San Francisco at the Fort Mason Center will host select galleries, exhibitions and public programming for its 2018 edition, alongside the work of cutting-edge artists which will be available for purchase for the first time on the West Coast. Highlights include new work by artists Alec Soth (Weinstein Gallery, Minneapolis); the West Coast debut of French visual artist Noémie Goudal (Les Filles du Calvaire, Paris); a female-focused presentation featuring Ruth van Beek and Eva Stenram from The Ravestijn Gallery (Amsterdam). Mandy Barker (East Wing, Doha), and Cuban artist Abelardo Morell (Edwynn Houk Gallery, New York & Zurich) will present works at the fair in addition to speaking in the Fair’s Conversations program.
Featuring 40 leading international and US galleries, PHOTOFAIRS | San Francisco is a highly curated, boutique fair that offers collectors and curators access to artists and galleries never seen before in the Bay Area.
Saturday, 24 February 2018
12pm-1pm: A Conversation with Abelardo Morell, Artist, and Erin O'Toole, Associate Curator of Photography, San Francisco Museum of Modern Art
1pm-1:30pm: Abelardo Morell: Tent Camera book signing in Edwynn Houk Gallery's booth, B01
The exhibition presents a selection of masterpieces from the history of photography, part of the collection of Sondra Gilman and Celso Gonzalez-Falla. Based in New York, it includes over 1500 original prints by some of the greatest photographers of the 20th and 21st centuries. Through visual confrontations, the visitor is invited to experience the power of the photographic line through these sublime works. Photographs by Bérénice Abbott, Eugène Atget, Robert Adams, Walker Evans, Man Ray Lee Friedlander, Vik Muniz, and Abelardo Morell constitute the exhibition.
Bringing together more than 80 pictures taken by photographers from the 19th century to today, (un)expected families at the Museum of Fine Arts, Boston (MFA), explores the definition of the American family—from the families we’re born into to the ones we’ve chosen. The photographs in the exhibition, on view from December 9, 2017 through June 17, 2018, depict a wide range of relationships—multiple generations, romantic unions and alternative family structures—whether connected by DNA, shared life experiences, common interests or even a social media network. Drawn primarily from the MFA’s holdings, the exhibition includes photographs by celebrated artists such as Nan Goldin, Gordon Parks, Nicholas Nixon, Sally Mann, Diane Arbus, Tina Barney, Emmet Gowin and Bruce Davidson. Photograph: Andrea Shea/WBUR.
The Denver Art Museum (DAM) proudly presents Challenging Terrain: Landscape Photography in the 21st Century, a survey of contemporary landscape photography from around the world. The exhibition of more than 80 photographs will gauge how living artists stretch the boundaries of traditional landscape photography to reflect the environmental attitudes, perceptions and values of our time. The works in Challenging Terrain will depict landscapes in unexpected ways, challenging visitors to see photography differently. Organized by the DAM and curated by Eric Paddock, curator of photography, Challenging Terrain will be on view June 24, 2018 to Sept. 16, 2018.
Works by well-known artists, including Cuban-American photographer Abelardo Morell, will be featured in the exhibition. His works focus on iconic views of America’s national parks made famous by previous generations of photographers, such as Ansel Adams. Morell’s process, rooted in photo history, uses a tent camera to project an image onto the ground that he then photographs digitally, resulting in familiar, yet unexpected works.
Artist Abelardo Morell reimagines scenery by turning entire rooms into camera obscuras—effectively merging interior and exterior spaces—and then photographing the results. He discusses how he developed this peculiar practice over time, and how he has found fulfillment infusing everyday environments with new enchantment.
Abelardo Morell’s camera-obscura view inside an attic, and of the sea brought in, is an emotionally accurate correlative for aspects of [To the Lighthouse's chapter] “Time Passes,” and I always think of it when I read the book. Though Woolf ’s fictional house is furnished and Morell’s attic is not, both writer and photographer show how nature reenters our carefully protected spaces (in Morell’s case by a tiny aperture and long exposure, and rendered upside down), restoring to the temporal the timeless.
The Lucie Awards is the premiere annual event honoring the greatest achievements in photography. Each year, the Lucie Advisory Board nominates the most outstanding photographers across a variety of categories. Abe Morell is the 2017 Honoree in the Achievement in Fine Art category. He will be honored with the award on October 29, 2017.
Where once visitors to the Morgan Library & Museum in Manhattan would see the gilded names of its wealthy founders, there is now a grid of well-worn books, each representing one of Henry David Thoreau’s journals that he kept for 24 years in the 19th century. This photographic collage by artist Abelardo Morell was donated in honor of the Morgan security guards, recognizing their sometimes unsung role at the museum.
In 1979, before he gained recognition for his photography, Abelardo Morell worked the night shift as a security guard for the Morgan Library & Museum. Now, Mr. Morell has donated a new work of art to the museum to honor its security staff. “Thoreau: 40 Journals in Chronological Order” will be on display at the Morgan from Tuesday through Sept. 10. as part of “This Ever New Self: Thoreau and His Journal,” which traces Henry David Thoreau’s life through notebooks and other artifacts.
GATHER THE FLOWER GIRLS
On a tiny farm in Washington State, one woman’s floral workshops have become something of a sensation.
By Cathy Horyn
Photographs by Abelardo Morell
Fifty years ago, the market for fine art photographs barely existed. Major auction houses only began including photographs in their sales in the early 1970s, and American museums were surprisingly late to the party, too. The first to collect was the Boston Museum of Fine Arts, which accepted 27 images from Alfred Stieglitz in 1924 — almost a century after photography was invented.
Today, anyone who argues that photographs can’t be fine art sounds like a crank. Treasures of the medium were displayed in the spring at The Association of International Photography Dealers show at Pier 94 in Manhattan, but New Yorkis a paradise for photography collectors year-round. These six galleries are proof.
The displays have great contrapuntal rhythms, between past and present, between color and black-and-white, and among sensibilities guided by burning social consciences, the drive to experiment or a joyful embrace of the medium’s idiosyncratic possibilities. Sometimes all of this can be found in one eclectic presentation. At Edwynn Houk, one of Robert Frank’s insightful images of Americans shares walls with Lillian Bassman’s innovative fashion photography and Abelardo Morell’s playful new still lifes, notably a scene of domestic catastrophe created for the camera from plywood, a ceramic pitcher and a plethora of flowers.
Flowers for Lisa, as it sounds, is Abe Morell’s ballad. Like a deliberate collection of bouquets from Manet, Mitchell and Penn, his new series is effeminate and tender, painterly yet instructed. Morell’s gingerly-framed flowers began as a birthday gift to his wife, Lisa McElaney, with a desire to prolong the pleasure that flowers suggest. Morell went on to investigate the language of flowers, and pronounced them by combining multiple frames of different arrangements to create images of euphoria.
There is the actual pond in Concord, with its trails, its cold depths, its sandy rim, its turtles and fish. And there is the pond that lives in our imaginations as the result of Henry David Thoreau’s classic “Walden.’’ Cuban-born and Boston-based photographer Abelardo Morell explores the interplay of the two through a quartet of panoramic photographs that will be exhibited as part of the launch of a year’s worth of celebrations at the Concord Museum marking the bicentennial of Thoreau’s birth.
By utilizing a basic principle of optics once used by Renaissance artists like Canaletto and Vermeer, photographer Abelardo Morell builds a "camera obscura" with which to capture landscapes and architectural wonders. Serena Altschul reports on how Morell's fascinating photographs really bring the outside in.
Artist Abelardo Morell reimagines scenery by turning entire rooms into camera obscuras — effectively merging interior and exterior spaces — and then photographing the results. He discusses how he developed this peculiar practice over time, and how he has found fulfillment infusing everyday environments with new enchantment.
One day in 1991, the photographer Abelardo Morell turned his Quincy, Mass., home into a camera. Employing an optical principle discovered two millennia before film, he darkened his living room with sheets of black plastic and cut a small hole to make a rudimentary lens. A view of his neighbors' white-sided colonials, rendered upside-down and fuzzy-edged, sprang up on the far wall. Capturing the faint image created by this fully furnished camera obscura ("dark chamber") with a regular camera proved difficult—an exposure of five to 10 hours proved to be the key—but this unusual technique eventually yielded the most striking photos of a superb career.
Abelardo Morell: The Universe Next Door opens on June 1st at the Art Institute of Chicago.
To read the full article, please visit The NY Times.