Karen Rosenberg of The New York Times praises the Paul Graham exhibition, Does Yellow Run Forever?, at 510 West 25th Street for its “sentimental lyricism, with strong Romantic leanings.” The show, organized by Pace and Pace/MacGill, will remain on view through Saturday, October 4, 2014. Coinciding with the exhibition, MACK has published a new, 96-page monograph featuring color photographs. Read more from The New York Times here.
Pace is pleased to announce its inaugural participation in SP-Arte, taking place at the Pavilhão Ciccillo Matarazzo, in São Paulo from 4 – 7 April 2013. The gallery’s booth (G2) will include Joel, a large-scale oil-on-canvas portrait of American sculptor Joel Shapiro by Chuck Close; an elegant sculpture by Alexander Calder; a stained glass sculpture homage to the legendary Brazilian architect Oscar Niemeyer by Brian Clarke; and a painting by Mark Rothko. The gallery is proud to feature work
Art in America has picked Paul Graham's Pace exhibition The Present as one of the top photography shows of 2012. Graham's inaugural show at the gallery presented a new series of largescale diptychs of New York City street scenes, showing the same location shot moments apart. The exhibition was the only non-museum exhibition on the list. Click here to view the full list, selected by Joshua Chuang, associate curator of photography and digital media at the Yale University Art Gallery.
In the mid-20th century, photographers such as Garry Winogrand, Harry Callahan, Lee Friedlander, and Helen Levitt captured the vitality of the modern city and helped define the genre of “street photography.” Until this day, one of the guiding tenets of the genre was the “decisive moment.” Coined by the famous French photographer Henri Cartier-Bresson, the decisive moment was the rare, but fortuitous, convergence of human drama and compositional elegance that could occur within a photograph in th
This is a work from Paul Graham’s new show called “The Present,” at Pace Gallery’s 22nd Street space in New York. Just when it seemed impossible for anyone to revive the great American tradition of street photography, Graham brings it into the digital age. (Click on the image to enlarge it.) His large-scale color photos of New York aren’t digitally manipulated or anything like that, but by always presenting them in pairs or trios, shot seconds or less apart from about the same streetside spot, h
The Pace Gallery and Pace/MacGill 545 West 22nd Street, Chelsea Through April 21 The latest series by the British photographer Paul Graham reinvents street photography for an age of perpetual distraction. On view in Chelsea and collected in a new monograph, “The Present” completes a trilogy that includes the bleached-out landscapes of “American Night” and the stuttering vignettes of “a shimmer of possibility,” and brings the fractured, impaired vision of these earlier, countrywide bodies of work
Paul Graham has been named as the winner of the 2012 Hasselblad award, which is presented annually to "a photographer recognised for major achievements". It is the first time a British photographer has won the prestigious international prize. Previous recipients include Robert Adams (2009), Nan Goldin (2007) and William Eggleston (1998). Graham, who had a major retrospective at the Whitechapel Gallery in London last year, is a self-taught photographer. He was born in Buckinghamshire and discover
Paul Graham is a British artist based in New York and a recipient of a 2010 Guggenheim Fellowship in the category of photography. His latest body of work is on view in “The Present” at the Pace Gallery until March 24. In conjunction with the exhibition, MACK will publish a monograph of his new work. Here, Graham discusses the sixteen diptychs and two triptych photographs in the show. THESE ARE NEW YORK STREET PHOTOGRAPHS, that unique genre of photography where you dance with the Brownian motion
To take on street photography, particularly New York street photography, and make it new would be a daunting task for any contemporary photographer, and certainly for one who counts the greatest practitioners of the 1960s and 1970s among those whose work he most admires. Yet this is the challenge the British photographer Paul Graham set himself four years ago. The results are about to be published in a new book that completes what has developed into an American trilogy, made over the past decade
Paul Graham's exhibition at London's Whitechapel gallery is filled with people who are just looking. We observe their rapt attention, their lostness, absorbed in things that we can't see. They stare at TVs beyond the frame, their faces caught in the glow of the screen; they look out of cafe windows, distracted by the passing traffic. They wait in dole offices whose grimness is an insult to the eye. In the corners of nightclubs, people stand with their eyes closed, engulfed in music, or booze, or