6 Sept 2007 to 27 Oct 2007
Hours : Tuesday - Friday, 10-5:30pm
Sat, 11 - 5:30pm
Laurence Miller Gallery
20 West 57th Street
NY 10019
New York, NY
New York
North America
p: +1 (212) 397 3930
m:
f: +1 (212) 397 3932
w: www.laurencemillergallery.com
Burk Uzzle Just Add Water: America in Color September 6 � October 27, 2007
Laurence Miller Gallery inaugurates its fall season on September 6 when Burk Uzzle fills the entire space with his unique view of the persons, places and oddities that define the singular and diverse character of America. The main gallery will feature Uzzle�s first series in color, taken from his new monograph Just Add Water; in the smaller room, the carbon prints of the home of the assemblage artist, John Herrmann; and on a singular wall twelve iconic, rare, vintage prints taken at Woodstock during the summer of love. The disparate nature of these three visions is best understood in Vicki Goldberg�s introduction to the book:
He�s conducted a visual love affair with America for years. Uzzle likes her funny face and doesn�t want her to change a hair for him. He sympathizes with her bad moods, her tragedies, her rather glaring imperfections, her obstreperous beauty, her unlikely aspirations. He is as fond of, and amused by, a bush having a really bad hair day at the side of the road as he is of a tree that ate a bicycle and couldn�t digest it.
Burk Uzzle grew up in the south, began working at the age of 14, got his first full-time job as a photographer at age 17, became LIFE�s first contract photographer at age 23, and has twice been elected president of Magnum. In spite of, or because of, his intrepid nature�he has traveled throughout America and Europe many times�he has said it is the small towns and ordinary places that interest him most. In Just Add Water: America in Color, Uzzle shares his love of and fondness for the American landscape and her people in an extraordinary way, by photographing the most unlikely people and things: a wall of gum in Seattle, a plastic Santa on a porch in Florida, POPEYE spelled out in wreaths in a cemetery in North Carolina.
The carbon prints of John Herrmann�s home are the 21st century version of a 19th century process, the most truly permanent and tonally vibrant of all extant color processes. The richness of their production enhances the extraordinary quality and quirkiness of the imagery tomake for a truly astounding rendition of the artist�s obsessive collections-- in full, living, breathing, glorious color.
