10
Jul
13

Henry Wessel :: ‘New Topographics’ (Photography)

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“You’re suddenly seeing the coherence and interconnectedness of everything, left to right, bottom to top, front to back. It’s all connected, and somehow, it’s all in balance. And that’s, when you go ‘Yes!’” H Wessel

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artwork_images_168878_675461_henry-wessel

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‘Waikiki No. 9’
silver gelatin print
Henry Wessel
1979
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jhddg

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‘Incidents No. 16’
silver gelatin print
Henry Wessel
16 × 20 in
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artwork_images_138625_267827_henry-wessel

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‘Pismo Beach, CA’
silver gelatin print
Henry Wessel
1974
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HWE.049_email

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‘Berkeley, California’
silver gelatin print
Henry Wessel
1971
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1276634365

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‘Hollywood, California’
silver gelatin print
Henry Wessel
1972
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13_new-mexico-iii

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‘New Mexico III’
silver gelatin print
Henry Wessel
1969
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tumblr_mgbnfmJu5r1qex654o1_1280

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‘Tucson, Arizona’
silver gelatin print
Henry Wessel
1976
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khggg

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‘Incidents No. 8’
silver gelatin print
Henry Wessel
16 × 20 in
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gghk

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‘Incidents No. 6’
silver gelatin print
Henry Wessel
16 × 20 in
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HWE.045_email

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‘New Mexico’
silver gelatin print
Henry Wessel
1968
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Henry Wessel first gained recognition in the 1970s as part of the New Topographics, a group of photographers who challenged the conventions of documentary and landscape photography, capturing instead the poetry of seemingly mundane scenes and subjects—traffic lights, advertisements, empty landscapes, and suburbia. During the 1970s he moved to San Francisco from New York after falling in love with the brilliant quality of light in California. There, in both black-and-white and color film, he photographed the vernacular architecture and social landscape of his surroundings, in prints with long shadows and rich tonal variations… [Extract]

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gallery focus21

pace/macgill gallery

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