Paris Photo 2022
DANIEL BLAU is pleased to present a trio of outstanding exhibitions at this year’s PARIS PHOTO. The renowned Munich gallery has emphasized photography since its foundation, and takes pride in its international reach and reputation and the range of contacts it has earned. This year, its contribution to PARIS PHOTO encompasses nearly 80 photographs, a tripartite arch spanning from early, massive cityscapes of Rome to wartime photographs capturing the Japanese attack on Pearl Harbor to the first, fascinating examples of photography from space. This is mankind at its most grandiose and monumental – but also at its most dangerous, and ominous.
The unbelievable happened in 1969. A spacecraft crewed by humans touched down on the moon. Even now, the moon landing, and the missions into space that led up to and succeeded it, retain their fascination for us. A curation of high-quality images, both in color and in black-and-white, are presented here as kaleidoscopic insight into the NASA missions of the late 1960s and ‘70s they document. It could be that even the photo-enthusiast public sees little special, today, in space photography, overwhelmed as it is by countless satellites sending back high-resolution glimpses into the cosmos. If we cast our thoughts back some 60 years, though, NASA’s photographs appear again in new light: the surface of the moon recorded by man, the earth photographed for the first time from that lunar surface, heavily historic and phenomenal images. From a scientific perspective, of course, these missions, of an era already receding into memory, gained mankind a wealth of new information and ways of understanding the universe around us. The stillness, though, the endless quiet of these photographs, the play of light and shadow on another world and beyond our ken, the colors glistening off the horizons of other planets and into boundless space – these are artworks, pure, and fascinating moments in the history of photography.
The exhibition “KRONOS” features photographs taken on December 7th, 1941, of the Japanese attack on Pearl Harbor. The photographic propaganda material that helped define perceptions of the surprise attack stemmed from unlikely sources, from snapshots and the corners of unintentionally well-timed holiday memories. An otherwise innocuous beach scene contains a massive explosion; a section of Pearl Harbor is found in a birds-eye overview. We see concentric waves making their way towards a row of ships – in only a moment the waves’ torpedo will strike one. Daniel Blau has assembled an important collection of photographs, from multiple origins and a wide variety of techniques, documenting the attack. U.S. Navy photographers and rarely represented Imperial Japanese Army photographers are displayed alongside one another for the first time. What results is a haunting window into one brief instant in time, the historic flash of an unanticipated, world-altering attack, into the very nature of war photography and propaganda, and into the artistry and philosophical perspectives at play between explosions and snapping shutters.
One more highlight of this year’s presentation brings us into the classical past and before a different sort of grandeur, a monumental modern image of an antique monument. The largest enclosed building of the ancient world, the Roman Colosseum, was captured in photography by the Roman urban photographers Tommaso Cuccioni (1790-1864) and Giuseppe Ninci (1823-1890). The building itself dates to AD 79; the print is the earliest dated work our gallery is showing at Paris Photo, and one of the earliest large-format architectural photographs of any kind. It is an unusual piece of art, an albumen print almost 1.5 meters wide and executed in three parts. Ninci learned the craft of photography in Cuccioni’s studio, opening his own around 1866 not far from the Spanish Steps. Both photographers were known for their oversized topographic images of the Eternal City, as spectacular in their own right as the ancient edifices themselves are.
Grand Palais Éphémère
Vernissage (by invitation only):
November 9, 2022
3 pm – 9 pm
November 10 – 12, 2022
1 pm – 8 pm
November 13, 2022
1 pm – 7 pm
DANIEL BLAU is pleased to present “TONDO,” a truly unique exhibition of vintage pictures connected by their unusually well-rounded focus, for the PhotoSaintGermain Festival 2022.
The 23 photographs featured in the Anthony Meyer rooms, stretching in origin all the way back to the earliest days of the artform in the early nineteenth century, range from cityscape to portraiture, from images of far-off lunar craters to the architectural gems around us. What unifies them all is, of course, roundness, whether in their subject matter, in the technology behind them, or in the framing of the very photograph itself.
Tondi have an age-old place in art history, and with the advent of photography took a step into the modern world as well. Experimentation in roundness has been present from the first lens down through the innovation of the fisheye in the 1960s and ‘70s, reflecting the zeitgeist and aesthetic impulses of every generation from Voigtländer to Nikon. Here, DANIEL BLAU, together with SERGE PLANTUREUX, has brought together an extraordinary curation of roundness through the decades, outstanding work that encompasses historic milestones and natural timelessness, anonymous faces and monumental profiles. Lightning watchers at the Empire State are frozen in time by John Alger, beside Alvin Landon Coburn’s view of colleague Alfred Stieglitz.
“What is the aesthetic beauty of a circle? – or of a turning, curving movement,” DANIEL BLAU asks, in a recently published discussion between the two experts behind the exhibit. “Isn’t it something that is quite natural to us? Beginning with the iris being round, and the eye being round like a sphere, and the head being roundish, the sun and the moon being round… we are surrounded by all these spherical, and seemingly circular objects.” The reflection on and consideration of roundness is itself an endless one, always circling back upon itself, wherever we begin – the possibility, the potential, the resources, the subjects, the history, the technology, the very shape itself. Unusual as it can seem at first, the circle in photography is there at every turn.
The exhibition “TONDO” will be held in the Anthony Meyer Rooms at PhotoSaintGermain between November 3rd and 19th, 2022.
November 3rd – 19th, 2022
tuesday to friday
2:30 pm – 6:00 pm
11:00 am – 1:00 pm
exhibition at Galerie Meyer:
17, rue des Beaux-Arts
75006 Paris – France
Art Basel 2022
The 1980s, important years in painting, have always been a point of focus at DANIEL BLAU. On the occasion of our 30th anniversary exhibition at Art Basel, we will show highlights of our program, featuring works by renowned artists including Georg Baselitz (*1938), Alfred Jensen (1903-1981), Francis Gruber (1912-1948), Carl Fredrik Hill (1849-1911), Anselm Kiefer (*1945), Eugène Leroy (1910-2000), Roy Lichtenstein (1923-1997), Emilio Vedova (1919-2006) and Andy Warhol (1928-1987)
Our exhibition will focus on the 1980s, with a large untitled gestural painting by Vedova from 1983 and a colorful brush stroke painting “The Old Tree” by Lichtenstein from the following year, complemented by the “Adlerkopf” painted by Baselitz (1986). Alongside these grandmasters, some artists working outside the main-stream are also of interest, such as Hill, Gruber and Jensen, who have been so influential to modern and contemporary artists alike. Hill, who had an academic education in Paris, almost exclusively used pencil and paper after his nervous breakdown in 1878, producing a large body of works on paper, which have been inspirational to artists ever since, will be exhibited for the first time at Art Basel. The French Francis Gruber and Swedish Evert Lundquist are two further artists lesser known to the general public but heroes within the art community. Gruber, who unfortunately died at the age of 36, will also be shown at Art Basel for the first time. Further on view are drawings by Kiefer, Baselitz, Polke and Warhol.
We look forward to seeing you in Basel.
June 14 – 15, 2022
11 am – 8 pm
Wednesday, June 15, 2022
5 pm – 8 pm
June 16 – 19, 2022
11 am – 7 pm
Paris Photo 2021
DANIEL BLAU is pleased to present four special exhibitions at Paris Photo 2021, covering three centuries of photographic history.
Dating back to the middle of the nineteenth century, our earliest items were created by photographic pioneer Louis Alphonse Poitevin, a man whose life’s work enriched both the artistic and the technological development of the young art form. Through years of chemical experimentation he devised a procedure allowing him to print and distribute his images in mass‑market books. Having grasped the potential of photographic images as a form of mass media at a very early stage in the history of photography, Poitevin finds himself spoken of today alongside his colleagues Daguerre and Niépce, one of the “troisième homme de la photographie”.
The outstanding examples of his work that Daniel Blau is presenting at Paris Photo are noteworthy for their technical mastery within their historical context, their remarkable attention to detail, and their pure artistic value.
A catalogue of Alphonse Poitevin’s works is being published to accompany this exhibition.
The second exhibition we will show at Paris Photo is a collection of original vintage NASA prints. Works include remarkable photographs from a range of twentieth century space missions, notably the Apollo XI moon landing in 1969 as well as the earlier Apollo VIII mission, which successfully orbited the moon before returning to Earth. The ‘Earthrise’ photographs of our planet taken from space are among the most beautiful and affecting of those from the space programmes Striking color photographs from Voyager missions to the outer reaches of our solar system feature the vivid details of Saturn’s rings and Jupiter’s red spot. We will also show the first color photo taken on Mars, produced by NASA’s Viking Lander. Accompanying the NASA pictures are photos from the Soviet Zond programme – a series of robotic spacecraft launched between 1964 and 1970. Originally created for purposes of documentation and scientific enquiry, these pictures are now valued for their artistic merits as well as their historical significance.
The third exhibition we will be presenting at Paris Photo 2021 is a collection of rare photographs focusing on the atomic bombings of Hiroshima and Nagasaki in August 1945. These images speak to one of the most devastating military decisions in history, from both a Japanese and an American perspective. Yosuke Yamahata’s photographs of August 9, 1945
offer us a unique fi rsthand insight into a city’s total destruction, and the fate of the men and women who lived through it. This exhibition is also being accompanied by a publication.
A true highlight of our offerings this year is twin set of contemporary photographs from Blau Gallery’s own Sofia Valiente, the winner of Daniel Blau’s young photographers 5 Under 30 competition in 2015. Her projects “Miracle Village” and “Foreverglades” are accompanied by photo books available at our booth. For “Miracle Village,” the artist lived among registered sex offenders in a rural Florida community. Her report from that time includes photographs
and handwritten testimonies from the residents. “Foreverglades” brings stories from the Florida Everglades and the state’s pioneer past to new light. Sofia’s work has been featured in publications including Time, The Guardian, El Mundo, Vice and American Photo Magazine, and has been exhibited in London, New York and Paris. In 2015, she received the World Press Photo award for “Miracle Village” (1st prize, portraits, stories), the South Florida Cultural Consortium Artist Fellowship, and Burn Magazine’s Young Talent Award. “Miracle Village” and “Foreverglades” are also accompanied by a booklet.
NEW LOCATION !!
Grand Palais Ephemere
Champs de Mars
November 10, 2021
11 pm – 9 pm
November 11 – 14, 2021
Daily: 12 am to 8 pm
Art Basel 2021
DANIEL BLAU is pleased to present an exhibition of modern and contemporary work by renowned international artists at Art Basel 2021. The show encompasses multiple media, from works on paper to oil paintings on canvas and stained-glass compositions.
Among the highlights is a selection of ink line drawings by Andy Warhol (1928-1987), presented here in stunning antique frames. His exceptional draughtsmanship and interest in the human form is visible in these early works from the ‘50s. Warhol’s drawings have been the focus of ever-growing attention in recent years, receiving widespread acclaim after a number of high-profile museum exhibitions, and we are pleased to bring them now to our Art Basel audience.
A number of contemporary artists, including Billy Al Bengston (b. 1934), Markus Lüpertz (b. 1941) and Georg Baselitz (b. 1938), will be exhibited through DANIEL BLAU as well. We are excited to be the first gallery to present a Bengston painting at Art Basel: his large, boldly colored 1981 Malu Draculas. It is a piece highly typical of Bengston, whose vivid watercolour and paper collages evoke the warm Pacific landscapes of his home, of the Californian and Hawai’ian earth, ocean, and sky he lives and works among.
The discovery of the “Dithyramb” – a term from the poetics of the antique world, originally denoting a form of song in praise of Dionysus, god of wine, and which has come in common parlance to describe an attitude of exuberance towards life, of a passionate ‘inspiration’ and ‘drunkenness’ – marks the beginning of Markus Lüpertz’s painting career. His thick brushstrokes lash out at the viewer from the large, two-meter canvas in the striking example exhibited here, Weintraube (Dithyrambisch), granting his subject – an otherwise ordinary bunch of grapes – a truly monumental quality.
Baselitz’s hand is immediately recognisable for the swift, confident strokes that characterise all of his work, from sculptures and paintings to more intimate paper-based art. On exhibition will be a first state proof (from an edition consisting of nine diverse prints) of one of his first, gigantic linocuts. Here, as in countless other works, the artist’s wife, Elke, acts as his subject and muse.
Also on display are two stained-glass windows by Neal Fox (b. 1981), whose colorful and highly detailed work takes a special delight in the musical and countercultural universes it references and asks us to revel in too.
A rare example from Kirkeby’s transitional period, a boldly painted eagle head referencing American Pop and Abstract Expressionist artists like Rauschenberg.
Eugène Leroy is a much-overlooked master of texture and light on canvas.
ar. Penck is present in one of his rare early canvases which at the time had to be smuggled out of East Germany – by unstretching them and folding them to fit in the trunk of a car to be exhibited on the western side of the iron curtain.
September 20 – 23, 2021
11 am – 8 pm
September 24 – 26, 2021
11 am – 7 pm
Grapes Lost and Found
In a recent conversation I had with Billy Al Bengston, he quoted his racing buddy: “If it only costs money, it’s cheap.” Being an avid collector myself (although not of Contemporary Art) my interpretation of his words is: It can take a lot of effort, time and money to track down a specific object. Sometimes it can take years and money can’t help.
We had an exhibition of large Lüpertz paintings from 1967-70 at Art Basel in 2005. The paintings were huge. The show looked stunning and was a great success. The painting “Weintrauben” did not find a place in the show of tree trunks, telegraph poles and tunnels and remained upstairs in storage to return with the other works to Germany after the fair. But it never arrived. We only realised it had gone missing about a year later when a loan request for the work came and we couldn’t locate it.
Now 15 years later a friend sends me this cryptic text message: “Dear Daniel, tell me, are you missing a grape painting? I hope you are well. Best wishes…”
It turns out that the crate with our label still on it mysteriously turned up in a private furniture warehouse in Munich. The owner of that warehouse is a friend of our friend. I thought “Great! The grapes are back.” But then the finder emailed: “How can I be sure you are the owner? I think I’d better go to the police.” Days of silence followed. The painting had vanished again. Then somebody within the city’s Lost and Found department called up. He had been referred to us by the Lenbachhaus, and wondered if we dealt in Lüpertz? “There is this painting someone found…”
I am sure that many of the artworks we enjoy today would have fascinating stories to tell, if only they could speak to us in words as well as with their beauty. I thought this lucky moment merited a presentation on the theme of flora and colour.
Karl-Heinz Schwind was our first exhibition when we opened some 30 years ago. His works are pure energy.
Eugène Leroy, who sometimes worked for several years on a painting before considering it finished, Don van Vliet, cult musician and painter and Billy Al Bengston, known for his tropical themes and vivid colors, are well known and do not need my introduction.
David Byrd is neither “Insider” nor “Outsider”. Having studied art after WWII under Amédée Ozenfant he only developed his mature style and produced his most defining body of work after he started working as an orderly at a hospital psychiatric ward, from 1958-88.
His paintings defy any of the “Isms” we usually like to apply to art we see; they stand apart from Pop, Realism or Expressionism. If anything I would refer to his work as New York Surrealism. Byrd’s works have an airy and somewhat evanescent quality, as if viewed through a milky glass.
Guerle and Nény were true self-taught artists who remained more or less in obscurity but whose visual languages are equally inspiring and distinctive as the better-known artists in our exhibition. They only came to my attention through writers like Hans Prinzhorn or Dr. Jean Lacassagne, who were interested in and propagated the artistic output of mentally insane or criminal individuals. Prinzhorn’s Bildnerei der Geisteskranken (Berlin 1922) and Albums du Crocodile by Lacassagne (Lyon 1939) have been rare sources of information on these fascinating artists.
Register for Online Viewing Room here
Foreverglades by Sofia Valiente
Daniel Blau is thrilled to present Foreverglades – a major new project by interdisciplinary artist Sofia Valiente. The exhibition brings stories of the Glades and Florida’s pioneer history to new light through a series of contemporary photographs displayed inside a 41-foot replica of a steamboat and published in a unique photo book.
Valiente’s artistic work is driven and distinguished by lengthy periods of rigorous field research that involve her living within the communities she photographs. Foreverglades has emerged from a period of five years of personal experience and research in the Glades.
We are delighted to bring Foreverglades to local and international audiences in New York, where it will be on view on Pier 94 during Paris Photo NY.
The book is available through Sofia Valientes website. Click here
Paris Photo New York
711 12th Ave, New York City,
(car access from 55th St /12th Ave)
Paris Photo New York officially postponed
A new date will be announced as soon as possible
Andy Warhol – 1950s works on paper
January 24 – February 2, 2020
Daniel Blau is pleased to present a group exhibition of works on paper by renowned modern and contemporary artists Georg Baselitz (*1938), Anselm Kiefer (*1945), Sigmar Polke (1941-2010) and Andy Warhol (1928-1987).
Open Daily 12 – 8 pm
Sundays & Thursday 12 – 6 pm
Tuesday 12 – 4:30 pm
Park Avenue Armory
Park Avenue at 67th Street
New York City
OPENING NIGHT PARTY
Thursday, January 23, 2020, 5 – 9 pm
YOUNG COLLECTORS NIGHT
Thursday, January 30, 2020, 6 – 9 pm
Friday, January 31, 2020, 5:30 – 8 pm
Visit Website: The Winter Show
The Winter Show is the leading art, antiques, and design fair in America, featuring 72 of the world’s top experts in the fine and decorative arts.
Held at the historic Park Avenue Armory in New York City, the fair highlights a dynamic mix of works dating from ancient times through the present day and maintains the highest standards of quality in the art market. Each object at the fair is vetted for authenticity, date, and condition by a committee of 150 experts from the United States and Europe.
illustration: © 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York
Wellenreiter ▪ Le Gray ▪ Andy Warhol
A photograph is the result of an interplay between physical and chemical processes and the subject in front of the camera. The technical challenges posed by space photography are
particularly obvious in these early astronomical pictures.
Some of the most magical and esoteric photographs have been created as by-products of 20th Century scientific space missions. At Paris Photo 2019 we are pleased to present a selection of these pictures, many of which are the visual manifestation of historic events.
Rapid technological advances in the 1920s paved the way for electronic transmission of images by cable and radio. In 1946 an adapted German V2 rocket took off from White Sands, New Mexico, taking photographs of Earth at a record-breaking altitude of 65 miles above the ground. These were the first images of our planet to be taken from space. A 48 page catalogue with 35 images is published on this occasion.
Gustave Le Gray
We will also show works by Gustave Le Gray (August 30, 1820 – July 30, 1884) – the most important French photographer of the nineteenth century. Le Gray promoted and helped to establish photography as a means of artistic expression, thus differentiating it from the scientific approach and placing it next to painting.
Le Gray is also known for his role as the teacher of other noted photographers such as Maxie Du Camp and Olympe Aguado, and for the extraordinary imagination he brought to picture making.
Our show includes a newly discovered panorama taken in Egypt and some of Le Gray’s early photographs dating from 1849 to 1952 with scenes of nature at Fontainebleau Forest. The exhibition will also present a selection of his most renowned photographs taken while he was hired for the Missions Héliographiques to document French monuments and buildings. Le Gray’s photographs are not just technical masterpieces but also visionary works of art.
In addition to our displays of space pictures and works by Le Gray, we present an exhibition of Andy Warhol’s evocative line drawings, focusing on works inspired by photographs he found in LIFE magazine.
These distinctive drawings, many of which are studies of the human form, are executed in ink and pencil on paper. They reference the evolving magazine industry that fascinated Warhol and are situated firmly within the cultural era of the moment. Daniel Blau’s discovery of the original source materials used by Warhol gives insight into the early career of one of the 20th century’s most influential artists.
50 Years of Post-War Works on Paper
Vernissage (by invitation only)
Wednesday, June 12, 2019, 11am to 8pm
June 13-16, 2019, 11 am to 7pm
Daniel Blau is pleased to present a group exhibition of large-format works on paper by renowned international artists including Andy Warhol (1928-1987), Antonius Höckelmann (1937-2000), Georg Baselitz (*1938), Arnulf Rainer (*1929), Emilio Vedova (1919-2006) and ar. Penck (1939-2017).
In a series of bold 1980s works on paper by Penck the influences of the artist’s parallel practices as a sculptor and jazz drummer are palpable. These gestural works are characterised by rhythm and spatial awareness. These striking monochromes are complemented by a selection of earlier, color, almost abstract pieces from the 1970s – in black, red and blue gouache and wax crayon, perhaps coincidentally the colors of German electric cabling.
The human form and portraiture are the primary subjects of Andy Warhol’s line drawings from the 1950s, discovered in the artist’s estate. Warhol found inspiration in the pages of publications such as LIFE magazine, and many of his drawings reference photographs and graphic advertisements of the time. We are showing a selection of individual drawings of men, women and children.
Other exhibition highlights include works on paper by Arnulf Rainer and Emilio Vedova and ‘Orgie 1’ (1967-60) a large-scale charcoal and pencil work on paper by Antonius Höckelmann, who trained as a wood sculptor in the 1950s and whose mixed media works often combine sculpture and painting.
There is an appealing immediacy to these energetic and unpolished pieces, qualities that are also visible in in two towering oil paintings on canvas by American artist and musician Don Van Vliet – aka Captain Beefheart. His painting ‘Archaic Faces Frenzy’ (1986) depicts elongated figures set against a vivid background.
The post-WWI period is represented by a small group of nudes and erotic pencil drawings by George Grosz.