CONTACT

December 8, 2016 – February 11, 2017

Steve Schapiro
Andy Warhol, Edie Sedgwick and Entourage, New York, 1965    
Silver Gelatin Photograph, Ed. 10/10
26 1/2 x 40 in.
Signed, stamped, titled, dated, numbered on label verso

Steve Schapiro

Andy Warhol, Edie Sedgwick and Entourage, New York (Contact Sheet), 1965

Vintage Silver Gelatin Photograph

11 x 8 7/16 inc.

Signed on verso
 

Herb Ritts
Versace Dress, Back View, El Mirage, 1990    
Silver Gelatin Photograph, Ed. 7/12
54 x 43 in.
Signed, titled, dated, numbered verso

Herb Ritts
Versace Dress, Back View, El Mirage (Contact Sheet), 1990    
Silver Gelatin Photograph
10 x 8 in.
Unsigned

Arthur Elgort
Kate Moss at Cafe Lipp (Horizontal), Paris, Vogue Italia, 1993    
Archival Pigment Print, Ed. 9/12
40 x 60 in.
Signed, titled, dated, numbered on label verso

 

Arthur Elgort
Kate Moss at Cafe Lipp, Vogue Italia (Contact Sheet), 1993    
Vintage Silver Gelatin Photograph
11 x 9 1/2 in.
Signed verso

 

William Claxton
Peggy Moffitt in Rudi Gernreich, Topless Swimsuit, 1964 Ed. 8/12  
Archival Pigment Print
60 x 40 in.

 

William Claxton
Peggy Moffitt in Rudi Gernreich, Topless Swimsuit (Contact Sheet), 1964    
Vintage Silver Gelatin Photograph
10 3/8 x 8 in.
Signed, dated, stamped verso

 

Norman Seeff
Carly Simon, "Playing Possum", Los Angeles, 1974    
Archival Pigment Print, Ed. 10/50
40 x 60 in.
Signed, titled, dated, numbered verso on label

 

Norman Seeff
Carly Simon, "Playing Possum", Los Angeles (Contact Sheet), 1974    
Silver Gelatin Photograph
8 x 10 1/4 in.
Signed verso

 

Roxanne Lowit
Kate Moss at Vivienne Westwood, 1993    
Silver Gelatin Photograph, 1/11
36 x 23 1/2 in.
Signed, titled, dated, numbered on label verso

Roxanne Lowit
Kate Moss at Vivienne Westwood (Contact Sheet), 1993    
Silver Gelatin Photograph
9 1/2 x 12 in.
Signed, titled, dated verso

Julian Wasser
Joan Didion at Home in Hollywood, Time Magazine, 1968    
Archival Pigment Print
23 3/4 x 37 1/8 in.
Signed verso

 

Julian Wasser
Joan Didion at Home in Hollywood, Time Magazine (Contact Sheet), 1968    
Archival Pigment Print
11 1/4 x 8 1/2 in.
Signed verso

 

Bob Willoughby
Audrey Hepburn riding her bicycle on the set of "My Fair Lady" with her dog Assam, 1963    
Archival Pigment Print, Ed. of 12
40 x 30 in.
Estate stamped, titled, dated, numbered verso

 

Bob Willoughby
Audrey Hepburn riding her bicycle on the set of "My Fair Lady" with her dog Assam (Contact Sheet), 1963    
Vintage Silver Gelatin Photograph
11 x 8 1/2 in.
Unsigned

 

Bob Willoughby
Katharine Ross & Dustin Hoffman, running from the church at the end of "The Graduate", Paramount Studios (REF # A070), 1967    
Archival Pigment Print, Ed. 6/12
30 x 43 in.
Estate stamped, titled, dated, numbered verso

 

Bob Willoughby
Katharine Ross & Dustin Hoffman, running from the church at the end of "The Graduate", Paramount Studios (Contact Sheet), 1967    
Vintage Silver Gelatin Photograph
11 x 8 1/2 in.
Stamped verso

 

Phil Stern
James Dean (Feet Up), 1955    
Archival Pigment Print, Ed. of 10
48 x 60 in.
Signed, stamped, numbered verso

Phil Stern
James Dean (Feet Up), Contact Sheet, 1955    
Silver Gelatin Photograph
16 x 20 in.
Signed, stamped, titled, dated verso

 

Stephen Somerstein
Dr. Martin Luther King, Jr. speaking to 25,000 civil rights marchers at end of Selma to Montgomery, Alabama march, March 25, 1965    
Archival Pigment Print, Ed. 3/10
38 3/4 x 58 in.
Signed, titled, dated, numbered, stamped on label verso

Stephen Somerstein
Dr. Martin Luther King, Jr. speaking to 25,000 civil rights marchers at end of Selma to Montgomery, Alabama march, March 25 (Contact Sheet), 1965    
Silver Gelatin Photograph
8 1/2 x 11 in.
Signed, titled, dated, stamped verso

 

Phil Stern
Frank Sinatra and John F. Kennedy, Kennedy Inaugural, Washington, D.C, 1961    
Archival Pigment Print, Ed. of 10
59 3/4 x 47 3/4 in.
Unsigned

 

Phil Stern
Kennedy Inaugural, Washington, D.C (Contact Sheet), 1961    
Vintage Silver Gelatin Photograph
11 x 8 1/2 in.
Unsigned

 

Robert Jackson
The Murder of Lee Harvey Oswald, 1963 Ed. 29/100  
Silver Gelatin Photograph
11 x 14 in.
Signed recto

 

Robert Jackson
The Murder of Lee Harvey Oswald (Contact Sheet), 3 Frames, 1963    
Archival Pigment Print
Signed and dated verso

 

Harry Benson
Beatles Pillow Fight, Paris, 1964    
Archival Pigment Print, AP 1/5
40 x 40 in.
Signed, titled, dated, numbered verso

Harry Benson
Beatles Pillow Fight, Paris (Contact Sheet), 1963    
Archival Pigment Print, Ed. 5/35
11 1/4 x 14 1/4 in.
Signed, titled, dated, numbered recto

 

Daniel Kramer
Bob Dylan and Joan Baez in Crossed Lights, New Haven, Connecticut, 1965    
Archival Pigment Print, Ed of 1/10
38 x 57 1/2 in.
Signed, titled, dated, stamped on label verso

 

Daniel Kramer
Bob Dylan and Joan Baez in Crossed Lights, New Haven, Connecticut (Contact Sheet), 1965    
Archival Pigment Print
17 x 22 in.
Signed and stamped verso

 

Joel Brodsky
Jim Morrison, The American Poet, 1968    
Archival Pigment Print, Ed. 2/25
30 x 30 in.
Estate stamped, Signed, Valerie Brodsky

 

Joel Brodsky
Jim Morrison, The American Poet (Contact Sheet), 1968    
(1) 10 x 8 Inch Vintage Silver Gelatin Photograph and (1) 10 x 8 Inch Silver Gelatin Photograph
Estate stamped verso

 

Norman Seeff
Robert Mapplethorpe and Patti Smith, New York, "Robert & Patti II", 1969    
Archival Pigment Print,  Ed. 18/50
28 1/8 x 41 3/4 in.
Signed, titled, dated, numbered, stamped on label

 

Norman Seeff
Robert Mapplethorpe and Patti Smith, New York (Contact Sheet), 1969    
Silver Gelatin Photograph
8 1/2 x 11 in.
Signed verso

Julian Wasser
Marcel Duchamp Playing Chess with a Nude Eve Babitz, 1963     
Archival Pigment Print
23 3/4 x 37 1/8 in.
Signed verso

 

Julian Wasser
Marcel Duchamp Playing Chess with a Nude Eve Babitz (Contact Sheet), 1963    
Silver Gelatin Photograph
22 1/2 x 18 in.
Signed verso

 

Steve Schapiro
Andy Warhol, Castelli Gallery, New York, 1965    
Silver Gelatin Photograph, Ed. 1/8
60 x 40 in.
Signed, titled, dated, numbered on label verso

 

Steve Schapiro
Andy Warhol, Castelli Gallery, New York (Contact Sheet), 1965    
Silver Gelatin Photograph
10 x 8 Inches
Signed on verso

 

Christopher Makos
Lady Warhol, Altered Images, 1981    
Silver Gelatin Photograph, Ed. of 10
60 1/2 x 46 1/2 in.
Signed, titled, dated, editioned verso

 

Christopher Makos
Lady Warhol, Altered Images (Contact Sheet), 1981    
Silver Gelatin Photograph
8 x 10 in.
Signed and stamped verso

Lawrence Schiller
”Let's Make Love”, Marilyn Monroe, 1960    
Silver Gelatin Photograph, Ed. 1/35
40 x 30 in.
Signed, numbered recto

 

Lawrence Schiller
”Let's Make Love”, Marilyn Monroe (Contact Sheet), 1960    
Silver Gelatin Photograph
10 x 8 in.

 

Press Release

CONTACT

December 8th, 2016 -- January 28, 2017
Opening Reception, Thursday, December 8th

The Fahey/Klein Gallery is pleased to present CONTACT, a group exhibition of iconic images and their corresponding contact sheets. Although contact sheets serve a very practical purpose— a tool for editing and archiving a photographer’s negatives—they also provide insights into the working methods of photographers. The relatively straightforward dark room process reveals a great deal about the photographer, his or her approach, and the context in which they were shooting.

Herb Ritts’ contact sheets reveal the precision and exacting detail with which the photographer approached his subjects. The contact sheet of “Versace Dress, Back View” is a record of artistic construction and creation. A statuesque Christy Turlington poses beneath a billowing cloud of black silk amidst a surreal desert landscape.  The consistency of Ritts’ stunning vision remains clear and persistent throughout. Each frame varies only slightly, capturing the subtle play between light and shadow so innate to Ritts’ aesthetic and style.

Norman Seeff’s contact sheet of Carly Simon show the dynamic energy of his legendary, collaborative studio sessions. An image from this session would later grace the cover of Carly Simon’s 1975 album “Playing Possum” and is considered one of the greatest album covers of all time.

Lawrence Schiller’s unique vintage contact sheet records a series of sessions when the photographer was on set with Marilyn Monroe while the actress was filming the 1960 film, “Let’s Make Love”. Notoriously controlling of her own likeness, Monroe sat with Schiller and crossed out with a red marker every image on the contact sheet that she did not approve of. The vintage contact sheet in the exhibition contains Marilyn’s own markings.

Stephen Somerstein’s remarkable contact sheet is a true record of a time and place. Along with the heroic image of Dr. Martin Luther King giving a speech to 25,000 civil rights marchers in Montgomery, Alabama, just a few frames later reveal exhausted students asleep on a bus, and Joan Baez, in front of State Troopers at the Montgomery Alabama State House.

There is a uniquely intimate quality to the contact sheet which may help to explain its broad appeal. The contact sheet is inherently personal and gives the viewer the sense that we are looking at something perhaps not meant for us. “A contact sheet is a diary of experiences, a private tool that records mistakes, missteps, dead ends—and lucky breaks.” (Magnum, Contact Sheet, 2014).

The exhibition includes contact sheets and photographs by Harry Benson, Joel Brodsky, William Claxton, Arthur Elgort, Robert Jackson, Daniel Kramer, Roxanne Lowit, Christopher Makos, Herb Ritts, Steve Schapiro, Lawrence Schiller, Norman Seeff, Stephen Somerstein, Phil Stern, Julian Wasser, and Bob Willoughby.