Terrain Gallery NYC 2011 Photographers Page

Mr. Siegel says of New York, “There is a oneness of quiet and tumult, profundities and mischief…” I guess my work tends toward the quiet, with just a touch of mischief. Tumult and profundity, while present, are less prominent, especially in the images shown here.

Kayak,
New York Harbor

10 x 20 in.

$1200 - framed

This is a study in the intimate and the vast, one man in a small craft within the grand scope of New York Harbor. Pilings, the remains of, and reminding us of, a large pier structure now gone, place singularities in the context of time.

NY Colors, SoHo

Manhattan

20 x 30 in.

$900 - framed

Here, on the corner of Greene and Houston, in a street scene with the common city sights of scaffolding and safety netting and the ubiquitous fire escape, we find, unexpectedly, the colors of NYC, blue and orange.

Continuing, Mr. Siegel states: “You can use a point to get to the whole world, and New York is a good place to begin to be fair to reality as such.” I find that I often use individual objects or details to imply, or to try to see the meaning of, the whole.

While attending classes taught here at the Foundation based on the Aesthetic Realism of Eli Siegel, I began to learn of the power and subtlety of the opposites in art and life. In Chaim Koppelman’s drawing class, Dorothy Koppelman’s Critical Inquiry, and Anne Fielding’s acting class, I learned to see beauty in, and to have sincere emotion about, the everyday. Now, with camera in hand, I find that I look at the city with clearer eyes–I see more of reality’s rich fabric, more of life in its people and works, and more of how to be at one with all of this.

SoHo Sunset

Manhattan

20 x 52 in.

$700 - unframed

Contrasts,
East 57th Street

Manhattan

16 x 24.5 in.

$800 - framed

A quiet moment in time as the great buildings of our city are lit, then obscured by other buildings, as the sun moves across the sky. Chiaroscuro on 57th Street, still, but ever changing.

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Mr. Siegel says of New York, “There is a oneness of quiet and tumult, profundities and mischief…” I guess my work tends toward the quiet, with just a touch of mischief. Tumult and profundity, while present, are less prominent, especially in the images shown here.
Kayak, New York Harbor 10 x 20 in. $1200 - framed
This is a study in the intimate and the vast, one man in a small craft within the grand scope of New York Harbor. Pilings, the remains of, and reminding us of, a large pier structure now gone, place singularities in the context of time.

NY Colors, SoHo Manhattan 20 x 30 in. $900 - framed
Here, on the corner of Greene and Houston, in a street scene with the common city sights of scaffolding and safety netting and the ubiquitous fire escape, we find, unexpectedly, the colors of NYC, blue and orange. Continuing, Mr. Siegel states: “You can use a point to get to the whole world, and New York is a good place to begin to be fair to reality as such.” I find that I often use individual objects or details to imply, or to try to see the meaning of, the whole. While attending classes taught here at the Foundation based on the Aesthetic Realism of Eli Siegel, I began to learn of the power and subtlety of the opposites in art and life. In Chaim Koppelman’s drawing class, Dorothy Koppelman’s Critical Inquiry, and Anne Fielding’s acting class, I learned to see beauty in, and to have sincere emotion about, the everyday. Now, with camera in hand, I find that I look at the city with clearer eyes–I see more of reality’s rich fabric, more of life in its people and works, and more of how to be at one with all of this.

SoHo Sunset Manhattan 20 x 52 in. $700 - unframed

Contrasts, East 57th Street Manhattan 16 x 24.5 in. $800 - framed
A quiet moment in time as the great buildings of our city are lit, then obscured by other buildings, as the sun moves across the sky. Chiaroscuro on 57th Street, still, but ever changing.
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