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Exhibition: ‘Carnival: Photographs by Roger Vail’ at Joseph Bellows Gallery, La Jolla, California

Exhibition dates: 11th July – 22nd August, 2015

Roger Vail (American, b. 1945)
SkyDiver 2
1996
Platinum/palladium print

For the length of each ride

I just love these photographs. They are thrilling, like the rides themselves.

The photographer Roger Vail comments,

“There was no initial inspiration, just an experiment. I had already been making photographs at night with a 4 x 5 (later 8 x 10) camera which involved time exposures. I went to a carnival to shoot the facades. While there I decided to see what would happen it I made a time exposure of the ferris wheel in question. First sight of the negative was thrilling so I decided to make more. Most of the fun was in not knowing what the end result would look like. I made these into large silver prints throughout the seventies. In the nineties I learned to make platinum-palladium prints and after printing one of the older negatives decided to do them again specifically for that medium. Finally in 2001, at the suggestion of my wife Carol, I did them for a third time shooting 8×10 transparencies.”

All the light is ambient light, with the exposures usually around 3 minutes (hence the ghostly shadows of people moving in the foregrounds of some of the photographs). Vail observes, “Carnival grounds are often flooded with fairly bright light, so balancing the exposures is not that difficult. I found out early on that virtually all carnival rides last around 3 minutes. So I would adjust the F stop accordingly to get the maximum rotation and therefore pattern.”

.
I am in awe of this extended investigation. What a passion for what is coming on 45 years working on one idea.

Just as Hiroshi Sugimoto’s time lapse movie screens (where the exact length of a movie was captured by the open lens of the camera, the substance of time and space evidenced by a seemingly empty screen) were wonderfully poetic and transformational – the gesture of compressing the narrative, reality and action of a movie into a single frame of light – so Vail’s photographs focus on the process of transition, the process of transition in the flow of time and space. Whereas Sugimoto captures the exact length of a movie, Vail’s photographs, ‘for the length of each ride’, could be a metaphor for the length of a life, for these rides contain the body of human beings, their embodiment, even though we can’t see them.

All the signs are there. The concentric circles with no beginning and no end. The YoYo circus of circuits or Wave Swinger with atomic cloud remind me of Fritz Lang’s seminal film Metropolis (1927). And then the colour work – Inverter with its Möbius strip non-orientable boundary, giving life a half-twist, SpinOut‘s nuclear intensity, and Evolution‘s DNA-like strands. And all of this done through serendipity, a fortunate happenstance, with the artist not knowing exactly what each negative will bring, but ultimately thrilling when (exposure) time – overseer of all things – is right. No wonder Vail was excited when he saw his first negative.

A total surprise, these photographs proffer a liminal space, one beyond our usual realm of understanding. Our cycle of life. The process of transition in the flow of space and time.

Dr Marcus Bunyan

Many thankx to Joseph Bellows Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

Roger Vail (American, b. 1945)
Spinning Carnival Ride
1971
Gelatin silver print

“I started making urban night photographs at the end of graduate school in 1969. I used a 4×5 and later an 8×10 view camera which required time exposures of 30 seconds or more. At a carnival in 1971 I decided to set up in front of a ferris wheel, clueless about what the result would look like. I was greatly excited by what I saw when I looked at the first negative and print – a total surprise. The later color images are exposed for the length of each ride cycle.”

Roger Vail

In 1970, Vail began photographing carnivals and their thrill rides with his 8 x 10 inch view camera. His pictures were made in the evening hours with long exposure times, resulting in images that track the momentum of the ride with a sense wonderment that is both tangible and otherworldly. Carnival will feature Vail’s extraordinary, large-scale photographs of carnival rides in full motion; tracing the kaleidoscopic light play seen only through an extended moment that photography permits. In addition to the large-scale colour and black and white images, his smaller, more intimate platinum/palladium prints will be featured in the atrium gallery.

Vail’s carnival rides are described and transformed through the act of photography. He allows the viewer to experience the flux of the ride in a single scene, rendering both the atmosphere of the night and the energy of his subject, against the recognisable background of the state fair.

Roger Vail earned his BFA and MFA degrees from the Art Institute of Chicago. His photographs are in the collection of numerous institutions, including: Art Institute of Chicago, Museum of Contemporary Photography, Nelson-Atkins Museum of Art, Museum of Modern Art, NY, San Francisco Museum of Modern Art, and the Princeton University Art Museum.

Roger Vail (American, b. 1945)
Untitled
1996
Platinum/palladium print

Roger Vail (American, b. 1945)
YoYo
1996
Gelatin silver print
18 x 23.5 inches

Roger Vail (American, b. 1945)
YoYo #2
1996
Platinum/palladium print

Roger Vail (American, b. 1945)
Wave Swinger
1996
Gelatin silver print

Roger Vail (American, b. 1945)
Kamikaze #3
1996
Platinum/palladium print
10 x 8 inches

Joseph Bellows Gallery is pleased to announce its upcoming exhibition, Carnival: Photographs by Roger Vail. This solo shows will open on July 11th, with a reception for the artist from 6-8 p.m., and will continue through the 22nd of August. The exhibition will feature Vail’s extraordinary large-scale photographs of carnival rides in full motion; tracing the kaleidoscopic light play seen only through the extended moment that photography permits. In addition to the large-scale colour and black and white images, his smaller, more intimate platinum/palladium prints will be featured in the atrium gallery.

One such image graced the cover of Life magazine, introducing a picture essay with an accompanying text by Garrison Keilor titled, A Magical Spin on a Summer Night (2006). Vail’s carnival rides are described and transformed through the act of photography. He allows the viewer to experience the flux of the ride in a single scene, rendering both the atmosphere of the night and the energy of his subject, against the recognisable background of the state fair.

Press release from the Joseph Bellows Gallery

Roger Vail (American, b. 1945)
Evolution 3
2001
Chromogenic print mounted to aluminium

Roger Vail (American, b. 1945)
Giant Wheel
2001
Chromogenic print mounted to aluminium

Roger Vail (American, b. 1945)
Inverter
2001
Chromogenic print mounted to aluminium
30 x 37.5 inches

Roger Vail (American, b. 1945)
Kamakazi
2002
Chromogenic print mounted to aluminium

Roger Vail (American, b. 1945)
SpinOut
2001
Chromogenic print mounted to aluminium

Roger Vail (American, b. 1945)
Wave Swinger
2001
Chromogenic print mounted to aluminium

Roger Vail (American, b. 1945)
Evolution
2001
Chromogenic print mounted to aluminium

Joseph Bellows Gallery
7661 Girrard Avenue
La Jolla, California
Phone: 858 456 5620

Opening hours:
Tuesday – Saturday 11am – 5pm and by appointment

Joseph Bellows Gallery website

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Exhibition: ‘Bevan Davies: New York’ at Joseph Bellows Gallery, La Jolla, California

Exhibition dates: 14th March – 9th May, 2015

Bevan Davies (American, b. 1941)
94 Greene Street, New York
1975
Vintage gelatin silver print
16 x 20 inches
© Bevan Davies

This stunning suite of large format photographs emanates from an esteemed lineage: the early morning light of Atget’s photographs of Old Paris during that cities urban renewal; the frontality of Walker Evans and his photographs of Southern churches (with both artist’s attention to the storefront facade); and the formal qualities of the New Topographic movement and the gridded topos of Bernd and Hilla Becher.

While Eugène Atget photographed the vanishing environs of Old Paris, Davies captures the urban decay of New York City, a city that was undergoing serious urban renewal in the 1970s.

“The redevelopment of large sections of New York City and New York State by Robert Moses between the 1930s and the 1970s was a notable and prominent example of urban redevelopment. Moses directed the construction of new bridges, highways, housing projects, and public parks. Moses was a controversial figure, both for his single-minded zeal and for its impact on New York City… The Rondout neighbourhood in Kingston, New York (on the Hudson River) was essentially destroyed by a federally funded urban renewal program in the 1960s, with more than 400 old buildings demolished, most of them historic brick structures built in the 19th century. Similarly ill-conceived urban renewal programs gutted the historic centres of other towns and cities across America in the 1950s and 1960s.” (Anon. “Urban Renewal,” on the Wikipedia website)

In Davies’ project (and essential to his task), is the revealing of detail in these undervalued buildings. An ethereal light radiates, almost pulsates from these night time buildings – all rendered in beautifully ferrotyped prints that display a surplus of detail.

The previsualisation in these photographs is excellent. Notice how Davies pushes and pulls the viewer forward and backward in the image plane by using the device of the footpath to frame his compositions. In an image such as 94 Greene Street, New York (1975, above) – one of my favourite in this posting – the artist frames the image to stop at the edge of the pavement, allowing enough room so that the eye is led into the image. In other images, such as Broadway, New York (1976, below) or 425 Broome Street, New York (1976, below), Davies crops right up to the base of the building, forcing the viewer to acknowledge the geometric, cellular structure of the facade and nothing else. In yet other images, such as Column, Mercer Street, New York (1975, below) or 155 West Broadway, New York (1975, below) the artist pulls back from the building, allowing the pavement to anchor the building’s displacement while emphasising the columns grounding within the scene.

These really are magnificent photographs that bring the silence of the city to the fore front of our consciousness. Without the presence of human beings, the buildings take on a majesty that is usually usurped, overlooked or just plain passed by during the humdrum nature of everyday life.

Dr Marcus Bunyan

Many thankx to the Joseph Bellows Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

Bevan Davies (American, b. 1941)
652 Broadway, New York
1976
Vintage gelatin silver print
16 x 20 inches
© Bevan Davies

Bevan Davies (American, b. 1941)
Broadway, New York
1976
Vintage gelatin silver print
16 x 20 inches
© Bevan Davies

Bevan Davies (American, b. 1941)
425 Broome Street, New York
1976
Vintage gelatin silver print
16 x 20 inches
© Bevan Davies

Bevan Davies (American, b. 1941)
Walker Street., New York
1976
Vintage gelatin silver print
16 x 20 inches
© Bevan Davies

Bevan Davies (American, b. 1941)
Hudson Street, New York
1975
Vintage gelatin silver print
16 x 20 inches
© Bevan Davies

Joseph Bellows Gallery is pleased to announce its upcoming solo exhibition, Bevan Davies New York. The exhibition opens on March 14th and will continue through May 9, 2015. An opening reception will be held on Saturday, March 14th, from 6-8 pm. New York will present Davies’ luminous and highly detailed large-format black and white architectural views from the mid 1970’s, along with a selection of his earlier street portraiture from the preceding decade, in the atrium gallery.

Bevan Davies studied photography with Bruce Davidson, at the University of Chicago in early 1960’s and benefitted greatly through mentoring from Diane Arbus later in that decade. After working the street in both daylight and evening hours, photographing people at odds with society, with a hand camera, Davies changed his working methodology to describing the physical environs of the street: the building facades, alleys and streets with a tripod mounted view camera.

This change in subject and approach resulted in Davies most celebrated work. Created in 1975/76 Bevan Davies’ architectural photographs situated themselves wholly within the dictum laid forth by William Jenkins, as “New Topographics”. In fact, Davies writes of his approach as, “an effort being made to let the camera almost see by itself.” This notion was carried further by the late photographer, Lewis Baltz, who in 1976, referred to Davies’ photographs as, “rigorously contemporary, while acknowledging a use of the camera which dates from the inception of the medium.” The New York facades, taken in the early morning hours and devoid of people, describe spaces defined by light and shadow. They depict a specific time and place, as seen by the window dressings and signage, as well as portray a formal grace among the building’s details that are included within Davies’ camera frame. New York is the first comprehensive exhibition of Davies’ photographs in over two decades.

Davies photographs can be found in the collections of the J. Paul Getty Museum, Center for Creative Photography, Art Institute of Chicago, Nelson-Atkins Museum, Minneapolis Institute of the Arts, Museum of Fine Arts, Houston, George Eastman House, Corcoran Gallery of Art, Harry Ransom Center, Metropolitan Museum of Art, and the International Center of Photography.

In 2014, Nazraeli Press released Los Angeles, 1976, a monograph on Davies’ photographs from that region and era. The photographs depict the residential architecture and neighbourhoods through nuanced arrangement and clarity. A forthcoming volume on Davies’ New York photographs is in prepublication.

Press release from the Joseph Bellows Gallery

Bevan Davies (American, b. 1941)
144 Wooster Street, New York
1976
Vintage gelatin silver print
16 x 20 inches
© Bevan Davies

Bevan Davies (American, b. 1941)
View from 475 Broadway, New York
1976
Vintage gelatin silver print
16 x 20 inches
© Bevan Davies

Bevan Davies (American, b. 1941)
Bond Street, Facing North, New York
1976
Vintage gelatin silver print
16 x 20 inches
© Bevan Davies

Bevan Davies (American, b. 1941)
Franklin and West Broadway, New York
1976
Vintage gelatin silver print
16 x 20 inches
© Bevan Davies

Bevan Davies (American, b. 1941)
426 West Broadway, New York
1975
Vintage gelatin silver print
20 x 16 inches
© Bevan Davies

Bevan Davies (American, b. 1941)
Column, Mercer Street, New York
1975
Vintage gelatin silver print
20 x 16 inches
© Bevan Davies

Bevan Davies (American, b. 1941)
11 Mercer Street, New York
1976
Vintage gelatin silver print
20 x 16 inches
© Bevan Davies

Bevan Davies (American, b. 1941)
155 West Broadway, New York
1975
Vintage gelatin silver print
20 x 16 inches
© Bevan Davies

Joseph Bellows Gallery
7661 Girrard Avenue
La Jolla, California
Phone: 858 456 5620

Opening hours:
Tuesday – Saturday 11am – 5pm and by appointment

Joseph Bellows Gallery website

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Exhibition: ‘Detroit 1968: Photographs by Enrico Natali’ at Joseph Bellows Gallery, La Jolla, CA – Part 2

Exhibition dates: 2nd November – 21st December 2013

Enrico Natali (American, b. 1933)
Ford Motor Company press conference, Detroit, 1968
1968
Gelatin silver print

The second tranche of images from the artist Enrico Natali demonstrate his command of visual space. Groups of people face away from the camera, then towards it (image above and below), people clutch at each other or walk in opposite directions (next two images). There is the comparison of races, between abject poverty and young people dressed in fur going to the prom. There is the silence of the singular women in the office, and the (op)posed camaraderie of the Detroit Bolt and Nut Company workers (1968, below). Above all, there is light and shade coupled with a sensitive understanding of how human beings interact – with themselves and the camera. Newlywed couple, Detroit, 1968 (1968, below) is a case in point: the clock on the wall, the record player with single, the hand on the shoulder and the ash lengthening on the cigarette complement the presence of the couple and the wonderful look on their faces. Somehow Natali adds genuine charisma to these people, a dignity and poignancy that makes these photographs memorable.

Dr Marcus Bunyan

Many thankx to Joseph Bellows Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

Enrico Natali (American, b. 1933)
Office workers, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Couple at Metropolitan Beach, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Pedestrians at the corner of Jefferson Avenue and Conners, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
High school prom, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Secretary with abstract painting, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Detroit Bolt and Nut Company workers, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Computer room, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Ann Davis at home with her daughter and son, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Couple at home with their daughter, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Jim and Judy Yardley with their dogs, Sport and Barney, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Pool player in an east side poolroom, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Typesetter at work, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Dean Turner with his parents and cat, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Father and child at the Detroit Auto Show, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Enrico Natali’s son, Vincenzo Natali, on the day of his birth, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Suburban girls shopping in downtown Detroit, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Man with injured knee at the beach smoking, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Beauty salon client smoking, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Gala hostess, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Woman outside a tire factory waiting for the bus, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Spectators at an Armed Forces Day parade, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
High school student in mini dress, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Couple outside of an art museum, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Woman at an art exhibition in Grosse Pointe, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Newlywed couple, Detroit, 1968
1968
Gelatin silver print

Joseph Bellows Gallery
7661 Girard Avenue
La Jolla, CA 92037
Phone: (858) 456-5620

Opening hours:
Tuesday – Saturday 11am – 5pm

Joseph Bellows Gallery website

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Exhibition: ‘Detroit 1968: Photographs by Enrico Natali’ at Joseph Bellows Gallery, La Jolla, CA – Part 1

Exhibition dates: 2nd November – 21st December 2013

Enrico Natali (American, b. 1933)
Spectators at a public demonstration, Detroit, 1968
1968
Gelatin silver print

It takes about five or six photographs. Then, in a light bulb moment, you realise what the artist is doing and how good these images really are.

They stink of humanity!

They are good because the humanity is not something that the photographer has been able to whip around to serve his photography. In fact, because of the milieu in which they were made, he might not have even been aware of it as an outstanding feature. But after looking at contemporary photography, Natali serves up something that is now missing in aces. As a full house in fact.

The strength of these photographs lies in their directness, intimacy and immediacy. The 35mm format adds to latter quality, as does the photographers ability to get his subjects to engage with the process of having their photograph taken. In different contexts, Natali seems to have a wonderful rapport with all sorts of people, whether it be office workers, people at home, students at school or men sitting under hair dryers. The look of the woman with sunglasses fourth in line in the photograph Women’s Convention, Detroit, 1968 (1968, below) is priceless.

Natali never defines his point of departure and just moves around it but in his case it doesn’t matter, for the “humanity” present in his work is obvious. Admittedly, there are elements that Natali borrows from people such as Robert Frank and Diane Arbus. And a photographer such as Lee Friedlander for example, by his intellect / aesthetic, tops the attribute of humanity under a layer of quality and a veneer of fame. But this work has a wonderful presence and substance, a respect for human beings and their worlds and real guts to the work. You can absolutely feel his love for the medium, the craft of photography, and the capturing of these self-contained moments.

Today – all too often (as in most of the photography in the Melbourne Now exhibition) – we have a top layer of aesthetic / intellect etc… but there is rarely anything under it. And that my friends, gives me the shits.

Dr Marcus Bunyan

Many thankx to Joseph Bellows Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

Enrico Natali (American, b. 1933)
Incident at Bell Isle Park, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Businessmen at a squash match, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Woman at a gym, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Husband and wife at home with their youngest child, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Office workers, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Woman in her kitchen with rollers in her hair, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Students at school, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Waitress in an empty restaurant, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
High school basketball, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Formal cocktail party, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Programmer with computer, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Women’s gymnastics class, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Couple picnicking, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Beauty salon client with a new haircut, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Men under hairdryers, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Shoe repair shop owner, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Women waiting at a bus stop in the rain, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Women’s Convention, Detroit, 1968
1968
Gelatin silver print

As the fall of Detroit began, as her middle class American Dreamers began moving to greener pastures, and while the Motor City’s status as one of the shining stars of the industrial revolution began to fade, Detroit became a locus for the racial conflict and political upheaval that swept the country during the late 1960s. Throughout this pivotal moment, Enrico Natali was present, empathically documenting Detroit, her people and their environments, and their lives and conditions in his compelling photographs.

Forty-one years later, Natali’s photographs of Detroit still resonate with hope and emotion, and indeed, have taken on an added pathos. These pictures capture the relative calm before the storm: people attending art exhibitions, sporting events, a high school prom; families posing together for portraits; secretaries smoking their afternoon cigarettes; children, parents and grandparents, workers of every stripe – machinists, waitresses, beauticians – plying their trades with what might be described in retrospect as innocence. The spirits of these nameless faces, young and old, are the ghosts that haunt what is now – very literally – this bankrupt metropolis.

Enrico Natali was born in 1933, in Utica, New York. During the 1960s he lived and photographed in various American cities, including New York, New Orleans, Chicago, and Detroit. At the end of that decade he ceased work as a photographer and began a meditation practice that became his primary focus, as he built a home and raised his family in California’s Los Padres National Forest. In 1990 Natali and his wife Nadia founded the Blue Heron Center for Integral Studies, a Zen meditation center in Ojai, California. A handsome, timely and poignant publication, Detroit 1968, published by Foggy Notion Books, including an essay by Mark Binelli, author of the critically acclaimed Detroit City is the Place to Be (2012, Metropolitan Books), accompanies the exhibition.

Press release from the Joseph Bellows Gallery website

Enrico Natali (American, b. 1933)
Young woman on a street, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Warehouse foreman, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Community organiser, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Opening night at the Detroit Opera, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Hair stylist smoking, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Boy in a backyard, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Young men at a debutante ball, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Ana Kuzick at home in high chair, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Businessman at a press party, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Margaret Carpenter at home, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
William Day, president of Michigan Bell Telephone Company, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Bolt and nut sorters, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Executive secretary, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Go-Go dancer, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Warehouse worker, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Trucking company executive, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Sales meeting in an auditorium, Detroit, 1968
1968
Gelatin silver print

Enrico Natali (American, b. 1933)
Elevator operator, Detroit, 1968
1968
Gelatin silver print

Joseph Bellows Gallery
7661 Girard Avenue
La Jolla, CA 92037
Phone: (858) 456-5620

Opening hours:
Tuesday – Saturday 11am – 5pm

Joseph Bellows Gallery website

LIKE ART BLART ON FACEBOOK

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