ONLINE: Allen Frame: NYC 1981
Gitterman Gallery is proud to present an online exhibition of color photographs by Allen Frame from New York in 1981, in conjunction with the release of his new book, Fever (MATTE Editions, 2021).
Frame moved to New York from his home in Mississippi in 1977 and began to photograph friends he knew from his college days in Boston and others he was meeting. By 1981, he had a circle of artist friends that he photographed in his apartment, their studios, on beaches, and on the streets of New York, including the artists Charles Boone, Darrel Ellis, Frank Franca, Robert Gober, Nan Goldin, Dan Mahoney, Frank Moore, Cady Noland, Laurie Sagalyn, Kevin Teare, Ken Tisa, Coco Ugaz, Jane Warrick, David Wilson, and Zamba.
Though Frame had previously worked mostly in black and white, in 1981, he photographed extensively with color. In an article on this work in the Winter 2021 issue of Aperture, Brendan Embser writes: 鈥淗e used available light, gentle ochres and greens, the faint shade of blue when sky is indistinguishable from water. He composed his frames with beguiling precision, with just-off symmetry and split-screen scenes demarcated by paintings or doorjambs.鈥�
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Gitterman Gallery is proud to present an online exhibition of color photographs by Allen Frame from New York in 1981, in conjunction with the release of his new book, Fever (MATTE Editions, 2021).
Frame moved to New York from his home in Mississippi in 1977 and began to photograph friends he knew from his college days in Boston and others he was meeting. By 1981, he had a circle of artist friends that he photographed in his apartment, their studios, on beaches, and on the streets of New York, including the artists Charles Boone, Darrel Ellis, Frank Franca, Robert Gober, Nan Goldin, Dan Mahoney, Frank Moore, Cady Noland, Laurie Sagalyn, Kevin Teare, Ken Tisa, Coco Ugaz, Jane Warrick, David Wilson, and Zamba.
Though Frame had previously worked mostly in black and white, in 1981, he photographed extensively with color. In an article on this work in the Winter 2021 issue of Aperture, Brendan Embser writes: 鈥淗e used available light, gentle ochres and greens, the faint shade of blue when sky is indistinguishable from water. He composed his frames with beguiling precision, with just-off symmetry and split-screen scenes demarcated by paintings or doorjambs.鈥�
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