Henry Wessel, ‘Santa Monica, California’, 1989, Photography, Gelatin silver print, Phillips
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Henry Wessel

Santa Monica, California, 1989

Gelatin silver print
22 2/5 × 15 in
56.8 × 38.1 cm
Edition 4/12
.
Bidding closed
P
Phillips
Medium
Signature
Signed, titled, dated and numbered 4/12 in pencil on the verso.
Henry Wessel
American, b. 1942
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Henry Wessel, Jr. first gained recognition in the 1970s as part of the New Topographics, a group of photographers who challenged the conventions of documentary and landscape photography, capturing instead the poetry of seemingly mundane scenes and subjects—traffic lights, advertisements, empty landscapes, and suburbia. During the 1970s Wessel moved to San Francisco from New York after falling in love with the brilliant quality of light in California. There, in both black-and-white and color film, he photographed the vernacular architecture and social landscape of his new surroundings, in prints marked by long shadows and rich tonal variations. Speaking about judging a successful photo, Wessel once said, “You’re suddenly seeing the coherence and the interconnectedness of everything, left to right, bottom to top, front to back. It’s all connected, and somehow, it’s all in balance. And that’s, of course, when you go ‘Yes!’”

Henry Wessel, ‘Santa Monica, California’, 1989, Photography, Gelatin silver print, Phillips
Save
Save
View
View in room
Share
Share
P
Phillips
Medium
Signature
Signed, titled, dated and numbered 4/12 in pencil on the verso.
Henry Wessel
American, b. 1942
Follow

Henry Wessel, Jr. first gained recognition in the 1970s as part of the New Topographics, a group of photographers who challenged the conventions of documentary and landscape photography, capturing instead the poetry of seemingly mundane scenes and subjects—traffic lights, advertisements, empty landscapes, and suburbia. During the 1970s Wessel moved to San Francisco from New York after falling in love with the brilliant quality of light in California. There, in both black-and-white and color film, he photographed the vernacular architecture and social landscape of his new surroundings, in prints marked by long shadows and rich tonal variations. Speaking about judging a successful photo, Wessel once said, “You’re suddenly seeing the coherence and the interconnectedness of everything, left to right, bottom to top, front to back. It’s all connected, and somehow, it’s all in balance. And that’s, of course, when you go ‘Yes!’”

Henry Wessel

Santa Monica, California, 1989

Gelatin silver print
22 2/5 × 15 in
56.8 × 38.1 cm
Edition 4/12
.
Bidding closed
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