Judith Turner: Introduction

I N T R O D U C T I O N

C O L U M N S -- L E A V E S
B I O G R A P H Y
P U R C H A S E I N F O R M A T I O N

There exists between the acts of looking and seeing, like a barely visible fault-line, the act of knowing. The photographs of Judith Turner dance along this fault line so that this moment of knowing remains tantalizingly open. We are invited to intimately caress every pore and line of these familiar forms.

We become captive of this moment of knowing, and it refuses our attempts to resolve it into the thing seen, the named object. And even when we feel we have the complete image once more, it draws us back inside, to again trace the smallest elements of form. When, finally, we relax into the thing seen, we remain deeply moved. And we approach the next image, where again our predictable way of seeing is jolted askew. And again we follow line and plane and shadow into the object and back out again in a never ending jostling of knowing by looking and seeing.

Ms. Turner's eye has revealed these elements of architecture and of nature in all their magnificence. We will not now view these once familiar objects in the same way. It is a very generous gift.

C O L U M N S L E A V E S

Judith Turner resides in New York City. She began taking photographs in 1972 and has had many solo exhibitions in various cities in the United States, Europe, Israel, and Japan. She has been awarded grants and fellowships from: The Graham Foundation, Mobil's Artist-in Residence Program, The Lila Acheson Wallace Fund, and The Asian Cultural Council. In 1994, she received an Honor Award from The American Institute of Architects.

Ms. Turner has had several books of her work published which include: Judith Turner Photographs Five Architects, Rizzoli International Publications, New York City, 1980; Annotations on Ambiguity, Axis Publications, Tokyo, 1986; Parables and Pieces, Franz Kafka; After, words by Michael Feingold, photogravures by Judith Turner, Vincent FitzGerald and Company, New York City, 1990, 1993; Near Sitings, City Arts Center, Oklahoma City, 1995.

Her photographs are in the permanent collections of many institutions which include: The Getty Center, Los Angeles; The Guggenheim Museum, The Whitney Museum, The International Center of Photography, New York City; The George Eastman House Collection, Rochester; The Portland Museum of Art, Maine; The Canadian Center for Architecture, Montreal; Bibliothèque Nationale, Paris; Museum Ludwig, Köln; The Tel Aviv Museum; Tokyo Metropolitan Museum of Photography.

C O L U M N S L E A V E S

PURCHASE INFORMATION

COLUMNS
Numbers 1-6 and 8-10 are available in an edition of 25, as Gelatin Silver Prints mounted on 100% rag, acid-free museum boards. (Available image sizes: 8"x10", 11"x14", 16"x20", 20"x24"). Number 7 is a Photogravure with Chine Collé, in an edition of 50; image size is 9"x14". All prints are signed and numbered by the photographer.

Numbers 11-15 are not for sale individually, they are part of "After", a limited edition book published by Vincent FitzGerald & Co. with words by Michael Feingold and photogravures by Judith Turner.

LEAVES
Numbers 1, 3-15 are available as above. Number 2 is a Photogravure with Chine Collé, in an edition of 50; image size is 14"x19 1/2".

For further information or to purchase, please contact PhotoArts

C O L U M N S L E A V E S

PhotoArts Gallery

There exists between the acts of looking and seeing, like a barely visible fault-line, the act of knowing. The photographs of Judith Turner dance along this fault line so that this moment of knowing remains tantalizingly open. We are invited to intimately caress every pore and line of these familiar forms.

	We become captive of this moment of knowing, and it refuses our attempts to resolve it into the thing seen, the named object. And even when we feel we have the complete image once more, it draws us back inside, to again trace the smallest elements of form. When, finally, we relax into the thing seen, we remain deeply moved. And we approach the next image, where again our predictable way of seeing is jolted askew. And again we follow line and plane and shadow into the object and back out again in a never ending jostling of knowing by looking and seeing.

		Ms. Turner's eye has revealed these elements of architecture and of nature in all their magnificence. We will not now view these once familiar objects in the same way. It is a very generous gift.

Judith Turner resides in New York City. She began taking photographs in 1972 and has had many solo exhibitions in various cities in the United States, Europe, Israel, and Japan. She has been awarded grants and fellowships from: The Graham Foundation, Mobil's Artist-in Residence Program, The Lila Acheson Wallace Fund, and The Asian Cultural Council. In 1994, she received an Honor Award from The American Institute of Architects.

	Ms. Turner has had several books of her work published which include: Judith Turner Photographs Five Architects, Rizzoli International Publications, New York City, 1980; Annotations on Ambiguity, Axis Publications, Tokyo, 1986; Parables and Pieces, Franz Kafka; After, words by Michael Feingold, photogravures by Judith Turner, Vincent FitzGerald and Company, New York City, 1990, 1993; Near Sitings, City Arts Center, Oklahoma City, 1995.

		Her photographs are in the permanent collections of many institutions which include: The Getty Center, Los Angeles; The Guggenheim Museum, The Whitney Museum, The International Center of Photography, New York City; The George Eastman House Collection, Rochester; The Portland Museum of Art, Maine; The Canadian Center for Architecture, Montreal; Bibliothèque Nationale, Paris; Museum Ludwig, Köln; The Tel Aviv Museum; Tokyo Metropolitan Museum of Photography.