The Kalisher's

Rrrgcy said:

I don’t believe I’ve seen anything here on these artists. I’d run across this photographer who very recently passed, Simpson Kalisher, and near me. One photo in MOMA‘s The Family of Man. Post-war urban. Had a good history with the street photographers of the day. I especially enjoy the 1959 image of the man pushing his stalled car in the wet rain. Wicked what a photo.

Simpson Kalisher, Photographer Who Captured Urban Grit, Dies at 96 (Published 2023)

He emerged from a largely commercial background to join the towering figures who defined an art form — street photography — in the 1950s and ’60s.

www.nytimes.com

His son Jesse Kalisher sadly pre-deceased him in 2017 and had created a seemingly incredible commercial business (outside the gallery he had). Wiki says his were the first photographs of Barack Obama acquired by the Smithsonian.

He creatively applied his marketing and photography interests into a winner. The company is ongoing w his staff of some 100 who work in the spirit of his DNA.

Kalisher | Original & Custom Fine Art

We’re a team of more than 100 artists, eccentrics, and engineers who create, commission, and manufacture comprehensive art collections for properties worldwide.

kalisher.com

and one of his interviews that showcase what he did.

https://www.adorama.com/alc/episode/hospitality-art-with-jesse-kalisher-the-redefine-show-with-tamara-lackey/

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Rrrgcy said:

I’m sorry for that. You all share what must be an incredible history in these arts.

(Coincidental you replied I received this in the mail from a north-of-Chicago bookseller today. I just really key on this photo. Photo advert card for Sept.-Oct. 1962 at the Chicago Art Institute. Maybe Mr. Edwards was behind the exhibit.)

thank you for posting condolences and to serve his work and memory.

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Rrrgcy said:

His (Edwards) appears a complete focus undivided on the artist.

From the AIC, “Edwards was, in fact, offered the chance to lead the photography department at MoMA, perhaps as an antidote to that approach [expansive and mixed exhibitions for a Wow Factor (my choice of words)]. When he declined, the position went to John Szarkowski, a photographer whose work Edwards had exhibited in 1960; Szarkowski, a close colleague, would go on to collaborate with Edwards on exhibitions during his influential thirty-year run at MoMA.”

“In modest-sized galleries—not much more than a hallway until he was granted a larger exhibition space—he presented clean, typically single-hung displays of small prints, letting the artist take center stage.” “Edwards was equally receptive to viewing new work; a report he drafted on his activities for the year 1967 states that he had examined an astonishing 357 portfolios brought in by aspiring photographers.”

And “Edwards felt that viewing photographs could change one’s outlook on humanity.”

I’m hopeful Mr. Kalisher‘s body of work embraced that effect. Thank you Merg Ross for expanding my understanding.

re gallery advert card:

Q. Is a five-week gallery exhibit a standard those days (if for the need to rotate sole artists)?

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