{"id":10874,"date":"2012-01-26T02:37:52","date_gmt":"2012-01-26T02:37:52","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=10874"},"modified":"2012-01-26T02:37:52","modified_gmt":"2012-01-26T02:37:52","slug":"jefferson-hayman-camera-works","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2012\/01\/26\/jefferson-hayman-camera-works\/","title":{"rendered":"Jefferson Hayman Camera Works"},"content":{"rendered":"<p><a href=\"http:\/\/www.wesseloconnor.com\/exhibits\/hayman\/hayman1.php\" target=\"_blank\"><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2012\/01\/hayman1.jpg\" alt=\"hayman1.jpg\" \/><\/a><\/p>\n<p><em>Named After Vermeer (2010); silver gelatin print.<\/em><\/p>\n<p>Wessel + O&#8217;Connor Fine Art resumed business recently following a hiatus and a change of location. Their current exhibition is a presentation of prints by American photographer <a href=\"http:\/\/www.jeffersonhayman.com\/\" target=\"_blank\">Jefferson Hayman<\/a> whose use of silver gelatin and platinum processes returns photography to the diffuse atmospheres of its earliest days. Some of these works are barely distinguishable from their predecessors; in the case of the Flatiron view below (inevitably bringing to mind the famous picture by <a href=\"http:\/\/www.metmuseum.org\/toah\/works-of-art\/33.43.39\" target=\"_blank\">Edward Steichen<\/a>) only the street light and traffic signals give any indication that it&#8217;s a recent photo. (<a href=\"http:\/\/luthergerlach.com\/?page_id=70\" target=\"_blank\">Luther Gerlach<\/a> has used an antique camera and old print processes to similar effect in Los Angeles.) <a href=\"http:\/\/www.wesseloconnor.com\/exhibits\/hayman\/hayman1.php\" target=\"_blank\"><em>Jefferson Hayman Camera Works<\/em><\/a> runs to February 27th.<\/p>\n<p><a href=\"http:\/\/www.wesseloconnor.com\/exhibits\/hayman\/hayman1.php\" target=\"_blank\"><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2012\/01\/hayman2.jpg\" alt=\"hayman2.jpg\" \/><\/a><\/p>\n<p><em>The Flatiron (2003); platinum print.<\/em><\/p>\n<p>Previously on { feuilleton }<br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2011\/12\/07\/the-flatiron-building\/\">The Flatiron Building<\/a><br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2007\/06\/30\/luther-gerlachs-los-angeles\/\">Luther Gerlach\u2019s Los Angeles<\/a><br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2006\/12\/06\/edward-steichen\/\">Edward Steichen<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Named After Vermeer (2010); silver gelatin print. Wessel + O&#8217;Connor Fine Art resumed business recently following a hiatus and a change of location. Their current exhibition is a presentation of prints by American photographer Jefferson Hayman whose use of silver gelatin and platinum processes returns photography to the diffuse atmospheres of its earliest days. Some &hellip; <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2012\/01\/26\/jefferson-hayman-camera-works\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;Jefferson Hayman Camera Works&#8221;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[8,12],"tags":[3148,3283,3284],"class_list":["post-10874","post","type-post","status-publish","format-standard","hentry","category-architecture","category-photography","tag-edward-steichen","tag-jefferson-hayman","tag-luther-gerlach"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-2Po","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/10874","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=10874"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/10874\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=10874"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=10874"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=10874"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}