Untitled – Unique Silver Gelatin Print – 2013 – 2 20×24 inches | DER GREIF
Untitled – Unique Silver Gelatin Print – 2010 – 6.5×8 inches | DER GREIF
Untitled – Unique Silver Gelatin Print – 2014 – 11×14 inches | DER GREIF
Untitled – Unique Silver Gelatin Print – 2013 – 11×14 inches | DER GREIF
Untitled – Unique Silver Gelatin Print – 2014 – – 11×14 inches | DER GREIF
Untitled – Unique Silver Gelatin Print – 2011 – 11×14 inches | DER GREIF
Untitled – Unique Silver Gelatin Print – 2012 – 11×14 inches | DER GREIF
Untitled – Unique Silver Gelatin Print -2014 – 11×14 inches | DER GREIF
Untitled – Unique Silver Gelatin Print – 2014 – 11×12 inches | DER GREIF
Untitled – Unique Silver Gelatin Print – 2010 – 8×10 inches | DER GREIF
Untitled – Unique Silver Gelatin Print – 2014 – 11×14 inches | DER GREIF
Untitled – Unique Silver Gelatin Print – 2013 – 20×24 inches | DER GREIF
Untitled – Unique Silver Gelatin Print – 2013 – 20×24 inches | DER GREIF
Untitled – Unique Silver Gelatin Print – 2013 – 2 20×24 inches | DER GREIF
Untitled – Unique Silver Gelatin Print – 2010 – 6.5×8 inches | DER GREIF
Untitled – Unique Silver Gelatin Print – 2014 – 11×14 inches | DER GREIF
Untitled – Unique Silver Gelatin Print – 2013 – 11×14 inches | DER GREIF
Untitled – Unique Silver Gelatin Print – 2014 – – 11×14 inches | DER GREIF
Untitled – Unique Silver Gelatin Print – 2011 – 11×14 inches | DER GREIF
Untitled – Unique Silver Gelatin Print – 2012 – 11×14 inches | DER GREIF
Untitled – Unique Silver Gelatin Print -2014 – 11×14 inches | DER GREIF
Untitled – Unique Silver Gelatin Print – 2014 – 11×12 inches | DER GREIF
Untitled – Unique Silver Gelatin Print – 2010 – 8×10 inches | DER GREIF
Untitled – Unique Silver Gelatin Print – 2014 – 11×14 inches | DER GREIF
Untitled – Unique Silver Gelatin Print – 2013 – 20×24 inches | DER GREIF
Untitled – Unique Silver Gelatin Print – 2013 – 20×24 inches | DER GREIF

C Wright Daniel

Artist Blog by Nicholas Albrecht

In closing, as my last post, I would like to show the work of C Wright Daniel. I met Wright some years ago while we were both working/teaching at the Harvey Milk Photo Center in San Francisco. I noticed he would take fully exposed (all black) RC prints and run them through the Fiber paper dryer. The result was a black piece of photographic paper with streaks of shiny areas. I imagine those were produced by the heat of the fiber dryer burning in some way the resin on the paper. I thought the result was an incredible image. As time went by I saw more and more of these images coming from him.

As he puts it »I am trying to explore what photography is by understanding its materiality. In doing so I have been working with the materials that construct the actual photograph itself: light, chemistry, silver gelatin.«

I find it great that in »…exploring what photography is,« he has chosen to not use a camera in any way. This is a very different approach from Max Kellenberger’s method of creating the images in Blues, although the camera is at least partially missing in both scenarios. Regardless of method, in Max’s Blues we can still identify with the subject/object of the image, keeping the discourse still within the parameters of representation. Wright’s work is looking at a photograph in the most abstract of ways possible, losing any relation to what we have believed photography to be for so long: a replica of something. Although taken to a stage where only the physical actions of the analog photographic process are shown, I find his work to show the greatness of what photography can do. In some ways the photograph becomes the creation of something that has never existed, it represents the image in its ontological sense. What I love so much about photography is that this can be achieved in a portrait, landscape, still life or any other kind of photography.

Like in other cases, the best way for this work to be viewed is in person, looking at the actual print.

Thank you Der Greif for this opportunity and congratulations on what a great magazine you have put together!

Supported by our main online partner
Portrait-Nicholas | DER GREIF
Nicholas Albrecht

Nicholas Albrecht was born in Naples, Italy in 1982. His involvement with the arts began while studying fashion in Milan. Upon graduation he started working as an Art Director for three venues in Naples and Rome. During his years as an Art Director in Italy, Nicholas had the chance to work with students and professors from the Academy of Fine Arts in Naples. His close relationship with Ludovica Rambelli and her continuous theatrical research inspired him to research more of his own interests. He started using photography as a research tool, which ultimately pushed him to continue his studies and relocated him to San Francisco. There he earned an MFA in Photography and developed a close relationship with the medium. In his work, Nicholas concentrates on the connection between individual and land and, in a greater context, how that influences social relations and notions of self. In 2012, Nicholas was awarded the Our World Portfolio Review scholarship and was selected to be part of the prestigious 100 attending the Santa Fe Portfolio Review. In 2014 his first monograph, One No One and One Hundred Thousand, was published by Schilt Publishing and distributed internationally. His work has been featured in museums, galleries and magazines, both in the U.S and in Europe.