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PAI, or Photography and Imaging, is an organization founded in the 1950’s with a mission to provide a forum for varied interests in the photographic arts while building camaraderie and inspiring creativity. Roughly a year ago, this all-volunteer, not for profit association of professional photographers suddenly found itself without a home, victim of ongoing turmoil at the National Arts Club where it long held its monthly get togethers. Willing and able to adapt to dinnertime meetings in lieu of luncheons, PAI is now a welcomed monthly guest at Salmagundi, featuring distinguished professionals in the photographic arts as guest speakers at its after-dinner programs.
Over the years, PAI has presented such prominent industry figures as Lucien Clerque, Fritz Goro, John Isaac, Arthur Leipzig, John Loengard, Marvin Newman, Jay Maisel, Joe McNally, Duane Michals, Ben Ross, Howard Schatz, Joseph Costa, William Gottlieb, Jan Ralph, John Morris, Gordon Parks, Costa Peterson, Arthur Tress and Tony Vaccaro.
At its most recent gathering, Thursday evening, October 18th, PAI’s guest speaker was former west coast record industry executive and gallarist, Peter Blachley. Blachley’s Morrison Hotel Gallery on Prince Street in New York’s Soho district represents independent and corporate photographers of the Rock & Roll era, offering individually produced limited edition prints of their photographs. Images include many classic band shots previously immortalized in album cover art. During the illustrated presentation, Blachley brought us from his beginnings and ascent in the record industry to his subsequent lifelong friendships with it’s top photographers, noting how they carefully cultivated welcomed and highly respectful access to their subjects, in stark contrast to the infamous tactics employed by many of today’s paparazzi.
Besides its monthly gatherings, PAI periodically bestows special honors on leaders in the field with awards for Lifetime and Technical Achievement and to institutions that teach photography, awards for Education.
In past years PAI has sponsored exhibitions of its members’ work and hopes to find room in the gallery schedule at Salmagundi to continue this tradition. Marcus Reidenberg, a member of both PAI and SCNY, is available to answer any inquiries from Salmagundians interested in learning more about PAI.
A private rental of the Salmagundi Club promised to summon up the ghosts lurking in our old house. On Wednesday, October 24th, GroupMe Experiences transformed 47 Fifth into a pre-Halloween epic. Creative lighting and decoration inside and out gave every nook and cranny a unique vibe. If only those walls could talk!
After a 10+ year hiatus following 9/11, the doors to 41 Union Square West were once again thrown wide open to give the public a glimpse at the workspaces and work of some of the city’s finest artists with SCNY well represented. Built over 100 years ago specifically to meet the northern exposure light requirements of New York artists, 41 Union Square West was the scene of several major movements in 20th century art and throughout those years it has been the artistic home to many Salmagundians. The 2012 open studios event continues through Sunday, October 21st.
Uptown, the Fashion Center was having its own Arts Festival event celebrating the creative individuals, groups and companies that contribute to the unique energy that fuels America’s fashion capital. Salmagundi’s Beth Kurtz, who rents workspace in the Elizabeth Foundation for the Arts building at 323 West 39th Street was a participant in this multi-faceted event.
(By Mitch Kahn)
The Catharine Lorillard Wolfe Art Club’s Annual Open Exhibition is unquestionably the grande dame of group shows in New York City and its 116th installation continues in the hallowed tradition we’ve long since grown accustomed to and admired.
Among the 37 Salmagundians participating, Gloria Spevacek took the spotlight as CLWAC’s 2012 Honored Member. The exhibition runs through October 26th at the National Arts Club in Gramercy Park.
For the first time the complete show can be viewed online HERE
Photos are in gallery format. Click on the first thumbnail to open full frame and then use right rollover arrows to continue.
The Salmagundian • Journal of the Salmagundi Club of New York
Malcolm’s tenure at the Salmagundi Club began as a Scholarship applicant in 1971, rising through the ranks to ultimately occupy a seat on the Board of Directors as Chairman of the Art Committee. Stepping down from that position after a number of years, Malcolm continued his participation in the club’s activities as both an exhibiting artist and volunteer staffer on auction nights.
Born in Tulsa, Oklahoma in 1948, the son of a physician, Malcolm moved to New York City in 1966 to study with Frank Reilly. Reilly was known for his broad knowledge of the basic tools of art and his ability to simplify his composition, making him one of the most sought out teachers on the New York art scene.
Artistically, Malcolm developed his own voice using the fundamental formulas of classical training to interpret New York landscapes and environs in his own way. Looking at Malcolm’s oil paintings, one can immediately identify his work. He painted what few artists would select as a subject: discarded images in one’s local setting, a computer station, a television set, a bottle of whiskey or an unassuming neighborhood bank branch.
Sought out by museum galleries in New York and elsewhere throughout his lifetime and the recipient of many awards, Malcolm was never driven or motivated by the need for recognition. It was always about the art.
A 2010 retrospective exhibit in the Patron’s Gallery provided a detailed look at Malcolm’s body of work.