PROOF

PROOF July 16 — September 3, 2010

Proof is commonly defined as “evidence sufficient to establish a thing as true, or to produce belief in its truth.” It has been the name of an award winning Broadway play and a Hollywood film. It is used in the court of law, in mathematical conclusions and in determining the strength of alcohol. In photography, it is the trial print of a negative, also called a contact sheet.

Proof sheets are often the first prints a photographer makes in order to view a roll of film. From these contact sheets, they select the frame from which a print is made. The contact sheet is akin to a diary -- few artists ever let the public see these, as it reveals their process and way of thinking. PROOF brings together 26 photographers who exhibit contact sheets alongside the chosen photograph. We salute the photographers who have agreed to be part of PROOF and thank them for letting us see how their eyes framed a specific scene.

Please call: (312) 266-2350 for sizes and prices of specific pieces.
Prices are print only unless otherwise indicated.

Shelby Lee Adams, The Home Funeral, 1990

From the Black and White series

11 x 14” and 16 x 20" toned gelatin silver print

Editions of 25

secondary market only

Shelby Lee Adams, The Home Funeral Contact, 1990

From the Black and White series

gelatin silver print

Julie Blackmon, Portrait, 2009

From the New Work series

22 x 35", 32 x 50½", 40 x 59" pigment print

Edition of 25, 10, 5

sold out

Julie Blackmon, Portrait Contact Sheet, 2010

From the series

11½ x 17" Archival pigment print

Keith Carter, Raven, 1996

From the series

15 x 15" toned gelatin silver print

Editions of 50 with 5 AP's

sold

Keith Carter, Raven Contact, 1996/2010

From the series

10 x 8" toned gelatin silver print

Edition of 20

Keith Carter, Chicken Feathers Contact, 1992/2010

From the series

8 x 10" toned gelatin silver print

Editions of 20

Clark & Pougnaud, La Chute, 2000

From the series

35½ x 29" Digital chromogenic print

Editions of 6

Clark & Pougnaud, La Chute Contact Sheet, 1999

From the series

8 x 10" Digital chromogenic print

Kelli Connell, The Valley, 2006

From the Double Life series

30 x 40", 36 x 48" chromogenic dye print

Editions of 6 + 3 AP's

Kelli Connell, The Valley Contact Sheet, 2006

From the series

10½ x 9” Chromogenic print

Terry Evans, Chicago River, Downtown Chicago, July 30, 2003

From the series

19 x 19", 30 x 30", 40 x 40" pigment print

Edition of 15, 10, 8

Terry Evans, July 30, 2003

From the series

12 x 10" chromogenic dye print

Ron Gordon, Comisky Park Demolition Series, Infield, May 6, 1991

From the series

14 x 14" pigment print

Edition of 25

Ron Gordon, Comisky Park Demolition, Roll 10, May 6, 1991

From the series

8 x 10" Gelatin silver print

Greg Gorman, Djimon Screaming, 1991

From the series

20 x 16", 24 x 20" Digital pigment print

Edition of 25, 15

Greg Gorman, Djimon Proof, 1991

From the series

10¾ x 8½" Digital pigment print

Edition of 25

Jill Greenberg, Anxious Contact Sheet, 2005

From the series

9½ x 12" Chromogenic print

Unique

Jill Greenberg, Anxious, 2005

From the series

50 x 43" Archival digital photograph

Edition of 10

Todd Hido, #1862 Contact Sheet, 1996

From the series

10 x 8" Chromogenic print

Todd Hido, #1862, 1996

From the series

20 x 24", 30 x 38", 38 x 48" Chromogenic print

Edition of 10, 5, 3

Michelle Keim, Proof, 2010

From the series

11 x 8" pigment print

Edition of 10

Michelle Keim, Metrosphere, 2010

From the series

30 x 20" pigment print

Edition of 9

Michael Kenna, Fishing Nets, Smarlacca, Veneto, Italy, 2006

From the Venice series

8 x 7½" toned gelatin silver print mounted and matted on 20 x 16" board

Edition of 45

Michael Kenna, Fishing Nets, Smarlacca, Veneto, Italy Contact Sheet, 2006

From the series

8¼ x 11" RC Print

Herman Leonard, Duke Ellington, Paris [DKE02], 1958

From the A Life with Jazz series

11 x 14”, 16 x 20”, 20 x 24” gelatin silver print

Open edition, edition of 50, 50

Herman Leonard, Duke Ellington, Paris Contact Sheet, 2006

From the series

9 x 7" digital photograph

Achim Lippoth, Class of 1954 no. 4, 2006

From the Class of 1954 series

16 x 20", 30 x 40" chromogenic dye print

Edition of 7, 5

Achim Lippoth, Class of 1954 Contact Sheet, 2006

From the series

8 x 10" pigment print

Cecil McDonald, Jr., 20 - 1200's, 2010

From the series

8 x 10" pigment print

Edition of 3

Cecil McDonald, Jr., 1200 meditations, things my mother gave me, 2005

From the series

20 x 24", 30 x 40" pigment print

Edition of 12, 6

Robert & Shana ParkeHarrison, Tethered Sky, 2004

From the Painted Panel Pieces series

32 x 26" RC prints on panel with acrylic paint and UV varnish

Unique

Robert & Shana ParkeHarrison, Contact Sheet for Tethered Sky, 2005

From the Painted Panel Pieces series

10 x 8" gelatin silver print

Cara Phillips, Ultraviolet (untitled) #80, 2008

From the series

24 x 20", 30 x 24" Gelatin silver laser print

Edition of 8, 5

Cara Phillips, Ultraviolet (untitled) #80 Contact Sheet, 2008

From the series

11 x 8½" Digital C-print

Edition of 1

Cara Phillips, Ultraviolet (untitled) #151, 2008

From the series

24 x 20", 30 x 24" Gelatin silver laser print

Edition of 8, 5

Cara Phillips, Ultraviolet (untitled) #151 Contact Sheet, 2008

From the series

11 x 8½" Digital C-print

Edition of 1

Holly Roberts, Snake Boy, 2007

From the Recent Work series

20 x 16" pigment with mixed media on panel

Edition unique

sold

Holly Roberts, Snake Boy Contact Sheet, 2007

From the series

10 x 8" pigment print

Josephine Sacabo, El Fulgor Contact Sheet, 5002

From the series

10 x 8" gelatin silver print

Edition of 5

Josephine Sacabo, El Fulgor, 2005

From the series

19 x 15" Toned gelatin silver print

Edition of 30

Howard Schatz, You are... four years old; first time at the circus Contact Sheet, 2007

From the series

17½ x 13½" Digital photograph

Rocky Schenck, The Art Lovers, Paris, 1999

From the Black and White Photographs series

16½ x 24" toned and painted gelatin silver print

Edition of 10 + 2 AP's

Rocky Schenck, Rocky Schenck Proof Sheet, 1999

From the series

8½ x 11" gelatin silver print

Howard Shatz, You are... four years old; first time at the circus, 2007

From the series

24 x 19", 30 x 24" Digital C-print

Edition of 8, 8

Jack Spencer, Gussie's Magnolia, LaGrange, TN, 1997

From the Native Soil series

20 x 24" gelatin silver print

Edition of 50

secondary market only

Jack Spencer, Contact (Gussie), 1999

From the series

10 x 12" pigment print

Edition of 10

Amy Stein, In Between Contact Print, 2010

From the series

8 x 10" Chromogenic print

Edition of 1

Amy Stein, In Between, 2007

From the series

24 x 30", 30 x 37" Chromogenic print

Edition of 10, 3

George Tice, Two Amish Boys, Lancaster, PA, 1962/2012

From the series

13 x 10½" gelatin silver print

George Tice, Two Amish Boys Contact Sheet, 1962

From the series

8 x 10" Gelatin silver print

Hiroshi Watanabe, El Arbolito Park, Quito, Ecuador, 2002

From the Findings series

10 x 10”, 14 x 14” toned gelatin silver print

Edition of 30, 15

Hiroshi Watanabe, El Arbolito Park, Quito, Ecuador Contact Sheet, 2002

From the series

10 x 8" gelatin silver print

Text on photograph reads: Teresa lived on a farm near Paragon, Indiana, until increasing friction with her husband forced her to leave. She stayed for a couple months with her parents nearby, but with three children of her own she didn’t want to overstay her welcome. She decided to move to Bloomington and look for work. She had been a cashier at the local IGA and hoped for something similar in Bloomington. Teresa had to go on welfare to help make ends meet. And in April she moved into the publicly subsidized housing projects on Pigeon Hill. Unlike many of her neighbors she kept her apartment scrupulously clean, everything in its proper place. Pictures, mostly portraits of her children, were perfectly alined on the wall. Then slowly, cautiously, Teresa and her kids began to make friends out of the pool of neighbors on the Hill. She particularly liked a seven year old named Keith who was black and lived in an adjacent block of houses. She particularly disliked her next door neighbor, Betty. Shortly after Teresa had moved in, Betty cut Teresa’s laundry off their mutual four-stranded clothesline with a paring knife. Teresa told her they shared the lines and Betty, still brandishing the knife, responded, “I’ll cut your damn guts out.” Teresa went to Donella at the Crestment Public Housing Authority who requested that Teresa no press charges against Betty but rather let her resolve the dispute. And Betty was blessed with a rather large sixteen year old son, Harry, who had earned something of a reputation as a bully among little kids in the neighborhood. In fact, Harry had once picked up Teresa’s daughter by the throat and held her head tightly pinned to the front door of the apartment when Teresa arrived home. Harry later apologized for losing his temper with the child. Then, one 95 degree day in the middle of July, Harry was relatedly knocking little Keith to the ground and screaming, “Nigger!” Teresa happened upon this ugly scene and called out, “Don’t pick on him. Keith come over here and stay with me.” In a rage, Harry stormed up to Teresa yelling, “Bitch! You want it?” The next think Teresa saw as she picked herself off the ground was a gooey combination of red blood and white teeth. She managed to drag herself to her apartment to dial 911. When the ambulance showed up they found Teresa with a broken nose, fractured bone behind her gum and two teeth missing. Her lower lip was split into three seemingly unrelated parts requiring 55 stitched to mend. When Teresa returned from the emergency room, Betty, who had been sitting out font of the apartments, remarked that it was a shame Harry hadn’t shut her up permanently. Teresa revisited Donella at the housing authority who reassured her she would handle everything. Donella moved the troublesome family to an apartment down the block. And according to Teresa the police never did bother to find out what actually happened. — Jeffrey Wolin
*Assault*, 1991

**sold out**

Jeffrey Wolin, Assault, 1991

From the Pigeon Hill series

20 x 24", 40 x 50" toned gelatin silver print w/ marker

Editions of 8, 3

sold out

Jeffrey Wolin, Assault Contact Sheet, 1991

From the series

8 x 10" Museo Silver Rag with archival ink