get visual

Penny Dreadful by Nina Chanel Abney is among works by 59 artists at The School

Longtime Times Union art critic (and fellow fine art photographer) William Jaeger has written a powerful review of the exhibition This Tender, Fragile Thing at The School in Kinderhook.

I won't have time myself to review the show, which will end on April 30, but I wanted to pass along Bill's endorsement before its too late.

The show is a re-examination of a prior exhibition mounted by The School in 2005 that highlighted Black Power-related materials from the gallery's collection, and features the work of 59 significant artists, including photographs by prominent journalists. The School is a vast, pristine space, and admission is free - but it is only open one day a week, Saturday, from 11 to 6, so plan accordingly.

Still Life (aka White Jug), c.1950, color lithograph all works by Robert Blackburn

The name Bob Blackburn is unlikely to ring a lot of bells with the average art viewer - but a show currently on view at The Hyde Collection in Glens Falls through April 24, could change that.

The 2021 Mohawk Hudson Regional is a bit of a head-scratcher, not because it fails to represent the region’s range of outstanding artists (which is the show’s basic mission since its inception 85 years ago), but because it does so in a very cumbersome manner.

I submitted to the show this year, and so I can’t in good conscience write the critical review I’d like to, but it’s too important an event to merely pass over, so I’ll try to take an objective approach with this brief report.

First, some history. Over the past dozen years or so, the Annual Exhibition by Artists of the Mohawk Hudson Region (its formal name) has been rotating among three sponsoring organizations: The Albany Institute of History & Art (its original organizer), The Hyde Collection in Glens Falls, and the University at Albany Art Museum. A prior host, the Schenectady Museum, changed its mission from art to science some years back, leaving the Regional to wander a bit every third year, until the Hyde stepped up to fill the role of a third regular host. During that time, the show landed at least once at the Albany International Airport Gallery, a fact I mention because, this year, it’s there again (in part).

With the Institute, the Hyde, and the University as regular hosts, the Regional was doing fine, until COVID-19 hit. This disrupted the University Art Museum’s schedule to the point that it had to cancel its 2021 position in the Regional’s regular rotation, after which it was decided that the show would be managed by Albany Center Gallery (ACG). Being physically too small and insufficiently staffed to host the show alone, ACG then recruited additional space and support for the venture from The Sage Colleges’ OpalkaGallery and the Airport Gallery.

This solution, though a compromise, offered additional perks. Now, rather than having just one big show with one juror (the longstanding tradition), there would be three shows, each with its own juror, with all of the art still being drawn from a single pool of entries. Each venue selected a juror: Hudson gallerist Pamela Salisbury for the Opalka, local artist Alisa Sikelianos-Carter for ACG, and Seattle-area artist and arts administrator Tommy Gregory for the Airport – and the stage was set for a unique event.

The resulting tripartite exhibition features 143 works by a record 96 artists (14 of whom were also in the 2020 Regional). Unsurprisingly, this horde includes a number of familiar names, as well as a goodly smattering of new or lesser-known artists, the diversity of which the organizers had said was a goal for this year’s exhibition. While I didn’t love the new format, as an artist I was excited to think that I had three chances to be chosen (alas, that didn’t happen); an additional decision by the organizers to reduce the entry fee to just $10 (from about $40 in past years) made it even more appealing.

Now, as an audience member, I have a couple of problems with the arrangement. First, in order to take in the entire selection as one show (like in all prior years), it’s necessary to find time and the means to go to all three venues, not to mention somehow keeping in mind what you’ve seen in each to meld it all together. Second, two of the venues have set rather short runs for their parts of the show (Sept. 7-Oct.9 at Opalka and Sept. 10-Oct. 9 at ACG), compared to prior years in which the Regional would typically run for at least two months (which the Airport segment does this year), putting further pressure on the viewer’s resources.

Worse yet, several of the included artists are featured in two locations, and one is in all three, making it even more difficult to absorb and understand their contributions as a whole. (I think all artists would agree that they’d rather not have their work scattered like this.) Even within the venues there are distribution problems. Nearly half the total artists (44 of them) have their works crammed into the confines of ACG, making for a salon-style installation where items are stacked and grouped, and where some individual artists’ have multiple included pieces separated from each other within the room.

While I find all that unfortunate, there’s a lot of energy amid the clutter at ACG, and many intriguing works to be found in the mix there.

In contrast to ACG, the Opalka’s more generous space seems rather sparsely filled. Salisbury selected mostly abstract art, a form I dearly love, but this segment of the show somehow comes off strangely flat. I think this is a consequence of the exhibition being divided – if these mostly worthy works were intermingled in a larger museum space with the other jurors’ choices, it would have created a much more stimulating conversation.

That more appropriate balance seems to have been struck at the Airport – possibly because the juror there is more experienced in putting together large exhibitions for mass consumption in his role as the curator for the Port of Seattle. If only the entire show had been mounted there as it once was, this might have been another great Regional. But that would have been impossible, as the formerly vast space of the airport's third-floor gallery was recently reduced to a much smaller one.

On the plus side, that space is open from 8 am to 10 pm daily, and that segment of the show runs through Nov. 8, so there’s no excuse for missing it.

Viewers peruse a corner of the 2021 Mohawk Hudson Regional at the Airport Gallery

Though summer is on the wane, a constellation of shows that began to emit from Skidmore College's Tang Teaching Museum in the spring will continue well into the fall, and so could nicely serve as a buffer to the inevitable end of our warmest season.

Nikolai Astrup, A Clear Night in June, 1905–07, oil on canvas: That Nordic glow

This year, the Clark Art Institute in Williamstown, Mass., has taken a different tack with its big summer show. Rather than feature a blockbuster on the level of Renoir (2019), Van Gogh (2015) or Turner (2003), the region’s most venerable museum has mounted the first North American show ever of a little-known early-20th-century Norwegian painter named Nikolai Astrup.

Organized in collaboration with Norway’s KODE Art Museums, and curated by British art historian MaryAnne Stevens, Nikolai Astrup: Visions of Norway aims to convince its audience that Edvard Munch had an unjustly overlooked contemporary who – perhaps - should be regarded as his equal. It’s an intriguing and challenging argument to engage, and one that, in all honesty, can’t be concluded – but, in the process, we are given a strong show that is without a doubt well worth seeing.

The Parsonage, n.d, oil on canvas

I am delighted by the irony that, in this era of unrelenting wokeness in the arts, a leading museum is willing to stake its reputation on a dead, white, heterosexual, male painter. What nerve! What verve! What fun. Well, it could be fun, if Astrup weren’t so generally gloomy. But how can you blame him? After all, he lived in rural Norway, the son of a parson, sickly from an impoverished childhood, underappreciated.

Gloomy – yet glowing. Despite his isolated circumstances and shortened lifespan (he died in 1928 at the age of 47), Astrup burned with a passion for his chosen subjects, the Norwegian landscape primary among them - its particular light, its plants, its folk traditions, its rustic buildings, and its people. This passion led Astrup to work feverishly, not just in paint, but also extensively in Japanese-style woodblock printing (ukiyo-e), which he executed extremely well, whether in multiple colors or in monochrome.

Bird on a Stone, woodblock print with hand coloring c. 1905–14

Fortunately, a significant portion of the expertly laid-out exhibition is devoted to the prints, including several examples of the original blocks, themselves alone worth the price of admission. But it is the paintings that dominate and best tell the story of a man in love with his rural existence and an ancient culture. This is expressed above all in the night paintings, which capture the peculiar half-light of the extreme North in summer and the opportunistic plants that explode in its short growing season.

We learn from the concise wall text that Astrup was an enthusiastic horticulturalist, and we see evidence of that in the lovingly rendered trees, bushes, and flowers that pervade his works. No shade of green escaped his searching eye, but he also exercised plenty of artistic license in his renderings, in one case featuring identical rhubarb plants in two entirely different landscape views.

Rhubarb, 1911–21, oil on canvas

We also learn that, mid-career, Astrup weathered a crisis in the form of negative criticism of his work in a Berlin exhibition, which caused him to rethink his approach and strive to modernize it. I can imagine that the comments attacked two weaknesses in his work, one of which would be equally derided today, and that is sentimentality. The other (and I’m just guessing) could have been his awkward handling of human subjects – if he’d given them half the life force he gave his plants, many of these paintings would be far better.

In any case, the later work is indeed stronger overall, as is particularly evidenced in repeated depictions of a Midsummer Eve bonfire ritual that Astrup recalls from his youth, when his strict parents forbid him to participate, as they considered it pagan. Several of these paintings and prints are presented in the final gallery of the exhibition, making a clear concluding statement about Astrup’s life, values, and skills as an artist.

Midsummer Eve Bonfire, before 1916, oil on canvas

While I’m not a huge fan of folklore, I enjoyed immersing myself in Astrup’s personal celebration of it, especially as he worked and reworked themes in paint and prints over many iterations. But I responded more viscerally, and with great pleasure, to his formal concerns, especially where color takes on its own life in certain paintings, and where otherworldly light emanates from his subjects.

This is most apparent in some of the landscapes painted at night, and in a couple of still lives made late in Astrup’s career in the interior of his home. For me, though the subject is quotidian, private, and momentary, the painter’s approach to it has taken it beyond those limits to the universal and the eternal. Perhaps, had he lived longer, Astrup would have followed this path to a place where the question of a revival would be moot.

But, whether he was truly a great modern painter, or merely a talented also-ran, Astrup’s contribution is significant enough to be worthy of the showcase he’s now receiving at the Clark and beyond.

Nikolai Astrup: Visions of Norway will remain on view in the special exhibition galleries of the Clark Center through Sept. 19; from October to May, it will travel to museums in Norway and Sweden.

Nikolai Astrup, Interior Still Life: Living Room at Sandalstrand, 1926–27 oil on canvas

Two additional exhibitions currently on view at The Clark are also of great interest. Claude and François-Xavier Lalanne: Nature Transformed is an intriguing collection of Surrealist sculptural works by a non-collaborating French couple who each innovated with materials to create striking visions inspired by nature. It will remain on view through Oct. 31 in a glass-enclosed gallery on the ground floor of the Clark Center that also affords views of several pieces by the Lalannes that are installed outdoors.

Erin Shirreff, Four-Color Café Terrace (Caro, –––––, Moorhouse, Matisse) 2019, dye sublimation prints on aluminum and archival pigment print

In the café area downstairs in the Clark Center, and in the nearby Manton Research Center, are several large works by Erin Shirreff, a Canadian multimedia artist who combines sculpture and photography in unique ways. While her single long video stream and simplified photographic constructions are built with layers of references from other sources, they remain fresh, not derivative. Indeed, Shirreff's elegant abstractions are successful postmodern transformations and well worth spending some time with. The yearlong installation, entitled Erin Shirreff: Remainders, runs through Jan. 2.

Finally, Dürer & After, a new exhibition drawn from the Clark’s extensive holdings, is slated to open tomorrow (July 17) and remain on view through Oct. 3 in the Eugene V. Thaw Gallery for Works on Paper.

Plank - oil on canvas 2021

A fine solo exhibition by the painter Paul Akira Miyamoto is on view through June 5 at the Lake George Arts Project's Courthouse Gallery.

Go Home presents a rare opportunity to immerse oneself in a world both real and imagined, within which Miyamoto has crafted a deeply personal tribute to his Japanese-American ancestors, while simultaneously presenting a critically important history lesson to those of us who would forget the unjust internment of generations of Americans during World War II by their own government.

Miyamoto is Sansei - third-generation Japanese-American - and his Issei grandparents, Nisei parents and older siblings lived for more than three years in the remote Poston concentration camp in Arizona, where they used their farming experience to domesticate infertile land, just as they had been forced to do when living free in California before the war.

Promise - oil on canvas 2021

Miyamoto's paintings reimagine these two scenarios as one serialized fever dream, sketching the sun-baked, clear-skied, surveilled family existence of a stoic, racially profiled people who did the best they could in nearly impossible conditions. The body of work gives voice to those people, but it is more celebration than lament. There's a quiet dignity in Miyamoto's figures, a subtle joy in his colors, and a simmering triumph in this gathering of paintings.

Miyamoto's project actually began long ago, but the majority of works in this show were made in the past year - a time in our nation's history that, unfortunately, could hold a mirror up to those terrible times and see itself fairly clearly. In addition to exploring his personal history, the artist seeks to remind us that we are in danger, even now, of such injustice being perpetrated again on American citizens if we aren't vigilant.

Shoulder - oil on canvas 2021

Along with the 14 paintings on view (ranging in size from 24"x30" to 48"x60"), there is a small selection of framed ink drawings on paper, displayed in a newly dedicated side gallery that the Arts Project has made nice use of for this show. These pieces are both more spontaneous and more specifically detailed than the paintings, featuring delicate monochrome washes of ink and tight pen renderings of camp buildings (one is shown at the bottom of this post). Made in 2018, the drawings seem like a prelude to the paintings, but stand alone as well.

Additionally, Miyamoto has created a site-specific installation in the main gallery, which is a minimalist reconstruction in tar paper and wood of a camp-type building. Stark, black, geometric, it balances the colorful paintings rather than dominating them.

Though I'm emphasizing content here, I want to point out that some of the formal and technical qualities of Miyamoto's painting are quite outstanding, with strict control of form, color, composition and, in particular, soft brushwork that makes them perhaps surprisingly sensual and seductive. His human forms are generalized, suggestive rather than specific, but crafted in such a way that their gestures speak clearly.

At a recent viewing, I noticed that several of the paintings had been sold to private collectors. This is wonderful, of course, but I hope that perhaps some of them will also end up in a museum somewhere. They're that good, and that important. Try to see the show in person if you can.

Camp #8 - ink on paper 2018

Totenkopf, Die Werbung, The Invisible Enemy - installation by Jamie Rodriguez

Jamie Rodriguez is one of the more interesting artists to have emerged on the local scene in the last decade or so, and his current solo exhibition at The Arts Center of the Capital Region in Troy is a well-earned showcase of his latest work.

A frequent prize winner in the annual Mohawk-Hudson Regional, Rodriguez has distinguished himself with challenging, multilayered installations that combine painting, drawing, and sculpture, often to a confounding effect, and this show, entitled Warenfetischismus: Commodity Fetishism is no exception.

Montserrat Landscape #1 oil paint on canvas 2019

I noticed from the first time I saw his work that Rodriguez is a very skillful painter, and this exhibition showcases that aspect of his art by featuring 15 oils on canvas, most of them sun-washed landscapes in an Impressionist style that clearly evokes Cezanne and Van Gogh. The four large mixed-media installations that comprise the remainder of the show all incorporate similarly executed paintings, a stylistic innovation I don’t recall having seen employed by any other artist.

So, labels aside, Rodriguez is a creator who ably applies whatever materials he needs to make his statements – and those statements are ambitious, on a global scale. These installations evoke international politics, with references to Nazi Germany, Soviet Russia, Communist China and capitalist America; environmental issues, including water shortage, habitat loss, and pollution; economic matters such as the commodification of food; religion, via icons and altars; and historical references in the form of architectural elements, decorative tilework, and weaponry.

Argumentum ad baculum, (Fact Check: To The unhinged and useful idiots, the Revolution has been canceled as part of culture, No Justice, No Peace for Wendy's, The Rubicon has been crossed) - 2021 (detail view of installation)

The last item is perhaps the crux of this work, which openly concerns itself with war and conquest. But the naturalistic concerns are also central, as Rodriguez deploys multiple animal figures - foxes, lambs, raccoons, and various rodents among them - as avatars. His statement accompanying the show offers clear insights into his intentions, while welcoming viewers to make their own interpretations of the work. In part, it says: These narratives can draw attention to many different topics, that can be interpreted in any way the viewer connects … I want to evoke emotion and awareness of the individual to confront the issue of how art functions within a particular set of social and cultural patterns, historical perspectives, and belief/faith systems, while maintaining a sense of humor and humility.

That’s a lot to pack into any work of art, and Rodriguez gives it a good shot. My overriding response to this show is that it has a potent sense of urgency. The sprawling, highly detailed tableaux incorporate a great many carefully constructed elements, which undoubtedly have taken a lot of time to create, yet they still feel improvised, even slapdash in a way, as though the artist feels too pressed to add even the slightest extra bit of finish to his product. Only the paintings appear polished, serving as a counterpoint to the roughly representational sculptures into which they are integrated.

It’s enough to make you breathless.

Warenfetischismus: Commodity Fetishism - Artworks by Jamie Rodriguez will remain on view through April 16.

Polarity Integration: The Universal Game, Zwischenzug, Spiritual Algorithm, end game-"Transcension", Think, Think Tank? Paradigm Shifts mixed-media installation by Jamie Rodriguez, 2021

Installation shot of Like Sugar at Skidmore College's Tang Teaching Museum photograph by Arthur Evans

The exhibition Like Sugar, on view through June 23 at Skidmore College's Frances Young Tang Teaching Museum and Art Gallery in Saratoga Springs, is an unusually thought-provoking show that, like its namesake, still somehow comes off seeming insubstantial.

Organized by the Tang's Malloy Curator Rachel Seligman and Skidmore English professor Sarah Goodwin, with input from three other Skidmore faculty members, Like Sugar may suffer from the too-many-cooks syndrome, as it attempts many diverse things. Is it about art? Of course. Food? Check. History? Global economics? Advertising? Health? All of the above.

Julia Jacquette, Two Tiered Cookie Platter, 1997 enamel on wood panel

As an art exhibition, Like Sugar is a bit sparse for my taste, but it features some very good work. Unfortunately, several of the best artists in the show are represented by only one piece each, which can be frustrating. On the plus side, while the show has very much to say, it doesn't overwhelm the viewer with didactic panels or unbearable preachiness - it manages to maintain a light playful tone despite the deadly seriousness of its content.

I think the show makes plain just how conflicted we are as a society - and individually - about sugar. It's killing us, but we love it. Historically, the sugar trade drove the creation and growth of the horror of the slave trade. This is delved into through visceral works by Kara Walker and Maria Magdalena Campos-Pons, and alluded to in historical and contemporary documentary photographs also in the exhibition. Even honey bees get some of the blame - or credit - from both the scientific perspective and the creative one, as a video piece in the show records an experiment demonstrating their preference for sugar, and three fascinating sculptures in the show are a collaboration between a human artist, Garnett Puett, and comb-making bee colonies.

Advertisement by Sugar Information Inc.

Among the most shocking materials in Like Sugar are the many mid-twentieth-century magazine ads collected and presented in a grand collage and also individually, where we can see the audacity of Madison Avenue's efforts to sell a nutrition-free, highly caloric product to an unsuspecting and exuberant post-war consumer. As a child of the '60s, I was the direct recipient of the concepts these ads promoted, and it particularly struck me that the majority of the artists in this show were too - born between 1959 and 1965, a rather narrow demographic band to see in a large group show.

Clearly, we were all affected, and the impacts are still seen in the obesity and diabetes epidemics that plague the United States today. These diseases are explored in a display of public service graphics that attempt to scare people straight off the sugar track, and in photographs and paintings that simultaneously seduce and disgust.

Emily Eveleth, Big Pink, 2016, oil on canvas

One of the strongest pieces in the show, which is used prominently in publicity for it, is a six-and-a-half-foot painting by Emily Eveleth entitled Big Pink, which employs scale, gorgeous painterly flourishes, pastry worship, and frankly pornographic effects to drive home several points at once. Like the ad pictured above, which advises eating cookies rather than a healthy lunch as a weight-loss strategy, it's creepy - and irresistible.

All in all, Like Sugar may be overly ambitious, but it got that way for important reasons. More art exhibitions should make such efforts, even if falling short is almost inevitable.

And, while you're in the neighborhood, check out a first-rate three-person show at the Saratoga Arts Center. Passing Time, on view through June 15, features paintings, photographs, and sculptures by Paul Chapman, Harry Wirtz, and Rebecca Flis (respectively). In a happy coincidence, some of Flis's ingenious cast works are made of - you guessed it - sugar. I promise you will like.

Rebecca Flis Ironscapes, cast iron, crushed red stone, steel perimeter

Jeff Lansing - Albany Warehouse District 1 (with text added by Collar Works)

Every Photography Regional is unique, but the 41st edition of this popular and often controversial annual is even more different than most, due to a new venue and particularly tight jurying.

This year, the peripatetic show has found a Troy home at Collar Works, a raw and ample nonprofit space that opened for business a little over three years ago under the guidance of Executive Director Elizabeth Dubben, and quickly made a name for itself as an innovative hub of the local contemporary arts scene.

Justin Baker - Frodo's Ghost II

Historically, the Photo Regional has always rotated among sponsoring organizations. When it began in 1979, responsibility for it was shared between Albany Center Gallery and the former Rensselaer County Council for the Arts (RCCA) in Troy. After RCCA (now known as the Arts Center of the Capital Region) bowed out in the mid-'90s, other venues took up the cause, including Fulton Street Gallery and the PhotoCenter in Troy, and the Albany Airport Gallery in Colonie. Albany Center Gallery has continued to be in the mix since it first hosted in 1980; Sage College of Albany's Opalka Gallery has held the show every three years since 2003; and now there's Collar Works, which I hope will remain as a regular host in the cycles to come.

Natasha Holmes - Babble, Bubble

Regular followers of the Photo Regional will be struck by how different in scope the current iteration is from the previous 40: With only 18 works by 15 artists, it's by far the sparest version ever. The only comparison I can make would be to the 2003 Artists of the Mohawk Hudson Region Juried Exhibition at UAlbany's Art Museum, which had just 17 artists and 35 works in it (trivia buffs may note that one artist, Justin Baker, was selected for both). Typically, either of these Regionals will include far more work (for example, two years ago at ACG, the 39th Photo Regional included 72 pieces by 51 artists).

That said, whereas the 2003 Mohawk-Hudson Regional was overwhelmed by the UAlbany Museum's vast, two-story space, Photo Regional 41 sits fairly comfortably in the low-ceilinged Collar Works gallery. On my first visit, having heard about the small number of works included, I doubted they could hold the space - but I found that dividing walls, along with sensible pairings and groupings of related pieces, have given the minimal selection enough support to stand up.

Theresa Swidorski - Forest Gate

Chosen by Brooklyn-based curators Kathleen Vance and Daniel Ayecock from submissions by 88 artists, the show hews to the traditional; few of the images deviate very far from the camera-made, though the collection feels contemporary in style, subject, and coloration. Only three of the 18 pieces are monochromatic and, of those, just one is black and white (the other two being a cyanotype, which is blue, and a digitally-reproduced toned darkroom print in a range of dark browns). Overall, the technical and visual quality of the images is high but, as with all such shows, there are a few clunkers (I'll leave it to the readers to see the show and decide for themselves which ones those may be).

Coby Berger - Albany Super Storage

Another distinction of this Regional is that, though it was juried from an open call (i.e. not an invitational), no prizes were awarded, apart from the jurors' decision to give the "top three" among the accepted artists two pictures in the show, while the other 12 selected artists have one picture each. Those three - Justin Baker, Chris DeMarco, and Jeff Lansing - are all worthy of the distinction, and the pairs of pictures included by each make strong presentations.

With so many variations on the usual theme, this Photo Regional provides a lot of food for thought. Is it better to see more or fewer artists in a large group show? Does seeing two or three of an individual artist's pieces help you understand and appreciate their work better, or could more time spent with just one piece provide greater insight? Can 18 artists adequately represent a region? For that matter, can any show represent a region at all?

Chris DeMarco - Test Site 2

As in most Regionals, this show includes a number of familiar names as well as a few new ones. In addition to the jurors' top three choices, I particularly liked George Guarino's geometric and heavily textured digital photo assemblage titled Daughter Mother; Natasha Holmes's Babble, Bubble, a fun-filled concoction of commonplace objects; Robert Coppola's colorful bit of Americana from Santa Cruz, Calif.; Theresa Swidorski's spooky reverse-printed Forest Gate; and Coby Berger's painterly urban study Albany Super Storage.

Other work that caught my eye included unrelated mist-shrouded night scenes by William Gill and Christopher Herrera, and a quiet suburban scene by Monica Hamilton. The other artists included in the show are Kieran Barber, Hannah Alsdorf, Scott Keidong, and Hillary Raimo. It's worth noting that Hamilton and Barber are both college students (at Skidmore and Saint Rose, respectively), showing that even a very tightly juried show can offer first-time professional opportunities for up-and-comers. That kind of openness is one of the things that makes an annual Regional like this both popular and vital to the community.

Photography Regional 41 runs through April 27. Please note, Collar Works has limited hours: 12 to 6 p.m. Thursday and Friday, and 12 to 4 p.m. Saturday.

Monica Hamilton - Layers of Green, Layers of Wheels, Leadville, Colorado

An image from Alfonso Cuaron's Netflix film Roma

Threshold by Manuel Alvarez Bravo

The Daydream by Manuel Alvarez Bravo

Striking Worker Assassinated by Manuel Alvarez Bravo

Sparrow, Light by Manuel Alvarez Bravo

title unknown by Manuel Alvarez Bravo

The Eclipse by Manuel Alvarez Bravo