About the Exhibition
Texas Art House is pleased to present Burton Pritzker in a solo exhibition ALTERNATE PREMISE October 28 through December 30 2017. Opening Reception is Saturday, October 28, 5-7 pm. The exhibit features work from a new series ‘Mosiac’, selections from past series and presents his video “Riding the Ox’. Pritzker collaborated with curator and art historian Mark L. Smith, PhD on the exhibit.
All of Pritzker’s black and white photography is produced optically, on film and printed in a traditional darkroom. The color work is shot on color transparency film, high resolution Imocon scans are made, fine tuned in Photoshop and printed as carbon pigment prints on 100% rag watercolor paper. None of the original imagery was created using digital photography.
Selections of his work have been placed in the collections of the Museum of Fine Arts, Houston, the Harry Ransom Center at the University of Texas at Austin, the Wittliff Collection at Texas State University, the El Paso Museum of Art,
The Albuquerque Museum and many more. He lives and works in Austin,
At the core of my photography lies the belief that “Everything is also something else”. When I look at anything through a camera, I sense another world, another reality beyond what I see. If the photograph I take is successful, that ‘other world’ comes into being almost by magic, a kind of alchemy. My aim is not to record something, it is to reveal a something else.
An acorn is also a planet in space, a wall in an architectural landscape is also the sky, an avocado seed is also a human organ. A Professor of Biology once told me that I had mislabeled an image “Avocado Seed” – it couldn’t possibly be that. He was shocked when I told him that I had eaten the avocado, dried the seed, then photographed it. Viewing an image from my series TEXAS RANGELAND, a woman said it looked like a giant wave in the ocean. She was incredulous when I told her it was the face of a Brahma bull. Another person was astounded to learn that light emanating from a fissure in a dome was not a birthing scene.
My work has always been about the experience I have when I look through the camera. My focus is on the form and composition of the subject, its placement in the frame and the light that defines it. Sometimes it is the quality of the light itself or the absence of it, such as a shadow, that seizes me. The focus may also be on the emotional quality of the form and light in their abstract manifestations.
Forms can take me beyond what they seem, to something that strikes a deep chord in me. It is as if the form were a portal into a realm where “Everything is also something else”. When the form, light and composition are synchronous, in phase, there is always a palpable feeling that tells me I am on to something, at which point I strive to simplify, to strip away unnecessary elements that distract from the essence of the experience. I am called upon to tell a story and convey a feeling with an economy of means. Economy is power and I am in its grip.