DeSantos Gallery

1724 Richmond Ave.

Houston, TX  77098

info@desantosgallery.com

NEW EXHIBITION AT DESANTOS GALLERY

New Work from Artist Cara Barer Makes Big Impression on the West Coast, Now coming to Houston.

HOUSTON, TX – Exciting new work entitled “Becoming a Myth” from Houston photographer, Cara Barer to be shown at DeSantos Gallery. The opening for the exhibition will be held on Saturday, November 7, 6-9 PM. The fascination with Barer’s new form of art photography continues to grow each year as she presents a new body of work about books.

Along with the book photographs in this exhibition, Barer will also present new mixed media sculptures created from the previously photographed books.  Barer has also cast one of these sculptures in bronze – a step in a different direction for her, but one that has opened a new door for the artist in her repertoire of mediums. Says Barer, ”I continue to experiment and find new ways to re-purpose books that no longer have a reason to exist. In this digital age of the 21^st century, I hope that people will consider the ephemeral way in which we choose to obtain knowledge, and the future of books.”

Barer’s work has crossed the boundaries of traditional photography, and ventures into unique territory by blurring the line between photography, book art, paper art, and sculpture. Her photographs have been featured in three new books about the many forms of paper art. “Perfect Paper,” published by Page One Publishing, in Singapore, “Papercraft,” published by Gestalten in Berlin, Germany, and also in “Paper, Tear, Fold, Rip, Crease, Cut,” by Black Dog Publishing in the UK.

In February, her new work was presented at the UCLA Book Fair by Susan Spiritus Gallery. After that, it was also shown in two group exhibitions this year in San Francisco at Andrea Schwartz Gallery, and in Los Angeles at Tarryn Teresa Gallery.  The Los Angeles exhibition, titled “Palimpsests,”recently received a positive review in the Los Angeles Times on October 9^th.

Her work is also being featured with Galerie Poller in the Frankfurt Book Fair in Germany, October 13-18, 2009.

ABOUT CARA BARER

Cara Barer lives and work in Houston, TX.  She is represented by galleries nationwide, and also internationally in Toronto, Canada, and Frankfurt, Germany. Her photographs are in many collections, public and private. Her work has appeared on numerous book and magazine covers.

HOUSTON, TX – De Santos Gallery is proud to announce that its next opening will highlight the work of Bill Armstrong This new exhibition is titled SPIRIT-From Darkness to Light. The exhibition will run from March 10 to April 2, 2007. De Santos Gallery will host an opening reception with Mr. Armstrong on March 10, 2007 at 6:30pm.

A Note About Bill Armstrong by Fernando Castro

In art doing what you are not supposed to do, occasionally bears interesting results. Arcimboldo painted faces whose parts are edibles, Jackson Pollock dripped paint on canvas, John Chamberlain smashed automobiles, Man Ray made photographs (rayographs) without a camera, etc. Bill Armstrong’s poetics defies traditional photographic practice in two ways. First, he does not photograph objects in the world, but rather objects that already are incipient representations –namely, collages he himself produces with different color papers. Secondly, he photographs these collages not focusing on them but on whatever lies beyond them at an infinite focal distance. This subversive photographic tandem generates a vast array of images with blurred edges and arresting colors.

Moreover, as Armstrong’s works detour the usual routes of photographic denotation they begin to travel along paths of suggestion and connotation. His main body of work appropriately named “Infinity” branches off towards various domains, one of which is the series “Spirit.” Says Armstrong, “This process of extreme blurring allows me to de-materialize the collages and create ephemeral images that explore different aspects of the spiritual.” Indeed, his Mandalas –concentric circles of explosive color–model a Buddhist cosmos where consciousness is but a mere indeterminate point in an infinite universe. Indeed, as the viewer gazes at the pulsating color circles he/she may intuit a path towards an expanding, unbounded space. However, as spiritual as they may be, the Mandalas also bear a model resemblance to stellar matter –red super-giants or imploding/exploding supernovas. So Armstrong’s adjudication of the title “Mandala” to a geometrically abstract image does not necessarily close its interpretation, but merely hints at a few among many interpretations.

Armstrong’s sub-series “Apparitions” and “Figures” are more clearly denotative although their human shapes are still imbued with ambiguity, as if they part of a dream or a nightmare. The black-and-white “Figure 72″ shows a figure walking towards (or away) from an ominous shape that may very well be a natural phenomenon or a mushroom cloud. As with dreams concocted in the random firing of our neurons during sleep, we struggle to give Armstrong’s Figures an interpretation. The artist informs us that his Apparitions originate in Roman sculpture photographed at infinite focal length. The art-historical irony thrust upon us by these mysterious faces is that Roman portraits purport to be the first depictions of individual persons whereas Armstrong’s pictures blur every trace of individuality. The artist himself finds an unintended resemblance of some of these images to his own father who died of cancer. Sculptural portraits endure the ravages of time better than most other media, but their hardness is also their fragility. Armstrong states, “Apparition is a personal quest to come to grips with the horror of death and the hope of redemption through image making.”

Although human consciousness fathoms structures that are infinite, human experience is finite. The optical property of infinite focus can be understood as a property of light and lenses. Bill Armstrong finds in the material properties of the photographic medium ways to hint at both the limited human experience and the human consciousness of the unlimited.

Remnant Beauty: Photographs by Roman Loranc

Houston—De Santos Gallery presents Photographs by Roman Loranc: Remnant Beauty. This show will highlight recent work by the Polish born photographer Roman Loranc. The opening will be held on Saturday 2, 2006 @ 5:30. The DeSantos Gallery will host Roman Loranc throughout the opening. This exhibit will run until December 30, 2006. The DeSantos Gallery is located at
1724 Richmond Ave. Houston, TX 77098

Artist Statement:
Some photographers believe their strongest work comes from exploring their immediate surroundings. “I think of myself as a regional photographer,” Loranc says, “but that does not mean the photography cannot be understood beyond the region. Right now people all over the United States indicate to me that regionalism, born of an informed attachment, has universal appeal.” Loranc shoots most of his pictures within an hour’s drive of his home in Modesto, California, but he is also interested in exploring his ancestral roots in Europe. For this reason he makes occasional photographic forays into Poland and Lithuania.

“I’m fascinated by the ancient churches of my homeland,” he says. “These are holy spaces where millions of people have prayed for hundreds of years. They are places of great humility, and remind us how brief our lives are. I feel the same way when I’m photographing ancient groves of native oaks in California. I was unconscious of this when I began, but upon reflection, I think the oaks are just as sacred as the old cathedrals of Europe. They are sacred in that they have survived for so many years. I’m aware that the native people of California held all living things as divine. For me a grove of Valley Oaks is as sacred as any church in Europe.”
“I think about how interconnected the world is,” Loranc says. “When I’m out on a crisp winter’s morning, shooting a stand of native oaks, I see oak galls hanging from the trees. These were once used to make the pyrogallol chemicals I use to develop my negatives. So the oak trees I am photographing played a part in the developer I use to process my negatives of those trees. It is healthy

Opening Reception will be on Thursday June 15th @ 6:00 Second Floor of DeSantos Gallery

Join us on Thursday June 15th, beginning at 6:00 pm for an exciting new exhibition at LADS Photography. This opening will highlight new artwork available at the gallery. This event is geared towards Interior Designers and Architects in the Houston area. Wine and complementary valet service will be provided.
Houston, TX 2006 –LADS Photography (1724-B Richmond), Houston’s premiere fine art photography house, is pleased to announce a new exhibition. LADS is nestled on the second floor of the DeSantos Gallery. The opening reception of LADS will be held on Thursday, June 15th 6:00pm-8:00 pm.

Luis A DeSantos, principal photographer of LADS Photography has provided stellar fine art photography for over twenty-five years. Luis DeSantos and his wife Gemma have been forerunners in the production and exhibition of fine art photography. With the addition of LADS, the DeSantos’ have created a one stop solution to meet all needs for the fine art photography collector. “We have a spacious and artful environment for the collector to experience our large collection of photographs from all over the world,” Luis DeSantos said.

This collection expresses a strong international perspective with architectural photography, and images from nature. It has a strong diverse appeal with something for everyone. “We provide solutions to design firms, companies, and individuals looking for the right photography for even the most discerning taste,” Gemma DeSantos added.

DeSantos Gallery provides innovative ideas about photography while maintaining a long-standing reputation for integrity and incredible customer satisfaction. For more information on LADS Photography or to inquire about reception invitations please call 713.520.1200 or visit www.ladsphotography.com.

DeSantos Gallery Presents: Flamenco by Carlos Saura
Spanish Photography

Houston, TX 2006- DeSantos Gallery (1724 Richmond Ave), Noted Spanish film director and photographer Carlos Saura visually captures the world of flamenco dance and music. In this current exhibition of photographs executed between 1950 and 2000. The photos illustrate in high contrast the discipline and collaboration of dancers and musicians as they rehearse and perform. Famous and legendary flamenco artists like Camaron, Paco de Lucia, Christina Hoyos and Farruquito, are immortalized by Saura’s camera. According to Saura, his photographic vocation started when he was ten years old. His interest first turned to photography years before deciding to dedicate himself to the cinema where he also shaped his love for flamenco.For more information regarding this artist please visit this New York Times link.

Join us on Saturday, May 6, beginning at 6:00 pm, for a unique look at the mystery of Iran. Artist’s talk at 6:30 pm, by Soody Sharifi.

Houston TX 2006 –News from Iran isn’t all about the country’s nuclear ambitions. Stealing the headlines on the streets, is a word of a new art revolution. Now Houstonians have an opportunity to get a glimpse into this new and vibrant Iranian art scene.

This underground revolution began with the international success of Iranian cinema, and in recent years has encompassed the thriving scene of Iranian contemporary photographers, whose works have stolen the show. Major installations in Sharjar and at Bienales in Venice, plus art fairs such as Art Basel, have the drawn interest world-wide.The DeSantos Gallery will display the works of 7 noted Iranian photographers, curated by Soody Sharifi, in a stunning gallery exhibition, opening May 6, 2006. Featured artists in addition to Ms. Sharifi, are Dadbeh Bassir, Shadi Ghadirian, whose work has garnered great attention since his Paris Photo exhibition, Bahman Jalali, Mehran Mohajer, Malakey Nayini, and Hamila Vakili.

These photographers all question perceived notions of identity, and each offers a very different and rich interpretation of what it is like to live under a Muslim theocracy. Each artist has a singular approach to questions of gender, youth culture, an individual’s role in a society, and, inevitably, religion.These Iranian voices reflect the incredible diversity of peoples, opinions, and outlooks that lie at the heart of this often misunderstood culture. From Iran’s pre-Islamic heritage to the social dynamics among Iranian teens, to intriguing illusions, these photographers have turned their eyes to an Iran that is rarely, if ever, seen in the West.

Opening Reception Saturday, December 10, 2005 6-9:00 pm
Where: Houston’s Premiere Fine Art Photography House
DeSantos Gallery 1724-A Richmond Avenue at Dunlavy

Vivid color, subtle shadings of grey.Boldness and mystery. This series of work, a collaboration of three prominent photographers, examines the contrasts in contemporary Korean photography. Delicacy and minimalism is present in the works of Sang-Nam Park, who was raised in a traditional Korean house, with bright sunshine penetrating the shoji-like doors and windows. Her series is entitled “Plants, Seen Through Light” and is remarkable in its simplicity.Works by Han Sungpil and Choi Byung Kwan, offer equally distinctive impressions.

WHAT: Clay Harmon: Strangely Familiar – the magic of light, lens and process

WHEN: September 3, 2005 – October 1, 2005

WHERE: Saturday September 3, 2005 FROM 6:30 -8:30 PM at DeSantos Gallery

Houston TX June 2005 – Houston photographer Clay Harmon shares his fascination with the way in which the photographic frame, the lens and the process combine to see the world in his De Santos Gallery (1724-B Richmond) exhibition “Strangely Familiar – the magic of light, lens and process” Thursday September 1st – Saturday October 1st. An opening reception with a brief discussion with Harmon will be held Thursday September 1st from 6:30 – 8:30pm.
The alchemy that occurs at the momentary intersection of light, lens and location is heightened by this photography artist during the printing process revealing a mysterious transformation of otherwise ordinary and banal places. “My thought on this exhibition is to show the differences and similarities between these various modes of using the camera, and how they are all more similar to each other than they are to our perception,” Harmon said.
The images in this show are all printed using hand coated platinum-palladium or platinum-palladium-gum printing techniques. “The printing processes are difficult to master, time-consuming and sometimes fraught with failure.” Harmon added. “However, they allow me to make the images the way I like them to look.”
The images were made with cameras of all sorts – ultra-large format view cameras, fifteen dollar plastic-lensed cameras and traditional 35mm cameras.

WHAT: Houston’s Newest Fine Art Photography Provider

WHEN: June 16th, 2005 – July 20th, 2005

WHERE: Thursday June 16th FROM 6 -8 PM at DeSantos Gallery 2nd Floor

Houston TX June 2005 – DeSantos Gallery (1724-B Richmond), Houston’s premiere fine art photography house, is pleased to announce the opening of LADS Photography, a new art photography solutions provider nestled on the second floor of the DeSantos Gallery. The opening reception of LADS will be held on Thursday June 16, 2005, 6:00 pm – 8:00 pm.
LADS Photography has provided stellar fine art photography for over twenty-five years featuring principal photographer, Luis A DeSantos.
Luis DeSantos and his wife Gemma have been forerunners in the production and exhibition of fine art photography. With the addition of LADS, the DeSantos’ have created a one stop solution to meet all needs for the fine art photography collector.
“We have a spacious and artful environment for the collector to experience our large collection of photographs from all over the world,” Luis DeSantos said.
This collection expresses a strong international perspective with architectural photography and images from nature. It has a strong diverse appeal with something for everyone.
“We provide solutions to design firms, companies and individuals looking for the right photography for even the most discerning taste,” Gemma DeSantos added.
DeSantos Gallery provides innovative ideas about photography and service offerings, while maintaining a long-standing reputation for integrity and incredible customer satisfaction.
For more information on LADS Photography or to inquire about reception invitations please call 713 882 0585 or visit www.ladsphotography.com

About the De Santos Gallery

The De Santos Gallery is owned and directed by Luis and Gemma de Santos who are natives of Spain and long-time residents of Houston. They built the gallery with Houston architect Fernando Brave who recently won the 2005 American Institute of Architects Design Award for this building design. The De Santos Gallery specializes in photography (including traditional and new media) from contemporary European and Asian photographers including Anna Halm-Schudel, Roman Loranc, Sang-Nam Park, and Kimiko Yoshida. The gallery also has work available by North American and Latin American artists: Clyde Butcher, Linda Butler, and Edgar Moreno among others.

The De Santos Gallery is located at 1724-A Richmond Avenue at Dunlavy Street in the museum district of Houston. Gallery hours are: Wednesday through Saturday from 10:30 a.m. to 5 p.m. For more information, please call 713-520-1200 or visit www.desantosgallery.com

WHAT: Some 40 unique exhibits selected from his most recent series

WHEN: May 21, 2005 – June 25, 2005

WHERE:OPENING RECEPTION : SATURDAY May 21st FROM 6 -8 PM at DeSantos Gallery

Artist’s talk at 6:30pm

Houston–De Santos Gallery presents: Tarot Decks, Fables and The Affirmation of Life. This uniquely exotic show will be presented by Gregory Maiofis. Gregory Maïofis was born in St. Petersburg in 1970, in a family ofclassical artists. His grandparents were both architects; his father is a well-known graphic artist and book illustrator. In his last year of high school, Maïofis was trained in traditional techniques and mediums and made classical copies of masters, like Goya and Daumier. He then studied painting at the Repin Academy of Fine Arts in St. Petersburg for two years.Yet imaginary subjects and surrealist flights of fantasy were taking hold of him at this early stage.

It was around 1989 that his real talent as an independent artist and thinker began to mature. Already in the United States by 1991, he continued painting in traditional modes but preferred working with antiquated photographic equipment, concentrating on old processes and techniques. His works started being acquired by Museums and galleries in St. Petersburg, and Moscow, by State Galleries in Omsk, Kursk and Penza . A series of works titled “Parables,” made its way from the Gisich Gallery to Slovakia. Finally, the 11 Museum collections in Russia and the Museum of Fine Arts in Houston became interested and acquired quite a few of his works. At the same time he became known in Germany, Italy and France. It is in the United States that his style became more distinct and his issues better defined. Yet the continuity between his early Russian stages and the present work is obvious and it evinces a strong personality and ever more daring subject-matters and more refined treatments thereof. His art is to great extent a fluid mix of photography–gelatin silver prints–toned and subtly colored with hand-painted oils or water colors, some meant to bridge the gaps within the surrealist collages of photographs, while also stamping them with a phantasmagoric aura.

The present show will also include some alternative photo-processes, like the so-called Van Dyck prints. In this show, irony verges on the grotesque and also, here and there, on the explicitly erotic. The abstract juxtaposition of scenes and objects from the most variegated domains of life-and-art are startling. Maïofis ‘s art is surprising, humorous and pleasurable, full of unexpected, sometimes shocking twists and turns. The richness of the iconic vocabulary, from history to cosmogony, the irrepressible humor of it all allows the viewer a wide range of interpretations, from face-value impressions, to symbolisms begging to be deciphered on several levels, to precious combinations proper to both high modernism and postmodernity; all stir up an aesthetic wonderment for the prowess and sophistication of these surrealist collages.

His series “Fables” is inspired by the famous Russian fabulist Ivan Krylov, and resonates both with the universal archetypes of the genre and the Russian national spirit. The “Tarot Decks” are an ironic take, mostly a parody of this particular source of art-making, complete with historical allusions and political criticism, an instance of meditations on fate, expressive and funny at the same time. Finally, “Life is everywhere” appears as a voyage of discovery of the world—both Old and New–in a highly personal language of poetic associations and a wealth of experimental photographic techniques.

Maïofis is inimitable. His newly acquired freedom of shuttling between St. Petersburg and Los Angeles, actually to roam the world, is constantly enriching and diversifying his visual experiences. He is translating them into a continuum of paintings, collages and “realistic” photography, saturated with drama, nostalgia, and futuristic visions. They do now and will not cease to intrigue and attract older and younger viewers alike by their “simple complexity.”