"Photography can only represent the present. Once photographed, the subject becomes part of the past" - Berenice Abbott
If kept out of direct sunlight, the color in the print should experience little to no fading for many years. Remove dust with a mircrofiber cloth or dry wipe. If necessary to remove spots or splashes art print, spot clean with damp soft cloth.
All artblocks use images reproduced in their entirety, without cropping or over-printing with text. A label printed with all the relevant info about the painting is affixed to the back of each product. Arrives at your door complete with an easy to use self-leveling hanging kit but product is designed to sit upright on a shelf.
A curator-approved, high resolution digital image of this wonderful artwork has been printed on matte finish fine art paper, mounted to masonite board, and then finished in a 2-inch deep hard wood frame which has been hand-stained in the color of your choice. Approximate size (as mounted on the wall): 16.5" wide x 20.49" tall x 2" deep
In 1935, Berenice Abbott was hired by the Federal Art Project (FAP) as a project supervisor for her "Changing New York" project. She continued to take the photographs of the city, but she had assistants to help her both in the field and in the office. This arrangement allowed Abbott to devote all her time to producing, printing, and exhibiting her photographs. By the time she resigned from the FAP in 1939, she had produced 305 photographs that were then deposited at the Museum of the City of New York. Abbott's project was primarily a sociological study embedded within modernist aesthetic practices. She sought to create a broadly inclusive collection of photographs that together suggest a vital interaction between three aspects of urban life: the diverse people of the city; the places they live, work and play; and their daily activities. It was intended to empower people by making them realize that their environment was a consequence of their collective behavior (and vice versa). Moreover, she avoided the merely pretty in favor of what she described as "fantastic" contrasts between the old and the new, and chose her camera angles and lenses to create compositions that either stabilized a subject (if she approved of it), or destabilized it (if she scorned it).
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