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In the two-person exhibition, Plasticity of Perception, photographer Jacob Getz’s photographs offer a luminous experience of intimate urban scenes from Milan, Prague and Rome to New York’s Wall Street and Battery Park. Presented in a color palette that emphasizes blue, grey, white and gold, the images are warm and moody, yet distant. Getz’s ability to capture intense vibrant images that are simultaneously private speaks to his skill as a photographer.
In several images Getz presents groups of people that speak to the animating presence of community or being with others. From a barbershop to a group of nuns or a group men of the Jewish faith, a sense of active fellowship and camaraderie is evident.
In other cases, by framing images that only reveal a portion of his subject’s body, groups of feet walking together, against a backdrop that illuminates a beautifully lit portion of an urban landscape, Getz uses light to create a moody sense of intimacy. He executes this to perfection in the image, Cobblestone Silhouettes, shot in Prague, and the image, Aperitivo, shot in Milan. Despite the fact that we cannot see the subjects’ faces, symmetry, angle and shadow play offer enough information for a viewer’s imagination to take flight.
In the images, Prague Reflected I and Prague Reflect II, Getz creates uncanny geometric abstractions that play with reflection, nature and built structures in rich overcast earth tones. Printed on metallic paper the images appear otherworldly considering their multidimensional content in a 2D format.
Getz, a 30 year client, friend and collaborator of Duggal Visual Solutions, worked with Duggal point person, JR Martin, and his team on the face-mounted photographs in the exhibition.
Primarily a commercial photographer with work that has been featured in international publications including, Harper’s Bazaar, Vanity Fair, W, New York Magazine and Vogue, Getz has a special place in his heart for art.
On the question, what is art, Getz leans toward a subjective, emotive understanding. “For me it is the emotional response or experience one feels when viewing an art piece. Whether it is a positive or negative feeling the goal is to illicit thought and discovery within one’s self.”
Getz’s intense photographic gaze is also on view in several other bodies of work in Plasticity of Perception. A series of portraits that features a group of muscular bare-chested young men reveals a striking sense of humanity. Getz’s ability to connect with his subjects, who appear to be boxers or martial artists of some sort, is evident through their direct gaze at the camera or posed stances. The close cropping from the waste up with bodies that fill the full frame of each image further enhance and heighten the sense of connection that must have played out between photographer and subject. Additionally, Getz shoots these athletes before and after a match.
Lastly, a playful yet sublimely beautiful set of images can be found in Getz’s photographs of bubbles against a black backdrop. A sure sign that Getz’s curiosity and deep vision are infinite.
The Exhibit is on till Oct. 22nd
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New York, NY 10001
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