| TOM BARIL
Photographs
Works on Paper Gallery
1611 Walnut Street |
I first encountered the work
of Tom Baril in 1988 when I saw the now infamous exhibition of the
photographer Robert Mapplethorpe, “The Perfect Moment”, at ICA here
in Philadelphia. The craftsmanship of the black and white photographs
was amazingly powerful and beautiful. I was more taken by the physicality
of the prints than the supposed controversial subject matter and
derivative classical style that Mapplethorpe used in photographing
his artistic subjects. Ten years previous to this I had seen prints
that Robert Mapplethorpe had made himself that were to become the
X and Y Portfolios. These prints were lacking in sensuality and
insight and looked like the student photographic printmaking of
the time. He needed Tom Baril badly to make his pictures work on
any level other than sensationalism. The ICA exhibition and catalogue
in 1988 gave no mention of Baril’s work, and in fact, seemed to
imply that the photographs were made by Mapplethorpe; not just taken.This
deception was important to the marketplace, but insidious to the
true history of the photographs and their appreciation as a collaboration.
Mr. Baril continues to print Mapplethorpe’s negatives for the Mapplethorpe
Estate.
With that history, Tom Baril is now out of the closet, and is now
exhibiting his own photographs. They have been exhibited around
the world, especially in New York City. The
Works on Paper Gallery is the first venue
to exhibit the work locally and coincides with Baril’s exquisite
publication of his book on flowers. The actual photographs on exhibit
are primarily of flowers and New York City landscapes. The 20x24”
gelatin silver selenium and tea toned prints are stunning in an
overtly classical style. In fact, the NYC buildings are rendered
so classically that they seem surreal with a strong sense of the
iconic and timelessness. The flowers have a similar resonance, but
having seen so many flower photographs as of lately, I am bored
with the subject matter. Its interesting though to recall at the
end of Mapplethorpe’s career, he pursued flowers both artistically
and commercially to the exclusion of his sensationalized figurative
work. His flowers seemed to possess a sinister sensual sexual persona.
Baril’s flowers by contrast do not have that edge. Yes, they do
possess sensuality and sexuality, but these elements are incorporated
into the totality of the flower and not an end in itself.
This is a must see show for interior decorators, designers, and
corporate art buyers. These photographs of Tom Baril would look
so nice on the walls of law firms, Rittenhouse Square apartments,
and other modern upscale environments clamoring to decorate with
photographs that are simply illustrative, beautifully crafted, and
non-threatening.
- Roamer
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