Christopher Thomas
New York Sleeps

Christopher Thomas - Central Park, Bethesda Fountain, I, 2009

Central Park, Bethesda Fountain, I, 2009

Christopher Thomas - South Street Seaport, 2001

South Street Seaport, 2001

Christopher Thomas - Rockaway II, 2008

Rockaway II, 2008

Christopher Thomas - South Ferry Terminal, 2001

South Ferry Terminal, 2001

Christopher Thomas - Brooklyn Bridge, II, 2008

Brooklyn Bridge, II, 2008

Christopher Thomas - Manhattan Bridge, 2001

Manhattan Bridge, 2001

Christopher Thomas - Katz´s Deli, 2001

Katz´s Deli, 2001

Christopher Thomas - Queensboro Bridge, II, 2008

Queensboro Bridge, II, 2008

Christopher Thomas - Manhattan Bridge Arch, 2008

Manhattan Bridge Arch, 2008

Christopher Thomas - Pier A, 2008

Pier A, 2008

Credit Suisse, Kunst im Palais am Lenbachplatz
September 2010 - 2011

Fifty One Fine Art Photography, Antwerpen
2010

Steven Kasher Gallery, New York
2009

Bernheimer Fine Art Photograpy, Munich
2009

This is New York! Or are they dream worlds, chimeras, inventions, or perhaps testimony to a past era? Viewers are astonished, recognizing the places and getting lost in memories. A city of silence, beyond the turbulence of everyday life, a metropolis with no people, as if a spell had been cast on it: Grand Central Station, Fifth Avenue, the Flatiron Building, Katz’s Restaurant, the Brooklyn Bridge—familiar, but never seen this way before.

When we unsuspectingly removed these photographs from a drawer—seven views, all taken in 2001 (before September 11), softly sketched as a result of long exposure times, printed on deckle-edge paper with the streaky border of a Polaroid—we urged the photographer to return to New York, where he had lived now and again over an extended period, in order to continue the series. Over two more years, including stays in each of the seasons, he produced a portfolio of photographs, of which the present volume presents a selection of nearly eighty works.

With his clear idea of shooting techniques, composition, light, formats, and his dispensing with color, the exquisite printing in rich, subtle tonality, and the form of the images’ presentation—handmade paper, passe-partout, frame—Christopher Thomas picks up on classical traditions. As a renowned photographer of a glamorous world of products, he has access to all advanced technological possibilities, and as an artist he is familiar with the power of the image. His photographs seem classical, from another time.

Christopher Thomas - Central Park, Bethesda Fountain, I, 2009

Central Park, Bethesda Fountain, I, 2009

Christopher Thomas - Central Park, The Mall, I

Central Park, The Mall, I

Christopher Thomas - Colgate Clock

Colgate Clock

Christopher Thomas - Cyclone Rollercoaster, Coney Island, 2008

Cyclone Rollercoaster, Coney Island, 2008

Christopher Thomas - Grand Central Terminal, II, 2001

Grand Central Terminal, II, 2001

Christopher Thomas - Queensboro Bridge, I, 2008

Queensboro Bridge, I, 2008

Christopher Thomas - Parachute Jump Coney Island, 2008

Parachute Jump Coney Island, 2008

Christopher Thomas - Grand Central Terminal, I, 2008

Grand Central Terminal, I, 2008

Christopher Thomas - Statue of Liberty I, 2008

Statue of Liberty I, 2008

Christopher Thomas - Bowling Green, 2008

Bowling Green, 2008

Christopher Thomas - Prospect Park, Oriental Pavillion, 2008

Prospect Park, Oriental Pavillion, 2008

Before dawn, when the city is asleep, Thomas sets out in the twilight with his large-format camera—a field camera built for him by Linhof—which forces him to move slowly, as well as a tripod, a black cloth, and black-and-white Polaroid film. It is as if he were taking himself outside of time. As if, at this moment when night borders day, he could uncover the essence of the city, erasing the profane and quotidian in favor of the “eternal” or timeless. He approaches his “motif” with a documentary intention and at the same time establishes the aesthetic of the romantic and painterly. He concentrates on the real, focuses attention on the object, and yet a hint of “another” world becomes tangible. Like idealized landscapes in the romantic tradition, his photographs have a poetic sensuality, contemplative power, and an emotional aura; they evoke sensations such as admiration, delight, aesthetic pleasure: the parks and piers, the Hudson River and Coney Island, the cemeteries and bridges, the Statue of Liberty, in the early morning fog, beneath autumn leaves, schemas in the mists, pristine blankets of snow, silvery skies, gleaming surfaces of water, squares, and monuments—all without any traces of flaneurs or residents.

Hidden away in the beauty that derives from silence are the melancholy and fear of loss. The perfect always bears its own inherent risk, and the stasis of time includes change. What may nostalgically seduce our eyes as a “souvenir,” a memory, also evokes as an alternative vision the racing speed, the inhumane, and the wounds of the city.

New York Sleeps, Foreword by Petra Giloy-Hirtz and Ira Stehmann

Christopher Thomas - Madison Square Park, II, 2008

Madison Square Park, II, 2008

Christopher Thomas - Grand Central Terminal and Chrysler Building, 2008

Grand Central Terminal and Chrysler Building, 2008

Christopher Thomas - Williamsburg Bridge, 2001

Williamsburg Bridge, 2001

Christopher Thomas - Flat Iron Building, 2001

Flat Iron Building, 2001

Christopher Thomas - Brooklyn Bridge, III, 2008

Brooklyn Bridge, III, 2008

Christopher Thomas - Fifth Avenue, 2001

Fifth Avenue, 2001

Christopher Thomas - The James Watson House, 2008

The James Watson House, 2008