Thomas Alleman

October 1, 2009 - November 1, 2009

DOWNTOWN LA, APRIL 2004

from the series 'SUNSHINE & NOIR: Photographs of Los Angeles"submitted for Blue Sky Gallery website, vis Oct 2009 exhibition

WEST HOLLYWOOD, NOVEMBER 2001

from the series 'SUNSHINE & NOIR: Photographs of Los Angeles"submitted for Blue Sky Gallery website, vis Oct 2009 exhibition

HOLLYWOOD, OCTOBER 2004

from the series 'SUNSHINE & NOIR: Photographs of Los Angeles"submitted for Blue Sky Gallery website, vis Oct 2009 exhibition

HOLLYWOOD FREEWAY, JANUARY 2007

from the series 'SUNSHINE & NOIR: Photographs of Los Angeles"submitted for Blue Sky Gallery website, vis Oct 2009 exhibition

LAX INT'L AIRPORT, JUNE 2008

from the series 'SUNSHINE & NOIR: Photographs of Los Angeles"submitted for Blue Sky Gallery website, vis Oct 2009 exhibition

LOS FELIZ, NOVEMBER 2003

from the series 'SUNSHINE & NOIR: Photographs of Los Angeles"submitted for Blue Sky Gallery website, vis Oct 2009 exhibition

110 / 105 FREEWAYS, OCTOBER 2004

from the series 'SUNSHINE & NOIR: Photographs of Los Angeles"submitted for Blue Sky Gallery website, vis Oct 2009 exhibition

HOLLYWOOD, MARCH 2003

from the series 'SUNSHINE & NOIR: Photographs of Los Angeles"submitted for Blue Sky Gallery website, vis Oct 2009 exhibition

Thomas Alleman

Sunshine & Noir

Thomas Michael Alleman, Dina Kantor and Vanessa Renwick will present artists talks on Sat., Oct. 3rd @ 3pm.

Thomas Michael Alleman began making urban landscapes in Los Angeles in the Fall of 2001, using a medium format Holga toy camera. Sunshine and Noir is a series of photographs is Alleman’s response to the hackneyed visual mythos of LA, presenting a cast-eyed and meandering tone-poem about public space in the last Great American City.  Alleman writes, “The Holga’s many laughable failures are well known and all-encompassing: focus, exposure and parallax are effectively uncontrollable, and the plastic lens is always aberrant, cloudy and vignetted, and those bizarre optics have given me access to a realm of richly-textured suggestion, impression and allusion that I couldn’t achieve in my earlier attempts at the lyrical landscape.”