BRUCE SILVERSTEIN FRANK PAULIN cv Press Releases ReviewsBRUCE SILVERSTEIN CV 1939-41 Family moves to New York, NY, then to Chicago, IL. Education and Experience 1943 Apprenticed at Whitaker-Christiansen Studio Attended Chicago Art Institute; studied painting and illustration 1945 Stationed in Nuremberg, Germany in US Army Signal Corps; introduced to photography when assigned to photograph displaced persons;attended War Crimes Trials 1947-49 Retumed to Chicago Art Institute Attended Institute of Desi Harry Callahan, and Arthur Siegel Fashion Illustrator for Marshall ; studied with Moholy-Nagy, ields, Mandels, and Stevens 1951 Photographed in New Orleans, LA 1953 Returned to New York, NY 1953-60 Fashion Illustrator for ‘Wanamakers, Saks, B. Altman, Abraham & Straus, Franklin Simon, Sterns, and Lord & Taylor Began doing fashion photography. Continued to photograph New York City and environs. 1953 Returned to New York, NY 1953-60 Fashion Illustrator for Wanamakers, Saks, B. Altman, Abraham & Straus, Franklin Simon, Sterns, and Lord & Taylor Began doing fashion photography. Continued to photograph New York City and environs. 1956 Photographed in Los Angeles, CA 1957 Exhibited at Limelight Gallery, New York, NY 1958 Studied with Alexey Brodovitch. 1958 Studied with Alexey Brodoviteh. 1960 Photographed in Spain and France. 1980 Commissioned to photograph New York City courthouses. 1980 Commissioned to photograph New York City courthouses. 1981 Photographed justices of the Appellate Court (portraits). 1987-92 Photographed 70-80 Justices of the New York State Supreme Court. 1987-92 Photographed 70-80 Justices of the New York State Supreme Court. 24 STREET NEW YORK NY 10011 T 212 627 3930 F 212 691 5509 www.brucesilverstein.comBRUCE SILVERSTEIN Press Release: Out of the Limelight (2008) January 19 - February 23, 2008 Silverstein Photography is pleased to announce FRANK PAULIN: OUT OF THE LIMELIGHT, the first retrospective exhibition of work by the New York based street photographer Frank Paulin, Featuring over one hundred prints produced during the last half of the 20th century, ineluding over fifty vintage works from his 1957 exhibition at Helen Gee’s famed gallery and café Limelight, this exhibition unveils the work of an important American documentarian. Paulin’s education in the arts began at the young age of sixteen when he joined the Chicago-based Whitak- er-Christiansen Studio as an apprentice in fashion illustration and photography. Paulin joined the Army in 1944 where as a member of the Signal Corps he began photographing the wartime devastation of German cities. Afier being discharged, Paulin returned to Chicago in 1946. Under the GI Bill he continued his education at the Art Institute of Chicago and Institute of Design-the newly created American campus of the famed German Bauhaus School. While there Paulin studied under distinguished professors from the original Bau- haus campus including Laszlo Moholy-Nagy, as well as new American notables Harry Callahan and Arthur Siegel. While studying, Paulin held a full-time job as fashion illustrator at a local art studio and freelanced for department stores throughout the region like Marshall Field’s, Mandel Brothers and Charles A. Stevens. Able only to attend classes at night, Paulin remained in school through 1948. Paulin returned to New York in 1953 where he continued to freelance in fashion illustration. With most of his days occupied by work, he began walking the city’s streets at night, stoking his passion for “grab shots” and gritty street documentary. Paulin spent most of his time in and around Times Square, which provided him with subjects from all walks of life set against the stunning visual framework of advertisements, neon signs, and reflective store windows. It was during this time that he crossed paths with Louis Faurer, whose own work was the result of walking those same streets in the late 1940s. Paulin’s early works were featured in a 1957 solo exhibition at the pioneering gallery Limelight—then New York’s only gallery for fine art photography, as well as a local hangout for the great photographers of the time. Despite the fact that this exhibition predated the recognition of photography as a commonly appreci- ated medium, admiring reviews for the show appeared in the New York Times as well as the Village Voice, which praised Paulin’s "humor and compassion" and his uncanny ability to perceive irony and record what they referred to as "poetic accidents." For the next 50 years, Paulin continued to shoot these “poetic accidents,” expanding his territory from New Orleans to Paris. Remaining predominantly out of the limelight, Paulin and his work have been virtually unseen by the public until now. Frank Paulin’s work is in the collections of the Milwaukee Art Museum, Museum of Modem Art, Whitney Museum of American Art, and the Yale University Art Gallery. A new book of the same title published by Silverstein Publishing will accompany the exhibition.