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An introduction to the postmodern photographs of Allan Chasanoff,
whose work interrogates and subverts the notion of photography as a
truthful record of the real  From the 1960s onward, Allan
Chasanoff (1936–2020) maintained a daily photographic practice,
producing tens of thousands of images that pushed the limits of the
medium and questioned its reliability as a document of reality.
Preferring to experiment away from the art world, Chasanoff rarely
exhibited his photographs, his art remaining unknown to all but a
select circle of friends and collaborators. This catalogue is the
first to survey his beguiling work. Â Artist MĂłnika
Sziládi, who worked as an archivist for Chasanoff, contributes an
outline of Chasanoff’s life and practice, tracing the development
of his art from his early experiments with light, shadow, and color
in his lens-shot photographs to his late-career foray into 3D
printing, which he viewed as the latest frontier of photography.
Influenced by the ideas of Marshall McLuhan and Jacques Derrida,
Chasanoff understood photographic images to be full of multivalent
symbolism, and his art highlights the fluid nature of the medium.
Using analog optical effects, such as blurring and other
distortions, and on-screen tools to cut and layer digital images,
Chasanoff created a wide range of pictures, some of which reference
or appropriate the work of artists like Henri Matisse, Mark Rothko,
or Giorgio Morandi. With nearly 200 plates organized into 7
thematic sections, Seeing and Not Believing brings Chasanoff’s
contribution to postmodern photography to a wider audience and
underlines how the artist’s work challenges our assumptions about
believing what we see. Â Distributed for the Yale University
Art Gallery
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