David Anfam (1955–2024), author of the catalogue raisonné Mark Rothko: The Works on Canvas and former Senior Consulting Curator of the Clyfford Still Museum, was universally recognized as one of the preeminent scholars and curators of Abstract Expressionism. I first met him in 2014 during his preparation of Pollock’s Mural: Energy Made Visible. Our conversation turned to the work of Frederick Sommer, whose photographs were widely celebrated, though his paintings, drawings, collages, and musical scores had remained comparatively overlooked. That discussion prompted the inclusion of a Sommer painting in the exhibition and marked the beginning of a lasting friendship between us.
In 2016, Anfam and his co-curator, Edith Devaney, foregrounded the significance of photography within the Abstract Expressionist canon through their selections for the Royal Academy’s landmark exhibition Abstract Expressionism, to which I was honored to contribute several works. The exhibition received exceptional critical acclaim; the Financial Times described it as “the most pleasurable, provocative exhibition of American art in Britain this century.” Aaron Siskind, the sole photographer fully integrated into the Abstract Expressionist circle, occupied a central place in the presentation, alongside Frederick Sommer, Harry Callahan, Barbara Morgan, Herbert Matter, Hans Namuth, Gjon Mili, and Minor White, collectively affirming photography’s essential role in the movement’s visual and historical development.
Following the Royal Academy exhibition, David and I began outlining a project devoted specifically to Abstract Expressionist photography, reflecting his conviction that these artists offered indispensable, yet insufficiently examined, perspectives on the emergence of postwar abstraction. Although the exhibition remained unrealized due to competing obligations and his untimely passing, this focused yet abridged presentation at Art Basel Miami 2025, Pioneers of AbEx Photography, seeks to honor that original intent and to illuminate the foundational contributions of photography to the Abstract Expressionist movement.
This presentation serves as a tribute to David Anfam’s intellectual rigor, generosity of spirit, and unwavering commitment to expanding the understanding of Abstract Expressionism. His insights continue to shape the field, and his loss is deeply felt.
Bruce Silverstein, 2025
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Aaron Siskind (1903-1991)
Providence (Grid of 16), 1986
Vintage gelatin silver prints, printed c. 1986
Signed, titled, and dated on verso
Each Image: 14 x 14 in (35.6 x 35.6 cm)
Each Sheet: 16 x 20 in 940.6 x 50.8 cm) -
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Alfred Stieglitz (1864-1946)
Equivalent 77, 1926
Gelatin silver print mounted to board, printed c. 1926
Signed, titled, and annotated on mount verso
4 5/8 x 3 5/8 in (11.8 x 9.2 cm)
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Lotte Jacobi (1896-1990)
Untitled from the series: 'Photogenics', 1945
Gelatin silver print mounted on wood panel, printed c. 1945
Inscribed and signed in pencil on verso
13 3/4 x 10 5/8 in (35 x 27.2 cm)
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Edward Weston (1886-1958)
Dead Pelican, 1942
Vintage gelatin silver print, printed c. 1942
Initialed and dated on mount recto
8 x 10 in (20.3 x 25.4 cm)
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Aaron Siskind (1903-1991)
Martha's Vineyard 112, 1954
Gelatin silver exhibition print flush-mounted to board with wooden stretcher, printed c. 1954
Titled and dated on stretcher
50 1/8 x 40 5/16 in (127.3 x 102.4 cm)
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Frederick Sommer (1905-1999)
Arizona Landscape, 1943
Gelatin silver print mounted to board, printed later
Signed, titled and dated in pencil on mount verso
7 1/2 x 9 1/2 in (19.1 x 24.1 cm)
Mount: 12 1/4 x 14 3/8 in (31.1 x 36.5 cm) -
Frederick Sommer (1905-1999)
Glass, 1943
Gelatin silver print mounted to board, printed c. 1943
Signed and dated in pencil on mount verso
"B" annotated in pencil on mount recto7 5/8 x 9 1/2 in (19.4 x 24.1 cm)
Paper: 11 x 14 in (27.9 x 35.6 cm)
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Adger Cowans (b. 1936)
Water Patterns, 1960s
Gelatin silver print mounted to board, printed c. 1960s
Signed and dated with artist credit and Stewart Associates stamps on mount verso
8 3/4 x 8 1/2 in (22.2 x 21.6 cm)
Mount: 16 x 16 in (40.6 x 40.6 cm) -
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Adger Cowans (b. 1936)
Untitled, 1969
Acrylic and gold powder on blue vinyl
Signed and dated on verso
Canvas: 13 1/2 x 18 in (34.3 x 45.7 cm)
Frame: 14 5/8 x 19 in (37.1 x 48.3 cm) -
Adger Cowans (b. 1936)
Untitled, 1971
Acrylic on canvas
Signed and dated on verso
Canvas: 11 3/4 x 10 1/2 in (29.8 x 26.7 cm)
Frame: 12 7/8 x 11 5/8 in (32.7 x 29.5 cm) -
Adger Cowans (b. 1936)
White Bolt Shimmer, 1991
Acrylic on canvas
Signed, titled, and dated on verso
Canvas: 9 3/4 x 11 7/8 in (24.8 x 30.2 cm)
Frame: 11 x 13 in (27.9 x 33 cm)
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David Smith (1906-1965)
Selections from Recent Work, 1948 - 1949
Accordion book with gelatin silver prints, printed c. 1949
Signed, titled, dated on cover
Closed: 8 x 7 1/2 in (20.3 x 19.1 cm)
Open: 8 x 37 1/2 in (20.3 x 95.3 cm) -
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Edward Steichen (1879-1973)
Friends, Romans and Countrymen, 1920
Palladium print, printed c. 1920
Titled on verso
8 x 9 7/8 in (20.3 x 25.1 cm)
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Harry Callahan (1912-1999)
New York, 1945
Gelatin silver print mounted to board, printed c. 1945
Signed in pencil on mount recto
Image: 8 1/4 x 6 1/2 in (21 x 16.5 cm)
Mount: 14 1/2 x 14 in (36.8 x 35.6 cm) -
Harry Callahan (1912-1999)
Chicago, 1948
Gelatin silver print mounted to board, printed c. 1948
Initialed in ink on verso
4 3/8 x 3 3/8 in (11.1 x 8.6 cm)
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Arthur Siegel (1913-1978)
Untitled, From the Series 'In Search of Myself', 1951
Dye transfer print mounted to board, printed c. 1950's
Signed, initialed, and dated on mount verso
6 7/8 x 10 in (17.5 x 25.4 cm)
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Herbert Matter (1907-1984)
Untitled, 1939 - 1943
Vintage gelatin silver print, printed c. 1939 - 1943
Two Studio Associates Stamps in ink on verso
13 1/2 x 11 in (34.3 x 27.9 cm)


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