Charles H. Traub

I think almost any image that gets printed on paper or painted on canvas becomes a still life. And the camera certainly freezes everything into a certain kind of stillness. In other words, those landscapes were an experiment to see how the camera can innately transform an image that has no single object of focus, no one structure that objectifies itself in the picture.
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As self-conscious as they are enigmatic,the images include fine examples of period styles in foundabstraction, fragmented interior views, nature studies, and a fewenvironmental portraits, one of which recalls Andrew Wyeth’s“Christina’s World” recast with a shirtless adolescent boy.
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It was a tawdry decade (highlighted by mucho macho chest hair), but these bold compositions convey a sweet hedonsim.
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But Charles H. Traub had something most of them didn't: a formal Bauhaus rigor acquired at the Illinois Institute of Technology in Chicago, and a desire not just to record the strange new world but to celebrate it.
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Traub's great black-and-white photographs from the seventies were made with a lens shade that was a size too small for his camera, so his images of people at the beach or on the street are vignetted as if in a peepshow.
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The works of American photographer Charles Traub from the 1970s are on view at Gitterman Gallery.
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Armed with only a 35mm camera and a bemused nature, Traub roams the streets, beaches, stores, parks, and theaters of the world in search of moments and scenes revealing transitory human dramas.
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Many of the lush images provoke a smile: fur-clad women primp at a Paris bus stop, a poodle gets overly amorous with a kissing couple on a beach in Rio de Janeiro, and a buttoned-up businesswoman unconsciously echoes the pose of a naked model on a poster behind her.
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