Addie's Pics

From Albrecht Dürer to Eugene Boudin, we take a look at Assistant Account Manager Addie's best pics and clips in the archive.​

 

 

What is your role at Bridgeman?

As Assistant Account Manager here at Bridgeman, I assist our Senior Account Manager in the image licensing process for all our educational publishing, museums, galleries, auction houses, magazines and newspaper sectors. The process includes tasks ranging from image research to copyright clearance to invoicing. In addition I also manage all our exhibition display and design clients working with them daily on various projects whilst developing new business opportunities by sourcing prospective clients and attending the annual expo of the American Alliance of Museums (AAM).

 

What do you love most about the job?

I love being able to come in every day and work with such wonderful and diverse content, while also servicing the ideas of our creatively minded clients: i.e. art directors, exhibition display companies, curators, etc. It’s fantastic to see our client’s finished products, there’s something very tangible about the work we do here.

 
What misconceptions do clients most commonly have about the archive?

That it’s perhaps antiquated. I think clients often come to us with a singular purpose or vision in mind, and maybe look over the rest of the archive—but we have some pretty unique and amazing stuff in there if you dig around! The marketing department does a great job of bringing the collection to life.

 

Addie, Assistant Account Manager

 

 

 
The Ride on the Beach (pastel), Eugene Louis  Boudin (1824-98) / Private Collection

 

 

The Ride on the Beach, Eugene Boudin

I interned in the Impressionist and Modern Department at Christie’s many summers ago now and really developed an affinity for Boudin. I love the brightness and color contrast between the blue and the red in this one in particular.

 

 

Shiner, 1993,  by Ellen Gallagher 

Ellen Gallagher is another of my favorite artists-- the faces in this one are at once humorous and haunting.  

 

 

Shiner, 1993 (oil, graphite & paper mounted on canvas),  Ellen Gallagher (b.1965) / Private Collection / Photo © Christie's Images

 

Hare, 1502 (w/c on paper), Albrecht Dürer or Duerer (1471-1528) / Graphische Sammlung Albertina, Vienna, Austria

 

 

Hare, 1502 (w/c on paper), Albrecht Dürer or Duerer (1471-1528)

This Dürer is one of my favorite pieces of all time, I had a print of it in my dorm room in college: a homage to the pet bunny rabbit I had when I was young.

 

 

Lodgers in a crowded Bayard Street tenement - "Five cents a spot." (b/w photo), Jacob August Riis (1849-1914)

Photography has such a duality as medium—it can be used to capture a carefully curated and highly stylized moment for a specific viewer reaction, and it has also been used to simply reveal things as they are, to document history, and to expose a truth that might not otherwise be seen. And while I enjoy both high art photography and documentary photography, there is something totally fascinating to me about early documentary photography, when photographers didn’t yet see themselves as artists- such as Jacob Riis who used his camera in a completely different way than say Annie Leibovitz.

 

Lodgers in a crowded Bayard Street tenement - "Five cents a spot." (b/w photo), Jacob August Riis (1849-1914) / Museum of the City of New York, US

 

Hippies in Hyde Park, London, hold demonstration for the legalisation of marijuana, 1960s

 

 

 

 

Hippies in Hyde Park, London, hold demonstration for the legalisation of marijuana, 1960s

This clip really represents the cyclical nature of fashion to me, as someone who didn’t live through this time but has of course studied it- it’s always shocking to see on a purely aesthetic level where trends have stemmed from.

Bridgeman Images | Image. It’s Everything

 

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