George Tice

From the Chrysler Building, NY

1978, printed 12/15/03

Gelatin silver print

13 1/8 x 10 3/8 in. (33.3 x26.4 cm)

George Tice

Lincoln Motel and Abe's Disco, Newark, New Jersey, 1981

Selenium waxed gelatin silver print

13 1/8 x 10 3/8 in. (33.3 x 26.4 cm)

 

Lincoln Motel and Abe’s Disco, an unassuming motel sign that George Tice encountered while stepping out of the Newark Museum one evening, inspired the artist to embark on a search across America for Abraham Lincoln and the ways he has been memorialized. Tice’s unusual framing for his Lincoln photographs, such as in Lincoln Motel and Abe’s Disco, celebrate Lincoln as an iconic symbol of emancipation and monumental hope — and also the often humdrum realities of contemporary US life. But Tice does not denigrate the everyday. Rather he sees the prosaic as worthy of memory, and masterfully captures American life as it truly is.

George Tice

Factory Windows, Paterson, New Jersey

2002, printed 3/19/03

Gelatin silver print

Image: 10 1/8 x 12 7/8 in. (25.7 x 32.7 cm)
Mount: 11 x 14 in. (27.9 x 35.6 cm)

George Tice

Oak Tree, Holmdel, NJ

1970, printed 12/22/00

Selenium toned gelatin silver print

Image: 7 9/16 x 9 5/8 in.  (19.2 x 24.4 cm)

Paper: 11 x 14 in. (27.9 x 35.6 cm)

George Tice

Mount Desert Island, Maine

1970, printed 6/26/87

Gelatin silver print

Image: 10 9/16 x 13 1/2 in. (26.8 x 34.3 cm)
Mount: 11 x 14 in. (27.9 x 35.6 cm)

George Tice

Clothesline, Northport, Maine

1971, printed 1/20/14

Gelatin silver print

Image: 10 1/2 x 10 3/8 in. (26.7 x 26.4 cm)
Mount: 11 x 14 in. (27.9 x 35.6 cm)

GT066

George Tice
Worth's Confectionary, Westfield, New Jersey

1981, printed 11/15/99
Gelatin silver print

10 7/16 x 13 3/16 in. (26.5 x 33.5 cm)
 

George Tice
United Barber Shop, Newark, New Jersey

1961, printed 1/16/98
Gelatin silver print
7 1/2 x 9 3/8 in. (19.1 x 23.8 cm)

George Tice

Tree #22, California

1965, printed 3/3/03

Gelatin silver print

Image: 5 1/2 x 13 1/4 in. (14.0 x 33.7 cm)
Mount: 11 x 14 in. (27.9 x 35.6 cm)

George Tice

Tree #8, New Jersey

1964, printed 5/12/03

Gelatin silver print dry mounted

Image: 13 1/4 x 5 1/2 in. (33.7 x 14.0 cm)
Mount: 14 x 11 in. (35.6 x 27.9 cm)

George Tice

Tree #14, New York

1965, printed 5/7/03

Gelatin silver print

Image: 10 1/4 x 10 3/8 in. (26.0 x 26.4 cm)
Mount: 11 x 14 in. (27.9 x 35.6 cm)

George Tice

Tree # 24, California

1965, printed 1/5/10

Gelatin silver print

Image: 4 1/2 x 13 3/8 in. (11.4 x 33.4 cm)
Mount: 11 x 14 in. (27.9 x 35.6 m)

George Tice
Evening Fog, Jonesport, Maine, 1971
Gelatin silver print
8 3/4 x 13 1/2 in. (22.2 x 34.3 cm)

George Tice
Porch, Monhegan Island, Maine

1971, printed 5/12/01
Gelatin silver print

9 7/16 x 6 3/16 in. ( 24.0 x 15.7 cm)

 

The Monhegan Island home where Porch was photographed has inspired painters and photographers alike. The painter Rockwell Kent, who built the home, was its first resident — and such paintings as Winter, Monhegan Island, 1907, are testament to his affection for the Maine island. He often received visitors such as Robert Henri, who later wrote of his experiences, “I have never seen anything so fine.” Jamie Wyeth, the son of the late realist painter Andrew Wyeth, was residing in the home when Tice visited in 1971. Tice discovered the it while lodging with the island’s lighthouse keeper nearby. Porch was included in his 1973 series Seacoast Maine: People and Places.

George Tice
Shaker Interior, Sabbathday Lake, Maine, 1971
Gelatin silver print
9 x 13 1/2 in. (22.9 x 34.3 cm)

George Tice

Two Amish Boys, Lancaster, Pennsylvania

1962, printed 5/25/11
Gelatin silver print
9 3/8 x 7 1/2 in. (23.8 x 19.1 cm)

George Tice
Penn Fish Market, Camden, New Jersey, 1997
Vintage gelatin silver print
10 7/16 x 13 1/8 in. (26.5 x 33.3 cm)

George Tice

Aquatic Plants #7, New Jersey

1967, 2/25/96

Gelatin silver print

Image: 13 x 10 1/2 in. (33.0 x 26.7 cm)
Mount: 14 x 11 in. (35.6 x 27.9 cm)

George Tice
Taylor Street Poultry Market, Brooklyn, New York

1964, printed 12/08/09
Gelatin silver print
8 15/16 x 7 9/16 in. (22.7 x 19.2 cm)

George Tice
Factory Facade, Spruce Street, Paterson, New Jersey, 2003
Vintage gelatin silver print
13 x 10 1/4 in. (33.0 x 26.0 cm)

George Tice
White Castle, Route #1, Rahway, New Jersey, 1973
Gelatin silver print
7 1/2 x 9 1/2 in. (19.1 x 24.1 cm)

10 7/16 x 13 1/8 in. (26.5 x 33.3 cm)

George Tice
Strand Theater, Keyport, New Jersey

1973, printed 3/31/93
Gelatin silver print
10 7/16 x 13 in. (26.5 x 33.0 cm)

George Tice
Car for Sale, Cliff Street, Paterson, New Jersey

1969, printed 10/25/2005
Gelatin silver print
13 x 10 3/8 in. (33 x 26.4 cm)

George Tice
Junked Cars, Newark, New Jersey, 1973
Gelatin silver print

9 1/2 x 7 9/16 in. (24.1 x 19.2 cm)
19 1/8 x 15 1/4 in. (48.6 x 38.7 cm)

 

In the introduction to his 2002 monograph Urban Landscapes, George Tice has this to say about his aesthetic philosophy: “It takes time before an image of a commonplace subject can be assessed. The great difficulty of what I attempt is seeing beyond the moment; the everydayness of life gets in the way of the eternal.” 

Source: Urban Landscapes (New York: W.W. Norton & Company, 2002), 8.

George Tice
Country Road, Lancaster, Pennsylvania

1961, printed 10/12/17
Selenium toned gelatin silver print
5 3/16 x 9 3/8 in. (13.2 x 23.8 cm)

 

George Tice captured Country Road while working on his 1970 series Fields of Peace: A Pennsylvania German Album, that records the relics and everyday practices of the primarily Mennonite and Amish communities near Lancaster, Pennsylvania. Tice was standing on the edge of a field and waiting for a horse and buggy to come by when he shot Country Road. A VW bug passed by instead, but the light at sunset was just right, so he took the photograph. Tice has magnificently printed the light reflecting off the asphalt — but the road, in itself, fascinated the artist.

In Fields of Peace, Tice writes: “In Lancaster County change is more resisted, and the roads, though paved, tend to have the old curves, and on their blacktops one sees the anachronism of horse droppings. A road may go under a row of trees, originally planted to protect against the sun or to provide a windbreak or just for the love of trees and shadow. Then it may come out on a rise or slope from which the great country view opens, the textured fields, fences, pastures broken by a stream where occasional wild duck may linger or a kingfisher may sit watchfully on a wire or tree branch — floods of swallows or chimney swifts skimming the low ground or circling the sky. But the overall, overriding impression is of order: fields, clean white or red buildings (or bursts of unlimited and uninhibited color — purples, yellows, blacks, blues on porch pillars and cornices, but all carefully painted), sheds, barnyards, barnyard walls with rigid coping, even flower beds whose canna lilies, phlox, and zinnias are arranged in geometric designs.”

George Tice
First Union Drive-in Bank, Caldwell, New Jersey

1998, printed 2000
Gelatin silver print
10 x 12 3/4 in. (25.4 x 32.4 cm)

George Tice
Telephone Booth, 3 AM, Rahway, New Jersey

1974, printed 1/28/06
Gelatin silver print
9 5/8 x 7 5/8 in. (24.5 x 19.4 cm)

 

George Tice
Petit's Mobil Station, Cherry HIll, New Jersey, 1974
Toned gelatin silver print

7 7/16 x 9 3/8 in. (18.9 x 23.8 cm)

10 7/16 x 13 1/8 in. (26.5 x 33.3 cm)
15 1/8 x 19 in. (38.4 x 48.3 cm)

 

George Tice’s most iconic photograph, Petit’s Mobil Station recalls the magnificent abandon of an Edward Hopper painting, and has become emblematic of the American urban landscape. Tice photographed Petit’s Mobil Station on route to visit his girlfriend at the time. Exiting the New Jersey turnpike around dusk, Tice propped up his camera on the side of the road and set a 2 minute exposure. To preserve the scene’s serene emptiness — one where the flat top sedan is the only sign of human activity— Tice covered the lens every time a new car pulled up to the pump. The platinum and palladium that Tice used to print the photograph evokes the richness of light, giving the station an unexpected gravitas.

George Tice
Sunrise, New York, 1971
Gelatin silver print
8 1/2 x 13 1/4 in. (21.6 x 33.7 cm)

George Tice
Wall Street, New York

1987, printed 7/9/00
Gelatin silver print
13 3/8 x 9 in. (34.0 x 22.9 cm)

Biography

George Tice, born in 1938 in Newark, New Jersey, is one of the most prominent fine-art photographers in the United States. His body of work has continually focused on the American landscape. He began photographing at the age of 14, when, on the advice of a teacher, he joined the Carteret Camera Club. A turning point in his training happened two years later, when a professional photographer critiquing a club members’ work praised his picture of an alleyway. Tice briefly studied commercial photography at Newark Vocational and Technical High School. At sixteen he left high school to work as a darkroom assistant for a Newark portrait studio. A year later he enlisted in the U.S. Navy, serving as a photographer's mate. In 1959, a published image he made of an explosion aboard the USS Wasp caught the eye of photographer Edward Steichen, who as director of photography at the Museum of Modern Art, acquired the print for the museum’s collection. Especially well known as a master printer, Tice printed for artists like Edward Steichen as well as printing the portfolios of such artists as Frederick H. Evans and Edward Weston. 

For the next decade, Tice worked as a portrait photographer and helped to establish The Witkin Gallery. His initial success allowed him to concentrate on personal projects. In the 1960s, Tice shifted from smaller camera formats to larger ones, which enabled him to craft carefully detailed prints. When George Tice moved from professional to personal work, he turned his lens to the American urban and rural landscapes, attempting to capture the spirit of the place. Self-taught in the use of the view camera, Tice began photographing the Amish communities of Pennsylvania, a region close to where he grew up. One of his series focused on Lancaster, Pennsylvania, which depicted the daily life of the Amish people and their integration with the landscape around them. Tice frequently returned to this area of Pennsylvania and over a span of eight years he produced his well-known photo-essay on the Amish and Mennonite communities. Tice’s other work features the architectural and industrial motifs that identify American Society. In 1969, Tice was included in the opening group show at the Witkin Gallery that set a precedent for other photographic gallery exhibitions.

George Tice is drawn to the vestiges of American culture on the verge of extinction. Although he has photographed throughout the United States, he is best known for his pictures of his native New Jersey, and the impeccable quality of his black-and-white prints. 

George Tice’s first show in New York was at the Underground Gallery in 1965. In 1972, he had a one-man show at the Metropolitan Museum of Art, Paterson, New Jersey and in 2002, ICP exhibited George Tice: Urban Landscapes, a series he had worked since 1960s. 

Exhibited internationally, George Tice’s work is represented in over one hundred museum collections, including MoMA, the Metropolitan Museum of Art, the Art Institute of Chicago, the J. Paul Getty Museum and the Newark Museum. Tice has received fellowships from the Guggenheim Foundation, the National Endowment for the Arts, the National Media Museum (UK), the New Jersey State Council on the Arts, as well as commissions from The Field Museum of Natural History, the Houston Museum of Fine Arts, and the Museum of Modern Art. He has published seventeen books including the following that are available in the gallery: Fields of Peace (1998), George Tice: Selected Photographs, 1953-1999 (2001), Lincoln (1984), Hometowns, An American Pilgrimage (1988), Stone Walls, Grey Skies, A Vision of Yorkshire (1993), George Tice: Urban Landscapes (2002), Common Mementos (2005),Paterson II (2006), Ticetown (2007) and Seacoast Maine (2009).

Selected solo exhibitions

2013
Seeing Beyond the Moment: Photographic Legacy and Gifts of George Tice, Newark Museum, Newark, NJ
George Tice: 60 Years of Photography, Nailya Alexander Gallery, New York, NY
 

2012
Platinum/Palladium Photographs, Nailya Alexander Gallery, New York, NY
 

2009
George Tice: American Photographer, Peter Fetterman Gallery, Santa Monica, CA
 

2005
George Tice: A Retrospective, Scott Nichols Gallery, San Francisco, CA
 

2002
George Tice: Urban Landscapes, International Center of Photography, New York, NY
 

1997
George Tice: An American Master, Point Light Gallery, Glebe, New South Wales, Australia
 

1992
Stone Walls, Grey Skies, Witkin Gallery, New York, NY
Stone Walls, Grey Skies, Photo Gallery International, Tokyo, Japan
The Photographs of George Tice, Houk Gallery, Chicago, IL
 

1991
Stone Walls, Grey Skies and A Retrospective, National Museum of Photography, Film & Television, Bradford, England

 

1988
Seacoast Maine, Photo Gallery International, Tokyo, Japan
Hometowns, Chrysler Museum, Norfolk, VA
Hometowns, Witkin Gallery, New York, NY
 

1985
George A. Tice, Photographic Museum of Finland, Helsinki, Finland
 

1979
Liberty State Park: The Master Plan, Museum of Modern Art, New York, NY
 

1975
Urban Landscapes, Rutgers University Art Gallery, New Brunswick, NJ
 

1972
Paterson, New Jersey, Metropolitan Museum of Art, New York, NY