Tom Baril

Tom Baril (born 1952)^[1] is an American photographer known for his photographs of flowers, landscapes, and architecture.^[2][3] Based in New York, he creates work characterized by textural detail and soft focus, often using a handmade pinhole camera.^[3]

He worked for a decade as Robert Mapplethorpe's printer, developing technical printing skills, before establishing himself as an independent artist.^[4][5]

Baril was born in Putnam, Connecticut^[1] and earned a Bachelor of Fine Arts in photography from the School of Visual Arts in New York City in 1980.^[2][3]

In 1979, while still a student at the School of Visual Arts, Baril turned to printing to support his photography career and was hired as Robert Mapplethorpe's printer.^[4][6] The working relationship lasted 10 years and was characterized by significant tension.^[4] Mapplethorpe confined Baril to the darkroom and communicated with him through third parties.^[4] Despite the difficult working conditions and often delayed payment, Baril continued the professional relationship.^[7] During this period, Baril's own photography was overshadowed by Mapplethorpe's, and he essentially paused his career.^[8]

Baril's technical skill was widely recognized, and Mapplethorpe was praised for the quality of the printing.^[5] Mapplethorpe's aesthetic demands were specific: he wanted "everything to look beautiful", whether flowers, faces, or figure studies.^[4] Baril and Mapplethorpe connected over their shared appreciation of classical tradition.^[6]

After leaving Mapplethorpe's employ, Baril concentrated on his own photography,^[3] but continued to print in Mapplethorpe's original darkroom, later part of the Mapplethorpe Foundation.^[6]

Gallerist David Fahey introduced 4AD owner Ivo Watts-Russell to Baril's work,^[6] which led to 4AD's publishing Baril's first monograph in 1997. The initial printing of 2,500 copies sold out immediately,^[9] and instantly boosted Baril's career.^[10] Despite its popularity, the book was not financially successful due to its expensive hand-binding and specialized printing process.^[11]

In 1998, Baril was described as "one of the hottest contemporary fine-art photographers".^[6]

Baril primarily photographs three subjects: flowers, landscapes, and architecture,^[2][3][12] including such industrial subjects as the Brooklyn Bridge,^[13] the Verrazzano–Narrows Bridge,^[14] and steel mills.^[15] His work has been described as "quietly contemplative" in contrast to Mapplethorpe's "loudly transgressive" images.^[8]

In 1994, Baril began working with pinhole photography, using a 4×5 view camera and Polaroid Type 55 film,^[6] which creates both a print and a reusable negative.^[16]

Baril's printing technique uses selenium toner, followed by a tea bath, to give the prints warmer, deeper tones.^[6][8][16] He specifically uses Lipton tea.^[16] He often leaves the raw marks from Polaroid separation around the edges of his prints.^[8][16] Baril also uses solarization, exposing film to light while still developing.^[16] This process creates bubbles and streaks that he uses to advantage, giving his prints "an occasional painterliness".^[16]

Baril's work is held in the following public collections:

• Bell Gallery, Brown University^[17]
• Benton Museum of Art, University of Connecticut^[18]
• Bibliothèque nationale de France, Paris^[19]
• Brooklyn Museum, New York^[20]
• Delaware Art Museum, Wilmington^[21]
• Harvard Art Museums, Cambridge, Massachusetts^[22][23]
• Philadelphia Museum of Art, Philadelphia^[24]

• Tom Baril (1997). 4AD. ISBN 978-0-9657450-0-0.^[9]
• Botanica (2000). Arena Editions. ISBN 978-1-892041-20-3.^[2]

• Official website