DAVID S. ALLEE

David S. Allee came to being an artist and photographer after a career in the field of urban planning. “My interests haven’t changed much since becoming an artist” he says, “structures, the built environment, that’s what I’m still drawn to, but in a less tangible and more abstract way.” His photographs have been exhibited and published widely and are in the permanent collection of major institutions, including the Art Institute of Chicago, the Bronx Museum of the Arts, Library of Congress, and the Foundation Cartier in Paris, among others. He has had several solo exhibitions, including Princeton University in 2005 and the Knoxville Museum of Art in 2004. His work has been included in group shows at the Bronx Museum of the Arts, the Tampa Museum of Art, and the Cornell Fine Arts Museum. He received his MFA in Photography from the School of Visual Arts, where he received the Ruttenberg Prize and studied with Joel Sternfeld, Robert Polidori, and Vera Lutter. He also holds a BA in Economics and Government from Cornell University, magna cum laude. Allee lives and works in New York City.

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NEWS

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The New Yorker David S. Allee
28 January, 2013
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New York Magazine Critic's Pick David S. Allee
21 January, 2013
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Elephant Magazine David S. Allee | Mining The Light
19 January, 2012
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Dave Allee Feature in The New York Photo Review
15 February, 2011
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David S. Allee: Village Voice Review BLACK HOLE SUN The city unlike you’ve seen it before By Araceli Cruz
25 January, 2011
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DAVID S. ALLEE: Dark Day New York Magazine's Top ART Pick for Chelsea galleries!
12 January, 2011
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Poesis design team selected works by DAVID S. ALLEE and ALIX SMITH for their WEEDS Showtime penthouse in Midtown Manhattan.
14 December, 2010
Press
Business Insider
The New Yorker
Metropolis
Under Bright Lights
the Village Voice
BLACK HOLE SUN The city unlike you’ve seen it before
Hypocritedesign
New York Magazine
Critic's Pick
The New Yorker
New York Magazine
Critics' Pick
Slate
Framed
What We Like NYC
Elephant Magazine
David S. Allee: Mining the Light, by Katya Tylevich
The New Yorker