fine art project archive: Lightside Photographic Services offers the complete service of overseeing and organizing all stages of processing, printing and presentation Our clients include photographers, artists, galleries, museums, art consultants, curators and collectors who need their photography expertly prepared for exhibition, reproduction or sale.
Subscribe to RSS feed
September 15 – October 31
L: dress, inkjet print, 26 x 18″, 2016
R: legs, silver gelatin print, 24″ x 16″, 2016
From the Kaufmann Repetto press release:
In her latest photographs Talia Chetrit has structured a series of performative scenarios in which the artist uses her body, and that of her partner, to destabilize the conventions of self-portraiture and its mechanisms of control. The shutter release—along with mirrors in her studio, deconstructed clothing and multiple cameras—are tools with which Chetrit sets up deliberate triangulations that present us with critical openings. It is through these openings that we see the artist repeatedly demonstrating her submission to her own process as an act of authorial agency.
Kaufmann Repetto: Talia Chetrit installation view
September 15 – October 31, 2016
This is the third exhibition we’ve helped produce for Talia Chetrit with Kaufmann Repetto. We’ve been working with Talia since 2009.
Tags: Archival Pigment Printing (Inkjet), Exhibitions, Film Processing, Kaufman Repetto, Scanning, Talia Chetrit
My Point of View
Garrison Art Center
April 23 – May 1
LTI-Lightside has worked with Brian Nice since 2000 processing his film, scanning, and making exhibition prints. However, in 2009, Brian suffered a brain bleed from a cavernous malformation on his brain stem. Before that he enjoyed successful 25-year career as a fashion and beauty photographer, shooting for all of the usual suspects, Elle, Cosmo, Marie Claire, etc.
Brian Nice: from My point of View at Garrison Art Center, 2016
40″ x 40″ archival inkjet print / lamination / brace mounting
Brian’s life changed forever in 2009, when he first awoke after the hemorrhage he was only able to move one of his left fingers. He has made incredible progress after two brain surgeries and daily PT but still speaks and moves with great difficulty. His mental faculties remain acute. He told the New York Times that he’s “mentally fit but in a broken body” and that holding a conversation can be “like an Olympic event.”
Brian Nice: from My Point of View at Garrison Art Center, 2016
Both 11″ x 11″ archival inkjet prints / lamination / brace mounting
With the phenomenal support of his family and friends (once of which, provided him with a plastic, medium-format Holga film camera) — Brian had an epiphany: the Holga, with its high propensity for flares, blurry images and double exposures perfectly imitated the way he sees the world these days.
So in 2013 (to his therapists’ dismay) Brian embarked on a cross-country trip with a small crew — including his mother and friends — to shoot the American landscape as he now sees it. The results are gloriously expressionistic and colorful and serve as a testament to Brian’s incredibly optimistic philosophy toward life in his current condition. His My Point of View exhibition is now on view at Garrison Art Center in Garrison, NY.
Brian Nice: My Point of View opening at Garrison Art Center, 2016
To see more of Brian’s work, and to learn more about his travels as a TBI (Traumatic Brain Injury) survivor, please visit his website here.
Tags: Archival Pigment Printing (Inkjet), Brian Nice, Exhibition Mounting, Exhibitions, Film Processing, Scanning
Paulette Tavormina’s Seizing Beauty
Vivid Images That Aren’t Old Masters – but Look Just Like Them
T Magazine / The New York Times
By Gay Gassman, April 20, 2016
Reposted from T Magazine / The New York Times online:
The photographer Paulette Tavormina began her professional career working with antiques, food styling and photographing works of art for an auction house. She’s also spent many years collecting bits and pieces — the insects, objects and flowers that fill her studio — from markets and little shops. Her new book “Seizing Beauty,” out next week, took six years to photograph and brings together all these experiences: It features 65 sumptuous color images inspired by old master still lifes. (The book’s release coincides with a show at the Academy Art Museum in Easton, Md., which opens April 23.)
L: Jacob van Hulsdonck: Still Life with Lemons, Oranges and a Pomegranate, c. 1620-40
R: Paulette Tavormina: Lemons and Pomegranates, After J.V.H., 2010
At first glance, you might easily mistake one of Tavormina’s images for a Zurbarán or a work from the Dutch Golden Age of painting — many of the book’s photographs are built up with flowers, fruit, insects, objects, jewelry, butterflies and broken bits of porcelain. Others are inspired by the symbolic Vanitas paintings of the 16th and 17th centuries, with skulls and the reminder of death and the passing of all worldly goods.
“I’m in love with the old masters, totally fascinated with them,” Tavormina says. “But I create my own personal story within each work. The themes are so universal — love, loss, death — so it is all pretty simple.” Each image takes several months to produce: several weeks to conceive, research and gather the props from flower and farmer’s markets, followed by sketching the image out in pencil, staging it and then setting it all up. The process of getting the lighting and composition just right takes days — sometimes so long that the flowers wilt, the fruit changes color and she has to start over.
The artist also includes a third series of works, “Botanicals,” which are much more contemporary in feel, shot from above on black backgrounds and inspired by flowers from her mother’s garden. They, too, are deliberately constructed (and Instagram-friendly).
“Paulette Tavormina: Seizing Beauty” is out April 16 (The Monacelli Press, $65) and is available to pre-order at monacellipress.com. “Paulette Tavormina” is on view April 23-July 10 at Academy Art Museum, 106 South Street, Easton, Md., academyartmuseum.org.
LTI-Lightside has been working with Paulette Tavomina since 2009, much of which, can been seen in our Project Archive here. Her work has been exhibited in New York, Miami, Chicago, Los Angeles, London, Paris, and Moscow among other venues around the world. For more of Paulette’s work, please visit her website here.
Tags: Paulette Tavormina, T Magazine / The New York Times
Sitting in the Dark with Strangers
Robert Mann Gallery
December 10 – January 30
Richard Finkelstein: Sitting in the Dark with Strangers
Robert Mann Gallery, December 10 – January 30
Tags: Archival Pigment Printing (Inkjet), Exhibitions, Richard Finkelstein, Robert Mann Gallery
Two Days in the Life of Andy …
Robert Levin: Two Days in the Life of Andy …
Maison Gerard NYC, December 2015
Tags: Archival Pigment Printing (Inkjet), Exhibitions, Robert Levin
Julia Comita and TwistedLamb
345 Broome Street
Opening December 10
Julia Comita & TwistedLamb present Ice Bound
Tags: Archival Pigment Printing (Inkjet), Exhibition Mounting, Exhibitions, Julia Comita
Hole in the Curtain
Bruce Silverstein Gallery
October 29 – December 23
Brea Souders: Breaking Ground, 2015
16″ x 20″ archival inkjet print
From the Bruce Silverstein Gallery press release:
Hole in the Curtain, [is] the gallery’s second solo show of new works by Brea Souders. The exhibition is comprised of portraits and abstract compositions that further Souders’ interest in fragmented narratives, the inchoate versus the fully formed, and the uncontrollable nature of time.
Souders creates her latest works with bleach, photographic chemistry and watercolors using unexposed film emulsion as a substrate. Souders writes, “I approach the emulsion as a vulnerable skin, subject to constant transformation. I was drawn to work with it because of this changeable quality.” The bleach and chemistry rapidly degrade the film, and are thus a purposeful incubator of chance occurrences–fissures in emulsion, selective lightening, bored holes, color shifts, and breached borders.
Brea Souders: Jane, 2015
30.4″ x 38″ archival inkjet print
While in process, Souders’ works exist in a state of timed decline that serves as a metaphor for the nature of both our physical bodies and our memories of people and events. At a moment when artists are grappling with our surrender to a digital world, Souders turns her attention to a fundamental aspect of the human experience: how we connect as individuals. Souders’ portraits demonstrate a humorously expressive quality, yet, as with her earlier work, a certain weight is felt in the dark spaces, the various rents in the emulsion that open up to what looks like a wide starry sky.
Brea Souders: Max, 2015
24 x 30 archival inkjet print
Our relationship with Brea Souders goes back her being awarded the 2011 WIP-LTI/Lightside Kodak Materials Grant. Hole in the Curtain, however, is our first time working with her on a specific project. That we had only seven working days to complete sixteen of the pieces on exhibit at the Bruce Silverstein Gallery is a reflection of just how tight Souders’ craft and intent is. The process of producing her final prints was specific, efficient and distinctly satisfying for us — we are quite pleased to have been given the opportunity to be a part of this exhibition.
Brea Souders: Hole in the Curtain
Bruce Silverstein Gallery
You can see more of Souders work on her own website here and on the Bruce Silverstein Gallery here.
Tags: Archival Pigment Printing (Inkjet), Brea Souders, Bruce Silverstein, Exhibitions
The Ballad Live
An evening of art and entertainment featuring Nan Goldin
October 26, 2015
On Monday, October 26th, Aperture Foundation celebrated the thirteenth anniversary of the publication of Nan Goldin’s The Ballad of Sexual Dependency, a milestone work by anyone’s standards. By now, the reach of Goldin’s Ballad is incalculable and certainly no one can argue how fitting it is for Aperture to give it (and themselves) the nod for it’s influence after all these years.
This is our third year in a row contributing to the Foundation’s Fall Benefit, the largest and most elaborate event on their annual calendar. We produced over 50 prints for the Ballad’s silent auction, now working within a well established protocol. We’re fortunate to have the generous support of Hahnemühle to thank for their spectacular Photo Silk Baryta material for the second year in a row.
(a small selection of …) 2015 Aperture Foundation Silent Auction Submissions
12 x 12 Archival inkjet prints
Credits: top to bottom / left to right
Olivia Bee, Hannah Whitaker, Henny Garfunkle,
Roberta Bayley, Jacqueline Hassink, Amy Elkins
Richard Renaldi, Kathy Ryan, Shane Lavalette
It’s been an ongoing privilege to be exposed to the wide array of artists and photographers associated with Aperture. Over the past years we’ve repeatedly handled submissions from a diverse group including (but not limited to) Penelope Umbrico, Zoe Crosher, Todd Hido, Amy Elkins, Richard Renaldi, Olivia Bee, Jen Davis … and honestly, far too many others to list here. More than a few have become regular clients of LTI/Lightside and we’re immensely grateful to Aperture for the opportunities presented to us via this terrific collaboration.
2015 Aperture Foundation Fall Benefit: The Ballad Live
Like last year’s event (The Open Road), The Ballad also featured brilliant musical performances. Once the big doners finished doing their thing, which, included duking it out over offerings from Richard Moss, Katherine Opie, Stephen Shore and of course, Nan Goldin herself (!) … the stage at Terminal 5 was rightly relinquished back to the likes of Laurie Anderson and the Bush Tetras … I mean seriously, way to go Aperture!
2015 Aperture Foundation Fall Benefit: The Ballad Live
Tags: Aperture Foundation, Archival Pigment Printing (Inkjet)
Sies + Höke
May 12 – June 19
Talia Chetrit: from I’m Selecting at Sies + Höke
L: Untitled (Bottomless #2), 2015
R: Untitled (Street #9), 2015
From the Sies + Höke press release:
I’m Selecting, Talia Chetrit’s second exhibition at Sies + Höke, comprises two discrete bodies of work. One consists of 13 images shot on the streets of New York and Paris. The other, made using a mirror, is a suite of four photographs which depict the artist in her studio, nude from the waist down. Tightly cropped and grainy, semi-anonymized images of businessmen crossing the street and groups of people buying museum tickets typify the impersonal. While, contrastingly, the artist stares back at her viewer in bottomless, startling self-portraits.
The seeming incongruity between these two series is bridged by the amount of control exercised over both. Chetrit’s focus has long been aimed at the ways in which images are constructed and the manner in which they function in society: their contrivances, their agendas, and their fictions. Often the body serves as a site for this exploration of photography’s tenets, and in I’m Selecting, Chetrit uses the bodies of others as well as her own. These images are a reminder of the degree of self-scrutiny we impose on ourselves when we know our pictures are being taken, and the feeling of panic inspired by being photographed without realizing it.
Here the artist has brought these two emotions into the same room. It is clear that the unwitting subjects of the street photographs haven’t been given the opportunity to pose for the camera. Instead their images are forged after the fact – Chetrit has seemingly scoured her negatives for marginal moments of intrigue, cropping and enlarging to direct our attention to individuals who never sought it in the first place. It is therefore an almost conciliatory gesture that the artist reinserts herself into this narrative. Chetrit’s four half-nudes are an objectification and aestheticization of the artist’s own body, ostensibly revealing much more of herself than what she has taken from her subjects on the street. If control is the the guiding principle in I’m Selecting, then Chetrit deploys it in two fashions: on one hand taking control over images of others that initially had none, and on the other carefully crafting self-portraits that relinquish the possibility of that very control.
- Patrick Armstrong
Talia Chetrit: I’m Selecting at Sies + Höke
Untitled (Bottomless #’s 1-4)
Talia Chetrit: I’m Selecting at Sies + Höke
Untitled (Street #’s 1-12)
This is the second Talia Chetrit exhibition we’ve helped produced for Sies + Höke. We’ve been working with Talia since 2009.
For more on our projects with her click here
For more on I’m selecting at Sies + Höke click here
Tags: Archival Pigment Printing (Inkjet), Exhibitions, Sies + Höke Galerie, Talia Chetrit
The Effect of Motherhood
Conde Nast Gallery
May 11 – June 26
Elinor Carucci showing off The Effect(s) of (her) Motherhood, in real time ….
It wouldn’t seem right to have an exhibition called The Effect of Motherhood without a bunch of kids running around being goofy … and Elinor Carucci’s opening at the Conde Nast Gallery had a plenty of them present to enliven the event. Carucci’s exhibition, the first solo artist show at the new Conde Nast Gallery on the 34th floor of One World Trade Center is heavy with content. Curated by Shawn Waldron, Conde Nast’s Senior Director of Archives and Records, the majority of images were pulled from assignments Carucci completed for various Conde Nast publications documenting personal accounts of cancer, Alzheimer’s and other trials of modern family life. Yet when viewed together (and in the bright shiny newness of the gallery) Carucci’s sense of humanity and tenderness towards her subjects comes through to disarm the often brutal reality of those stories.
The scene at The Effect of Motherhood: Conde Nast is a media company, after all ….
… and one with a pretty sophisticated sense of style, at that!
LTI/Lightside produced over 30 prints for this exhibition, our first with Carucci. To help facilitate the production, Elinor introduced us to Joshua Fisher, Brand Manager of The Mac Group. There are a number of iconic companies under the umbrella of The Mac Group these days: Tenba, Sekonic, Toyo-View to name a few … but the brand most relevant here is Ilford. Josh has been instrumental in sponsoring Elinor as an Ilford Master and also, fortunately for us, in supplying her with a seemingly endless run of Ilford Gold Fibre Silk paper, which, we printed the entire show on.
Elinor Carruci: The Effect of Motherhood … present and accounted for.
You can learn more about the Ilford Master program here. More about The Mac Group here. And more about Elinore Carucci here.
Tags: Archival Pigment Printing (Inkjet), Conde Nast Gallery, Elinor Carucci, Exhibitions