CYBERNOIR
Dave Krugman
Sony Square NYC
April 12 – May 22

 
Dave Krugman: Love is a Color from CYBERNOIR at Sony Square NYC
20 x 30 archival pigment print on Moab Slickrock Metallic Pearl 260gsm paper

Dave Krugman brought his widely followed brand of imaging (286k followers on Instagram!!!) to Sony Square NYC last month for his first solo exhibition of photographs. Krugman is no stranger to Sony, he’s an active Sony Alpha Imaging Collective member and shot every image presented with Sony Alpha cameras.

Not just a photographer, Dave presents himself as a Social Media Consultant to his varied and prestigious clients that range from Jaguar & Prada to Ducatti and the Hawaii Tourism board. So as expected for someone who professes on his website: “I build and foster social communities” — his opening was anything but a standard affair.

Dave Krugman: opening night of CYBERNOIR
Sony Square NYC

Sony Square NYC stepped up with a number of features not normally seen together at a photography opening including camera & equipment demonstrations, a wacky sound cloud listening station, two digital photo booths, an excellent DJ plus delicious food and a well stocked open bar! The effect was as close to a futuristic photo-carnival atmosphere as one could imagine complete with a massive projection of video capture from Dave’s Sony Alpha cameras!

Dave Krugman: opening night of CYBERNOIR
Sony Square NYC

That said the rooms seemed to be packed with friends & family and one of the highlights of the evening was witnessing Krugman deliver as touching and heartfelt speech as any we’ve ever heard at an opening — thus nicely cementing his “builder of communities” moniker in the most personal of ways.

Dave Krugman giving thanks at his CYBERNOIR opening at Sony Square NYC

Dave Krugman: Water World from CYBERNOIR at Sony Square NYC
20 x 30 archival pigment print on Moab Slickrock Metallic Pearl 260gsm paper

This is our first exhibition with Dave Krugman and our first using Moab’s Slick Rock Metallic Pearl paper as well. Dave is sponsored by Moab and we give them great thanks for their generosity and support of this project.

See more of Dave’s work on his website here and, of course, don’t hesitate to follow him down the rabbit hole of links available at @dave.krugman on Instagram …

Tags: Archival Pigment Printing (Inkjet), Dave Krugman, Exhibitions, Moab Paper, Sony Square NYC

41 Degrees Latitude
Micheal McLaughlin
Robin Rice Gallery
April 10 – June 12

Micheal McLaughlin at Robin Rice Gallery

Micheal McLaughlin: from 41st Parallel at Robin Rice Gallery
26 x 40 archival pigment prints

Micheal McLaughlin captured his dreamy oceanscapes along the 41st parallel north, which, not coincidentally runs right though a number of beaches in the tiny state of Rhode Island where enjoyed part of his childhood. You can read more about that in Robin Rice’s press release here.

Micheal McLaughlin: 41st Parallel opening night at Robin Rice Gallery.

Michael is a long time customer of LTI-Lightside. We were happy to produce 13 archival pigment prints for this exhibition.

Look for more of his work online here and on his very entertaining Instagram feed here.

Tags: Archival Pigment Printing (Inkjet), Exhibition Mounting, Exhibitions, Micheal McLaughlin, Robin Rice Gallery

Elad Lassery
303 Gallery
March 1 – April 6

From the 303 Gallery Press release:

303 Gallery is pleased to announce our second exhibition of new work by Elad Lassry.

… For this exhibition, Lassry shows photographs and sculptures that alternate between flat experience and dimensionality. Outtakes from an imaginary fashion shoot are pieces of information suggesting systems much larger than themselves collide with categorical images of sea life …

Elad Lassery: 303 Gallery, 2019
L: Untitled Assignment (96-10) 2018
R: Untitled Assignment (96-6) 2018
Archival Pigment Print
20 3/8 x 16 5/16

Elad Lassery: 303 Gallery, 2019
L: Untitled (Facility B) 2018
R: Untitled (Shark Egg) 2018
Archival Pigment Print
20 3/8 x 16 5/16

Elad Lassry was born in Tel Aviv, Israel and he lives and works in Los Angeles. He has exhibited internationally including solo shows at Le Plateau, Paris (2018); Vancouver Art Gallery, Canada, curated by Jeff Wall (2017); Museum Boijmans Van Beuningen, Rotterdam (2014); Kunstnernes Hus, Oslo (2012); and Kunsthalle Zurich, Switzerland (2010). Group exhibitions include Walker Art Center, Minneapolis (2016); Solomon R. Guggenheim Museum, New York (2015); The Museum of Modern Art, New York (2014); Turner Contemporary, Margate, UK (2013); The Jewish Museum, Vienna (2012); 54th Venice Biennale (2011); The Photographers Gallery, London (2011); Aspen Art Museum, Colorado (2011); Sculpture Center, New York (2010); and New Museum, New York (2009).

 
Elad Lassery: install view, 303 Gallery, 2019

LTI_Lightside processed film, hi-res scanned and digitally imaged the archival pigment prints for the Untitled Assignment and “categorical images of sea life” in this exhibition.

Tags: Archival Pigment Printing (Inkjet), digital imaging, Elad Lassery, Exhibitions, Film Processing, Retouching, Scanning

Truth Spectrum
Simon Colley
Walter Wickiser Gallery
January 5 – 30

Simon Colley presented a series of 36″ x 54″ archival pigment prints at the Walter Wickiser Gallery to kick off the 2019 exhibition season.

Simon Colley: Truth Spectrum, Walter Wickiser Gallery, January 2019

Simon Colley: Truth Spectrum, Walter Wickiser Gallery, January 2019
L: HORIZON_08-LA
R: HORIZON_07-NYC
36″ x 54″ Archival Pigment prints

Simon Colley: Truth Spectrum, opening night Walter Wickiser Gallery, January 2019

Tags: Archival Pigment Printing (Inkjet), exhib, Exhibitions, Simon Colley

New, Used, Rare and Out of Print
Richard Finkelstein
Robert Mann Gallery
September 13 – October 20

From the Robert Mann Gallery Press Release:

Robert Mann Gallery presents a new body of work by Richard Finkelstein in his third solo show with the gallery, New, Used, Rare and Out of Print. Known for his cinematic world of miniature dioramas, Finkelstein explores a new direction in his work that focuses on the manipulation and transformation of books. He investigates the materiality of the books as he documents their reactions against water, paint, folding and cutting … cont.

 
Richard Finkelstein: from New, Used, Rare and Out of Print, 2018
L: Come Wander with Me
R: A Fine Balance
Archival pigment prints, sintra mount

… the photographs in this series were both intended and unintended. While working with the texts related to the myth by Ovid, Joyce and others, Finkelstein initially immersed them in coffee to age them and have them appear as ancient texts. But as the first books dried, the pages curled and molded themselves into new forms, assumed other shapes and then hardened, causing Come Wander With Me to emerged. The books transformed into a sculptural medium. They had lost their specific identity as the words became distorted or even hidden therefore erasing the past message of the books. The stories and titles which caused the artist to select them were no longer identifiable.

Richard Finkelstein: Sir Robert Morton’s Wig, 2018, Archival pigment print, sintra mount.
From New, Used, Rare and Out of Print, Robert Mann Gallery

Richard Finkelstein: Interpretation of Dreams, 2018, Archival pigment print, sintra mount.
From New, Used, Rare and Out of Print, Robert Mann Gallery

This is our third exhibition with Rick for the Robert Mann Gallery — you can see our posts from those first two shows by clicking here.

Tags: Archival Pigment Printing (Inkjet), digital imaging, Exhibition Mounting, Exhibitions, Richard Finkelstein

I Got a Gallery / I Got a Show
Jonathan Mannion
Compound
September 12 – October 12

To hear Jonathan Mannion tell it — I Got a Gallery / I got a Show is the result of a simple conversation between himself and Set Free Richardson, the founder of Compound in the Bronx that went pretty much as you read it: Free said “I got a Gallery” and Mannion replied “I got a show” … or something like that, anyway.

Jonathan Mannion: I Got a Gallery / I Got a Show, Compound, opening night, 2018

What we get from this is an extraordinary meeting of the minds: Mannion is well known for his imaging contribution to hip hop culture — he’s a legend already and does not appear to be slowing down one bit. Set Free Richardson is something like a cultural ambassador at this point with his on-target Compound that is part Agency, part Art Gallery, part Retail Shop and full-on cultural vortex … all neatly nestled in shadow of the 3rd Avenue bridge, AKA South Bronx.

Jonathan Mannion: I Got a Gallery / I Got a Show, Compound, opening night, 2018

Mannion has been working with LTI, now LTI-Lightside, for the better part of twenty years — his output has been prodigious: over 500 rappers, actors, athletes, artists, and designers, more than 300 album covers to date plus many editorial & advertising campaigns. You can follow Jonathan on Instagram at @jonathanmannion and see more of his work on his website here.

Tags: Archival Pigment Printing (Inkjet), Exhibitions, Imaging, Jonathan Mannion, Scanning

The World Never Ends
James Clar
Jane Lombard Gallery
September 6 – October 20

James Clar: The World Never Ends, opening night Jane Lombard Gallery, opening night, September 6, 2018

From  Jane Lombard Gallery’s pres release for James Clar The World Never Ends:

Dissociation and the fragmentation of reality through technology are the subjects of investigation in James Clar’s exhibition, The World Never Ends. Clar creates an immersive multimedia installation that embraces and opens wide the blurred boundaries of the tangible and the metaphysical. It explores the notions of reality, virtual-reality, and ponders if in our technologically intertwined world, a new form of reality is taking shape.

James Clar: The World Never Ends, detail, 2018
brace mounted 118cm x 145cm archival pigment print

James Clar: The World Never Ends, opening night, Jane Lombard Gallery. September 6, 2018

James Clar: The World Never Ends, opening night, Jane Lombard Gallery. September 6, 2018

LTI-Lightside produced six 118cm x 145cm brace mounted archival pigment prints for The World Never Ends. This is our first time working with James. We’ve been providing services for Jane Lombard for over 10 years — you can see more of that work here and here. You can see more of James’ work here.

Tags: Archival Pigment Printing (Inkjet), Exhibition Mounting, Imaging, James Clar, Jane Lombard Gallery

Tub Pictures
Amy Arbus
Schoolhouse Gallery
July 20 – August 8

Amy Arbus: Tub #28 from Tub Pictures, Schoolhouse Gallery, 2018
22 x 32 archival pigment print

The significance of this body of work was somewhat lost on us when Amy Arbus presented it as a scanning and printing project. In fact, this isn’t all that unusual here as we are, after all, service providers and are expected to be focused on the technical aspects of producing artwork and less on the conceptual foundations of the work itself. Often last to know, as it were — we then found ourselves touched to have been asked to handle these pieces at all, particularly considering their deep personal relevance, which, is best described in Amy’s  own words:

t wasn’t until my toe hit the water that it dawned on me why I was there. The process itself was so awkward and challenging. I was completely distracted by the logistics of mounting the camera and tripod on the bathroom sink, pre-setting the focus, exposure, and camera angle that I wasn’t thinking about the significance of what I was doing. It was 1992 and I was there revisiting a scene I’d never witnessed. 

I thought about what it must have looked like almost obsessively at first, but then it had been twenty-one years since it happened. When I was seventeen and away at school, my mother, Diane Arbus, took her own life in the bathtub. Her death was such a shock that I don’t remember much about the next ten years. I had taken many baths since she died, but this one with my camera perched above me was significant.

When I developed the one roll of film, I realized how little I knew about how the pictures would look. I used a cable release to trip the shutter and the camera was set to a ten second delay so I could get back in the water each time to make another exposure. Even though the camera never moved, I had no way of predicting how much or how little of me was in the frame.       

These photographs taught me that pictures are never the same as the experience of making them, that they fail if they are merely what you intended, and that mistakes can lead to discoveries. But more importantly, they convinced me that thoughts and feelings register on film (or pixels) which changed the way I worked and the way I look at photographs.

When I saw the photographs I was surprised and embarrassed because they were so unflattering. They weren’t like nudes, they were naked and raw. But I came to realize that they were full of stark contrasts: fitful yet lifeless, violent yet sexual, and maternal yet innocent. They were unlike anything I had ever done.

-Amy Arbus

Amy Arbus: Tub Series
Left to right / top to bottom: Tub #11, Tub #17, Tub #15, Tub #Tub #23
22 x 32 individual archival pigment prints

Amy Arbus: Tub #8 from Tub Pictures, Schoolhouse Gallery, 2018
22 x 32 archival pigment print

 LTI-Lightside has been working with Amy Arbus since 2012. You can see more of her work here

Tags: Amy Arbus, Archival Pigment Printing (Inkjet), Exhibitions, Imaging, Scanning

Memory Recall Pattern
Thomas Dozol

Andersen’s Amaliegade, Copenhagen
21 June – 17 August 2018

Thomas Dozol: 41.B/Bl, 2017
56 x 56 cm unique screenprint on archival inkjet

Thomas Dozol continues his deep dive into intimate portraiture with this Copenhagen based exhibition titled Memory Recall Pattern. You can read Andersen’s Amaliegade press release here.

Thomas Dozol: Memory Recall Pattern,  Andersen’s Amaliegade, 2018

Thomas Dozol: Memory Recall Pattern,  Andersen’s Amaliegade, 2018

LTI-Lightside has been working with Thomas Dozol since 2010 – view more of his work here.

Tags: Archival Pigment Printing (Inkjet), Exhibitions, Imaging, Scanning, Thomas Dozol

Black Crow
Rob Hann
Nässjö Konsthall, Sweden
June 16 – August 18

Rob Hann: Black Crow at Nässjö Konsthall, 2018

Once you learn that the title for Rob Hann’s exhibition Black Crow was inspired by the Joni Mitchell song of the same name — and you take in the fact that he’s literally logged in thousands of miles in search of his haunting landscape based images — it becomes very hard to get that song (and her sound) from the album Hejira out of your head when viewing his work …. well, if you’re a Joni Mitchell fan, I suppose.

But this work isn’t about Joni Mitchell — and as if to cement that sentiment, Rob has a book of these images coming in October called Diesel Fried Chicken, which, almost seems like the literary equivalent of a DJ scratching the needle straight across the album and grinding that association to a halt (!)

Rob Hann: Black Crow at Nässjö Konsthall, 2018

Rob Hann: Black Crow at Nässjö Konsthall, 2018

LTI-Lightside has been processing film, scanning negatives and making fine-art exhibition prints with Rob for the better part of this decade — we’re always in awe of his steady work ethic and unfailing good nature. See more of his work here.

Tags: Archival Pigment Printing (Inkjet), Exhibitions, Imaging, Robb Hann, Scanning