Here’s an image of Tom Morello in His 1971 Dodge Demon by Danny Clinch. Originally shot in Los Angeles sometime in 2000 on a Rage Against The Machine shoot, this five-frame continuous half-frame strip of color negative film has been scanned and imaged at 36 x 96″!

The first frame shows it here at LTI/Lightside having just finished printing. The second is the install view at the Wall Street offices of Droga5, who commissioned the piece.

Tags: Archival Pigment Printing (Inkjet), Danny Clinch, Film Processing, Some Days ..., The nicest things ...

This Grand Show
Richard Renaldi
Bonni Benrubi Gallery
April 17 – June 7

Reflecting the words of preservationist John Muir “This grand show is eternal“, Richard Renaldi has mounted an exhibition of photographs at the Bonni Benrubi Gallery showcasing his restless (and relentless) obsession with travel and the American landscape.

Richard Renaldi: Big Top, Carson & Barnes, Geneva, Ohio  2012
36″ x 55 archival pigment print

These images, inspired by Muir’s musings, reveal an observation of time-worn places and objects — all affected by the doings of man, yes — but void of the intimate and unsparing portraiture we’ve come to expect in Renaldi’s work. And though this may be something we’re not used to from Richard, his work here nods gently towards Muir’s own observations of the intersection of man and landscape in his time.

Richard Renaldi: Navajo McMansion, Tuba City, Arizona 2013

This is our second exhibition with Richard. He’s also currently showing Touching Strangers at the Aperture gallery (more on that here). We processed all the 8 x 10 negatives for This Grand Show and imaged the thirteen prints that make up this exhibition.

Tags: Archival Pigment Printing (Inkjet), Bonni Benrubi Gallery, Exhibitions, Film Processing, Richard Renaldi

Touching Strangers
Richard Renaldi
Aperture Gallery
April 3 – May 15

Richard Renaldi: Vincent & Charles, Los Angeles from Touching Strangers, 2012/2013
50 x 60 archival pigment print

From the Aperture Press release:

Since 2007, Richard Renaldi has been working on a series of photographs that involve approaching and asking complete strangers to physically interact while posing together for a portrait. Working on the street with a large format 8-by-10-inch view camera, Renaldi encounters the subjects for his photographs in towns and cities all over the United States. He pairs them up and invites them to pose together, intimately, in ways that people are usually taught to reserve for their close friends and loved ones.

Renaldi creates spontaneous and fleeting relationships between strangers for the camera, often pushing his subjects beyond their comfort levels. These relationships may only last for the moment the shutter is released, but the resulting photographs are moving and provocative, and raise profound questions about the possibilities for positive human connection in a diverse society.

This exhibition coincides with the launch of Renaldi’s book Touching Strangers and includes thirty-five photographs from the series, curated by Ann Pallesen, director of Photographic Center Northwest, Seattle (where the exhibition will tour following its presentation at Aperture Gallery).

Richard Renaldi: Jeromy & Matthew, Columbus Ohio, 2011/2013
From Touching Strangers
50 x 60 archival pigment print

This LTI-Lightside’s first exhibition with Richard though we’ve been working with him for years. We’ve processed his 8 x 10 color negative and black & white film from a multitude of projects going further back than even Fall River Boys. And, of course, we’ve made prints here and there along the way … it’s always been a pleasure seeing Richard’s projects evolve and we’re flattered to have been invited to be an integral part of the working process of Touching Strangers.

 
About Richard Renaldi:

Richard Renaldi (born in Chicago, 1968) graduated from New York University with a BFA in photography in 1990. He has presented solo exhibitions both in the United States and abroad, including at Fotografins Hus, Stockholm; Robert Morat Galerie, Hamburg, Germany; and Yossi Milo Gallery, New York. Renaldi’s work has also appeared in group exhibitions, including Strangers: The First ICP Triennial of Photography and Video at the International Center of Photography, New York (2003). Touching Strangers is Renaldi’s third book, following Figure and Ground (Aperture, 2006), and Fall River Boys (2009).

Visit Richard’s website here.

Tags: Aperture Foundation, Archival Pigment Printing (Inkjet), Exhibitions, Film Processing, Mounting, Richard Renaldi

Italian Pictures
Lawrence Beck
Sonnabend
March 29 – April 26

 
Lawrence Beck: Villa Lante III, 2013
60″ x 73″ archival pigment print on dibond

From the Sonnabend press release:

These new “Italian Pictures,” consisting of large format photographic tableaux of formal gardens, aqueducts, and fountains, were photographed in and around Rome last year. The patinated ruins, bridges, and statuary in these works are captured in early morning and late afternoon light that provides both atmospheric softness and chiaroscuro definition. The motif is the same as that used by classical artists as a source of contemplation and inspiration, but here is used in a way that uniquely blurs the distinction between photography and painting.

Sonnabend Gallery: Lawrence Beck, Italian Pictures, 2013

This installment of Italian Pictures is LTI-Lightsides’s sixth exhibition at Sonnabend Gallery with Lawrence Beck. As were all the previous works, these 59″ x 72″ archival pigment prints are imaged from high resolution scans of his original 8 x 10 color negatives.

For more images from this exhibition and of Beck’s work in general, please visit his website by clicking here.

Tags: Archival Pigment Printing (Inkjet), Exhibitions, Film Processing, Lawrence Beck, Mounting, Scanning, Sonnabend Gallery

Tags: Archival Pigment Printing (Inkjet), Some Days ...

Natura Morta and Flowers, Fish & Fantasies
Paulette Tavormina
Robert Klein Gallery
February 8 – March 29

Botanicals
Ars Libri
February 7 – March 29

Paulette Tavormina: Botanical VI (Juliet Roses), 2013
54 x 54 archival pigment print

The following text is from the Robert Klein Gallery press release:

Following successful shows in London, Moscow, Paris, San Francisco, New York, and Chicago, PAULETTE TAVORMINA will have a solo exhibition in Boston this February. ROBERT KLEIN GALLERY debuted Tavormina’s photographs in 2009 and presented her first solo show in 2010.

The forthcoming exhibition, Black & Bloom, has two distinct parts: Tavormina’s newest series, Botanicals, will be shown at ARS LIBRI beginning Friday, February 7; work from her earlier series, Natura Morta and Flowers, Fish & Fantasies, will be shown at Robert Klein Gallery beginning Saturday, February 8. The exhibition runs through March 29 in both locations.

 Paulette Tavomina: Crabs & Lemon, after P.C. From the series Natura Morta, 2009

A regular visitor to New York City’s flower and farmers markets, Tavormina looks for “perfectly imperfect” plants to set the scene. But she does not limit herself to items on sale; she has found butterflies on the sidewalk and picked lilies of the valley through wrought iron fences. Florence Fabricant of THE NEW YORK TIMES called Tavormina’s still lifes “arresting.” Vince Aletti of THE NEW YORKER writes of the work: “[f]ruits, vegetables, and flowers spill from their containers in an almost obscene display of abundance. Everything seems poised between voluptuousness and rot, at once gorgeous and doomed.”

Botanicals, a series Tavormina started in 2013, takes a traditional genre and flips it on its head. At first glance, the images appear to be deconstructed still lifes from her earlier series Natura Morta and Flowers, Fish & Fantasies. But where she once directed the viewer’s eye, Tavormina is now dispersing with a central focus and playfully pulling our attention to the edges of the image.

“These are all my favorite flowers, in all stages of life,” says Tavormina. “They represent my childhood, my memories.” In her quiet, beautiful way, she reminds us that winter’s root vegetables and summer’s roses can flourish side-by-side, that the seasons have given way to age and time.

LTI-Lightside has been working with Tavomina since 2009. Her work has been exhibited in New York, Miami, Chicago, Los Angeles, London, Paris, and Moscow among other venues. For more of Paulette’s work, please visit her website here

Tags: Archival Pigment Printing (Inkjet), Exhibitions, Mounting, Paulette Tavormina, Retouching, Robert Klein Gallery

KE-17 JIGSAW
KE-03 LARGE PINKING
KE-24 SCALLOP
KE-16 POSTAL
Anna-Sophie Berger
JTT
January 26 – February 23

 
Anna-Sophie Berger: JTT Gallery, 2014

From the JTT Gallery press release:

JTT is proud to present the first solo exhibition by Anna-Sophie Berger. On display are four photographs derived from a group of garments from Berger’s latest textile works—pixelated digital information in contrast to specific material used in the production of clothing. Each of these garments will be visible as part of a four person performance the evening of the opening.

The same images that are made into photographs are also reproduced onto silk scarfs of the exact same size. The difference between the two objects lies within their haptic reality, their ideal value in terms of fashion versus art, merchandise versus edition, handcrafted versus manufactured, static versus the mobile possibilities of site – a scarf and an image.

In marketing, colors are used as means of distinction, as well as to create an elaborate ordering of the needs of any given consumer—the possibility of choice, red over green. Hard, medium, soft, ultraflex.

LTI/Lightside was pleased to produce four pieces for Anna-Sophie Berger’s exhibition. Red, Blue, Green and Yellow are archival pigments prints ranging in size from 21″ x 36″ to over 25 x 70. The presentation is wood and aluminum braced dibond with UV vinyl over-lamination.

This is our first exhibition with Berger and JTT.

Tags: Anna-Sophie Berger, Archival Pigment Printing (Inkjet), Exhibitions, JTT Gallery, Mounting

Not Long Hidden
Rick Wester Fine Art
January 23 – March 1

Single-handedly punching back at winter, Rick Wester Fine Art has mounted an invitingly warm group-exhibition celebrating the tactual essence of summer featuring some excellent surf imagery from our great friend, Joni Sternbach (among others).

Joni Sternbach: 13.08.29 #53 Lisa + Mikey, Ditch Plains, Montauk, 2013
30 x 40 archival pigment print

From the gallery’s press release:

In the midst of the coldest winter in New York in 20 years it seems that no amount of freezing sunshine, Vitamin D or dry radiator heat can overcome the chill of the wind off the Hudson, East or Harlem Rivers. Rick Wester Fine Art is pleased to present a visual antidote to Seasonal Affective Disorder with NOT LONG HIDDEN, a group exhibition that combines the work of five photographers who have explored and incorporated into their work a highly visceral and sensual vision of summer light, color and tone. Kate Joyce (Chicago, IL), Jakub Karwowski (Krakow), Joe Maloney (Hancock, NY), Cheryle St. Onge (Durham, NH) and Joni Sternbach (Brooklyn, NY) all share unique sensibilities towards how radiant light shapes their imagery. Like music that transforms auditory sensation into emotion and action, the photographers of NOT LONG HIDDEN create the sensory equivalent of stopping, mid – step on a summer’s day, to take in the color and absorb its warmth. Each pursues distinctly different subject matter and approaches, however all dwell within the realm of the documentary photograph with remarkably individual results .

Click here to see more from NOT LONG HIDDEN at Rick Wester Fine Art

Tags: 8 x 10, Archival Pigment Printing (Inkjet), Film Processing, Joni Sternbach, Mounting, Rick Wester Fine Art

This year’s impressive round-up of the Leading 100 Global Thinkers of 2013 from ForeignPolicy.com included the extraordinary photographer (and our client!) Richard Mosse. While Mosse’s use of Kodak’s Aerochrome film stock has been widely seen and well received throughout the photographic arts community; his project’s content is particularly deserving of this broader acclaim on the international stage for its cultural impact as well.

Richard Mosse: Tutsi Town, North Kivu, Eastern Congo, 2010

The following is re-posted from ForeignPolicy.com:

For Seeing War Through a New Lens

Richard Mosse’s conceptual photos of the Democratic Republic of the Congo’s war-torn east are allowing viewers to see conflict in a way they never imagined they could. Straddling the line between art and journalism, Mosse has photographed the region with an obsolete infrared film that renders shades of green into vibrant pinks, roses, and magentas. The film, Kodak Aerochrome, was designed by the U.S. military decades ago to detect camouflage.

Mosse stole the show at the 2013 Venice Biennale art exhibition with The Enclave, a video installation filmed in the DRC with 16 mm Aerochrome. To gather his material, he took a cinematographer and composer and embedded with armed fighters. The resulting images are striking. They include rebels wearing bubblegum-tinted fatigues amid dreamy, psychedelic landscapes. “The idea was to use this medium to see into the unseen, to reveal the hidden and make visible the invisible of this forgotten conflict,” Mosse told CNN.

The photographer, who has also worked in Iraq, says the goal of his groundbreaking work is to bring “two counterworlds into collision: art’s potential to represent narratives so painful that they exist beyond language, and photography’s capacity to document specific tragedies and communicate them to the world.” Mosse has certainly done that, catching the eyes and perhaps the consciences of viewers.

Tags: 8 x 10, Film Processing, Kodak, Richard Mosse

Best Wishes

and

Many Thanks

To all we’ve had the pleasure of seeing this past year

—  and to all we may have missed  —

we wish you the very best for the coming year

&

thank you deeply for your support

Tags: 'tis the season, The nicest things ...