fine art project archive | LTI Lightside

fine art project archive:

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The World of the New York Review of Books
Dominique Nabakov
La Maison Française/ New York University
November 1 – December 6, 2013

From the La Maison Française press release:

For over three decades, Nabokov has turned her camera lens on friends and colleagues at The New York Review, producing an incisive and intimate portrait of many of its key players. The approximately 50 black and white photographs in the exhibition capture both the spirit of the magazine and offer informal portraits of its editors, contributors, and supporters. Nabokov has subtly documented many convivial moments and the occasional intellectual jousting between the Review’s varied personalities.

LTI/Lightside made over 50 silver gelatin prints from Nabokov’s original 35mm negatives for this exhibition. We also scanned those negatives and produced a master digital file set for a lovely short-run catalogue with a forward by Ian Baruma.

It’s a positively loaded compendium of literary giants: Italo Calvino, Robert Silvers, Joan Didion, Joyce Carol Oates … Roth, Mailer, Vidal, Sontag … on and on. Word has it there were not many printed, check with La Maison Francaise for availability.

Tags: B+W Silver Gelatin Printing, Dominique Nabokov, Exhibitions

Via Aperture:

On Monday, October 28th, 2013, over 500 guests in the worlds of photography, art, fashion, media, and music gathered for the Aperture 1/1 Benefit and Auction, a one-of-a-kind party in support of Aperture Foundation’s education and visual-literacy programming. Headlining the event was Albert Hammond, Jr. performing songs from his new EP, AHJ. Other special guests included Henry Wolfe and Phil Carluzzo who performed an original score to Manhatta, the 1921 short film by Paul Strand and Charles Sheeler.

A live auction of 1/1 commissioned photographs was led by charity auctioneer CK Swett of Heritage Auctions, and included works by photographers Erwin Olaf, Mickalene Thomas, and Penelope Umbrico. Aperture’s Instagram silent auction was curated by Kathy Ryan, director of photography at the New York Times Magazine and featured over 80 works by notable figures such as Sam Falls, Alex Prager, Vik Muniz, Stephen Shore, and Tabitha Soren, as well as actress Tilda Swinton.

Aperture asked us to contribute the printing for Kathy Ryan’s curated Instagram Auction and we thought, sure, why not (?) So… eighty-nine, yes you read that right, (89) 12″ x 12″ archival pigment prints later, we finally found ourselves at a pretty cool party …

Tags: Aperture Foundation

Talia Chetrit
Leslie Fritz
September 3 – October 6, 2013

Talia Chetrit at Leslie Fritz, September 2013

From the Leslie Fritz press release:

Talia Chetrit’s current exhibition at Leslie Fritz, her third show with the gallery, originates in the artist’s revisiting old contact sheets from the first rolls of film she shot as a thirteen-year-old in the mid 1990’s. They were intimate, direct portraits of the subjects most immediately available to her: her own family in and around the home. Chetrit re-cropped and re-edited these old images, and returned to photograph her family again for the most recent work in the exhibition, mixing these two moments in this installation. In these images, we see her mother, father, brother, and the photographer herself, pictured today and as they appeared some eighteen years ago.

Talia Chetrit: selections from Leslie Fritz, September, 2013
clockwise from top left:
Self-Portrait (13): 1995/2013, 18 x 24 silver gelatin print from original negative
Parents (side, 2013): 20 x 24 silver gelatin print from original negative
Self Portrait (Profile): 2013, 19 x 24 silver gelatin print from original negative
Parents (Stacked): 2013, 14 x 22 digital c-print

I’ve mentioned previously in this archive that often we’ll start work on a project and have no idea what we’re being presented with conceptually. This makes sense, considering that our role in the production of these projects is after all, that of the facilitating technician and so it’s only natural that we’re somewhat removed from the “content” side of the process. It’s almost as if we have insider status … but not too far inside, if you get my meaning. Anyway, it’s one of those quirks that comes with the job that actually makes life fun around here … specifically: trying to figure what’s going on in a project beyond the technical perimeters before actually asking.

Talia Chetrit: selections from Leslie Fritz, 2013
left to right:
Dad: 1995/2013, 6 x 8 silver gelatin print from original negative
Brother: 1995/2013, 6 x 9 silver gelatin print from original negative

In this case: printing negatives shot by the artist eighteen years previous, including a self-portrait (without this being explained), clearly puts this project into that category.

Chetrit’s exhibition has been well received with reviews in Artforum, Mousse Magazine, Contemporary Art Daily and the Gallerist. For more, please visit Leslie Fritz online by clicking here.

Tags: B+W Silver Gelatin Printing, Digital-C Printing, Leslie Fritz, Talia Chetrit

Susan May Tell: from Appalachia and the Rust Belt, 2012

Susan May Tell was recently interviewed in the “Best of 2013” feature on the ASMP (American Society of Magazine Photographers) online journal. The focus was on her personal project spanning Appalachia. A few excerpts from the interview follow below:

In the summer of 2012, Susan May Tell traveled 4,000 miles through rural Appalachia, a region known to have fallen on hard times. Shooting black & white film in her Leica, she explored deserted downtowns and shuttered steel mills, sleeping in her ’90s rust bucket.

And now for the good part (well, to us, anyway)

ASMP: When and how was your film from this trip processed, printed and scanned. Did you do your own darkroom work?

SMT: Since I no longer have a wet darkroom, I found a lab that simulated the way I used to work, which meant editing from work prints and not contact sheets. At the same time the lab needed to incorporate newer technologies. All the requests were easier said than done, since nowadays digital supersedes analogue. After a bit of research I found LTI Lightside Photographic Services in Manhattan, and they have been nothing short of spectacular.

LTI developed the film; scanned every negative full frame with black border, with no corrections; made a 4-by-6-inch machine print from the scan with the full frame and black border; and made three index prints for each roll, one of which I submit to the Copyright Office as a deposit copy. As I edit and provide negatives, LTI is making gelatin silver prints.

Of course, we are so thankful that Susan made the effort to mention us and explain our services in her interview. Please take a moment to peruse the rest of the text here.

Tags: Susan May Tell, The nicest things ...

Darshan
Manjari Sharma
ClampArt Gallery
September 12 – October 12, 2013

LTI/Lightside is pleased to have provided the print production for Manjari Sharma’s first solo exhibition, Darshan, in New York City.

This exhibition is the culmination of exhaustive research by Sharma and and the dedicated efforts of a large team of technicians and craftsmen assembled by her over the past two years. Presented at ClampArt in an elaborate installation complete with incense, lamps, and invocations; Darshan aims to mirror the experience of a Hindu temple and create an environment that calls out to the viewer’s innate sense of spirituality.

Manjari Sharma: Darshan, ClampArt Gallery, 2013
Photograph courtesy of Randhy Rodriguez

From the gallery press release:

“Darshan” is a Sanskrit word meaning “vision” or “view,” and is most commonly used in the context of Hindu worship. It can also be translated as an “apparition” or a “glimpse.” One may seek and receive the Darshan of a deity, and upon sight, that Darshan may invoke an immediate connection between that deity and the devotee. A Darshan can ultimately be described as an experience purposed on helping one focus and call out to his or her sense of spirituality.

Manjari Sharma: Maa Laxmi, From Darshan, 2012
48 x 60 digital c-print

Manjari Sharma: Lord Vishnu, from Darshan, 2013
48 x 60 digital c-print

Tags: CLAMPART, Digital-C Printing, Exhibitions, Manjari Sharma

Lived, Lives, Will Live!
The Propeller Group
Lombard Freid Projects
September 12 – October 26, 2013

From Lived, Lives, Lived, The Propeller Group

From the Lombard Freid Projects press release:

Ho Chi Minh City and Los Angeles-based collective The Propeller Group—formed by Phunam, Matt Lucero, and Tuan Andrew Nguyen in 2006—will open their debut solo exhibition in the United States at Lombard Freid. Reinvigorating a once famous Leninist slogan, Lived, Lives, Will Live!, the group’s new works are part of a larger practice exploring the relationships between politics, celebrity culture, and collective histories. Following close on the heels of the media frenzy surrounding Jay Z’s now infamous “Picasso Baby” performance, TPG’s paintings, sculptures, and photographs form a new strategy where hip-hop and Hollywood converge as historical and political resurgence.

The rise of Communism in the twentieth century led to the erecting of statues of Vladimir Ilyich Lenin around the world, making him the most monumentalized individual in history. Lived, Lives, Will Live! reexamines the legacy of the revolutionary leader as the unraveling of Communism has brought about the subsequent toppling of these monuments. TPG’s works revive Lenin through a hyper-consumerist rebranding of his public image for the twenty-first century.

Inaugurating an ongoing series of paintings, TPG have commissioned hand-embroidered interventions on original painted portraits of Vladimir Lenin that once hung in regional Communist Party headquarters across the U.S.S.R. With the addition of various hairstyles spanning Leonardo DiCaprio’s filmography, the revolutionary leader is equipped for contemporary superstardom. Drawing from Internet conspiracies about DiCaprio’s being a lost relative of Lenin, the series addresses the political ramifications of representation and celebrity idolatry. As culture blogs report that DiCaprio will play Lenin in a rumored film, TPG will continue the series throughout the actor’s career until the two figures are united in a Hollywood historical drama, collapsing history and identity.

Additionally, TPG will embellish public monuments of Vladimir Lenin with jewelry as grandiose as the statues themselves. Beginning with one of the first dismantled monuments of Lenin—removed from Leninplatz, East Berlin in 1992—TPG plan to acquire the head of the monument, plate it in gold, and hang it from an oversized Cuban-link chain on the 27-meter tall Lenin statue in Volgograd Russia—the largest remaining in the world. In preparation, the group has created a set of large scaled architectural maquettes depicting the process of beheading, blinging, and installing the transformed head of the Leninplatz sculpture.

The gold pendant, amplified to a monumental scale, references various methods of portraying power throughout history—royal jewels, war medals, etc.—and the appropriation of these tactics through the ostentation and exaggeration of hip-hop culture. Alluding to diamond-encrusted Jesus pieces and rapper Rick Ross’s pendant portraits of himself, TPG’s proposed monumental bling explores the border between identity and ornamentation, tracing the malleability of personality in the public sphere.

TPG will also produce a series of photographs, imagining the blinged-out Volgograd Lenin in its site-specific context. These digitally produced renderings highlight the enormous scale of their proposal and reference the unrealized utopian plans of Vladimir Tatlin and El Lissitzky. Pedestals around the gallery will hold jewelry-store displays, showcasing human-scale gold-plated Lenin necklaces. Produced in an edition of 5, these 3D printed necklaces blur the line between sculpture and jewelry, transforming a public monument into reproducible, privately owned commodities.

The Propeller Group uses mass media as a platform to combine seemingly contradictory phenomena: advertising and politics, history and future, and public and private. TPG often pushes their work back into the public sphere, using commodities as a form of public art. As an integral part of their practice, TPG has cultivated the guise of an advertising agency—a public relations firm that confuses the brand and the brand message.

LTI-Lightside was asked to image and print five 30″ x 40″ archival inkjet photographs for this exhibition. We also advised and facilitated the framing of those works along with six additional augmented oil paintings.

Tags: Digital-C Printing, Exhibitions, Framing, Lombard-Freid Projects, Mounting, The Propeller Group

Sebastiaan Bremer
Edwynn Houk Gallery / New York
September 12 – November 2, 2013

Edwynn Houk kicks off the fall season in New York with their third installation of works by Sebastiaan Bremer since he joined the gallery in 2011.

Sebstiaan Bremer: Combustion, 2013
Unique hand-painted and carved digital chromogenic print with mixed media
30″ x 38 3/4″

For this exhibition, Bremer draws from Surrealism, Modernism, and Cubism by literally mashing up portions of paintings and photographs from Picasso, Matissse, Brassai and Brandt … which, the gallery press-release terms as “a twisted form of time travel that inserts his own style and inhabits the studios and canvases of artists working before him“.

Utilizing the artist’s signature style of obsessively applied dots of paint to a photographic surface, and adding etching to his working method, Bremer renders the subjects of this series in a dream-like haze of abstraction. Drawing from Surrealism, Modernism, and Cubism, the artist collages photographs and paintings together to create a seductive labyrinth of entangled bodies and art.

Sebastiaan Bremer: Combustion (etching detail), 2013

And in his own words:

I knew that this form of mark-making wasn’t invented by me and that these obsessions and desires were not unique to me. Looking further, to see how so many artists have been obsessing about the same ideas, and wrestling with the same problem of how to carve one’s place in time, gave me a feeling of going home. At some point I thought to work directly on the art of my predecessors, to follow their carving, their lines, and replace them, rejuvenate them, re-form them. I collaged some together, changed their orientation, overlaid and blended them with other images. I don’t dream that I could ever improve them, but I was intrigued by the possibilities of blowing fresh air into them, shifting and reanimating them for a new run. To layer Picasso, who changed styles at the same pace as he changed muses and loves and passions, on top of his greatest competitor, Matisse, along with works by Brandt and Brassaï— this mix of histories and desires and ways of looking feels right to me.

Sebastiaan Bremer: Les Grands Jeux, 2013
Unique hand-painted and carved digital chromogenic print with mixed media
30″ x 38 1/2″

You can see a longer selection of works from this series by clicking here. We’re happy to say that we’ve been working with Sebastiaan since 2007, an overview of those projects can be seen by clicking here.

Tags: Digital-C Printing, Edwynn Houk Gallery, Exhibitions, Sebastiaan Bremer

Censored
Milagros de la Torre
Museu Oscar Niemeyer, Curitiba, Brazil
August 31 – December 31, 2013

Milagros de la Torre: Censored, 2013
Museu Oscar Niemeyer

The following text courtesy of Milagros de la Torre:

“Censored” was researched in the University of Salamanca’s library in Spain. Concentrating its attention on books (dating from XV – XVII C.) which were obliterated and repressed by the Spanish Inquisition.Images of subtle colors and a level of subdued aggression, the elegant beige of the cotton hand made paper contrasts with the intense black of the censored passages. From a distance they could be mistaken for expressionist paintings, but a closer examination reveals almost indecipherable texts effaced by various techniques. Thus creating a new formal appearance, which seems silenced and restrained but reveals itself as a coded message to be deciphered.Tension arises when the viewer perceives, behind this apparent beauty, the violence implicit in these images, which stand as witnesses to the suppression of ideas by the powers of authority.

Milagros de la Torre: Censored 2000
40 x 48 matt chromogenic color print mounted on aluminum

Milagros de la Torre: Censored LTI-Lightside production still

These prints were optically enlarged at LTI-Lightside from de la Torre’s original 4 x 5 negatives. This is our first exhibition with Milagros.

Milagros de la Torre has been working with photography since 1991 and has been exhibited extensively and is part of permanent museum collections including The Art Institute of Chicago, Illinois; Museum of Fine Arts, Houston, Texas; El Museo del Barrio, New York; Harvard Art Museum, Cambridge, Massachusetts; Yale University, New York; Diane and Bruce Halle Collection, Phoenix; Worcester Art Museum, Massachusetts; Fonds National d’Art Contemporain, Paris, France; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Essex Collection of Art from Latin America, Colchester, U.K.; Museo de Arte Carrillo Gil, Mexico; Museo de Arte de Lima, Peru; Museo Nacional de Bellas Artes, Buenos Aires, Argentina among others.

Two important monographs have been recently published, one designed by Toluca Editions, edited by RM Editorial, Mexico/Barcelona, with a text by Marta Gili, Director of the Jeu de Paume Museum in Paris. The other one, co-published by the Americas Society, New York and the Museo de Arte de Lima, MALI with texts by Dr. Edward J. Sullivan and Miguel Lopez along with an interview between the artist and Anne Wilkes Tucker, The Gus and Lyndell Wortham Curator of Photography at the Museum of Fine Arts, Houston.

In 2003, her artist book Trouble de la Vue (Paris: Toluca Editions) was published with text by Jose Manuel Prieto and design by Pierre Charpin. She received the Guggenheim Fellowship in Creative Arts, Photography in 2011.

Born in Lima, Peru, De la Torre now lives and works in New York.

Tags: Conventional C-Printing, Milagros de la Torre, Museu Oscar Niemeyer

We printed the show, which, ran in July. It’s sparse and cool to look at but the rest of the information is just not available to us.

Come to think of it … it’s a lot like knowing Natasha.

Tags: Archival Pigment Printing (Inkjet), Exhibitions, Natasha Gornik

A Bunch of Lonesome Heroes
Richard Finkelstein
Robert Mann Gallery, NY NY
May 16 – June 29, 2013

Richard Finkelstein: Wading to Cambodia, 2013
59.5 x 106.5″ archival pigment print on 3mm dibond

From the Robert Mann Gallery press release:

In his debut exhibition at Robert Mann Gallery, Richard Finkelstein presents: A Bunch of Lonesome Heroes. Constructing elaborate, atmospheric pictures of miniature dioramas, Finkelstein produces images infused with impressive emotional intensity. The images offer visual trickery as the viewer oscillates between interpreting them as real world settings and seeing them as artificial constructions.

Richard Finkelstein: Lonesome Hero 1, 2013
34″ x 48″ archival pigment print

The artist’s employment of the solitary figure seen from behind, the lonesome hero, as he contemplates the sublime landscape before him is an art historical trope that emerged in the 19th century paintings of Caspar David Friedrich, and is an element which is central in Finkelstein’s work. While these “lonesome heroes” survey the cavernous spaces and sublime natural expanses they are set within, the viewer simultaneously begins to conjure an imagined narrative for these figures who remain adrift in a complicated world.

Richard Finkelstein: Ginger, 2013
34″ x 48″ archival pigment print

The pictures provide only vague hints of their background stories anchored by these figures who appear in psychological states of trouble. Inspired by works and events of art historical significance, Finkelstein cleverly riffs on the compositions found in canonical historical imagery through his photographic constructions.

LTI/Lightside was introduced to Finkelstein through the Robert Mann Gallery early in 2013. We’ve enjoyed a brief but busy period of activity since … starting with the production new work for AIPAD and culminating in the printing, mounting and framing for the Lonesome Heroes exhibition.

Finkelstein’s work has posed interesting challenges regarding scale and perspective both within the files and throughout the physical production of the pieces as Rick has pushed to reproduce his miniature worlds into sometimes massive proportions. It has been a pleasure to to work with him throughout the entire process.

See more of Finkelstein’s work by clicking here.

Tags: Archival Pigment Printing (Inkjet), Exhibitions, Framing, Mounting, Richard Finkelstein, Robert Mann Gallery

The World of the New York Review of Books
Dominique Nabakov
La Maison Française/ New York University
November 1 – December 6, 2013

From the La Maison Française press release:

LTI/Lightside made over 50 silver gelatin prints from Nabokov’s original 35mm negatives for this exhibition. We also scanned those negatives and produced a master digital file set for a lovely short-run catalogue with a forward by Ian Baruma.

It’s a positively loaded compendium of literary giants: Italo Calvino, Robert Silvers, Joan Didion, Joyce Carol Oates … Roth, Mailer, Vidal, Sontag … on and on. Word has it there were not many printed, check with La Maison Francaise for availability.