Jil Sander+ Birkenstock
Eckhaus Latta AW20
Proenza Schouler SS21
Talia Chetrit

Talia Cherit: Jil Sander+ Birkinstock

Talia Chetrit: Eckhaus Latta AW20

Talia Chetrit: Proenza Schouler Spring 21

Tags: Advertising, Film Processing, Retouching, Scanning, Talia Chetrit

DICKERING
Talia Chetrit
Hannah Hoffman Gallery
June 19 – Aug 14

Talia Chetrit: Pearls and Baby from DICKERING at Hannah Hoffman Gallery
41″ x 27″ archival pigment print

From the Hannah Hoffman press release:

Talia Chetrit’s latest images bring the camera home. Created over the last two years, the works in DICKERING unfold in the spaces where we loosen up and allow the coherent personas we craft for the outside world to melt away. Chetrit trains our attention on the intimate sites where personal boundaries dissolve, roles are negotiated, and power fluctuates moment-to-moment. 

In Chetrit’s portraits of domestic life the cast of characters includes herself, her boyfriend, their child, cat, and a selection of props that intermingle with the quotidian routines of child rearing and the home. In Untitled, (Family #1), 2021, her boyfriend, dressed in women’s designer clothes, feeds their child without breaking his piercing gaze. And in Untitled (Family #2), 2021, wearing nothing but a blousy vest, he smiles cheerily at the camera while their child pokes at an uncovered electrical outlet. Despite the pretense of self-exposure in these and so many of Chetrit’s images, few of her works disclose much about the actual structure of her life, the nature of her habits, or her internal sense of self. Even in her self-portrait, in which Chetrit poses pregnant and draped only in a white button down shirt, the vulnerability of the image is undermined and refracted by her distorted face, covered with smeared makeup and a nylon stocking. 

The power of Chetrit’s latest images hinges on an odd ambivalence between their banal settings and the presentations adopted by the adults within them. The characters’ gender contrivances and charms shift circumstance to circumstance and image to image, adding intrigue to the trappings of a middle-class life that serve as background. The posed postures and direct stares assumed by Chetrit and her boyfriend are less clues to their inner natures and more regular reminders of the camera’s presence, as well as the person behind it. These images revel in the fact that they are constructions, and as such they beg the question: who’s calling the shots in this drama? We imagine conversations about clothing, props, choreography, lighting, and setting, and the dialogue about what is presentable when first looking at the film. These works present a new set of negotiations between photographer, camera, and subject. 

Talia Chetrit: Pregnant (Corey Tippin Make-up #1) from DICKERING at Hannah Hoffman Gallery.
40″ x 60″ archival pigment print

Talia Chetrit Untitled (Family #2) from DICKERING at Hannah Hoffman Gallery. 
40″ x 60″ archival pigment print

Talia Chetrit: DICKERING at Hannah Hoffman Gallery. June 19 – Aug 14

This is the first exhibition of Chetrit’s work we’ve helped produce for the Hannah Hoffman Gallery. We’ve been working with Talia since 2009.

For more on our projects with her click here

For more from Hannah Hoffman click here.

Tags: Archival Pigment Printing (Inkjet), Exhibitions, Film Processing, Imaging, Scanning, Talia Chetrit

Corey, Donna, Jane, Daphne, Giuliana, Ever, Jochem, Eric, Chris, unknown, and myself
Talia Chetrit
Sies + Höke
Nov 16 2019 — Jan 11 2020

Talia Chetrit: Corey, Donna, Jane, Daphne, Giuliana, Ever, Jochem, Eric, Chris, unknown, and myself
Sies + Höke, 2019/20 Install views courtesy Sies + Höke Galerie

From the Sies + Höke press release:

Corey, Donna, Jane, Daphne, Giuliana, Ever, Jochem, Eric, Chris, unknown, and myself is an exhibition of portraits taken from 1995-2019 by Talia Chetrit. Spanning several decades these eight photographs move us across an uncanny breadth of staged and unstaged portraits— a test photo from a fashion shoot, a portrait of a body-cast from an ancient archeological site dated 79AD, self-portraits in the artist’s home, legendary muses backstage. The edit of these photos for the participatory space of the gallery functions as an analog to the contemporary conditions of image-making and image-viewing, a grouping for which a single time-stamp can open our curiosity, and also lay flat against a network of unrelated meanings, both within the exhibition itself and within photography itself.

Talia Chetrit: from Corey, Donna, Jane, Daphne, Giuliana, Ever, Jochem, Eric, Chris, unknown, and myself, Sies + Höke, 2019/2010
L: Self Portrait (Mesh Layer) 2019: 32 x 48 archival pigment print / dibond mounting
R: Ever, Cory Tippin Make Up, 2018: 10 x 14 archival pigment print / dibond mounting

This is the forth exhibition of Chetrit’s work we’ve helped produce for Sies + Höke. We’ve been working with Talia since 2009.

For more on our projects with Talia click here
For more on Talia with Sies + Höke click here

Tags: Archival Pigment Printing (Inkjet), Exhibition Mounting, Exhibitions, Film Processing, Imaging, Scanning, Sies + Höke Galerie, Talia Chetrit

Re-Edition AW19
Re-Edition SS19
Covers and stories
Spring/Summer, Autumn/Winter 2019

Talia Chetrit: Re-Edition Magazine, Spring/Summer, Autumn/Winter 2019

Tags: Editorial, Film Processing, Retouching, Scanning, Talia Chetrit

POP Magazine, Binx FW18
RE-EDITION. FW18
Talia Chetrit, photographer

Talia Chetrit: POP & RE-EDITION covers, FW18

Tags: Film Processing, Magazine Covers, Rep.Limited, Retouching, Scanning, Talia Chetrit

Fashion Feature
Talia Chetrit
Document Journal
October FW18 issue

Talia Chetrit: Document Journal, FW18

Tags: Film Processing, Rep.Limited, Retouching, Scanning, Talia Chetrit

MAXXI BVLGARI Prize
Talia Chetri
MAXXI – Museo delle Arti del XXI secolo Rome
May 30th—Oct 28th, 2018

MAXXI – Museo delle Arti del XXI secolo Rome

Talia Chetrit was chosen as a finalist in the MAXXI BVLGARI Prize, the museum’s project supporting and promoting young artists in partnership with the iconic Italian luxury brand, Bulgari. In October 2018, the jury will select the winner, whose work will be acquired by the museum.

Talia Chetrit: MAXXI BVLGARI Prize, installation views
MAXXI – Museo delle Arti del XXI secolo Rome, 2018

Tags: Archival Pigment Printing (Inkjet), B+W Silver Gelatin Printing, Exhibitions, Imaging

Showcaller
Talia Chetrit
Kölnischer Kunstverein, Cologne, Germany
February 17 – March 25

Talia Chetrit: Showcaller, Kölnischer Kunstverein, 2018

The exhibition, Showcaller, was conceived especially for the Kölnischer Kunstverein, and is comprised of predominately new and revisited works.

LTI-Lightside has been producing exhibition works for Talia Chetrit since 2009. See more of her work here.

Talia Chetrit: Untitled (Body), 2018, Silver Gelatin Print, 10″ × 7″
from Showcaller, Kölnischer Kunstverein, 2018

Talia Chetrit: Nipple/Chain, 2012, Silver Gelatin Print, 20″ × 16″
from Showcaller, Kölnischer Kunstverein, 2018

Talia Chetrit: Fennel, 2015, Silver Gelatin Print, 9″ × 12″
from Showcaller, Kölnischer Kunstverein, 2018

Talia Chetrit: Showcaller, Kölnischer Kunstverein, 2018

Tags: Archival Pigment Printing (Inkjet), B+W Silver Gelatin Printing, Exhibitions, Film Processing, Imaging, Scanning

Poser
Talia Chetrit
Sies + Höke
Sept 8 – Oct 8

 
Talia Chetrit: Poser Sies + Höke, September 2017

From the Sies + Höke press release:

In Poser Talia Chetrit takes her own archive as the subject of an exhibition. In this show she presents two rooms of staged photographs taken over a 23 year span as a contiguous body—portraits taken by Chetrit as a teenager of her friends, all aged 12-15 from 1994-1997, and three new self-portraits shot in 2017. In the first set of photographs we see crops of young girls’ faces, other girls in lackadaisical repose, two listlessly lying on a bed nude as well as more recent, provocative images Chetrit has taken of herself—donning only panty hose on her face or a plastic shirt, both in overly dramatized makeup.

The work is possible within scalar and temporal shifts of representation that call the very processes of image making into question—framing and reframing the failures of her subjects’ intentions, of pretense and of appearing. Her preoccupation with the memory of those early shoots gives impetus to this show as something beyond ‘autobiography’, however.  At the time, she—newly behind the lens as an artist—and her friends were enacting their burgeoning agencies through each other, as peers, sharing in the spectacle of these photoshoots; this—opposed to her present experience, in which she uses these same images of the girls, then more than half age that she is now, along side images of her adult self—elicits a potently perverse anachronism. We see structures of power and dynamics of relations, prescience of our younger selves, all stripped bare and redressed by turns.

She has consistently, and by necessity, been concerned with the limits of the self-image and the implication of others in her practice. The forensic aspect of this work allows the artist to produce a double take on her own processes. The leaky, violent sophistication of the teen murder scenes alongside the almost clown level of makeup and ‘costuming’ –in both the images taken of her friends, and those she takes of herself–are leveled on a strange plane of equivalence. Like her previous shows, this work sits inside the unbounded intersections of staging and discovery, of human bodies, objects and meaning, which naturally emerge when photography is considered an act of performance—it’s through this process that Chetrit continually reappraises her role as a photographer and that of photography itself.

Talia Chetrit: installation view Poser,  Sies + Höke, 2017

This is the third exhibition of Chetrit’s work we’ve helped produce 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

Talia Chetrit: Face 1, 1994 / 2017. 
14″ archival inkjet print

Tags: Archival Pigment Printing (Inkjet), Exhibitions, Imaging, Mounting, Scanning, Sies + Höke Galerie, Talia Chetrit

Talia Chetrit
Kaufmann Repetto
September 15 – October 31

Talia Chetrit
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