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 ChetritUntitled (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.
Parallax Fabiola Menchelli PROXYCO Gallery Apr 26 – July 15
Fabiola Menchelli: Parallax, PROXYCO Gallery
Quick note: this exhibition came to us quite out of the blue just one week before the opening date due to all the original works being lost in transit from Mexico City. We thank the utterly gracious Fabiola Menchelli and the uber-professional team at PROXYCO for the opportunity to participate – and for their unwavering positivity, which, contributed to an outstanding experience while working under extreme circumstances. Despite the adversity surrounding this show, everyone won in the end (!)
From the PROXYCO Gallery press release:
ProxyCo gallery is pleased to present Parallax, the first individual exhibition in New York City for the Mexico City-based artist Fabiola Menchelli.
In optics and astronomy, parallax describes a shift in the apparent position of an object, which depends on the embodied experience from which the object is observed. The cameraless images in this body of work begin in the darkroom, as light touches the surface of photosensitive paper and trace the contours of a physical object. Harnessing volatile techniques like multiple exposures and solarizations, Menchelli then constructs a macrocosmic image from layers upon layers of microcosmic experimentation. The scale of the resulting image is amplified, further exaggerating the figurative and literal distance between the object and its representation, the image becomes autonomous simultaneously pushing and pulling our own sense of perception.
Through an elegant balancing of sense and reason, touch, and recognition, Menchelli presents us with interior and exterior horizons of remarkable depth. The artworks in the exhibition arrive as an intimate reflection: an image looking back at us, touching us, facing us with immensity.
Fabiolo Menchelli: from Parallax st PROXYCO Gallery L: Jiku 23″ x 28″ archival pigment print R: Yoru 27 x 34″ archival pigment print
Fabiola Menchelli:Solar, from Parallax st PROXYCO Gallery 35″ x 44″ archival pigment print
For more on Parallax at PROXYCO click here For more on Fabiola Menchelli click here
Black Enough Kevin Claiborne Thierry Goldberg Gallery Sept 9 – Nov 1
Kevin Claiborne: Black Enough, 2020. From Black Enough at Thierry Goldberg gallery, Sept 9 – Nov 1, 2020. 30.25″ x 36.25″ Archival pigment print, silkscreen ink, dibond
From the Thierry Goldberg gallery press release written by Antwaun Sargent:
In the time of pandemic and protest, the poet and photographer Kevin Claiborne is asking urgent, necessary questions. They are the questions long unanswered, that have placed Black people at the center of this moment, where they are disproportionately affected. His relentless performance of inquiry is the project, “BLACKNESS IS” (2020–), that sees his questions married to landscapes in an admixture that form images that represent, what he calls, the “body as border:”
Kevin Claiborne: Black Enough, 2020. From Black Enough at Thierry Goldberg gallery, Sept 9 – Nov 1, 2020.
Kevin Claiborne: Who Can Say, 2020. From Black Enough at Thierry Goldberg gallery, Sept 9 – Nov 1, 2020. 30.25″ x 36.25″ Archival pigment print, silkscreen ink, dibond
Kevin Claiborne (b. 1989, Washington, D.C.) lives and works in New York, NY. He holds a BS in Mathematics from North Carolina Central University, Durham, NC; MS in Higher Education from Syracuse University, NY; and he is currently working toward his MFA in Visual Arts at Columbia University, New York, NY. His work has been included in exhibitions at UCSB Multicultural Center Gallery, Santa Barbara, CA; New Wight Gallery at UCLA, Los Angeles, CA; and at At Peace Gallery, Brooklyn, NY. His work was featured or written about in Artforum, Bloomberg Business Week, The Atlantic, and Atmos. Claiborne’s work is part of the collection of The Whitney Museum of American Art. This is his first solo show with Thierry Goldberg Gallery.
This is LTI-Lightside’s first exhibition with Kevin.
Joke Talia Chetrit Kaufman Repetto Oct 16 – Nov 25
From the Kaufman Repetto press release:
kaufmann repetto New York is pleased to present JOKE, a solo exhibition by Talia Chetrit.In the year AD 79, Mount Vesuvius erupted, ending all life in the surrounding area nearly instantly. Notably frozen in the moment of death and destruction is the city of Pompeii, with seemingly all signs of life preserved under ash. What remains offers a glimpse of Roman life at the time. This extraordinary example of destruction—and the modern archaeologies that allowed future generations to uncover its past— brings the inevitable reminder that all life rises from dust and will return. Mortality is precisely the leitmotif present in Talia Chetrit’s latest exhibition of photographs, perhaps most clearly illustrated in the work Anonynmous Guys, which depicts the mummified figures of an adult and child lay ingside by side in Pompeii. This photograph is contextualized within other works:moments of the artist’s life and surroundings which date as far back as 1995 (when Chetrit was only thirteen years old), through to this year, which witnesses her pregnancy and first year of motherhood.
Over the past decade, Chetrit has gained a reputation as a rigorously conceptual,feminist photographer, with a radically autobiographical approach. From her position behind the lens, Chetrit has brought us deep into her intimate life by expanding self-portraiture beyond her own body, involving family members in both cooperative and invasive scenarios. At times her subjects are willing participants, fully agent in their poses; at other times, they are unknowing.This selection of photographs includes many modes of taking pictures: city pictures, travel photography, studio portraits, and quotidian family snapshots. Despite the atemporality of the work presented in JOKE, which disorients any sense of chronological narrative, the installation enacts the most human story of all: that of the cycle of life and death. While the birth of a child is of course new life, it is also the excavation and disruption of the female body, and motherhood symbolizes the ultimate transformation. In this new role as a parent,some photographs in this series depict herself and her child’s father with a healthy dose of humility and the absurd. While high humor and high seriousness are close cousins throughout the exhibition, with parenthood comes the constant reminder that one day we will all perish. Echoing this sentiment, the exhibition depicts memento moris seen in the image of the birthday of Chetrit’s elderly grandfather, and images of the two towers of the World Trade Center before they fell, and back again to Pompeii.
‘ Other images in the series toe the hard to define line between farce and fear, such as the shoot-from-the-hip documentation of the Carnival festival in Cologne. The annual festival known as “the crazy days” encourages outrageous masquerades, excessive consumption, and ceremonious uproar (perhaps harking back to pagan holidays of Roman times). This highlights other themes of disguise, masking, role-playing, and costume that recur throughout the exhibition. In this particular contemporary version of the festival, small effigies are thrown into a large bonfire as a supposed sacrifice. While the ceremony itself may intend merriment, Chetrit’s record of this moment depicts a more complicated undertone.’
From an anthropological point of view, the Carnival festival is a ritual where social roles are reversed and norms are suspended. What was once bad is now good. What was once dead is now alive. Everything is a joke.
Nocturne Sebastiaan Bremer Edwynn Houk Gallery Feb 13 – Mar 21
Sebartiaan Bremer: Storm Breaking Over a Valley – Triptych, 2020 from Nocturne at Edwinn Houk Gallery (3) archival pigment prints, paint, ink.
From the Edwynn Houk Gallery press release:
Edwynn Houk Gallery is pleased to announce a solo exhibition of new work by Sebastiaan Bremer (Dutch, b. 1970). Nocturne marks the debut of several series of portraiture that Bremer has been developing over the course of the past two years, culminating in the monumental triptych, Storm Breaking Over a Valley, 2020. Each unique image in the exhibition is characterized by Bremer’s meticulously hand painted white pointillist dots, however these three new series are distinct in the evolution of the techniques used, as he continues to push the bounds of his hybrid creative process.
Sebastiaan Bremer: Veronica – Backwards Looking Forward, 2018 from Nocturne at Edwinn Houk Gallery 20″ x 24″ silver gelatin print & ink
Sebastiaan Bremer: Veronica – Backwards Looking Forward (detail), 2018 from Nocturne at Edwinn Houk Gallery 20″ x 24″ silver gelatin print & ink
Sebastiaan Bremer: Nocturne opening at Edwynn Houk Gallery
You can see all the pieces of Nocture by clicking into the Edwynn Houk Gallery website here. We’ve been working with Sebastiaan since 2007, an overview of those projects can be seen by clicking here.
Amplifier Danny Clinch Fotografiska New York December 2019
Fotografiska New York
If you’re not aware of what Fotografiska is don’t feel like you’ve been living under a rock. Most of us (NY’ers that is) can’t even pronounce the name properly let alone be held accountable for not realizing that this group took up residence on 22nd & Park Avenue South and now is poised to take over the world with their gigantor-scale museum/restaurant/book store/cafe/wellness chapel/event space/mega-photographic exhibition hall theme park … (and we mean that in a nice way).
Now, if you don’t know who Danny Clinch is then, well … maybe you have been living under a rock. And we mean that in the most gentle “you need to get out more” kind of way.
Either way – here’s your big chance to check out the newest game in town (Fotografiska) and one of the longest running hardest working names in show business, our man, Danny Clinch … and all in one easy take. Clinch’s pop-up “Amplifier” exhibition/gallery literally christened Fotogafiska’s 5th floor event space on December 14th (their opening weekend). Of course, we were there to enjoy the show(s) – meaning both photographic and musical — and also to review a bit of our own handiwork, having produced a number of pieces for the exhibition.
The man himself, performing with Brooklyn’s Antibalas
Danny is arguably one of our oldest customers … and easily one of the nicest guys you’ll ever meet. Fotografiska is the newest thing going and their future looks quite bright. We consider ourselves lucky to be associated with these fine folks on every count.
Fotografiska’s 5th floor event space
Danny and Maria — hardcore industry survivors.
Check out Danny’s website here … and all the fine offerings from Fotografiska here.
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
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 …