September 13, 2018

Richard Finkelstein at Robert Mann

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



RF_3Richard 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.



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September 12, 2018

Jonathan Mannion at Compound

I Got a Gallery / I Got a Show
Jonathan Mannion
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.




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July 20, 2018

Amy Arbus at Schoolhouse Gallery

Tub Pictures
Amy Arbus
Schoolhouse Gallery
July 20 – August 8



Tub #28
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




Tub_4 up
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



Tub #8
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



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June 21, 2018

Thomas Dozol at Andersen’s Amaliegrade

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.



Dozol_1 copy
Thomas Dozol: Memory Recall Pattern,  Andersen’s Amaliegade, 2018



dozol_3 copy
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.



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June 16, 2018

Rob Hann at the Nässjö Konsthall

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



IMG_0640_adjRob 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.




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June 2, 2018


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



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June 1, 2018

Lawrence Beck at Palazzo Ducale di Sassuolo

Dialogue with the Ancient
Lawrence Beck
Palazzo Ducale di Sassuolo
June 1 – September 2


Lawrence Beck: Palazzo Ducale di Sassuolo, 2018
59 x 72 archival pigment print


The exhibition, curated by Martina Bagnoli, presents 8 large photographs dedicated to Italian gardens, which, dialogue with the masterpieces of ancient art preserved in the palace.


install pair
Lawrence Beck: Palazzo Ducale di Sassuolo install views, 2018
59 x 72 archival pigment prints


LTI-Lightside has been producing exhibition prints for Lawrenc beck since 2009. For more images from this exhibition and of Beck’s work in general, please visit his website by clicking here.



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February 17, 2018

Talia Chetrit at Kölnischer Kunstverein

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




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January 17, 2018

Tina Barney at Paul Kasmin

Tina Barney
Paul Kasmin Gallery
January 17 – March 3



Barney_The River 2017_750
Tina Barney: The River, 2017 from Landscapes, Paul Kasmin Gallery, 2018


install view Tina Barney: Landscapes, Paul Kasmin Gallery, January 2018


From the Paul Kasmin press release:


Alongside her oeuvre of portraits portraying the daily life of the social elite that Barney is most known for, exists an entire series of landscape photographs taken by Barney using her 8 by 10-inch view camera.  Barney first began her experimentation with landscape photography in the late 1980s and would not revisit the subject again until the summer of 2017.  Returning to her familiar New England backdrop, Barney champions distant views of shingled houses, rocky coastlines, small town thoroughfares and main street squares, challenging herself out-of-doors to refine and build upon her mastery of compositional tactics.  With these landscapes, Barney takes new ownership over the large format medium of color photography, employing the same sophisticated devices but with an expanded field of vision.



opening nightTina Barney: Landscapes opening reception, Paul Kasmin Gallery, January 2018



We’ve been working with Tina Barney since 2010, most recently completing the scanning and file work on over 140 images for her Rizzoli monograph: Tina Barney. See images of the book in our project archive post below and additional exhibition posts here and here. Landscapes is up through March 3rd, see more on the Paul Kasmin website here.



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November 21, 2017

Joni Sternbach at the Harn Museum of Art

Vast: Sea Salt Sand Sky
Joni Sternback
Harn Museum of Art
November 21 – April 22, 2018



Joni Sternbach: Harn Museum of Art


From the Harn Museum press release:


VAST: Sea Salt Sand Sky features over seventy photographs by acclaimed New York artist Joni Sternbach. They picture the sublime vastness of ocean, sky and desert captured on film, and produced as cyanotype, platinum/palladium, gelatin silver or pigment prints and video. VAST also includes Sternbach’s most celebrated series, Surfland, a mesmerizing array of surfer portraits (some of noted surfers) made on beaches around the world in the 19th century wet plate collodion process. Applying almost every photographic form there is, the artist uses a variety of matrices (glass, film, video), camera sizes (the largest, a 16×20” view camera) and lenses (including a 1840s Petzval Portrait lens) to create exquisitely detailed imagery. “I have pursued historic mediums,” says Sternbach, “as a way to have a conversation with history, and play with photography.”

The word “vast” references the subject and scale of Sternbach’s prints, and the reverie she finds there. Her expansive vistas include history (marking the passage of time and change) and the contemporary sublime (terrifying and awesome in the earth’s beauty and power). Her surfer portraits shift this inward meditation outward to where surfer’s bodies and boards master the ocean’s edge, finding euphoria there.
The exhibition is curated by Carol McCusker, PhD, Curator of Photography.




Joni Sternbach: install views at the Harn Museum of Art


LTI-Lightside has been working with Joni Sternbach for over a decade — Joni has generously included us in a number of projects over the years offering an up-close perspective on how she navigates between vintage analogue photography and state of the art digital technology to tell her stories.


You can see more of Vast at the Harn Museum of Art by clicking here.



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