February 13, 2020

Sebastiaan Bremer at Edwynn Houk Gallery

Sebastiaan Bremer
Edwynn Houk Gallery
Feb 13 – Mar 21



IMG_7674_750Sebartiaan 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



IMG_7680 750
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.



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December 15, 2019

Danny Clinch at Fotografiska New York

Danny Clinch
Fotografiska New York
December 2019


IMG_6365_exterior canvassedFotografiska 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.



clinch_music montage
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


IMG_6399_danny & maria_750
Danny and Maria — hardcore industry survivors.


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Cheers !


Check out Danny’s website here … and all the fine offerings from Fotografiska here.



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November 16, 2019

Talia Chetrit at Sies + Höke

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



talia_install view
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_2 verts
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 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 Talia click here
For more on Talia with Sies + Höke click here



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April 12, 2019

Dave Krugman at Sony Square NYC

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.




krugman opening
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!




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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.




IMG_4439_750Dave 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 …



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April 10, 2019

Micheal McLaughlin at Robin Rice Gallery

41 Degrees Latitude
Micheal McLaughlin
Robin Rice Gallery
April 10 – June 12



Micheal McLaughlin at Robin Rice Gallery



Micheal McLaughlin: from 41st Parallel at Robin Rice Gallery
26 x 40 archival pigment prints



Micheal McLaughlin captured his dreamy oceanscapes along the 41st parallel north, which, not coincidentally runs right though a number of beaches in the tiny state of Rhode Island where enjoyed part of his childhood. You can read more about that in Robin Rice’s press release here.



Micheal McLaughlin:
41st Parallel opening night at Robin Rice Gallery.


Michael is a long time customer of LTI-Lightside. We were happy to produce 13 archival pigment prints for this exhibition.


Look for more of his work online here and on his very entertaining Instagram feed here.




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March 1, 2019

Elad Lassery at 303 Gallery

Elad Lassery
303 Gallery
March 1 – April 6


From the 303 Gallery Press release:


303 Gallery is pleased to announce our second exhibition of new work by Elad Lassry.


For this exhibition, Lassry shows photographs and sculptures that alternate between flat experience and dimensionality. Outtakes from an imaginary fashion shoot are pieces of information suggesting systems much larger than themselves collide with categorical images of sea life



Lassery web_4
Elad Lassery: 303 Gallery, 2019
L: Untitled Assignment (96-10) 2018
R: Untitled Assignment (96-6) 2018
Archival Pigment Print
20 3/8 x 16 5/16



Lassery web_3
Elad Lassery: 303 Gallery, 2019
L: Untitled (Facility B) 2018
R: Untitled (Shark Egg) 2018
Archival Pigment Print
20 3/8 x 16 5/16

Elad Lassry was born in Tel Aviv, Israel and he lives and works in Los Angeles. He has exhibited internationally including solo shows at Le Plateau, Paris (2018); Vancouver Art Gallery, Canada, curated by Jeff Wall (2017); Museum Boijmans Van Beuningen, Rotterdam (2014); Kunstnernes Hus, Oslo (2012); and Kunsthalle Zurich, Switzerland (2010). Group exhibitions include Walker Art Center, Minneapolis (2016); Solomon R. Guggenheim Museum, New York (2015); The Museum of Modern Art, New York (2014); Turner Contemporary, Margate, UK (2013); The Jewish Museum, Vienna (2012); 54th Venice Biennale (2011); The Photographers Gallery, London (2011); Aspen Art Museum, Colorado (2011); Sculpture Center, New York (2010); and New Museum, New York (2009).


 lassery install_2
Elad Lassery: install view, 303 Gallery, 2019



LTI_Lightside processed film, hi-res scanned and digitally imaged the archival pigment prints for the Untitled Assignment and “categorical images of sea life” in this exhibition.



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January 7, 2019

Simon Colley at Walter Wickiser

Truth Spectrum
Simon Colley
Walter Wickiser Gallery
January 5 – 30



Simon Colley presented a series of 36″ x 54″ archival pigment prints at the Walter Wickiser Gallery to kick off the 2019 exhibition season.




Simon Colley: Truth Spectrum, Walter Wickiser Gallery, January 2019


Simon Colley: Truth Spectrum, Walter Wickiser Gallery, January 2019
36″ x 54″ Archival Pigment prints



IMG_3737 IMG_3741 IMG_3744 IMG_3749Simon Colley: Truth Spectrum, opening night Walter Wickiser Gallery, January 2019



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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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