September 12, 2013

Sebastiaan Bremer at Edwynn Houk Gallery

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“.


More from the gallery press release:


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.



combustion detail_600
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.



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July 27, 2012

Summer shows: Arbus, Bremer and Gornik

Ah summer … we hope you’re enjoying yours. We were lucky enough to have helped three of our fabulous clients prep shows for this laziest of seasons. The works are so nice we couldn’t help but post them here (click on the individual images to view a longer selection of each series):



Sebastiaan Bremer
Houk Zurich,
June 9 – July 28, 2012



Sebastiaan Bremer stated the summer off with an amazing opportunity presented to him through the Edwynn Houk Gallery. Somehow, he was giving the blessing to rework with his own hand a series of iconic images of artists eyes originally shot by the British master, Bill Brandt. Brandt’s super close up images of Max Ernst, Henry Moore and Alberto Giacometti among others become the jumping-off point for Bremer’s signature approach of applied dots of ink and paint.


As Gregory Volk wrote in The more you look, the more you see (2004)  “Bremer’s technique is novel and utterly hybrid. Using various inks, he draws directly on slightly blurry c-print enlargements of photographs, and often adds splotches and streaks of photographic dye.


So yeah, the “slightly blurry c-print” part is what we contributed to this one …



Sex Cells
Natasha Gornik
Emanuel Fremin Gallery
June 28 – July 28, 2012


Emmanuel Fremin presents Sex Cells, a group show curated by Asli Unal.


Natasha Gornik: Sienna


From the press release: In Sex Cells, eight contemporary photographers explore how we direct sex appeal, both consciously and unconsciously, as a means of empowerment and manipulation. From the provocative to the grotesque, the featured artists combine familiar props and subjects in an original manner as they tackle themes of seduction, bondage, religion and bestiality.”


Here we produced four pieces for Natasha and I have to say, they are total knock outs. From the compelling imagery to the slickly conceived framing presentation; this represents a benchmark for Gornik’s work and portends of great things to come from her.



After Images
Amy Arbus
School House Gallery, Provincetown, MA.
June 20 – July 18, 2012


Amy Arbus: After Raven, 2012


We got to work on these tricky portraits by Amy Arbus this summer as well. Sometimes we’ll start work on a project and have no idea what we’re being presented with (conceptually) … and really, that’s not such a stretch ’cause I mean, we are the technicians after all and somewhat removed from the “intellectual” side of the process … it’s actually kind of fun, trying to figure what’s going on in a project beyond the technical perimeters. So as you can imagine, this is one of those projects that had us scratching our heads for a bit …


From the gallery’s press release:  Arbus is no stranger to portraiture, but this latest series is perhaps her most visually arresting to date: After Images is a daring and vivid evocation of classic paintings by Picasso, Modigliani, Schiele, and Ingres to which the photographer brings her own style and originality.


And in her words: In emulating these paintings, the challenge for me has been to use much softer lighting than I have in the past and to figure out how to represent the sloped shoulders, elongated necks and fingers that don’t exist in real life. The more I make these images the more involved I become in how they differ from the originals.



That’s it for now so … go outside and enjoy!




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June 30, 2012

Sebastiaan Bremer at Houk Zurich

Sebastiaan Bremer
Houk Zurich,
June 9 – July 28, 2012


Sebastiaan Bremer started the summer off with an amazing opportunity presented to him through the Edwynn Houk Gallery. Somehow, he was giving the blessing to rework a little known series of close up images of iconic artists eyes originally shot by the British master, Bill Brandt. Max Ernst, Henry Moore and Alberto Giacometti among others become the jumping-off point for Bremer’s signature approach of applied dots of ink and paint.



Sebastiaan Bremer: Eye # 8, 2012
Digital-c print, ink and paint


Sebastiaan Bremer: Eye # 7, 2012
Digital-c print, ink and paint


Sebastiaan Bremer: Eye # 1, 2012
Digital-c print, ink and paint



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March 3, 2011

Sebastiaan Bremer: Nudes and Revolutions

Nudes and Revolutions
Sebastiaan Bemer
Edwynn Houk Gallery
March 3 – April 23, 2001


Sebastiaan Bremer, Susanna Surprised by the Elders, 2001
44″ x 64″ Digital C-Print with Inks and Acrylics


Sebastiaan Bremer, Waterfall, 2008-2001
Digital C-Prints with Inks and Acrylics
75″ x 83″ overall / each panel: 75″ x 41.5″


Sebastiaan Bremer, Judith’s Anatomy Lesson, 2011
48″ x 43″ Digital C-Print with Inks and Acrylics



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September 20, 2010

A few 2010 Fall shows (meaning, the ones we’ve been involved with, anyway)

Invasoes Holandesas
Sebastiaan Bremer
Galeria Leme, Sao Paulo
September 16 – October 30, 2010

Sebastiaan Bremer: Invasos Holandesas no Rio de Janeiro, 2010
42 x 48 acrylic and ink on digital c-print

Sebastian Bremer’s first solo show in Sao Paulo reflects his interest in Dutch / Brazilian 17th century history. Entwined with references to early Dutch painters, politics and the passage of time; these multi-image digital c-prints are made all the more complex by Bremer’s meticulous surface renderings in acrylic and ink … a dense eyeful, to say the very least.


 Acqua Alta
Janaina Tschape:
Sikkema Jenkins & Co
September 10 – October 16, 2010


Janaina Tschape: Acqua Alta #1, 201040 x 50 optical c-print, non-glare plexi face mount

Tschape’s multi-disciplinary exhibition at Sikkema-Jenkins includes a series of 40 x 50 conventionally enlarged c-prints, face-mounted with P-99 non-glare plexi.



All Together Now
Tomaz Dozol
NP Contemporary Arts Center (formerly Envoy Gallery)
Wednesday, September 15, 2010

A one night show? Hell, we almost missed it ourselves … but that’s not to say that we didn’t spend a lot of time working out conventional darkroom solutions with Thomas for his new series All Together Now.

August Pross (foreground) sorts through it all with Thomas Dozol at LTI/Lightside

testing along the way



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October 2, 2009

Back at it for the Fall …

Fall is in the air and it feels like everyone is out and about again all at once (thankfully!). As always, there’s a long list of must-see exhibitions … and yet, is there ever enough time?

While you’re out looking, allow us to point out three projects that we worked on over the summer. When taken together, the work of Sebastiaan Bremer, Talia Chetrit and Lawrence Beck create an interesting overview of what’s happening in photography right now.

Do yourself the favor and stop in to spend a moment at the galleries in person. We think you’ll find it well worth the effort. All three shows run through mid-October.



Lawrence Beck
September 10 – October 17, 2009

lawrence beck / Alpine Wildflowers
Lawrence Beck: Alpine Wildflowers: Daisies 3, 2008
60 x 78 archival pigment print, dibond mount


Talia Chetrit
Renwick Gallery:
September 12 – October 17, 2009

talia chetrit: spectrum (detail)
Talia Chetrit: Spectrum (detail), 2009
19.75 x 14.5 archival pigment print, opaque white plexi-glass mount


Panta Rei
Sebastiaan Bremer
Bravin Lee programs:
September 17 – October 17, 2009


sebastiaan bremer_swiss crown, 2009
Sebastiaan Bremer: Swiss Crown, 2008
31.5 x 47.25 digital c-print, ink




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June 5, 2009

Sebastiaan Bremer at James Fuentes, llc.

Sebastiaan Bremer
James Fuentes
May 5 – June 28, 2009

In Fuentes’ words, Triptychis “a masterwork in its scale, technique and inverted syntax”. Three individual panels measuring 38″ x 78″ each make up Triptych, a virtual collision of modern representational methods, old master influences and the artist’s personal history.

Of particular interest here is an unusual chance for the viewer to scrutinize Bremer’s ink and paint application technique unobstructed as these large scale panels are presented without framing or glazing. Triptych represents over two years of research and production. The base of this piece is a backlit portrait of the artist’s son in profile. The original negative was scanned and imaged on digital c-print material and mounted on (3) 38″ x 78″ dibond panels. Bremer then interpreted Rembrandt’s The Angel Appearing to the Shepherds in various ink mediums and acrylic paint directly onto the surface of the original prints.


Sebastiaan Bremer: Triptych, 200938 11/16″ x 78 11/16″ acrylic, ink, digital c-print


Lightside and LTI have been working with Bremer on various projects since 2007. You can see additional images of Sebastiaan in his studio during the production of multiple pieces, including Triptych, by clicking on the image below.Bremer recently completed a commission for the Los Angeles County Museum of Art. Solo exhibitions have been held at Barbara Thumm, Berlin; Hales Gallery, London; Air de Paris, Paris and Gemeentemuseum, The Hague. His work is held in the collections of the Museum of Modern Art, Victoria & Albert Museum, The Zabludowicz Trust and The Rabobank Collection, among others.



bremer in studio

Sebastiaan Bremer working in his studio, 2008



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