July 1, 2022

Amy Arbus at Schoolhouse Gallery


Amy Arbus
Schoolhouse Gallery
July 1- 20




Amy Arbus: The Temptress, 20 x 24 archival pigment print

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May 20, 2022


David Uzochukwu
Drown In My Magic
1-54 Art Fair
May 2022


DAVID UZOCHUKWU: Styx from Drown In My Magic, 2021
100cm x 125cm archival pigment print w/3mm dibond mounting


DAVID UZOCHUKWU: Gam ll from Drown In My Magic, 2021
76cm x 95cm archival pigment print w/3mm dibond mounting

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September 2, 2021

Ruth Orkin at Fotografiska NY

Expressions of Life
Ruth Orkin
Fotografiska NY
Sept 2 – Dec 5
From the Fotografiska website:
Expressions of Life is an emotional, inspiring, and romantic chronicle of the pioneering photographer and filmmaker Ruth Orkin. Featuring landmark photographs from her work across Hollywood, New York City, Israel and Italy, the exhibition celebrates the Orkin’s centennial, and showcases her as a master of intimacy, warmth, and boldness behind the camera.
From photographs of her monumental cross country bicycle trip at age 17 and behind-the-scenes of MGM Studios as the first “messenger girl” in 1941, to European adventures and spontaneous, cinematic New York City moments – Expressions of Life spotlights some of her most renowned photographs: American Girl in Italy (1951), Bernstein in Green Room, Carnegie Hall, NYC, (1950), and Einstein at Princeton luncheon, NJ (1953), among others.



Ruth Orkin: An American Girl in Italy, 1951


We’ve been working directly with Mary Engel, the director of the Ruth Orkin Photo Archive (and Ruth’s daughter!) for the past year. LTI-Lightside contributed a number of silver gelatin prints printed directly from Ruth’s original negatives as well as hi-resolution scans for wall installations in the exhibition space.



Ruth Orkin: Expressions of Life opening reception at Fotografiska NY, Sept 2021


For more on Expressions of Life at Fotografiska NY click here
For more on Ruth Orkin and Mary Engel’s photo archive click here.
Lastly: for information on Mary Engel’s American Photography Archive Group click here



Ruth Orkin: Couple in MG, Florence, 1951

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June 19, 2021

Talia Chetrit at Hannah Hoffman Gallery

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.

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April 26, 2021

Fabilola Menchelli at PROXYCO Gallery

Fabiola Menchelli
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

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February 19, 2021

Kevin Claiborne at Thierry Goldberg

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:”

Continue reading here



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.

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October 1, 2020

Talia Chetrit at Kaufman Repetto

Talia Chetrit
Kaufman Repetto
Oct 16 – Nov 25

Talia Chetrit: Joke, Kaufman Repetto 2020

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.

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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.


IMG_6379 copy 750
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 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



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