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 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.

Tags: Archival Pigment Printing (Inkjet), Exhibitions, Film Processing, Imaging, Scanning, Talia Chetrit

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

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 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

Tags: Archival Pigment Printing (Inkjet), Exhibition Mounting, Exhibitions, Film Processing, Imaging, Scanning, Sies + Höke Galerie, Talia Chetrit

New York Times Magazine
The Disappearing Schools of Puerto Rico
Diana Zeyneb Alhindawi
September 15

Diana Zeyneb Alhindawi: from The Disappearing Schools of Puerto Rico, New York Times Magazine, September 15, 2019

The New York Times invited Diana Zeyneb Alhindawi to shoot a photo essay on the crumbling school system in Puerto Rico this past summer. Of course, she chose to drag an 8 x 10 along to capture all the excruciating detail. It’s a hard read from Jonathan M. Katz — and Diana’s images don’t pull any punches, either.

You can scroll a few pics here – though we certainly recommend reading the full story here .

Diana Zeyneb Alhindawi: from The Disappearing Schools of Puerto Rico, New York Times Magazine, September 15, 2019

Diana Zeyneb Alhindawi: from The Disappearing Schools of Puerto Rico, New York Times Magazine, September 15, 2019

Diana Zeyneb Alhindawi: from The Disappearing Schools of Puerto Rico, New York Times Magazine, September 15, 2019

Tags: 8 x 10, Diana Zeyneb Alhindawi, Editorial, Film Processing, Imaging, Scanning, The New York Times

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

Tags: Archival Pigment Printing (Inkjet), Exhibitions, Imaging, Jonathan Mannion, Scanning

The World Never Ends
James Clar
Jane Lombard Gallery
September 6 – October 20

James Clar: The World Never Ends, opening night Jane Lombard Gallery, opening night, September 6, 2018

From  Jane Lombard Gallery’s pres release for James Clar The World Never Ends:

Dissociation and the fragmentation of reality through technology are the subjects of investigation in James Clar’s exhibition, The World Never Ends. Clar creates an immersive multimedia installation that embraces and opens wide the blurred boundaries of the tangible and the metaphysical. It explores the notions of reality, virtual-reality, and ponders if in our technologically intertwined world, a new form of reality is taking shape.

James Clar: The World Never Ends, detail, 2018
brace mounted 118cm x 145cm archival pigment print

James Clar: The World Never Ends, opening night, Jane Lombard Gallery. September 6, 2018

James Clar: The World Never Ends, opening night, Jane Lombard Gallery. September 6, 2018

LTI-Lightside produced six 118cm x 145cm brace mounted archival pigment prints for The World Never Ends. This is our first time working with James. We’ve been providing services for Jane Lombard for over 10 years — you can see more of that work here and here. You can see more of James’ work here.

Tags: Archival Pigment Printing (Inkjet), Exhibition Mounting, Imaging, James Clar, Jane Lombard Gallery

Tub Pictures
Amy Arbus
Schoolhouse Gallery
July 20 – August 8

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

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

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

Tags: Amy Arbus, Archival Pigment Printing (Inkjet), Exhibitions, Imaging, Scanning

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.

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

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.

Tags: Archival Pigment Printing (Inkjet), Exhibitions, Imaging, Scanning, Thomas Dozol

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

Rob 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.

Tags: Archival Pigment Printing (Inkjet), Exhibitions, Imaging, Robb Hann, Scanning

MAXXI BVLGARI Prize
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

Tags: Archival Pigment Printing (Inkjet), B+W Silver Gelatin Printing, Exhibitions, Imaging

The Domestic Kingdom: and Terror and Beauty
Tina Barney
W Magazine
Volume Two 2018

Tina Barney: W Magazine: The Domestic Kingdom … Volume Two, 2018

Tags: Editorial, Film Processing, Imaging, Retouching, Scanning, Tina Barney