Lennon, Weinberg, Inc.
Photographs by Painters, Photographers, Sculptors
Many strong and interesting photographs are made by artists who don't work primarily in that media. Some painters and sculptors use photography to convey related aspects of their concerns with formal relationships; others turn to it as an entirely independent pursuit. Some photographers concentrate on the abstract qualities of their medium, others on intense narrative content. Our exhibition will present a selection of photographic work by a range of artists working today with a variety of approaches. Some of the works are large-scale, others intimate; there will be both black and white and color photographs. Some of the artists are well-known, others are emerging talents; all are producing extremely vivid and original photographic works.
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English artist Richard Billingham is known for his unflinching depiction of his parents and their environment; juxtaposing this work with the radiant color photographs by Charles Hagen of his wife and daughter emphasizes the honesty and intimacy common to both photographers' work. Holly Lynton's photographs closely observe individuals engaged with each other in activities and relationships we strain to decipher, while Billy Sullivan's subjects, a man posed in the studio and some guys on the street, have recognizable emotional attitudes. Laura Aguilar's photographs of her own unclothed and impressively large body in landscape settings and painter David Salle's studio photographs of a posed female model are simultaneously classically neutral and psychologically charged.
Rudy Burckhardt's exquisitely detailed gelatin silver photographs of woods and water in Maine convey the crystal clarity of northern light, while Sally Mann's handworked wet-collodion negatives yield dense, atmospheric pictures of her native Deep South. Gunther Forg's austere and monumental color photograph of an architectural environment demonstrates his mastery of the language of shape, scale, and tone; fellow painter Juan Usle's intensely saturated color pictures convey an entirely different sensibility using the same formal language. Laura Larson's large photograph of a preserved period room reflects upon history and culture; her pictures of miniature crime scene rooms (constructed in the 40's to train forensic investigators) play hide-and-seek with hidden stories.
Sculptor John Chamberlain jiggles and swipes his wide-lux camera while the lens is open, resulting in wide pictures of slippery, undulating space. Peter Soriano layers multiple exposures by advancing the film one sprocket-hole at a time through a cheap, plastic camera, which also stretches his subject (often his own sculptures) along the length of the film. Petah Coyne's photographs use time and movement to provide an almost cinematic glimpse, and Mary Lucier, accustomed to the real time afforded by her usual medium of video, dissolves an image nearly to the point of abstraction. Robin Hill photographed a factory where they make cotton batting, recognizing in it a corollary to her own sculptural practices. Harry Roseman photographs a well-known commercial logo we constantly see in our everyday surroundings, and by making you really look at it transforms the emblem into something profoundly alien.
Please contact the gallery for additional information.