Salvation: The Holy Land
Andres Serrano
Hatje Cantz Verlag publishers
Fall 2016

 

Hardcover, 225 pages, 214 image plates

 

Andreas Serrano: Salvation. The Holy Land, Fall 2016
Hardcover, 225 pages, 214 image plates

 

 

Tags: Andres Serrano, Imaging, Scanning

Tags: Archival Pigment Printing (Inkjet), Colnaghi, Exhibitions, Paulette Tavormina

Correspondance New-Yorkaise 2017
Raymond Depardon
Libéacion and French Institute Alliance Française (FIAF)
May 12–July 1, 2017

 

Raymond Depardon for Libération and FIAF, 2017
40 x 50 archival pigment print

 

From the FIAF Press Release:

 

Raymond Depardon revisits his landmark Correspondance New-Yorkaise in a special new commission for the FIAF Gallery.

 

New photos taken daily from May 1-11, 2017 will be displayed alongside his 1981 series, creating a unique portrait of the city across decades.

 

In 1981, Raymond Depardon’s La correspondance New-Yorkaise was published in the Libération newspaper in France. Composed of humorous, observational, photographic notes—and no topical news—the newspaper dedicated a full page to this correspondence every day for a month. It was a pivotal moment both in French photography and in Depardon’s career. La correspondance New-Yorkaise marked a turn toward the “new journalism” of the era, which fed on daily life and featured first-person, subjective writing.

 

36 years later, this major French photographer and filmmaker takes a new look at New York, continuing his rare portrait of one city’s unexpected spaces. This exhibition takes place during the cycle of events celebrating 70 years of the Magnum Photos agency.

 

Raymond Depardon at FIAF, 2017

 

Earlier this Spring, our good friends at Picto introduced us to Raymond Depardon thereby offering a unique opportunity to participate in his iconic Correspondance New-Yorkaise 2017 project, now spanning some 30 + years since it’s inception.

 

Now, it’s not as if the expedited processing of Raymond’s 8 x 10 negatives each morning and the subsequent scanning of selections and final file prep for Libéracion for seven days straight wasn’t enough — but before we knew it (and who knows really (?) maybe it was the language barrier) we found ourselves producing a full blown exhibition of 40 x 50 archival pigment prints for the French Institute Alliance Française as well!

 

Bravo Raymond (!) it seems, is about all that’s left to say  …

 

Raymond Depardon for Libération and FIAF, 2017
40 x 50 archival pigment print

 

 

Tags: Archival Pigment Printing (Inkjet), Editorial, Exhibitions, Film Processing, Picto, Raymond Depardon, Scanning

Slippery When Wet
Ben Fink Shapiro
A+E Studios
May 3 through June 2

 

Our client (and friend) Ben Fink Shapiro clearly knows how to have fun … and his exhibition at the magnificent A+E Studios in Tribeca titled Slippery When Wet confirms that with a bullet! The event was breezy, energetic and full of friends & family with a positive vibe that spilled out onto the street.

 

Ben Fink Shapiro: Slippery When Wet at A+E Studios

 

Ben Fink Shapiro, in his element …

 

and Shapiro’s guests, also in their element!

 

 

LTI/Lightside printed over twenty archival pigment prints for Slippery When Wet — many in excess of 50″ x 60″

 

Tags: Archival Pigment Printing (Inkjet), Ben Fink Shapiro, Exhibitions

Torture
Andres Serrano
Galerie Nathalie Obadia / Bourg-Tibourg, Paris
November 10 – December 30

 

Andres Serrano: from Torture, Galerie Nathalie Obadia, 2016
L: Fool’s Mask IV – Hever Castle England, 2015
R: The Pear – Inquisition Museum Carcassonne, 2015
50 x 60 archival pigment prints

 

From www.a-political.org

 

In 2005, The New York Times Magazine asked Andres Serrano to produce images of torture for the cover page and lead article What We Don’t Talk About When We Talk About Torture by Joseph Lelyveld. Ten years on, in 2015, Andres Serrano returned to the subject, collaborating with a/political on his most ambitious project to date. Over the course of the year, Serrano gained access to a number of restricted sites and individuals. The photographs developed as a cabinet of curiosity, following the evolution of punitive and coercive techniques into its modern day manifestation. 

 

Click here for more from a-political.org

 

 

Andres Serrano: Fatima, from Torture at Galerie Nathalie Obadia, 2016
50 x 60 archival pigment print

 

This is LTI/Lightside’s first exhibition with Andres Serrano — we recently completed the file prep on over 200 images for his Hatji Cantz publication Salvation. The Holy Land, a visual survey of contemporary Israel intended to penetrate beyond the prevailing politicized sound bites and media driven images of our present day.

 

 

Andres Serrano: Torture (installation view) Galerie Nathalie Obadia, 2016

 

 

Click here to see more from Serrano’s Torture exhibition at Galerie Nathalie Obadia.

 

 

Tags: Andres Serrano, Archival Pigment Printing (Inkjet), Exhibitions

Containers and Their Drivers
Mark Leckey
MoMA PS1
October 2016 – March 2017

 

Mark Leckey: Containers and Their Drivers, PS1, 2017
installation view “Felix the Cat” (2013). Credit Pablo Enriquez (photo); via the artist and MoMA PS1

 

We were lucky to have Gavin Brown’s Enterprise referred to us early in the Fall. They were helping fill out Mike Leckey’s  sprawling mid-career retrospective (or whatever it’s called) with some archival pigment printing — that’s our 68cm print of Noon Portrait of Felix Head hanging next to the door in the same room as the giant Felix the Cat.

There’s a handful more sprinkled throughout Container’s and Their Drivers … heck, a few are quite large — you might not even miss them (!)

 

Tags: Archival Pigment Printing (Inkjet), Exhibitions

Artists in Dialogue: Katherine Newbegin & Jim Osman
Katherine Newbegin
Lesley Heller Workspace
October 23 – December 4

 

 

Leslie Heller Workspace: Artists in Dialogue: Katherine Newbegin & Jim Osman
October 23 – December 4, 2016

 

Katherine Newbegin “Auditorium circa 1972 (Eglés Sanatorium, Druskininkai, Lithuania)”
2016, C-Print, 40 x 50 in. Ed. of 2 + 1AP

 

 

From the Leslie Heller Workspace website:

 

Artists in Dialogue presents the work of photographer Katherine Newbegin and sculptor Jim Osman.

Katherine Newbegin’s photographs explore vacant and long unused places of leisure, travel and transitional occupancy. All of these spaces are deeply informed by the traces of the human activities that had once taken place there, and linger now only in the remnants left behind.  The architecture of these hotel rooms, sanatoriums, and auditoriums, holds a stifling sense of deadness, as if already ossified, channeling imagery of a distant yet recent history.  Newbegin’s newest series of photographs explore Polish and Lithuanian hotels and sanatoriums which were used in the 1970’s as vacation and therapeutic destinations by citizens of the former Soviet Union.

 

Jim Osman’s sculptures center on explorations of structure, architecture and space. Working with wood, paint, and construction paper, Osman instinctively combines materials, forms and colors to create dynamic 3-dimensional compositions. The sculptures presented in this exhibition range from  complex free-standing floor pieces, to smaller and more intimate sculptures with simplified geometric contours. The sculptures excavate formal relationships of line and structure and invite contemplations on architecture, furniture and the materiality of wood.

 

 

 
 Katherine Newbegin “Couples (Eglés Sanatorium, Druskininkai, Lithuania)“, 2016
C-print, 30 x 40 inches, Ed. of 3 +1AP

 

 

LTI/Lightside has worked with Katherine Newbegin for a number of years — we printed this series of 30 x 40 and 40 x 50 conventionally enlarged c-prints directly from her original negatives.

 

 

Katherine Newbegin (b.1976) received her MFA from Hunter College and her BA from Yale. Newbegin has been the recipient of a Tiffany grant in 2009, a DAAD fellowship in 2008, and has been awarded residencies at the Marie Walsh Sharpe Foundation, Yaddo, the Camera Club of New York, and the Catskills Mountain Foundation. Newbegin has shown her work nationally and internationally, including at: Dina4Projekte, Haas & Fischer Gallery, Galerie Open, Pinakothek der Moderne, Kunstverein Munich, Kommunale Galerie Berlin, the Loeb Art Center at Vassar College, Deutsches Haus, and the Chelsea Art Museum. Newbegin has published catalogues with Revolver in Germany, and the Loeb Art Center at Vassar College. Her work has been featured in Berlin Zitty, Time Out New York, Lettre International, Camera Austria, Neues Deustchland, ParisBerlin, Zuricher Zeitung, Die Welt, and the Berliner Morgenpost. She lives and works in Brooklyn, New York.

 

 

Tags: conventional c-prints, Exhibitions, Film Processing, Katherine Newbegin

Talia Chetrit
Kaufmann Repetto
September 15 – October 31

 

 

Kaufmann Repetto: Talia Chetrit installation view
September 15 – October 31, 2016

This is the third exhibition we’ve helped produced for Talia Chetrit with Kaufmann Repetto. We’ve been working with Talia since 2009.

 

 

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

My Point of View
Brian Nice
Garrison Art Center
April 23 – May 1

 

LTI-Lightside has worked with Brian Nice since 2000 processing his film, scanning, and making exhibition prints. However, in 2009, Brian suffered a brain bleed from a cavernous malformation on his brain stem. Before that he enjoyed successful 25-year career as a fashion and beauty photographer, shooting for all of the usual suspects, Elle, Cosmo, Marie Claire, etc.

 

 

Brian Nice: from My point of View at Garrison Art Center, 2016
40″ x 40″ archival inkjet print / lamination / brace mounting

 

Brian’s life changed forever in 2009, when he first awoke after the hemorrhage he was only able to move one of his left fingers. He has made incredible progress after two brain surgeries and daily PT but still speaks and moves with great difficulty. His mental faculties remain acute. He told the New York Times that he’s “mentally fit but in a broken body” and that holding a conversation can be “like an Olympic event.”

 

 

Brian Nice: from My Point of View at Garrison Art Center, 2016
Both 11″ x 11″ archival inkjet prints / lamination / brace mounting

 

With the phenomenal support of his family and friends (once of which, provided him with a plastic, medium-format Holga film camera) — Brian had an epiphany: the Holga, with its high propensity for flares, blurry images and double exposures perfectly imitated the way he sees the world these days.

So in 2013 (to his therapists’ dismay) Brian embarked on a cross-country trip with a small crew — including his mother and friends — to shoot the American landscape as he now sees it. The results are gloriously expressionistic and colorful and serve as a testament to Brian’s incredibly optimistic philosophy toward life in his current condition. His My Point of View exhibition is now on view at Garrison Art Center in Garrison, NY.

 

 

Brian Nice: My Point of View opening at Garrison Art Center, 2016

 

To see more of Brian’s work, and to learn more about his travels as a TBI (Traumatic Brain Injury) survivor, please visit his website here.

 

 

Tags: Archival Pigment Printing (Inkjet), Brian Nice, Exhibition Mounting, Exhibitions, Film Processing, Scanning

Paulette Tavormina’s Seizing Beauty
Vivid Images That Aren’t Old Masters – but Look Just Like Them
T Magazine / The New York Times
By Gay Gassman, April 20, 2016

 

 

Reposted from T Magazine / The New York Times online:

 

The photographer Paulette Tavormina began her professional career working with antiques, food styling and photographing works of art for an auction house. She’s also spent many years collecting bits and pieces — the insects, objects and flowers that fill her studio — from markets and little shops. Her new book “Seizing Beauty,” out next week, took six years to photograph and brings together all these experiences: It features 65 sumptuous color images inspired by old master still lifes. (The book’s release coincides with a show at the Academy Art Museum in Easton, Md., which opens April 23.)

 

L: Jacob van Hulsdonck: Still Life with Lemons, Oranges and a Pomegranate, c. 1620-40
R: Paulette Tavormina: Lemons and Pomegranates, After J.V.H., 2010

 

At first glance, you might easily mistake one of Tavormina’s images for a Zurbarán or a work from the Dutch Golden Age of painting — many of the book’s photographs are built up with flowers, fruit, insects, objects, jewelry, butterflies and broken bits of porcelain. Others are inspired by the symbolic Vanitas paintings of the 16th and 17th centuries, with skulls and the reminder of death and the passing of all worldly goods.

 

“I’m in love with the old masters, totally fascinated with them,” Tavormina says. “But I create my own personal story within each work. The themes are so universal — love, loss, death — so it is all pretty simple.” Each image takes several months to produce: several weeks to conceive, research and gather the props from flower and farmer’s markets, followed by sketching the image out in pencil, staging it and then setting it all up. The process of getting the lighting and composition just right takes days — sometimes so long that the flowers wilt, the fruit changes color and she has to start over.

 

The artist also includes a third series of works, “Botanicals,” which are much more contemporary in feel, shot from above on black backgrounds and inspired by flowers from her mother’s garden. They, too, are deliberately constructed (and Instagram-friendly).

 

“Paulette Tavormina: Seizing Beauty” is out April 16 (The Monacelli Press, $65) and is available to pre-order at monacellipress.com. “Paulette Tavormina” is on view April 23-July 10 at Academy Art Museum, 106 South Street, Easton, Md., academyartmuseum.org.

 

 

LTI-Lightside has been working with Paulette Tavomina since 2009, much of which, can been seen in our Project Archive here. Her work has been exhibited in New York, Miami, Chicago, Los Angeles, London, Paris, and Moscow among other venues around the world. For more of Paulette’s work, please visit her website here.

 

 

Tags: Paulette Tavormina, T Magazine / The New York Times