Tuesday, December 6, 2016



During the month of December, and leading up to the Christmas and New Year holidays, we are exhibiting a wonderfully diverse selection of contemporary photographs. Each of the artworks are small to medium-sized, framed and ready to be taken away. The perfect 'gift of art'. 

If you don't see what you're looking for on the gallery walls, let us know! We'll dive into the gallery inventory and help you to find the perfect artwork. 

The gallery has artworks ranging in values from $300 through to $68,000. So, whatever your budget, we're pretty certain we have you covered.

Each Saturday, we'll also be offering some special sales, on both artworks and photobooks. These offers will be limited to those specific days, and collectors will be alerted via the Gallery Newsletter. If you're not on our mailing list, you can SIGN UP HERE.

Monday, December 5, 2016



We are delighted to share the wonderful news, that the New Mexico Museum of Art has acquired two photographs from the The Forest series by Ken Rosenthal.

Photographed in the Selkirk Mountains in NE Washington State, from 2011–2014, the photographs are dark and densely layered. More than just landscapes, the photographs perform the role of metaphor for thoughts on mortality, discovery, loss and renewal. The series is described by Rosenthal as "the most complicated and personal series I've undertaken".

The acquisition follows Rosenthal's recent success in being awarded a Critical Mass Top 50, by Photolucida, with the same series of work. 

For collectors interested in this outstanding series of photographs, please contact the gallery for more information, availability and pricing.  

Phantoms, from The Forest © Ken Rosenthal

Fallen, from The Forest © Ken Rosenthal

Saturday, November 26, 2016


We are delighted to make available, a new body of work by Odette England. If this work is of interested to collectors, we urge a prompt purchase. There are a total of just twelve photographs in the series, available in just one limited edition of 1 + 1 AP, with the artist proof retained by the artist. 

Ruffled (2014-2015) © Odette England

With Remarks About My Body, Odette England explores the notion that ‘we are what we wear’, and the psychology of dress. The photographs reference the changes the artist experienced in her body—and with wider priorities—through motherhood.

Tight (left) and Apex (right) © Odette England

“Clothing affects perception, and putting on different clothes can dramatically change mood”, says England. “The negative space is just that—the space of my body now, variants in skin tone and texture.  In some ways I was what I wore but am no longer.  My body has become more flesh-like and abstract and there are things, physical and emotional, that no longer fit”.

Remarks About My Body is informed by the research of Professors Hajo Adam and Adam Galinsky, whose paper 'Enclothed Cognition’, discusses the systematic influence that clothes have on the wearer's psychological processes [used with kind permission].

Remarks About My Body is available as follows:

Size: 15" x 20" image | 17" x 22" sheet
Edition: 1 + 1AP
Medium: Archival Pigment Print

Signed, titled, numbered and dated on verso

Current Retail Value: $3,000 USD

To obtain a PDF Catalogue of the complete series, please EMAIL the gallery,
or contact Debra Klomp Ching on +1 212 796 2070.

View 'Remarks About My Body' on the gallery ARTSY profile.


Tuesday, November 8, 2016


Saturday, November 19th, 4pm

Please join us on Saturday, November 19th, for an artist talk to be given by Odette England, on the final day of her solo exhibition, Excavations

"Preserving family history via photography is like archaeology: it involves the exposure, processing and recording of remains. But to uncover the truth of an image – or at least an interpretation of a truth – a ‘hunt’ or ‘dig’ is required. 
'Excavations' explores the invisible social space of family storytelling through photography. I make c-prints in the darkroom of family pictures from expired Kodak film, as well as using original snapshots from the album, then carefully hand-sand them with various types of sandpaper. I aim to loosen the complexities of material encounter with intangible concepts. Mine is also a literal assault. I cross into taboo territory, the transgression and squeamish horror of destroying original personal possessions".—Odette England

Thursday, November 3, 2016

DUMBOs First Thursday Gallery Walk

On the first Thursday of each month, the galleries in our neighborhood of DUMBO, Brooklyn, remain open until 9:00pm. Unless we're closed for installing, you'll find us open alongside numerous others. Many of the local bars and restaurants run special offers on the night, making them good spots to dine after you've visited the galleries. 

Participating galleries change a little, month-to-month. Follow THIS LINK for tonight's map of galleries, artist studios and other spaces taking part tonight. And be sure to stop by the Klompching Gallery! 

Monday, October 31, 2016



Wild Flower Arrangement No. 1 (Daucus Carota)

Size: 39.3"x39.3" image on 43.3"x43.3" sheet
Medium: Archival Pigment Print on Hahnemühle Cotton Rag
Edition: 5+2AP

Daucus Carota, wild carrot, bird's nest, bishop's lace and Queen Anne's lace, so named as the red flower in its center is thought to represent a droplet of blood, where the wife of Kings James I pricked herself while making lace. Another story refers to the earlier Anne Boleyn, the beheaded wife of King Henry VIII, the white flower representing the lace around her neck and the red center, the point of decapitation.

These wild flowers, found at the side of agricultural fields and roadside ditches were once popular as a contraceptive for women, and simultaneously in ancient ritual and spells, to increase sexual potency in men.

Helen Sear's Wild Flower Arrangements show the flower heads of Daucus Carota, at different stages of maturity—which often display at the same time on the same stem—and have been cut and rearranged in unnatural configurations, as constructed portraits. The complex beauty of the weed that thrives in wasteland, is heightened by its isolation within an interior space, reminiscent of the opulent surroundings of society portraiture.

Please contact Debra Klomp Ching for purchase inquiries. 

Saturday, October 15, 2016


We are delighted to announce that Elaine Duignan has been awarded a 2nd Place in the 2016 International Photo Awards. The award is given for the Blossfeldt's Apprentice series, which we debuted at the AIPAD Photography Show at the Park Avenue Armory in New York earlier this year.

Elaine Duigenan's work takes a close look at objects. Things are never quite what they seem, and her work is pared down to find singular beauty. Pale specimens glow in inky black spaces and appear to hang by a thread. There is strength and fragility, perfection and imperfection. Her work teases the viewer as images hover somewhere between quirkiness and elegance.

Blossfeldt's Apprentice (2016)

Artworks are available for collectors as follows:

16.5'' x 11.5'', Edition 3+2AP
11.75'' x 8.25'', Edition 3+2AP

Archival Pigment Prints with Certificate of Authentication

Tuesday, October 4, 2016


October 8 – November 19, 2016

KLOMPCHING GALLERY is delighted to present Excavations—a collection of new photographs by Odette EnglandExcavations was premiered at the AIPAD Photography Fair in New New York in April 2016, and we are now pleased to be showcasing the full breadth of the series.

Please join us the Opening Reception on Saturday, October 8, 6pm–8pm.
We hope you can make it, and we look forward to seeing you.

Excavation, No. 3 (2015)

Home is the center-weight of Odette England’s artistic practice, with memory and forgetting being the counterbalances. Her photographs are fragile, contemplative and temporal spaces. Throughout her practice, she works with expired film, vintage cameras, damaged negatives and alternative photo processes; exploring volatility of identity, emphasizing the unstable nature of the past/present and the parent/child seesaw. These overall themes continue to be examined with Excavations, which utilizes historical photographs from the artist’s family archive.
The 18 color photographs presented in the exhibition, are one-of-a-kind and unique, having undergone a meticulous and labor-intensive process of being partially erased and obscured. This process of manual manipulation, is evidenced by the trace of the artist’s hand—gestures in the form of lines, sweeping arches and circular movements, through to dense areas of almost total obliteration of the original image. Across the artworks, this stripping away of visual information is carefully balanced with glimpses of substantive visual clues—a sitting figure, a landscape vista, a tree or lamp-post. 
“Preserving family history via photography is like archaeology: it involves the exposure, processing and recording of remains. But to uncover the truth of an image – or at least an interpretation of a truth – a ‘hunt’ or ‘dig’ is required. Excavationsexplores the invisible social space of family storytelling through photography. I make c-prints in the darkroom of family pictures from expired Kodak film, as well as using original snapshots from the album, then carefully hand-sand them with various types of sandpaper. I aim to loosen the complexities of material encounter with intangible concepts. Mine is also a literal assault. I cross into taboo territory, the transgression and squeamish horror of destroying original personal possessions”.—Odette England

Diffidence, 2015

In addition to the manipulation of the photographic surface, scale and format is a key element of this series. With some of the artworks, England has re-presented the photographs as enlarged contemporary pigment prints and squared-off, thus situating the subject outside of its original context and intention. Alongside these, original vintage c-type snapshots are presented in deep-set boxes, maintaining the intimacy of the family album, but clearly contextualized as museum-like artifacts.
Excavations is a thought-provoking body of work that is meticulously made, both in terms of physical execution and conceptual vision. These are quiet, meditative artworks, incorporating elements of abstraction, preservation of history and nostalgia, together with an active and critical comment on the malleability of the photograph, which runs counter to its continued link to truth and reality.
Odette England (b.1975) is an Australian/British artist, whose artwork has been exhibited across the US and internationally. Awards and accolades include winning the 2012 CENTER Project Launch Award, shortlisted for the 2015 Australian Photo Book Of The Year, Finalist for the 2015 Cliftons Art Prize (Asia Pacific region), and more recently shortlisted for the prestigious 2016 Josephine Ulrick & Win Schubert Photography Award (Australia). Collections holding her work include the George Eastman Museum, New Mexico Museum of Art and MoCP. Odette England lives and works in Rhode Island, US.

Monday, June 27, 2016



We are delighted to congratulate gallery artist, Elaine Duigenan, on being awarded 2nd place, in two categories of the 2016 Moscow International Foto Awards, with her newly-released series Blossfeldt's Apprentice.

"The images are of objects made out of twist ties.  They attempt to recreate some of the plant structures that were revealed in iconic photographs by the German artist Karl Blossfeldt (1920’s). The limits of working with such a humble material become the prime focus as the struggle to imitate nature is shown in loose threads and the tension between perfection and imperfection".—Elaine Duigenan.

Grey Thistle (2016) © Elaine Duigenan

The Blossfeldt's Apprentice series consists of 10 photographs, and are available to purchase as individual photographs, or as complete sets. Two editions are available as follows: 

16.5" x 11.5", Edition: 3+2AP
11.75" x 8.25", Edition: 3+2AP

Archival Ultrachrome Pigment Ink

Hahnemuehle Archival Museum Etching 350gsm
Authentication: signed, dated, numbered, titled on verso and signed certificate

Please contact Darren Ching for additional information, including pricing and availability.

View the series on the gallery website.
View the series on the gallery's ARTSY Profile.

Tuesday, June 14, 2016


We are delighted to announce that gallery artist, Odette England, has been shortlisted for the prestigious 2016 Josephine Ulrick & Win Schubert Award. 

Forty-five finalists were selected by Professor Susan Best, Program Convenor of Fine Art and Art Theory, Griffith University's Queensland College of Art. An exhibition of the finalists will take place at The Arts Center Gold Coast, June 25–August 21, 2016. The award offers a first prize of $20,000 and acquisition prizes totaling $10,000. 

Odette England was selected with work from the newly-released series Excavations, which the gallery premiered at the AIPAD Photography Show in April 2016. A solo exhibition of work by Odette England is scheduled for September. 

Image: © Odette England

Sunday, June 12, 2016


We are delighted to announce the FRESH 2016 winners, who will be exhibited at the Klompching Gallery in its Annual Summer Exhibition.

The exhibition is scheduled to open with an artist reception on July 13, 6pm–8pm, and will remain on view through August 6, 2016.


La Paz, Prison Wall © John Chakeres
Series Title: Grey Series
PHOTOGRAPHER'S WEBSITE: www.johnchakeres.com


When the lifted me on to the piano, I had no choice but to oblige © Jennifer Greenburg
Series Title: Revising History
PHOTOGRAPHER'S WEBSITE: www.jennifergreenburg.com


Untitled © Antonio Jacob Martinez
Series Title: How to Hug and Other Sublimations of Men
PHOTOGRAPHER'S WEBSITE: www.antoniom.com


No. 3 © Sarah Sudhoff
Series Title: Precious Metal
PHOTOGRAPHER'S WEBSITE: www.sarahsudhoff.com

Saturday, June 11, 2016


We are delighted to announce the TEN FINALISTS for the FRESH Annual Summer Show. The finalists have been selected from an international open call for submissions, by W.M. Hunt and Darren Ching.

As with previous years, the finalists listed here, will be featured on an Online Showcase. 

Tomorrow, we announce the FOUR photographers, selected for the Annual Summer Show, to be presented at the Klompching Gallery July 13–August 6, 2016.

Scheduled Implosion Spectators 1 ©Hannah Smith Allen
Series Title: Scheduled Implosions
PHOTOGRAPHER'S WEBSITE: www.hannahsmithallen.com

Act One, Year Two, June © Ben Altman
Series Title: The More That is Taken Away
PHOTOGRAPHER'S WEBSITE: www.benaltman.net

Mexican Fencepost © Kurt Geisler
Series Title: Desert Flora
PHOTOGRAPHER'S WEBSITE: www.geislerstudio.com

Rem and Marina © Photographer Hal
Series Title: Fresh Love
PHOTOGRAPHER'S WEBSITE: www.photographerhal.com

Burlesk, Detroit © Teri Havens
Series Title: Last Light
PHOTOGRAPHER'S WEBSITE: www.terihavens.com

High Royds © Richard Kolker
Series Title: Asylums
PHOTOGRAPHER'S WEBSITE: www.richardkolker.com

Untitled (Elvis) © Nigel Maister
Series Title: tight. word. lit.
PHOTOGRAPHER'S WEBSITE: www.nigelmaister.com

Catharsis © Christos Palios
Series Title: Conversations
PHOTOGRAPHER'S WEBSITE: www.christospalios.com

That's Not Your Mamma © Donna Pinckley
Series Title: Sticks and Stones
PHOTOGRAPHER'S WEBSITE: www.donnapinckley.com 

21t Century, Kanazawa Prefecture © Martina Shenal
Series Title: Borrowed Views
PHOTOGRAPHER'S WEBSITE: www.martinashenal.com 

Friday, June 10, 2016


Cornelia Hediger: Puppenhaus
Frederic Weber: Memento Mori & Primary Light

On show, is the highly anticipated Puppenhaus series, by Cornelia Hediger. This forms the artist's third exhibition with the gallery and showcases the artist's handmade photo-collages. Made between 2014–2016, the series is inspired by the likes of Hannah Höch, John Heartfield and Grete Stern among others. The photographs are constructed out of a combination of pigment and gelatin silver prints, with imagery originating from various sources including the artist's studio practice, and scans of wallpaper, paint and cardboard. These are combined with recent photographs of travels in Europe, the patriarchal home in Switzerland and other family artifacts.

The Crucifixion (2016) © Cornelia Hediger

The hand of the artist is up front and center across the Puppenhaus series—pencil marks, irregular cuts left exposed, paint, hanging string, and individual elements attached in low relief, which together draw attention to the unusual focal planes, angles of view and shifts in scale. All of this combines perfectly with the seemingly whimsical narratives, that take the viewer on a journey through the artist's fictionalized world. The use of self-portraiture prevails, linking this series back to the previous Doppelgänger work. We 'Cornelias' having rea, balancing cups, acting out in odd domestic spaces and going on journeys. In one piece, reminiscent of the 19th Century, Chilean Ladies by Spencer y Cia, we see 100 heads—all of the artist—receding back into the distance. Hedger has created theatrical scenes, as if on a stage, images which are extraordinary and which pull you right into their three-dimensional space. 

Frederic Weber brings to his photographic practice, a visual sensibility that challenges the viewer to determine quite what they're looking at. On show are selections from two bodies of work, Memento Mori and Primary Light, both of which draw attention to Weber's penchant for making photographs the don't always look like photographs. 

Memento Mori is constructed from a combination of images, that the artist has excavated from comic books, magazines, newspapers, television, paintings and other printed matter. He presents images of tightly cropped heads of black and African subjects, presenting them almost as relics of time past. The photographs are challenging, almost visually overwhelming, and difficult to fix within a specific framework. At once iconic, they echo historical post-mortem imagery, its a timestamp that is not fixed or even knowable. Made of several layers of different images, the photographs are rich in color and painterly.

Untitled No. 122 (1998) © Frederic Weber

The Primary Light series share this painterly quality. Here though, it is the reference to photograph's Pictorialism past, that is most evident. Weber presents torsos and heads that are rendered in soft-focus, with each emerging from the a depth of blue so saturated, the color transforms into an abyss, out of which the human forms glow like fire-flies. The ghostly figures seem nostalgic, classical even and partly unknowable. 

Both bodies of work by Frederic Weber are produced as Ilfochromes, a photographic process introduced in the 1960s, that is well known for its rich highly-saturated colors. The prints on display are vintage, making this a rare opportunity to view this work as originally envisioned and printed. 

Hediger and Weber are virtuosos of their materials, presenting extraordinary work that is meticulously made and visually stunning. The vision behind each artist's work, is evidence of their respective dedication to studio practices, that have spanned several years, and in which they share a concern for exploring—and exploiting—the photograph as both a tool of record, and a means of expressing a unique creative vision. This is the first time that they are exhibited together, bringing about an interesting curatorial conversation. 

Wednesday, May 25, 2016


2016 marks the 5th year of the gallery's FRESH Annual Summer Show, curated from an open call for submissions from emerging or thus far unrecognized photographers. 

The Klompching Gallery provides an excellent platform upon which to showcase up to five carefully selected artists. The FRESH exhibition is curated upon the premise of representing a body of work by each artist—rather than a single image—thus providing collectors, critics, curators and gallery visitors with a better insight into the vision of the photographer's work. Exposure is extended with a printed feature in BLINK magazine and long-form interviews on At Length Mag.

This year, to celebrate and mark the 5th year of FRESH, we are delighted to announce a few developments, that will expand the annual summer show in a manner that is consistent with the vision of the exhibition itself, the gallery's overall objectives and ultimately to enhance the opportunities for the exhibiting photographers. We are pleased to announce the following: 

  • An exhibition catalogue, in printed and digital form, that will feature the exhibiting photographers and ten finalists. 
  • Artists selected for the exhibition, will be offered the opportunity to have their photographs presented for sale, to a global market, via the gallery's ARTSY profile.  
  • The gallery will offer one artist from the exhibition, the opportunity to have their body of work represented by the gallery for a duration of one year.
  • Full integration of the Fresh Annual Summer Show onto the gallery's website, including the archive from past years. 

Sign up for the FRESH mailing list HERE.






Thursday, May 12, 2016


William Miller | Ruined Polaroids

We are pleased to announce the representation of William Miller, and to make available to the market the Ruined Polaroids series from 2011.

Throughout 2011, William Miller experimented with a broken Polaroid SX-70 camera, producing polaroid images, that were essentially partially destroyed by the camera's malfunctioning. With a little ingenuity and finesse in controlling only some aspects of the process, Miller has produced a series of photographs that are colorful abstractions, with the majority of representation of the real world removed. The magic of chance performs a key role here, with each polaroid effected by the idiosyncrasies of the camera and film. In some respects, one might say that the photographs function as portraits of the process of the polaroid

"This project, Ruined Polaroids, is an unintended exploration into the three-dimensional physical character of an antiquated photographic medium that touches on subjects from the artistic value of chance, to questions of what constitutes a photograph. I say unintended because what I'm focusing on here is a technological anomaly. The failure of a process."—William Miller

The polaroids are reproduced as archival pigment prints. The scale is increased, accentuating the depth of color and visibility of the dispersion of ink in the original polaroid material.

The Ruined Polaroids series can be viewed HERE

Please contact the gallery for pricing and availability. 

William Miller (American, b. 1969) is a native New Yorker, and a graduate of the photography program at Bard College. He is a veteran photojournalist, with his work having been reproduced in Saveur, Harpers, Paris Match, Spin, GQ, New York Post and Daily News among others. His fine art photographs have been exhibited in a number of galleries in the US, and been featured on Huffington Post, Juxtapoz Magazine, Wired, Lensculture and other notable online platforms. In 2011 he was awarded the Celeste Prize for Photography. William Miller lives and works in New York. 

Tuesday, May 10, 2016

FRESH 2016

Call for Entries Open

We are delighted to announce that the call for entries to the gallery's Annual Summer Show, is now OPEN.

For information including the Submission Guidelines and Terms & Conditions, please follow THIS LINK. We recommend reading both documents prior to submitting an entry. 

Thursday, April 14, 2016


Couple In The Street, 2014

Series Title: Once Upon A Time In Kazimierz
Number of artworks at AIPAD: 1
Edition: 2 + 1AP
Size: 63"x43"
Medium: Archival Pigment Print
Year: 2014

Additional Editions: 24"x18" | 36"x24" | 5+1AP in each size.

While Tuschman continues to pay tribute to those artists who have inspired him—Balthus, Brandt, de Chirico, Vermeer—the series also demonstrates a significant development in Tuschman’s oeuvre. The artist’s Eastern European Jewish ancestors resided in the vicinity of Kazimierz until circa 1900, and this forms part of the basis for weaving together a fictional narrative with strands of cultural and family history.

Well known for his Hopper Meditations series, the artist’s process continues to be labor intensive and meticulous. The staged photographs result from a sophisticated marriage of miniature dioramas with life-size models. The sets are photographed after being hand-built by the artist over several months, with models photographed separately and composited into the scenes. The resulting photographs are visually stunning constructions, richly imbued with nuances of Jewish customs and a sense of place.

References to cinema and theatre resonate across the work. While the artworks are constructed in an exacting manner, they are also deliberately made to fall away from reality—enhancing their theatricality—and to project a level of the surreal and a dreamlike quality. Each image can also be seen to perform as a film still, with each part adding to a larger narrative arc. Once Upon a Time in Kazimierz, as a chronologically sequenced story, leaves just enough gaps and open-endedness, to enable the viewer to impose a tale of their own, highlighting in many respects, the fluidity of dreams and of memory.