Saturday, December 12, 2015


SAVE THE DATE: Artist Reception, January 9 6pm–8pm

Please join us on Saturday, January 9th at 6pm, when we kick-off the 2016 year with an exhibition of outstanding new work by gallery artist, Cara Barer.

Trekking, 2015 © Cara Barer

The artist's creative process includes the transformation of outdated, abandoned and obsolete books into coiled, crumpled and sculptural objects. Following this labor-intensive reconfiguration, she photographs them and present the final artworks as large-scale pigment prints – lush in color, highly detailed and impressive. 

Through this process of re-imagination, the books segue into a carefully considered commentary on their changing role of how society accesses and values knowledge in a technologically advanced context. Ultimately, Barer’s work questions the value of the book itself.

“I transform books into art by sculpting them, dyeing them and then through the medium of photography presenting them anew as objects of beauty. I am attempting to blur the line between objects, sculpture, and photography. The way we choose to research and find information is also in an evolution. I hope to raise questions about these changes, the ephemeral and fragile nature in which we now obtain knowledge, and the future of books.”—Cara Barer

With this new series of photographs, Barer expands her attention to include cartography. Using maps as the primary source material, she paints, rips and tears them before binding them into a book form and resulting photograph. As with the status of books, she calls attention to the increasing obsolescence of traditional paper-based maps, in a world easily travelled with GPS.

Cara Barer pictured in her studio © Cara Barer

Cara Barer (b. 1956) lives and works in Houston, Texas. She is a graduate of the Art Institute of Houston, the University of Houston and the Galssell School of Art. Barer has been represented in numerous exhibitions across the US, and has had her work reproduced in several publications, including Art Made From Books: Altered, Sculpted, Carved (Chronicle Books, 2013). Collections holding her work include VISA, UCLA Special Collections, Danielle Steel, Bloomingdales, Lehigh University, Nordstrom’s Nationwide, Wells Fargo Bank and Museum of Fine Arts, Houston, among others.

Tuesday, November 24, 2015



KLOMPCHING GALLERY is delighted to release the first three images from Odette England's new series, Excavations.

"Preserving family history via photography is like an archeological excavation: it involves the exposure, processing and recording of remains. But to uncover the truth – or at least an interpretation of the ‘apparent truth’ of an image – a ‘hunt’ or ‘dig’ is required.

My project 'Excavations' explores the invisible social space of family storytelling. I make chromogenic color prints (in the darkroom) of family photographs using vintage Kodak film, as well as using snapshots from the album, and then carefully hand-sand them with various types and grades of sandpaper. Using sandpaper means I can blur detail, smooth areas, roughen up patches, and remove people or landscapes altogether…in other words, grind and polish my past, present, future. I make the importance of the snapshot as a memory-based object more beguiling. New stories emerge through interaction, transforming presence into symbolic absence.

The new images challenge how past events are re-presented to us through imagery and how these can influence what we think and believe."–Odette England

Excavation No. 6, 2015

Excavation No. 33, 2015

Excavation No. 59, 2015

The Excavation series is available as follows:

Size: 18.5"x18.5" image on 22.5"x22.5" sheet
Unique archival pigment prints, 
hand-sanded with sandpaper
Signed, titled and dated via label

Pricing and further information available from:
Debra Klomp Ching on +1 212 796 2070

Friday, November 6, 2015


Richard Tuschman Commission

We are delighted to bring to our readers' attention, a unique opportunity to have a bespoke photograph made by gallery artist, Richard Tuschman. 

As part of his Kickstarter Campaign, currently underway and heading toward being successfully funded, Richard Tuschman is offering up the opportunity to "put yourself in a Tuschman". 

For $3,500, Richard Tuschman says: "I will create a custom portrait of you +1 in a Kazimierz or Hopper Diorama. Includes wardrobe, hairstyling, and makeup and one 18x24 archival print".

This wonderful oppportunity is only available to purchase, through this one-off fundraising campaign, which comes to a close on November 13, 2015. There is only one on offer, so we highly recommend snapping this up. 

Details of the campaign can be found HERE.

An announcement regarding the exhibition of his new work will be made soon. 

Wednesday, November 4, 2015




Artist Reception: Thursday, November 5, 6pm–9pm

Klompching Gallery brings together the photographic artworks of two artists, Robert Moran and Robert Calafiore. Each artist presents compelling photographs of artifacts, bringing to attention in fine detail, the objects' individual attributes. More than this, they each utilize the photographic medium in different ways to preserve histories that are at once universal and highly personal. By juxtaposing the different methodologies utilized by two perceptive and highly skilled photographers, we highlight the breadth of possibilities in visualizing ideas through the photographic medium.

L-R: Blue Flash, Underwood, Beat It © Robert Moran
Archival Pigment Prints, Edition: 8+1AP, 16"x16" (image) on 20"x20.5" sheet

In the case of Robert Moran, we present the Relics series. Made between 2011–2014, the photographs that make up Relics, present artifacts from our recent past that are discarded, and for the most part, no longer used. The objects range from manual typewriters, earth globes, dial phones and lava lamps through to electric fans and pigskin footballs. Each machine or object is centrally positioned upon a shelf, photographed front-on and lit brightly. The method of depicting the objects is reminiscent of an anthropological survey, presenting the viewer with the details to scrutinize. However, the simplicity of approach also enables us to view the subject matter with a touch of nostalgia, warmth and to ignite memories of an object's past use.

Ogetti de Vetro, Smeraldo © Robert Calafiore
Unique C-Type Pinhole Prints (18 panels) 72"x120" 

Robert Calafiore's Glass series consists of images of seemingly ordinary glass objects. However, most of them are mid-century family heirlooms, from the artist's immediate and extended Italian migrant family. They are imbued with narratives of migration, generational family history and for the artist, direct experiences of their utilitarian function in the family home. Individual and unique experiences have been transferred into unique objects, with each photograph being made as a one-of-a-kind print, using a pinhole camera obscura to record light directly onto the traditional photographic paper.

Whereas Robert Moran's photographs are almost monochromatic, quiet and contemplative, with each photograph rendered at an intimate scale, Robert Calafiore's photographs are lush in color, vibrant and energetic; boldly stated as a large-scale grid of 18 separate photographs. What they share is a wonderful celebration of the importance of objects in peoples' lives, our projection of personal stories onto them, and in their own ways, a nod to photography's performative role within that context. Both bodies of work are about beauty, about collective reminiscence and personal narratives.

Thursday, October 29, 2015


Max de Esteban: Heads Will Roll will be closing on Friday, October 30th at 6pm. If you have not visited the gallery to view the exhibition yet, we would urge you to do so. The photographs have been well received by the press and gallery visitors alike. 

The photographs are available for purchase as follows:

Edition: 5 + 1AP in each size
Size: 25” x 19” image on 28” x 22” sheet & 45” x 35” image on 49” x 39” sheet
Medium: Archival Pigment Print

Above: Defined By Catastrophe (detail on the right)

Thursday, October 22, 2015


Max de Esteban, Heads Will Roll (at) Klompching
Loring Knoblauch, October 21, 2015

JTF (just the facts): A total of 9 large scale color photographs, framed in white and unmatted, and hung against white walls in the single room gallery space. All of the works are archival pigment prints, made in 2013. The prints come in two sizes: 49×39 (in editions of 5+1AP) and 28×22 (in editions of 5+1AP); there are 8 large prints and 1 small print on view, drawn from a total of 24 images in the series. A monograph of this body of work was published by Hatje Cantz in 2014 (here).

Comments/Context: Part of what de Esteban is doing here is unpacking the structural foundations of what a photograph has historically been and how it has functioned, and rebuilding those assumptions from the ground up with a different kind of digital existence in mind. Instead of photography being rooted in documentation, or inspiration, or some definition of “truth”, de Esteban is putting re-interpretation and re-translation at the forefront of the digital now, with a distinct and deliberate emphasis on the re-. What the source files meant in their original or archival context isn’t important – it’s how they have been reassembled to generate an evolved harmony (or dissonance) of new allusions, references, hints, and perceived memories.

While de Esteban’s chosen mood is full of ominous foreboding edging toward catastrophe (there’s even some last ditch sex as the bombs are falling from the sky), that personal cultural pessimism isn’t the important analytical vector here. What’s more telling is de Esteban’s crisp definitional argument about what digital photography is now, what tasks it employs and requires, and what outcomes it can generate. He’s staked out the ground for a different kind of photographer/artist – not one who uses a camera to see the world, but one who reinterprets digital imagery from a thousand sources and synthesizes it into a new kind of visual expression that resonates with our current image saturated existence. Others have done and continue to do this too of course, but de Esteban’s mind set seems particularly structured toward consciously breaking with the past.

Collector’s POV: The works in this show are priced as follows. The large 49×39 prints are $5500 each, while the smaller 28×22 prints are $2500 each. De Esteban’s work has little secondary market history at this point, so gallery retail remains the best option for those collectors interested in following up.

Visit the complete Collector Daily review HERE

Monday, October 19, 2015


We are pleased to announce the representation of Robert Moran.

Clients and visitors of the gallery may recall that Robert Moran was a Finalist in our FRESH2013 Summer Exhibition, through which we featured his work online. His work will feature in an upcoming two-person exhibition, which will be announced later this week. 

Robert Moran's photographic practice spans black & white vistas of icebergs, moody street scenes and memorizing portraits. His most recognizable work, and focus of the gallery, is the highly successful Relic series. Made between 2011-2014, the photographs that make up Relics, present artifacts from our recent past that are discarded, and for the most part, no longer used. The objects range from manual typewriters, earth globes, dial phones and lava lamps through to electric fans and pigskin footballs.

Each machine or object is centrally positioned upon a shelf, photographed front-on and lit brightly. The method of depicting the objects is reminiscent of an anthropological survey, presenting the viewer with the details to scrutinize. However, the simplicity of approach also enables us to view the subject matter with a touch of nostalgia, warmth and to ignite memories of an object's past use. 

"The relics helped people through dark nights and hot summers; offered medicinal and musical relief. In that way, they and all the objects we have used, loved, and discarded shape the character and spirit of our society".–Robert Moran

ROBERT MORAN (b. 1952) lives and works off the coast of Maine in the US. His photographs have been exhibited in numerous exhibitions across the US and internationally, including at the Ballarat International Foto Biennale (Australia), The Center for Fine Art Photography (Fort Collins, US), Griffin Museum of Photography (Winchester, US) and the Magenta Flash Forward Festival (Canada) among others. Photographs by Robert Moran are represented in the collections of Cleveland Clinic, the Magenta Foundation and the Fort Wayne Museum of Art.

View the Relics series on the gallery website HERE.

Friday, October 16, 2015


On Photography by William Meyers, October 16, 2015

A Technological Construct Of Totality (2013) © Max de Esteban

Max de Esteban, born in Barcelona in 1959 and educated at Stanford University, is a peculiarly protean artist: His first major body of work consisted of highly stylized portraits of disaffected European youths, his second of cyanotype-like X-rays of midcentury electronic appliances. And now we have "Heads Will Roll", his Photoshopped collages of apocalypse. Photoshop can be used to alter the digital files of individual images and to merge images in fanciful combinations. It is easy to do, but hard to do well; the trick is to create a collage with portents of meaning–and yet do it without being too literal, like a rebus. Using bits and pieces drawn mostly from pop culture–movies, the Internet, magazines and newspapers–Mr. de Esteban does this. The nine works at Klompching are dreamlike intimations of catastrophe. 

The largest element of "A Technological Construct of Totality" (2013) is a human body bound with heavy ropes and seemingly suspended. It is not clear if the body is that of a man or a woman, and it is rendered in a pale green. The background color is a brownish red; a woman's head stares out at us from the bottom of the image without apparently noticing the green figure, and other body parts in varying scales are also incorporated. 

The main element of "Defined by Catastrophe" (2013) is the silhouette of a car set at an impossible incline against a burst of yellow; the background is a pale blue figured with negative and positive portraits of someone in a Chairman Mao uniform.

Visit the Wall Street Journal article here.  

Tuesday, October 13, 2015


We are delighted to announce, that we are now representing Richard Tuschman. We have previously exhibited Tuschman's photographs in "About Face: The Portrait in Contemporary Photography" in Fall 2014.

Richard Tuschman is best known for his Hopper Meditations series, a lushly colorful body of work, inspired by the paintings of Edward Hopper. These meticulously constructed photographs are made from a combination of hand-built doll-house sized dioramas, and life-size models that have been digitally composited into the resulting scenes.

"I have always loved the way Hopper’s paintings, with an economy of means, are able to address the mysteries and complexities of the human condition. Placing one or two figures in humble, intimate settings, he created quiet scenes that are psychologically compelling with open-ended narratives. The characters’ emotional states can seem to waver paradoxically between reverie and alienation, or perhaps between longing and resignation. Dramatic lighting heightens the emotional overtones, but any final interpretation is left to the viewer".–Richard Tuschman

With Tuschman's photographs, we witness a more sombre mood than Hopper, lighting that is less harsh and artworks that point to other key inspirations of the artist, such as the chiaroscuro paintings of Rembrandt. Although the figures depicted in the Hopper Meditations are rooted in the mid-twentieth century, these intimate dramas evoke timeless and universal themes such as solitude, alienation and longing. The open narratives make these photographs wide-reaching in their appeal to a broad audience. 

Richard Tuschman (b. 1955) began experimenting with digital imaging in the early 1990’s, developing a style that synthesized his interests in photography, painting and assemblage. Tuschman holds a BFA (Michigan University) and has been exhibited widely, both in the US and internationally. Accolades and awards include Prix de la Photographie Paris (Gold Medal, People's Choice), Critical Mass Top 50, International Kontinent Awards (1st Place, Fine Art Projects) and Center Project Launch Juror's Award (chosen by Roger Watson, Fox Talbot Museum) among others. His photographs have been published on numerous online magazines/journals including Slate, LensCuluture, LensScratch and Huffington Post. Richard Tuschman lives and works in New York City.

View the Hopper Meditations on the gallery website HERE.  

Monday, September 21, 2015


We are delighted to have MAX DE ESTEBAN – HEADS WILL ROLL,  selected by The ArtSlant Team as one of its "North America's Must-See Exhibitions This Fall".

See the full list here.

Thursday, September 3, 2015


Max de Esteban Featured on the cover of Photograph Magazine
Feature Article by Lyle Rexer

Extract from 'About The Cover'.

"Like a fault line in the surface of appearances, photo collage opens up in periods of social stress and political obfuscation ... Where earlier 20th-century collage artists like Hannah Höch deliberately let the seams between her images show in order to represent the rawness of colliding elements in a chaotic society, contemporary artists such as Max de Esteban, whose photograph Facelessness is on our cover, often layer images to mimic the experience of digital immersion – in combinations of imagery that is sourceless, familiar, and immediate ... In the exhibition Heads Will Roll at Klompching Gallery in DUMBO (September 12-October 30), the Barcelona-born de Esteban approaches the pessimism of one of his intellectual heroes, the Romanian philosopher Emil Cioran ... People become a faceless audience for fantasies, propaganda, distortion and marketing. Like Cioran in his aphoristic philosophizing, de Esteban, in his images, invites us at least to flirt with the temptation to exist, if only by showing us the many ways we have developed to evade that responsibility".—Lyle Rexer

Read the article in full here.

Monday, July 27, 2015


Artist Reception: Saturday, September 12, 6pm–8pm

Heads Will Roll is the fourth and final installment of de Esteban’s challenging and provocative Propositions series—a long term and rigorous investigation of society’s embracement of technologies, in particular, the dawn of the bio-cybernetic era.

To construct the artworks in Heads Will Roll, de Esteban has mined a mass media that generates an incessant stream of imagery of war, violence, and disasters 24/7 into our homes, offices, public and private spaces. De Esteban merges and juxtaposes images, texts and found objects, to produce photomontages that present a cacophony of information that is at once dense with information yet visually legible. 

The resulting artworks are stunningly rich, visually beautiful constructions, that at the same time reveal a world where violence, imagined or real, is always looming. The intention of the artist, is for the viewer to be left almost totally out of balance, in a state of anxiety and unease. 

“Our world is increasingly filled with imagery from the internet, advertising, movies, social media, selfies, smartphone cameras, surveillance, propaganda, media, art, books, magazines ... It causes us to question our own sense of what is real, what is imagined, what is fiction, what is a lie ... So, what better medium than photography (or cinema or the internet itself) to explore this archaeology of images?” —Max de Esteban

The exhibition will feature eight large-scale, lushly colored photographs, carefully curated from the larger body of work, consisting of twenty-four photographs. This will be the second solo exhibition at the Klompching Gallery by Max de Esteban, and follows the preview of the artworks at the prestigious AIPAD (Association of International Photography Art Dealers) Photography Show in April 2015.

Accompanying the exhibition will be the monograph Heads Will Roll (Hatje Cantz, 2015), containing insightful essays by the esteemed curator Carles Guerra and author Bill Kouwenhoven. Additionally, de Esteban’s new monograph, Propositions (La Fabrica)—which charts the entire four parts of the series—will also be launched during the exhibition, prior to its official release in October 2015.

Max de Esteban (b. 1959) is a Fulbright Alumni, who holds a PhD from the Universitat Ramon Llull in Catalunya and a Masters from Stanford University. His work has been featured at the Deutsches Technikmuseum (Berlin), Rencontres Internationales at the Palais de Tokyo (Paris) and Darmstädter Tage der Fotografie, among others. He is the recipient of the National Award of Professional Photography in Spain and the Jury’s Special Award in Fotofestiwal, Poland. His artworks are held in several notable collections, including the Museum of Fine Arts, Houston; Museu de Arte Modena do Rio de Janeiro in Brazil; and the Deutsches Technikmuseum. De Esteban’s work has been shown in numerous exhibitions worldwide, and featured widely in the press and media. His monograph Heads Will Roll, was recently selected as a photo-book of the year by LensCulture. Max de Esteban lives and works in Barcelona, Spain, and is represented in the United States by Klompching Gallery.

Sunday, July 26, 2015


Last Day of Annual Summer Show is Saturday, August 1st

L-R: Kimberly Witham, Ima Mfon, Johanna Warwick,
and Matthew Arnold with gallery owner, Darren Ching.

We are delighted with the wonderful response to this year's FRESH Summer Show, presented in our newly-opened street-level space, in the Dumbo neighborhood of Brooklyn. We urge our readers to drop by the gallery and see the exhibition, before it closes on Saturday, August 1st.

All of the work on display is for sale, making this an excellent opportunity to acquire artworks from five outstanding photographic artists. Price range in the show is $1,300 - $3,900, inclusive of mounting/framing. We're open Wed–Sat, 11am–6pm and also by appointment for acquisition appointments. 

Online press coverage of the exhibition can be found on the following sites:

Friday, July 10, 2015


"If A Picture Says a 1000 Words,
the Klompching Gallery Has Plenty to Say"
Ratasha Smith, Long Island For Sale

Image: Installation view of the Gallery ©Klompching Gallery

Owner of the Klompching Gallery, Debra Klomp Ching, was recently interviewed for the 'Long Island For Sale' Real Estate website. In the interview with Ratasha Smith, she is asked about what makes the gallery stand out from other galleries.
"We stand out because we carry such an excellent roster of artists producing outstanding work. Many of our artists are established, with strong visual voices, and who have been producing for many years. For example, our artist Helen Sear, has a 30 year history of producing/exhibiting and is currently representing Wales at the 56th Venice Biennale with a solo exhibition. We are well known for the thoughtful curation that stands behind each of our exhibitoins, which not only take account of the artist's vision, but the interplay between the artworks and our physical gallery space. And, in some ways also stand out for being pioneers — in that we launched the gallery in 2007 in the Dumbo neighborhood of Brooklyn. Not Chelsea. We're still located here and thriving".—Debra Klomp Ching
The link to the full interview is here.

Monday, June 29, 2015


"Klompching Gallery Reopens with Helen Sear"
Catherine Troiano, New York Photography Diary

Image: Gallery Installation ©Klompching Gallery 

"Last Wednesday, Klompching Gallery re-opened in their new location at 89 Water Street, DUMBO. 
The inaugural show at Klompching Gallery’s new space is a celebration of Helen Sear’s work; the artist’s fourth solo exhibition with the gallery. The works are not new to exhibition, with much of it having been featured in the previous shows, however, Sear’s organic oeuvre is a well thought out complement to the new space and comes as she is representing Wales at the 56th Venice Biennale, with a solo exhibition in the Santa Maria Ausilliatrice. Sear’s work is very contemplative and the new space at Klompching is a worthy environment in which to contemplate. Hung with plenty of room for our thoughts to expand around the work, the peaceful atmosphere allows us to consider the questions surrounding identity, gender and the photographic medium that Sear addresses."
The full review can be read on the New York Photography Diary website. 

Tuesday, June 23, 2015


We are delighted to announce the FRESH 2015 winners, who will be exhibited at the Klompching Gallery in its Annual Summer Exhibition. The selection of the FIVE artists was made by Darren Ching and Debra Klomp Ching, from an international open call for submissions.

The exhibition is scheduled to open with an artist reception on July 8, 6pm–8pm, and remains on view through August 1, 2015.

Defensive Position in an Encroaching Sandstorm,
Alem Hamza Battlefield, Libya ©Matthew Arnold
Series Title: Topography Is Fate

Adrien with Mosaic ©Bill Durgin
Series Title: Studio Fantasy


Untitled ©Ima Mfon
Series Title: Nigerian Identity

Unidentified #24 ©Johanna Warwick
Series Title: Monuments To Strangers

On Ripe and Rot #13 (Hanging Birds) ©Kimberly Witham
Series Title: On Ripeness and Rot

Monday, June 22, 2015


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 the Klompching Gallery owners, Darren Ching and Debra Klomp Ching. 

The finalists listed here, will be featured on an online showcase, accompanying the FRESH Annual Summer Show.

Tomorrow, we announce an additional FIVE photographers, selected for the Annual Summer Show, to be presented at the Klompching Gallery July 8–August 1, 2015. 

Untitled ©Chris Bennett
Series Title: Darkwood

The Incident ©Diaz/Young
Series Title: The Playground Series

Emergent #16 ©Mark Dorf
Series Title: Emergence

Treescape #09 ©Rhea Karam
Series Title: Déraciné (Uprooted)

Jessica: The Elizabeth Phoenix ©Bear Kirkpatrick
Series Title: The Old Ones


Vessels No. 3 ©William LeGoullon
Series Title: (Un)Intended Targets


Untitled ©Peter Leighton
Series Title: The Search For Ruth Mission


97% ©Theresa Ortolani
Series Title: Decomposed


Grandmother's Chair ©Liz Steketee
Series Title: Traces


Untitled (Still Life) ©David Wolf
Series Title: The After Life of Things