MUSEUM ACQUISITION

KEN ROSENTHAL: THE FOREST

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

ODETTE ENGLAND: NEW WORK RELEASED

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.
 

HELEN SEAR: NEW WORK RELEASED

WILD FLOWER ARRANGEMENTS (2015)

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.

VIEW ONLINE

Please contact Debra Klomp Ching for purchase inquiries. 

NEW REPRESENTATION

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. 

AIPAD 2016: RICHARD TUSCHMAN

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.

AIPAD 2016: HELEN SEAR

Caetera Fumus, 2015

Edition: 5 + 2AP

Size: 41"x33"

Medium: C-Type mounted to plexi

Year: 2015

Helen Sear is renowned as one of Wales’ most significant contemporary artists. Her practice can be characterized by her exploration of the crossover between photography and fine art, her focus on the co-existence of the human, animal, and natural worlds.

With an exemplary track record for producing high quality, conceptually rigorous work, Helen Sear’s current work shows particular maturity and sophistication, seamlessly moving between expanded notions of photography, sculpture and video, with the artist exhibiting great command of different materials and production processes.

The photographic artwork pictured here, was showcased at the 56th Venice Biennale (2015), where she represented Wales with a solo exhibition in the Santa Maria Ausilliatrice. Caetera Fumus subtly references Mantegna’s third painting of Saint Sebastian, using it as a spatial guide onto which Sear has placed her own imagery and meaning. The vivid color of the rape seed, the red arrows piercing canvas and air rather than flesh, along with the clever layering of perspective and material, all combine to suggest an untouchable reality.

Helen Sear’s work has been published in Arts Review, Creative Camera, Art Newspaper and Art Monthly amongst others. Collections holding her work include Ernst & Young, Victoria & Albert Museum, British Council (Rome) and the Paul Wilson Collection. She lives and works in Wales (UK).

AIPAD 2016: CORNELIA HEDIGER

Dr. Christiane S., 2015

Series Title: Puppenhaus

Number of artworks at AIPAD: 3

Edition: 2 + 1AP

Size: Various

Medium: Hand-made photo-collage (mixed media)

Year: 2015–2016

With this new series, Cornelia Hediger brings together meticulously constructed photographs, that are inspired by the photo collages of Hannah Hock, John Heartfield and Grete Stern. The artist builds her fine artworks from a combination of digital and traditional photographs, scanned wallpaper, cardboard and paint. The 'imperfections' are left visible, thus making the work a rich site/sight of construction including irregular cuts and pencil marks. 

The narratives are built from the artist's own biography, family artifacts, memories from her past and images of landscapes from traveling through Italy, Switzerland and Germany. All of these, she combines with photographs made in her New York home and her studio. 

Additional Edition:

18"x18" image on 24"x20" sheet

Silver Gelatin

10+2AP

Cornelia Hediger (b.1967) holds a BA Fine Arts and and MA Fine Arts from the Mason Gross School of the Arts, Rutgers University. Her work can be found in several private collections in the US and Europe. She was a PDN's 30 Awardee in 2009, and has exhibited across the US, Canada and Switzerland. She lives and work in New York. 

AIPAD 2016: JIM NAUGHTEN

White-Handed Gibbon, 2015

Series Title: Animal Kingdom

Number of artworks at AIPAD: 2

Edition: 10 + 2APs

Size: 18" x 23"

Medium: Archival Pigment Print (Stereoscope)

Year: 2014

"Jim Naughten is an artist who understands the transformative effects that photography can have on a subject. In each of his previous projects he has been concerned with reanimating  history. His latest images of Victorian and Edwardian zoo-logical specimens continue this overarching visual enquiry  but incorporate in addition a fascinating venture into three-dimensional imaging. They are captivating enough even when  seen in two dimensions. But once you plunge into the marvel  of their stereoscopic depth you are transfixed. Through the  act of viewing, an intangible transformation takes place. While  the photographs exist in physical form on paper, they also live as an experience, a beautiful illusion held in the mind".—Martin Barnes Senior Curator of Photographs, Victoria and Albert Museum, London

Animal Kingdom has just been released as a monograph by Prestel, with a book-signing at The Photography Show, on Saturday 2:00pm–3:00pm. 

Reclining Iguanadon, 2016

Series Title: Dinosaur Island

Number of artworks at AIPAD: 2

Edition: 10 + 2APs

Size: 12" x 23"

Medium: Archival Pigment Print (Stereoscope)

Year: 2016

A herd of concrete dinosaurs have stood in the improbable habitat of Crystal Palace Park (London) since 1851. The ambitious sculptures cling to the banks of a manmade lake and populate a string of small of islands. Conceived at the cutting edge of Victorian comparative anatomy, they are the earliest known attempt at creating life size dinosaur models . Despite the best efforts of their creator, Benjamin Waterhouse Hawkins, they are less than perfect specimens. With no complete fossils to work from as blueprints, and some mismatches between fossil bone and species, mistakes were unknowingly made. They appear as distant, distorted cousins of the dinosaurs we recognize today.

Those familiar with the South London site get a glimpse of the sculptures at closer proximity than is achievable on a regular Sunday stroll. Naughten required special permission and the use of a small boat to reach his subject. These are photographs with a low centre of gravity. We peer through the riotously colored undergrowth not as a distant observer, but as a fellow creature or as a cautious naturalist might. Facing these concrete monuments to flawed science, one can’t help but question which elements of contemporary science will be rendered naive and inaccurate in the future, and what pictures might be made between these knowledge gaps.

Animal Kingdom and Dinosaur Island will be exhibited at the Klompching Gallery April 20–May 28, 2016. Opening reception: April 21, 6pm–8pm. 

Jim Naughten (b. 1969) is an internationally-exhibited artist, including a solo show at the Imperial War Museum (London) and inclusion in the UK's Royal Academy Summer Show (2012). He is the recipient of several awards, including a commendation from The National Portrait Gallery's Taylor Wessing Photographic Portrait Prize. His first series of photographs, Re-enactors, was published as a monograph (Hotshoe Books, 2009), with several photographs acquired by The Imperial War Museum (UK). The Hereros series was published as Conflict and Costume (Merrell, 2013). 

AIPAD 2016: MAX DE ESTEBAN

Defined by the Accident, 2013

Series Title: Proposition Four – Heads Will Roll

Number of artworks at AIPAD: 1

Edition: 5 + 1AP

Size: 45” x 35” image on 49” x 39” sheet

Medium: Archival Pigment Print

Year: 2013

The Proposition Four: Heads Will Roll series examines the non-stop, daily flood of images that impact peoples' thoughts, memories, desires, dreams – even the very concept of reality. At a time of accelerated technological change, Max de Esteban layers and flattens multiple images into a final image, utilizing digital tools to present a cacophony of information, that is at once dense with information yet visually legible.

"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".—Loring Knoblauch, Collector Daily. 

This series is the subject of the monograph, 'Heads Will Roll', published by Hatze Cantz in 2014, and was featured in a solo exhibition at the Klompching Gallery in September 2015. The photographs are currently exhibited at the FotoFest 2016 Biennale in Houston. 

Additional Edition: 25” x 19” image on 28” x 22” sheet, 5+1AP. 

Max de Esteban holds graduate degrees from the Universitat Politecnica de Catalunya and Stanford University, as well as a PhD from the Universitat Ramon Llull. He is a former Fulbright Scholar, and his photographs have been exhibited throughout Europe. Collections holding his work includes the Deutsches Technik Museum (Berlin). He lives and works in Barcelona, Spain.

AIPAD 2016: ODETTE ENGLAND

Excavation No. 8, 2015

Series Title: Excavations

Number of artworks at AIPAD: 2

Edition: 1/1 + 1AP

Size: 18.5"x18.5" image on 22.5"x22.5" sheet

Medium: Unique Archival Pigment Print, scratched with sandpaper

Year: 2015

"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.

Develop Before 07/1991 (Kodacolor Gold 200 12),  2014-2015

Series Title: Develop Before

Number of Artworks at AIPAD: 1

Edition: 3 + 1AP

Size: 20"x20" image on 24x24" sheet

Medium: Archival Pigment Print

Year: 2014–2015

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. She works with expired film, vintage cameras, damaged negatives and alternative photo processes; exploring the volatility of identity, emphasizing the unstable nature of the past/present and the parent/child seesaw.

The Develop Before series continues these overall themes. 

"Grandpa was a collector – matchboxes, bird’s eggs, seeds, postcards – but one of his most curious collections comprised old Kodak 126 film boxes, each neatly unfolded, held together in a stack with a thin rubber band and placed inside a worn, faded green plastic bag hidden in the back of a freezer.  On the outside of each box, where Kodak had printed 'Develop Before' together with the film’s expiry date (a practice that dates from the end of the 19th century) Grandpa had circled the date in red pen, as if to ensure that the snapshots he took would be revealed at their very best and 'freshest'.

What struck me wasn’t that the boxes themselves had expired, but that they were simultaneously the same and different, much like family snapshots.  There is homogeneity to how we make snapshots the world over, both in terms of subject matter and our behaviour (as subjects ourselves) in front of the lens.  Grandpa's boxes have their own unique marks of age – wrinkles, scars, stains, bruises – things we tend to avoid in family photography.  They were also never intended to be subjects of photography: boxes are simply trash – nothing of value, though to Grandpa, worth something.  I was compelled to photograph them, using a heavily modified Kodak Instamatic, expired photography chemicals and a scanner."—Odette England

Collections holding the work of Odette England include the New Mexico Museum of Art (Santa Fe), George Eastman House International Museum of Photography and Film (Syracuse) and the Museum of Contemporary Photography (Chicago).

AIPAD 2016: CARA BARER

Americas, 2015

Series Title: Maps

Number of artworks at AIPAD: 1

Edition: 9 + 2AP

Size: 36" x 36"

Medium: Archival Pigment Print

Year: 2015

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 presents the final artworks as large-scale pigment prints – lush in color, highly detailed and impressive.

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 (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.

Additional editions available: 48"x48" & 24"x24" | 9+2AP each size

THE PHOTOGRAPHY SHOW | PRESENTED BY AIPAD

KLOMPCHING GALLERY | BOOTH 116

FEATURING THE FOLLOWING ARTISTS | BOOTH 116

CARA BARER

ODETTE ENGLAND

MAX DE ESTEBAN

CORNELIA HEDIGER

JIM NAUGHTEN

HELEN SEAR

RICHARD TUSCHMAN

PREVIEW OUR BOOTH ON THE GALLERY'S ARTSY PROFILE

AIPAD SHOW AND TICKET INFORMATION HERE

SPOTLIGHT: MAX DE ESTEBAN

FotoFest 2016 Biennial Catalogue Image: courtesy FotoFest

Proposition Four: Heads Will Roll, exhibited at the gallery in September - October 2015, is to be exhibited at the FotoFest 2016 Biennial. The photographic series, by gallery artist Max de Esteban, was selected by Pavel Banka, Editor-in-Chief, Fotograf (Prague, Czech Republic) for the Discoveries of the Meeting Place exhibition. The exhibition is located at the Winter Street Studios, March 12–April 24, 2016. For additional details of the exhibition, follow this LINK.

We are delighted that FotoFest has also selected Facelessness—from the series—for the cover of the 2016 festival catalogue (above).

Together with Max de Esteban, we have donated one of the editions of this wonderful photograph to the FotoFest Benefit Print Auction, taking place on March 21st. If you are in Houston on this date, we recommend the auction and encourage you to attend. Follow this LINK for the online preview of the auction lots on offer.

The series is available as follows: 

45"x35" image on 49"x39" sheet, Edition: 5+1AP

25"x19" image on 28"x22" sheet, Edition: 5+1AP

Please contact the gallery for additional information, including availability and current pricing. 

FIRST RELEASE OF NEW IMAGE

LISA M. ROBINSON: ILEUVIUM

KLOMPCHING GALLERY is delighted to release the first image from Lisa M. Robinson's new series, Chronos.

Ileuvium, 2015 © Lisa M. Robinson

Title: Ileuvium

Series: Chronos

Year: 2015

Edition: 10+1AP

Medium: Archival Pigment Print

Size: 30"H x 40"W image on 40"x50" sheet

Please contact the gallery for current price and availability. 

CARA BARER: NEW WORK

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.

FIRST RELEASE OF NEW IMAGES

ODETTE ENGLAND: EXCAVATIONS
FIRST RELEASE OF NEW IMAGES

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

UNIQUE OPPORTUNITY

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.