CURRENT EXHIBITION: PRESS

Our current exhibition, Richard Tuschman: Once Upon A Time In Kazimierz, opened to the public with an opening reception on March 3rd, so well attended that there was barely standing room in the gallery. We have enjoyed a steady flow of visitors to the gallery since, with the 12 artworks on display being enthusiastically received.

The photographs from this series are available as follows, and because the work is newly released, all photographs are currently at the first pricing tier. 

18"x24", Edition 5+1AP

24"x36", Edition 5+1AP

43"x63", Edition 2+1AP

The exhibition continues through to April 9th. If you are a collector interested in acquiring this work for your collection, we'll be happy to provide a private viewing by appointment. 

We're delighted, also, that this new series of photographs has been applauded by the press, some of which we would like to share below. 

SLATE, Behold Photo Blog

By David Rosenberg

'Imagining Life in 1930's Poland Through Dioramas and Photography'

INTERNATIONAL BUSINESS TIMES, Art Pages

By David Sim

'Beautiful Photographs Depict A Fictional Jewish Family Living In Poland Before The Holocaust'

ELIZABETH AVEDON JOURNAL

By Elizabeth Avedon

'Richard Tuschman: Once Upon A Time In Kazimierz at Klompching Gallery'

LENSCRATCH

By Aline Smithson

'Richard Tuschman: Once Upon A Time In Kazimierz'

PDN, Photo Of The Day Blog

By Rebecca Robertson

'Once Upon A Time In Krakow'

AMERICAN PHOTO

By Peter Kolonia

'Picturing Life in a Jewish Neighborhood in pre-Holocaust Poland'

L'OEIL DE LA PHOTOGRAPHIE

By Editorial Staff

'Richard Tuschman: Once Upon A Time In Kazimierz'

MUSEE MAGAZINE

By Editorial Staff

'Richard Tuschman at Klompching Gallery'

GUP MAGAZINE

By Rachel Morón

'The Painter Holding A Camera: An Interview With Richard Tuschman'

CRAVE ONLINE

By Miss Rosen

'Interview: Darren Ching on Richard Tuschman's Once Upon A Time In Kazimierz'

THE CREATORS PROJECT

By Andrew Nunes

'Journey to 1930's Poland in Photographic Dioramas'

CURRENT EXHIBITION — PRESS

We are delighted to share some of the reviews and other press that our current exhibition has attracted. Click on the logos to read/view the reviews and features. 

Be sure to visit the gallery in person before February 27th, to fully appreciate this outstanding series of photographs. We should also mention that Shavasana has been incredibly popular with collectors, and is now close to selling out. 

Images L-R: Wildflowers 2, Shavasana

COLLECTOR DAILY REVIEW

Max de Esteban, Heads Will Roll (at) Klompching

Loring Knoblauch, October 21, 2015

(extract)

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

WALL STREET JOURNAL REVIEW

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.