Tag: photogram

Sam Falls at 303 Gallery

At 41 feet long, Sam Falls’ Untitled (Conception) is a huge recreation of the natural world, dropped into 303 Gallery’s spartan white cube.  Made by laying natural materials (branches, coral, plants) onto canvas, then adding powdered pigments and waiting for moisture in the air to set the colors, Falls’ working technique is akin to making a photogram with objects on light sensitive paper.  The result transports viewers away from the city and into the abundance of nature.  (On view in Chelsea through Oct 20th).

Sam Falls, detail of Untitled (Conception), pigment on canvas, 7ft, 6 in x 41ft, 2018.

David Benjamin Sherry at Salon94 Bowery

Working blind in the dark room, David Benjamin Sherry exposes cardboard templates, acetates printed with patterns, his own body and that of his dog, Wizard to light sensitive paper. The vibrantly colored results don’t bear a recognizable likeness of the artist, but they feel intensely personal nonetheless. (At Salon94 Bowery on the Lower East Side through July 27th).

David Benjamin Sherry, detail of Metamorphosis (Self-portrait with Wizard), 150C40M0Y, unique color darkroom photogram, 72.25 x 29.75 inches (image, no frame), 2017.

Laszlo Moholy-Nagy at the Guggenheim

Hungarian avant-garde artist Laszlo Moholy-Nagy used camera-less photography to create experimental pictures like this one, for which he put his own face and glasses against light-sensitive paper in the darkroom and made multiple exposures to create this ghostly image. (At the Guggenheim in ‘Moholy-Nagy: Future Present’ through Sept 7th).

Laszlo Moholy-Nagy, Photogram (Moonface), (Self-Portrait in Profile), gelatin silver print (enlarged from a photogram), 1926, printed 1935.
Laszlo Moholy-Nagy, Photogram (Moonface), (Self-Portrait in Profile), gelatin silver print (enlarged from a photogram), 1926, printed 1935.

Lisa Oppenheim at Tanya Bonakdar Gallery




It’s important to know but hard to guess how New York artist Lisa Oppenheim sources the materials she uses to make her images – in this case, swirling clouds or monstrous faces that emerge from book matched wood. Using a thin sheet of veneer from Eastern Red Cedar, the artist created a camera-less photogram, which she then framed in Eastern Red Cedar and in birch, a wood used to imitate cedar. (At Tanya Bonakdar Gallery through Feb 20th).

Lisa Oppenheim, Landscape Portraits (Eastern Red Cedar)(Version I), set of four silver gelatin photograms in Eastern Red Cedar and Birch frames, 51 5/8 x 55 inches, 2015.


Jennie Jieun Lee and Mariah Robertson at 11R

In 11R’s serendipitous pairing of ceramics by Jennie Jieun Lee and multiple exposure photograms by Mariah Robertson, each artist creates visual interest by defying convention. Robertson punctuates gorgeously-hued abstractions by cutting her photo paper into a rough, tapering point. Lee crafts vessels from glaze-splashed curls of clay. (At 11R on the Lower East Side through Feb 7th.)

Installation of ceramic by Jennie Jieun Lee and Mariah Robertson, 11R, January 2016.