Joachim Schulz, "Blumenstrauss in Glasvase” nach Cornelius Cornelis de Heem 1660er Jahre 6/9, 2017
Archival Pigment Print
19.75 x 13.75 inches (50 x 35 cm)
SCJ 17 6
Joachim Schulz was born in 1969 and holds a degree in art from The Art Academy of Münster. Group exhibitions include: Museum of Modern Art, New York; Hirshhorn Museum and Sculpture Garden, Washington DC; Westfälisches Landesmuseum Münster, Germany; Stadtmuseum Münster, Germany; and Dolmabahce Palace, Istanbul, Turkey. His work is in the collections of the Hirshhorn Museum and Sculpture Garden, Washington DC and Provinzial Kunstsammlung, Kiel, Germany.
The artist lives and works in Berlin.
Christiane Feser, Variante 18, 2015
Photo Object with Archival Pigment Print
29.5 x 23.6 x 0.4 inches (75 x 60 x 1 cm)
CF 16 49
Christiane Feser is known for her ongoing series of photoobjects—three-dimensional, photographic sculptures that behave like representational and optical experiments; simultaneously exploring the perceptions of a camera and a person.
Her constructions begin as assemblages of simple materials—clay spheres, paper shapes or sewing pins—that are lit and photographed. The image is printed and then cut-open, folded, punctured or otherwise added to; transforming the flat print back into a dimensional object with its own sense of time and space, shattering the basic tenet that a photograph reproduces a scene existing elsewhere.
Feser was born in Würzburg, Germany in 1977. She studied photography at the Offenbach University of Art and Design in Germany. Upcoming exhibitions include: Cut! Paper Play in Contemporary Photography at The J. Paul Getty Museum, Los Angeles, CA in 2018. International exhibitions include the Solomon R. Guggenheim Museum, New York; Centro di Cultura Contemporanea Strozzina, Firenze, Italy; the Mönchehaus Museum, Goslar, Germany; Frankfurter Kunstverein and the Museum for Konkrete Kunst, Ingolstadt, Germany. Her work is in the permanent collections of the Solomon R. Guggenheim Museum, the Mönchehaus Museum and the DZ Bank Art Collection among others.
The artist lives and works in Frankfurt, Germany.
Stephen Ellis, Untitled (SEVL-04-2), 2004
Oil and alkyd on linen
18 x 24 inches (45.7 x 61.0 cm)
In Stephen Ellis's paintings there is a balance between ordered geometric austerity and the flowing irregularity of the painter's hand. Building up the canvas with many translucent layers of paint, he tempers balance and regularity with vibrant chaos.
Ellis was born in 1951 in High Point, North Carolina. He studied at the Boston University Art Program and the New York Studio School, and he received a BFA from Cornell University. The many publications that have reviewed his work include Art in America, Artforum,The New Yorker, The New York Times, and The Washington Post. Ellis has received grants from the Joan Mitchell Foundation, The National Endowment for the Arts, and the National Foundation for the Arts. His work has been exhibited at the Museum of Fine Arts, Boston, the P.S. 1 Contemporary Art Center, and the Brooklyn Museum. The museums that hold his work in their permanent collections include the Albright Knox Art Gallery in Buffalo, the Brooklyn Museum, the Fogg Museum at Harvard University in Cambridge, the Ashmolean Museum at Oxford, and Fond Nationale Art Contemporaine (FNAC) in Paris.
Ellis lives and works in New York City.
Rosemarie Fiore, Smoke Painting #58, 2018
Lit color smoke firework residue on paper
30 x 25.5 inches (76 x 65 cm.)
FR 18 145
Rosemarie Fiore’s unconventional paintings and drawings are made by exploding and containing live fireworks. She alters and builds devices to harness the chromatic and mark-making effects of smoke bombs to create vividly-colored, multi-dimensional works. Large-scale abstract pieces boast complex, highly sculptural surfaces. Using a rolling machine of her own invention, Fiore wields burning fireworks like paintbrushes to impart deep blues, rusted oranges and bright magentas onto paper. As the device spins and twists, expressive traces generate in its wake. The more intimate pieces focus on the smoke. Clouds of transparent color land in concentric circles and blend with the ease of pastels. In the end, the work is a meditation between machine and artist; chaos and control.
Fiore received her BA from the University of Virginia, Charlottesville and MFA from The School of the Art Institute of Chicago. Solo and group exhibitions include Weatherspoon Museum, Greensboro, NC; Albright Knox Art Gallery, Buffalo, NY; Lehman College Art Gallery, Bronx, NY; The Savannah College of Art & Design Museum of Art, Savannah, GA; The Bronx Museum, NY; The Queens Museum of Art, NY and The Franklin Institute of Science, Philadelphia, PA. Her work has been reviewed in publications including The New York Times, The Washington Post, Art in America, The Village Voice and New York Magazine.
Rosemarie Fiore lives and works in Bronx, NY.
Chuck Kelton, New Year #51, 2017
Gelatin silver, Chemogram gold chloride and selenium toned
24 x 20 inches (61.0 x 50.8 cm)
CK 17 126
Chuck Kelton makes chemograms and photograms inside the darkroom; transforming light, chemistry and paper into abstract landscapes. Both chemograms and photograms are made without the use of cameras or negatives, rendering each print entirely unique. The image in a photogram is the result of exposing photographic paper to light—writing with light. Whereas the image in a chemogram is the outcome of exposing photographic paper to developer and fixer—writing with chemistry. Kelton's gold chloride and selenium toned chemograms coax a surprising palette of fiery oranges and lush violets from gelatin silver paper. In a smaller suite of work, Kelton combines chemogram and photogram techniques; the shift marked with a cracked, folded horizon line separating swirling tones from smooth, matte black.
Kelton's work has been featured in numerous exhibitions and publications and is in the collections of the Museum of Fine Arts Boston; Bibliothéque nationale de France; Norton Museum of Art, West Palm Beach, Florida; International Center of Photography, New York; and New York Public Library. The artist lives and works in Jersey City, NJ.
Carolyn Marks Blackwood, Blink II, 2016
Archival pigment print
30 x 40 inches (76.2 x 101.6 cm)
Edition of 3
CMB 16 8
“Carolyn Marks Blackwood is a modern day artist for whom the Hudson River is also an unfailing muse. Consumed by her daily photographic study of the water over which her studio is perched—as well as the sky that hovers above it—Blackwood’s images are not the romantic vistas of her predecessors, but almost their opposite: focused close-ups that capture the river’s power through the drama of detail. Instead of coalescing several scenes into one, her photographs are a celebration of the variation a single geographic location can elicit through the constantly changing conditions of wind, light, day, night, temperature and tide.”
—Excerpt from the essay Elements of Place by Carol Diehl
Coaxing painterly expression from a documentary device, Blackwood’s photographs reframe segments of air, ice and water into vivid color fields, geometric abstractions and flattened motifs. By removing perspective and context, her unmodified images seize ephemeral moments within everyday occurrences and heighten them into foreign, unfamiliar pictures. A screenwriter and producer, Blackwood is a principal partner of Magnolia Mae Films. Among the films produced by Magnolia Mae are The Duchess (2008), The Invisible Woman (2013) and Philomena (2013). Blackwood began exhibiting her photography in the last ten years.
Christopher Russell, Cascades #1, 2019
Pigment prints scratched with a razor
36 x 24 inches (91.4 x 61.0 cm)
CR 19 42
Christopher Russell is best known for scratching drawings into his photographs. However, underlying that process is an expansive practice that intersects drawing, narrative fiction, photography and the raw materiality of the photographic substrate. Russell works from the interstices, always subverting his chosen role. Throughout the oeuvre of his writing he has created a cadre of outsiders, while his drawings of repeating patterns and halftone dots take a laborious approach to material that is more easily reproduced mechanically. Russell makes frequent nods to photographic tradition and processes, but executes his work in a manner that undermines the indexical quality of the photography’s illusionistic space.
Russell (b. 1974) received his M.F.A. from the Art Center College of Design (CA). In 2009, he produced a solo exhibition at the Hammer Museum (Los Angeles, CA). He has also been featured in group exhibitions at the Tokyo Institute of Photography (Japan), The Norton Museum (West Palm Beach, FL), Armory Center for the Arts (Los Angeles, CA), White Columns (New York, NY) De Appel Arts Center (Netherlands) Oakland Museum (Oakland, CA), Los Angeles County Museum of Art (Los Angeles, CA), among others. He has published numerous critical articles in addition to being a featured subject of positive review by the Los Angeles Times, New York Times, Huffington Post, Artillery, Frieze, and ArtForum, among others. Russell is also known for his 'zine Bedwetter. His first novel is Sniper, and other books include Budget Decadence (2nd Cannons Publications), Pattern Book (Insert Blanc Press) and Landscape (Kolapsomal Press)–which was included in Martin Parr's The Photobook: A History Volume III (Phaidon). His work is included in the collections of numerous public institutions including the Brooklyn Museum, Museum of Contemporary Art, Chicago, Museum of Contemporary Art, Los Angeles, Museum van Hedendaagse Kunst Antwerpen, Jordan Schnitzer Museum of Art - University of Oregon, Rhode Island School of Design Museum, Hammer Museum, Museum of Fine Arts, Houston, and the Tokyo Metropolitan Museum of Photography, to name a few.
Antonio Murado, Untitled (956), 2010
Oil on paper
11 x 15 inches
MA 10 956
Antonio Murado explores his interest in nature using subject matter—often abstracted landscapes and flowers—and experimentation with the behavioral properties of paints and varnishes. By building up layers on the surface of the canvas, he achieves great depth and a meditative mood.
Murado was born in Lugo, Spain in 1964 and graduated from the University of Salamanca. Shown internationally in multiple solo and group exhibitions around the world, Murado’s paintings are now held in prominent museum, corporate, and private collections including The Galician Center of Contemporary Art, Santiago de Compostela, Spain; The Museum of Fine Art, Vitoria, Spain; The Nagasaki Art Museum, Japan; and in the collections of Phillip Morris, American Express, Chase Manhattan Bank, AXA, Pfizer, and The Coca-Cola Corporation.
Murado lives and works in New York City.
Kate Petley, Hint, 2019
Archival Print and Acrylic on Canvas
22 x 28 inches (55.9 x 71.1 cm)
KP 20 4
For Kate Petley’s upcoming solo exhibition at the University of Colorado Art Museum (CUAM) in June, 2020, the museum’s director and chief curator Sandra Q. Firmin, wrote this perfect statement:
Kate Petley’s image-making process is guided by a will to transform. Assemblages of cardboard, tape and other castaway materials are carefully placed into intensely lit arrangements and photographed. Images of recognizable patterns of corrugation and pitted surfaces undergo a startling shift when the photograph is transferred to larger canvases. Translucent and opaque forms, often architectural in nature or resembling geological outcroppings, float in front of or fold into horizonless fields of gradated reds, greens, indigos and violets. The overall flatness of the printed images contravenes their holographic appearance. To enhance their mystical opacity, Petley introduces hard-to-detect brushwork that draws attention to certain areas while concealing the image underneath. These brushed overlays of acrylic paint generate cognitive dissonance as the mind toggles between digital and material realms.
Petley harnesses physiological responses to color and light, inviting feelings of joy, quietude and wonder. These works on canvas belong to a long lineage of painters concerned with the luminous surface as a space for absorption, a space increasingly usurped by the ever-present backlit screen.
Joe Rudko, Web, 2019
Found photographs on paper
30 x 22 inches
JR 19 12
Joe Rudko is a graduate of Western Washington University and has shown broadly in both solo and group exhibitions throughout the Northwest including exhibitions at the Portland Art Museum. He has been the recipient of the Future List Award and two Art Walk Awards from City Arts Magazine as well as the Vermont Studio Center Fellowship Award and the Facebook Artist in Residence program. His work is featured on the cover of indie rock band Death Cab for Cutie’s album Kintsugi and is included in the permanent collections of the Portland Art Museum, F5, Fidelity Investments, and the City of Seattle. His work has been published in Artforum, Art in America, New American Paintings, Humble Art Foundation, Fukt Magazine for Contemporary Drawing, The Stranger, and The Seattle Times. Rudko lives and works in Seattle, WA.
Mark Sheinkman, Glenmore, 2019
Oil on linen
18 x 14 inches (45.7 x 35.6 cm)
SM 19 8711
Mark Sheinkman's linear abstractions explore notions of time, space, and transition.
The coiled lines of his black and white compositions suggest volume, movement, and growth. Sheinkman builds up his canvases and drawings in layers, working into graphite to create a visual effect of curvilinear forms moving through space.
Sheinkman was born in New York in 1963 and attended Princeton University. His work has been reviewed by many publications, includingArt in America, The New York Times, and The New Yorker. He has exhibited regularly in the United States and abroad for over two decades, and museums that include his work in their permanent collections include New York's Museum of Modern Art, Metropolitan Museum of Art, and Whitney Museum of American Art, the National Gallery of Art in Washington, D.C., and the Museum of Fine Arts Houston.
Sheinkman lives and works in New York City.
Michael Waugh, Planned Parenthood #6, 2016
Screen print with hand coloring (of acrylic) on paper (Arches En Tout Cas)
17 x 27.5 inches (43.2 x 69.8 cm)
EV of 12
MW 16 24
Michael Waugh is known for intricate, representational drawings formed from minuscule handwritten words, a practice known as micrography. Waugh transcribes texts—such as government commissions and theoretical books about power and capitalism—into portraits and landscapes. To Waugh, the selection of texts and images and the relationship between the two are the conceptual heart of the work. “These are worlds made of words that draw upon a historical quest for knowledge and for political progress—a quest often at odds with social reality,” he explains. Waugh also explores these themes through mixed-media installations, performances, and videos, as in “The Wealth of Nations” project (2009-) for which he has staged (and documented) public readings from Adam Smith’s seminal economic text.
Michael Waugh was born in Cambridge, MA. He earned his graduate degree in painting from New York University in 2000; but he also has degrees in writing from Texas State University and history from the University of Texas. He has exhibited internationally for the last fifteen years and his work has been reviewed by the New York Times, Art in America and ARTNews. He is the recipient of awards from the New York Foundation for the Arts, The Marie Walsh Sharp Space Program and the Pollock-Krasner Foundation.
The artist lives and works in Brooklyn, NY.
Melanie Willhide, Untitled (the Jack Benny House #2), 2011
Archival pigment print
30 x 28 in (76.2 x 71.1 cm)
Edition 5 of 5
WILL 18 95
For nearly two decades, Melanie Willhide has challenged conventional notions of the photograph by blending analog and digital formats. Whether treating pixels like paint to emulate the choreography of a corrupted file, or creating artificial artifacts that play with the idea of photographic authenticity, or producing hallucinatory digital collages to conjure a history of envisaging women, Willhide's projects each claim that photographs can be absurd proxies for the real thing. Melanie Willhide's images explore the psychological and symbolic to achieve an effect almost supernatural.
Born in Connecticut in 1975, Willhide has an MFA in Photography from Yale University School of Art and a BFA from Rhode Island School of Design. She has exhibited throughout the United States for nearly two decades. Her work has been reviewed and featured in The New York Times, The Los Angeles Times, Blind Spot, Art in America and Modern Painters.
The artist lives and works in Brooklyn, NY.
John Zinsser, Rising Spirit, 2017
Oil and spray enamel on pre-primed canvas
18 x 12 inches (45.7 x 30.5 cm)
ZJ 17 212
Zinsser is known for bold physical color works that celebrate process and materiality. Archetypal geometric forms invite viewer associations to post-war American painting—abstract expressionism, minimalism and pop. Zinsser’s methods combine the visual DNA of modern masters without being dry, distanced, or overtly appopriational. Rather, they engage the adventure of their own physical making as a kind of dramatic performance.
John Zinsser was born in New York City in 1961 and studied art, art history and literature at Yale University. He co-founded Journal of Contemporary Art in 1987 and lectures at The New School. He has had over 40 solo shows in the U.S. and Europe, and is known in Europe for his association with monochrome painters of a previous generation. He was represented by Thomas Solomon’s Garage and his work is included in many notable public and private collections such as the Sammlung Goetz, Wadsworth Atheneum and Yale Art Gallery.
The artist lives and works in Brooklyn, NY.
Floris Neusüss, ULO (Unidentifiable Lying Object), Kassel, 1999
Gelatin silver photogram
11.8 x 9.8 inches (30 x 25 cm); mounted (50 x 40 cm)
NF 15 57
A pioneer of experimental photography, German artist Floris Neusüss devoted his entire career to the rigorous study, practice and teaching of the photogram technique. He is recognized as part of the photogram vanguard alongside predecessors Man Ray and Lázló Maholy-Nagy.
The artist’s iconic nudograms from the 1960s and 70s were made by exposing the human figure directly onto photographic paper. The proximity of the model to the paper influenced the sharpness of the contours and the amount of light dispensed affected the intensity of the tones. Movement—either accidental or intentional—dissolved and fractured the silhouettes into transcendent forms removed from any sense of time or place. Despite the subject’s absence, a palpable intimacy—or, presence—is felt. Such is the magic of a photogram.
A similar phenomena transpired when Neusüss applied the photogram technique to portraiture. Using friend and frequent collaborator, Robert Heinecken as the subject, the artist exposed Heinecken’s full body on profile. The work does not reveal any surface details and yet the expressive body language and attitude is uncannily recognizable. As Neusüss said, “If you knew Robert Heinecken, when you look at his portrait photogram, you automatically feel close to him.”
More recent work includes Nachtbilder—or, night pictures--produced by placing photo paper emulsion side down into a woodland or garden at night. At times created during a thunderstorm, lightning would expose the paper from all directions, catching gusts of impressions of flora, fauna and figures. A sense of movement and chaos transformed the familiar into something much more arresting; an aesthetic echoed throughout Neusüss’ career.
Floris Neusüss was born in 1937 in Remscheid Lennep, Germany and died in Kassel, Germany in 2020. He has exhibited internationally for over fifty years and his work is included in numerous public collections including the Museum of Modern Art, New York; the J. Paul Getty Museum, Los Angeles; the Los Angeles County Museum of Art; the Victoria and Albert Museum, London; the Art Institute of Chicago and the Museum of Fine Arts, Houston. There are several monographs published on his work and he was a subject of an expansive illustrated volume produced in conjunction with the 2010-11 Victoria and Albert exhibition on the practice of five camera-less photographers. He was an influential teacher in Germany and retired as Professor of Experimental Photography at the University of Kassel, a post he had held since 1971.
Joni Sternbach, 10.02.08 #3, Kathy (Gidget), (Malibu, CA), 2010
8 x 10 inches (20.3 x 25.4 cm)
JON 16 53
Joni Sternbach makes unique tintype portraits of surfers in her ongoing series—Surfland. A tinype is a wet plate process that dates back to the 1850s. A plate of iron is coated with dark bitumen, sensitized with a silver salt solution and exposed in a large-format camera. It’s a one-of-a-kind, nearly instant photograph—in effect, a Polaroid. Sternbach develops the image right there on the sands of Australia, England, France and both coasts of the United States. The hand-poured technique drenches the work in tactile details, rich tones and a weathered nostalgia. Echoing traditions of anthropological photography, the work is a celebration and chronicle of modern surf culture.
Sternbach is a native New Yorker. She has a BFA in Photography from the School of Visual Arts and an MA from New York University/International Center of Photography. Her work is included in many public collections, with the most recent acquisition from the National Portrait Gallery in London, The Nelson-Atkins Museum in Kansas City and Peabody Essex Museum in Salem, MA. She is the recipient of several grants including the Clarence John Laughlin award and NYFA. Her new monograph, Surf Site Tin Type was published by Damiani Editore in March 2015.
The artist lives and works in New York City.
Von Lintel Gallery
1206 Maple Ave #212
Los Angeles, CA 90015
Wednesday - Saturday
from 12am until 6pm
The gallery is temporarily
closed due to Coronavirus.