STREET now open! Chicago | Los Angeles | Miami | New York | San Francisco | Santa Fe
Amsterdam | Berlin | Brussels | London | Paris | São Paulo | Toronto | China | India | Worldwide
 
New York

KLOMPCHING GALLERY

Exhibition Detail
VISUAL MORPHOLOGY
111 Front Street, Suite 206
Brooklyn, NY 11201
Main-recommend2-00efe575372c445bf9143ee2903db57d 1 person has recommended this exhibit


March 5th, 2009 - April 24th, 2009
Opening: 
March 5th, 2009 6:00 PM - 8:00 PM
 
After the Thunderstorm, Marc BaruthMarc Baruth, After the Thunderstorm,
2005, Lambda Print, 17.91" x 23.62"
© Marc Baruth
Evening, Marc BaruthMarc Baruth, Evening,
2005, Lambda Print, 19.68" x 22.83"
© Marc Baruth
Fountain, Matthew BaumMatthew Baum, Fountain,
2007, Digital C-Type print, 16" x 24"
© Matthew Baum
Business, Matthew BaumMatthew Baum, Business,
2007, Digital C-Type print, 16" x 24"
© Matthew Baum
The Invention of Drawing, Antony CrossfieldAntony Crossfield, The Invention of Drawing,
2008, Archival Lamda Print, 36.5” x 26.5”
© Antony Crossfield
Narcissus, Antony CrossfieldAntony Crossfield, Narcissus,
2008, Archival Lambda Print, 36.5" x 26.5"
© Antony Crossfield
Attentional Landscapes, #20, Odette EnglandOdette England, Attentional Landscapes, #20,
2007-08, Archival Digital C-Type Print, 90.3cm x 90.3cm
© Odette England
Attentional Landscapes, #7, Odette EnglandOdette England, Attentional Landscapes, #7,
2007-08, Archival Digital C-Type Print, 90.3cm x 90.3cm
© Odette England
Attentional Ladscapes, #11, Odette EnglandOdette England, Attentional Ladscapes, #11,
2007-08, Archival Digital C-Type Print, 90.3cm x 90.3cm
© Odette England
Bay Bridge View from Yerba Buena Island, San Francisco, Steve HansonSteve Hanson,
Bay Bridge View from Yerba Buena Island, San Francisco,
2008, Silver gelatin print, 20" x 24"
© Steve Hanson
FDR Drive Viewed from the Manhattan Bridge, New York, Steve HansonSteve Hanson,
FDR Drive Viewed from the Manhattan Bridge, New York,
2008, Silver gelatin print , 20" x 24"
© Steve Hanson
Section Publicité, Musée d\'Art Moderne, Département de Aigles- Marcel Broodthaers, Doug KeyesDoug Keyes,
Section Publicité, Musée d'Art Moderne, Département de Aigles- Marcel Broodthaers,
2001, Dye coupler print, 19" x 27"
© Doug Keyes
Chuck Close, Doug KeyesDoug Keyes, Chuck Close,
1999, Dye coupler print, 17.25" x 23.5"
© Doug Keyes
Famous Modern Artists, Doug KeyesDoug Keyes, Famous Modern Artists,
2000, Dye coupler print, 17.5" x 23.9"
© Doug Keyes
The Voyager Flights to Jupiter and Saturn, Doug KeyesDoug Keyes,
The Voyager Flights to Jupiter and Saturn,
1998, Dye coupler print, 17.25" x 24"
© Doug Keyes
Thought, Collective (Somewhere, Israel), Curtis MannCurtis Mann,
Thought, Collective (Somewhere, Israel),
2006, C-Type Print, 18" x 19.5"
© Curtis Mann
Gathering, Planar (Somewhere, Israel), Curtis MannCurtis Mann,
Gathering, Planar (Somewhere, Israel),
2007, C-Type Print, 23" x 27"
© Curtis Mann
Rebuild (Somewhere, Israel), Curtis MannCurtis Mann, Rebuild (Somewhere, Israel),
2007, C-Type Print, 23" x 27"
© Curtis Mann
Oil Can Residence, David TrautrimasDavid Trautrimas, Oil Can Residence,
2008, Digital print, 15" x 16.5"
© David Trautrimas
Sprinkler House, David TrautrimasDavid Trautrimas, Sprinkler House,
2008, Digital print, 15" x 16.5"
© David Trautrimas
< || >
> ARTISTS
> QUICK FACTS
WEBSITE:  
http://www.klompching.com
NEIGHBORHOOD:  
brooklyn
EMAIL:  
info@klompching.com
PHONE:  
+1 212 796 2070
OPEN HOURS:  
Gallery Hours: Wed — Sat, 11am — 6pm Extended Hours: 1st Thursdays, 11am — 8:30pm Private appointments available upon request
TAGS:  
photography, morphology, klompching, Keyes, Crossfield, Trautrimas, Baruth, England, Hanson, Baum, Mann
> DESCRIPTION

KLOMPCHING GALLERY is pleased to announce Visual Morphology, a group exhibition of fine art photographs by contemporary photographers from Australia, Canada, Germany, Britain and the United States.

Visual Morphology turns the ubiquity of the photograph on its head. Collectively, the artists remind us of the ‘act of looking’, each engaging the viewer with various tropes within photography that urge us to scrutinize what we see. Time, memory, visual perception, assemblage and artifact, are each addressed across a range of creative photographic methodologies and conceptual frameworks.

In the work of Marc Baruth, contemporary figures are decontextualized within fictional, digitally-constructed landscapes. Based upon the paintings of Peter Paul Rubens, Baruth’s topography is a wonderfully peculiar play on man’s relationship with nature. David Trautrimas, too, fabricates environments. In his case, he positions familiar objects into surreal urbanscapes, drawing upon both function and scale.

This penchant by contemporary photographers, for working with new technologies in expanding the lexicon of the photographic medium, is further evidenced in the work of Antony Crossfield. He presents the viewer with ambiguous, fluid bodies, bringing attention to the notion that self-identity is unstable and permeable. Whereas Baruth, Trautrimas and Crossfield, consciously maintain the visibility of their images as fabricated, Matthew Baum’s imagery is altogether quieter. He contributes to the tradition of street photography, capturing fleeting moments of people in public spaces; but re-presents them as a kind of hyper-reality.

The optical phenomena of the Ishihara Color Test, is effectively applied by Odette England to manipulate the intended meaning and function of family photographs. The viewer’s ability to fill in negative space, both physical and psychological, is a concern that England shares with the artist Curtis Mann, who literally obliterates portions of found snapshots with the use of household bleach. Both artists reconfigure the context of the photograph, bringing attention to image, object and memory.

Doug Keyes also turns his attention to these concerns, by making multiple exposures of the pages of carefully selected books. This layering of imagery, results in a wonderful symphony of detail that isn’t quite there, sparking our imagination to complete the narrative. Keyes reveals what the eye can’t naturally see, as does Steve Hanson with his long exposures of rush hour traffic, in which the movement of cars are erased by time, revealing the solid architecture of roadways.


Copyright © 2006-2013 by ArtSlant, Inc. All images and content remain the © of their rightful owners.