Transforming Photography: Redefining the Material Nature of Photography

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Shanghai Planet, 2008 C Print, Museum Board And Wood 24 X 21 X 4 Inches © Isidro Blasco
Connected Jugs for White Room, 2003-5 Duratran Print 30 By 40 Inches © Joan Tanner
Khmer Face, #8, 2004 Photocollage, Acrylic, Pigments On Handmade Paper 72 X 35 Inches © Mary Heebner
Stereocollision , 2007 C Print, Cardstock, Text And Stereoviewer 3.5 By 7.5 Inches © Ethan Turpin
Blink, 2007 Dynamically Generated Algorithmic Visualization Variable © George Legrady
Corona, #2, 2007 Hand Brushed Silver Gelatin Print On Photographic Paper 20 X 24 Inches © Gerald Incandela
Transforming Photography: Redefining the Material Nature of Photography

2754 S. La Cienega Blvd.
Los Angeles, CA 90034
May 30th, 2009 - August 1st, 2009
Opening: May 30th, 2009 4:00 PM - 8:00 PM

culver city/west la
Tuesday through Saturday, 11am to 6pm, and by appt
mixed-media, photography, digital, video-art, conceptual


Edward Cella Art+Architecture (ECAA) announces the gallery’s relocation to the Miracle Mile in Los Angeles. Situated at 6018 Wilshire Blvd. across the street from the Los Angeles County Museum of Art and steps away from the proposed new A+D Architecture and Design Museum, the new 1900 square foot gallery is mounting its inaugural exhibition.

The gallery’s inaugural exhibition, Transforming Photography, presents an inclusive selection of works that redefine the material nature of photography. At a time when the boundaries between artistic medias and traditionally held expectations of the nature of photography are in flux; Transforming Photography suggests alternatives to the commonplace manipulations offered through digital processes. The exhibition will feature visceral and process based photographic works by Isidro Blasco, Ben Dean, Mary Heebner, Gerald Incandela, George Legardy, Joni Sternbach, Joan Tanner, Ethan Turpin and Thomas Zika.

The exhibition also features the Los Angeles debut of Spanish Born; New York - based Isidro Blasco who combines architecture, photography and sculptural installations to explore vision and perception. In a similar manner, Joan Tanner mounts collaged celluloid transparencies on hand made light boxes fabricated from found objects re-approariated by the artist combining both photographic and sculptural processes.

Using the physical gestures of drawing, Gerald Incandela uses the chemistry of photography to refine photographic images beyond the camera. His works are held by the Getty Museum, and this exhibition will represent his debut in Los Angeles as well. In contrast, George Legrady and Ben Dean utilize distinct digital computational strategies to create viable photograph like images which are synthetic, constructed works. Their work map new, advanced approaches to digital photography within the context of the exhibition.

Other artists reinvent historic photographic processes and archive materials. Joni Sternbach, a Brooklyn based artist who is currently the subject of a solo exhibition organized by Phillip Prodger at the Peabody Essex Museum of Art, uses the pre-civil-war period photographic process of tintype (or wet plate process) to document though portraiture contemporary surf communities on both the East and West coasts. Ethan Turpin mines the historic images of vintage stereocards to create new digital composites that challenge cultural and economic presuppositions. His work employees the hand-held antique viewing devices to create the dimensional photographic effects characteristic that made stereocards a salon sensation in the early portion of the 20th century. Lastly, the German photographer, Thomas Zika suggests the creative opportunities presented by “found” photography in his lush and sensual Bathers project.