Scanning Department Highlights

New york based artist Meg Hitch­cock cre­ates stun­ning text based draw­ings uti­liz­ing let­ters taken from Holy books that are recon­structed to pro­duce dis­parate sacred writ­ings.  She recently scanned one of her pieces, “Milk and Honey”, and posted some won­der­ful feed­back on her blog:

I got this piece scanned last week at Lau­mont Labs in Man­hat­tan. They have the only large-scale scan­ner in the city, and WOW is it amaz­ing. The detail it’s able to cap­ture is so high that if the piece is printed on high qual­ity paper, the visual effect looks exactly like the orig­i­nal. Not that I’m plan­ning to make prints of my texts at this time, but it’s nice to have the option in the future. I’m really happy to have found Lau­mont, as they’re great to work with.

I’ve writ­ten about this piece before, so I won’t go into it too much. It’s called ‘Milk and Honey’, and I cut the let­ters from the Bha­gavad Gita to cre­ate ‘Michael Row the Boat Ashore’. And now I’m here to tell you that Michael, he finally made it to the other side, where he found milk, honey, and Lau­mont Labs wait­ing for him with open arms and a world-class scanner.

Hal­leluia!

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Sylvia Plachy at the South Street Seaport Museum

Check out WIDELY DIFFERENT, an exhibit of New York City panora­mas by Sylvia Plachy and Jeff Chien-Hsing Liao cur­rently on view at the newly remod­eled South Street Sea­port Museum.  We were delighted to work with Plachy to pro­duce the black and white sil­ver halide fiber prints and color C-prints included in the show in addi­tion to scan­ning, mount­ing and framing.

Last Thurs­day the Museum of the City of New York reopened the South Street Sea­port Museum after a nearly year­long ren­o­va­tion.  Here’s a recent New York Times arti­cle about the museum and the renovation.

Con­grat­u­la­tions to Sylvia, to Jeff and to the South Street Sea­port Museum.

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Joel Sternfeld’s “First Pictures”

This Thurs­day Luhring Augus­tine presents First Pic­tures, an exhi­bi­tion of Joel Sternfeld’s early color pho­tographs.  Four dis­tinct bod­ies of work made between 1971 and 1980, the major­ity of which have never before been pub­lished or exhib­ited, demon­strate the con­cep­tual and for­mal strate­gies fun­da­men­tal to the artist’s prac­tice over the ensu­ing four decades.  The entire work has been com­piled in a book of same title recently pub­lished by Steidl that includes an excel­lent essay by Jes­sica May.  Check­out Geroen Wet­zel and Jorg Adolph’s 2010 doc­u­men­tary, How to Make a Book with Steidl, which fea­tures an appear­ance by Sternfeld.

We are proud of our long last­ing col­lab­o­ra­tive rela­tion­ship with Joel Stern­feld and are pleased to have con­tributed to all aspects of the pro­duc­tion of these series. Our con­grat­u­la­tions to the artist !

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Cynthia Karalla at Art Miami and featured in AS IF Magazine

 

Edel­man Arts returns to Art Miami with a provoca­tive exhibit explor­ing con­tem­po­rary depic­tions of St. Sebas­t­ian.  We were pleased to hear that Cyn­thia Kar­alla’s “St. Sebas­t­ian from the Human­ity Series,” imaged and printed by Lau­mont Stu­dio, would be included in the show.  Here is a floor plan and a com­plete list of exhibitors at the fair, which runs from Novem­ber 30th to Decem­ber 4th.

We have also heard that Karalla’s new project, FAT LANDS, will be fea­tured in AS IF Mag­a­zine, a new pub­li­ca­tion from pho­tog­ra­pher Tati­jana Shoan.  The unveil­ing will take place on Thurs­day, Decem­ber 1st along­side the open­ing of Art Basel in Miami.

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Alex Webb’s “The Suffering of Light” at Aperture and Stephen Bulger Gallery

Stephen Bul­ger Gallery in Toronto presents “The Suf­fer­ing of Light,” a solo exhi­bi­tion by pho­tog­ra­pher Alex Webb, open­ing Thurs­day, Decem­ber 1st.  Lau­mont Stu­dio was pleased to have pro­duced the scans and C-Prints for this exhibit.  The fol­low­ing Thurs­day, Decem­ber 8th, in tan­dem with the show in Toronto, Aper­ture Gallery will launch the New York exhibit to accom­pany the release of Webb’s new book of the same title, pub­lished by Aper­ture, May 2011.

From the Stephen Bul­ger Gallery press release:

The Suf­fer­ing of Light” is pre­sented in con­junc­tion with the APERTURE release of the mono­graph with the same name. This exhi­bi­tion gath­ers some of Webb’s most iconic images, taken in the far cor­ners of the earth, and chron­i­cles his acute reflec­tions of daily life with his remark­able sense of colour and composition.

Rec­og­nized as a pio­neer of Amer­i­can colour pho­tog­ra­phy since the 1970s, Webb has con­sis­tently cre­ated pho­tographs char­ac­ter­ized by intense colour and light. His work, with its richly lay­ered and com­plex com­po­si­tion, touches on mul­ti­ple gen­res, includ­ing street pho­tog­ra­phy, pho­to­jour­nal­ism, and fine art, but as Webb claims, “to me it all is pho­tog­ra­phy. You have to go out and explore the world with a cam­era.” Webb’s abil­ity to dis­till ges­ture, colour, and con­trast­ing cul­tural ten­sions into sin­gle, beguil­ing frames results in evoca­tive images that con­vey a sense of enigma, irony, and humour. Fea­tur­ing key works along­side pre­vi­ously unpub­lished pho­tographs, “The Suf­fer­ing of Light” pro­vides the most thor­ough exam­i­na­tion to date of this mod­ern master’s pro­lific, thirty-year career.

Alex Webb (b. San Fran­cisco , 1952) became inter­ested in pho­tog­ra­phy dur­ing his high school years and attended the Ape­iron Work­shops in Miller­ton , New York , in 1972. He majored in his­tory and lit­er­a­ture at Har­vard Uni­ver­sity , at the same time study­ing pho­tog­ra­phy at the Car­pen­ter Cen­ter for the Visual Arts. In 1974, he began work­ing as a pro­fes­sional pho­to­jour­nal­ist and he joined Mag­num Pho­tos as an asso­ciate mem­ber in 1976.

Dur­ing the mid-1970s, Webb pho­tographed in the Amer­i­can south, doc­u­ment­ing small-town life in black and white. He also began work­ing in the Caribbean and Mex­ico . In 1978 he started to pho­to­graph in colour, as he has con­tin­ued to do. He has pub­lished nine pho­tog­ra­phy books, includ­ing Hot Light/Half-Made Worlds: Pho­tographs from the Trop­ics, Under A Grudg­ing Sun, Cross­ings, Istan­bul: City of a Hun­dred Names, Vio­let Isle: A Duet of Pho­tographs of Cuba (with Rebecca Nor­ris Webb), and, most recently, The Suf­fer­ing of Light: Thirty Years of Photographs.

Webb received a New York Foun­da­tion of the Arts Grant in 1986, a National Endow­ment for the Arts Fel­low­ship in 1990, a Has­sel­blad Foun­da­tion Grant in 1998 and a Guggen­heim Fel­low­ship in 2007. He won the Leopold Godowsky Color Pho­tog­ra­phy Award in 1988, the Leica Medal of Excel­lence in 2000 and the David Octavius Hill Award in 2002. His pho­tographs have been the sub­ject of arti­cles in Art in Amer­ica and Mod­ern Pho­tog­ra­phy. He has exhib­ited widely in the United States and Europe, in muse­ums includ­ing the Walker Art Cen­ter, the Museum of Pho­to­graphic Arts, the Inter­na­tional Cen­ter of Pho­tog­ra­phy, the High Museum of Art, the Museum of Con­tem­po­rary Art, San Diego, and the Whit­ney Museum of Amer­i­can Art, includ­ing a cur­rent show at the Museum of Fine Arts, Boston, “Vio­let Isle” (with Rebecca Nor­ris Webb). Webb, a mem­ber of Mag­num Pho­tos since 1976, lives in New York City with pho­tog­ra­pher Rebecca Nor­ris Webb.

Quote: “I only know how to approach a place by walk­ing. For what does a street pho­tog­ra­pher do but walk and watch and wait and talk, and then watch and wait some more, try­ing to remain con­fi­dent that the unex­pected, the unknown, or the secret heart of the known awaits just around the corner.”

The show at Stephen Bul­ger Gallery will run until Jan­u­ary 14th.  Aper­ture Gallery will close their show on Jan­u­ary 19th.

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David L. Nicholas’s “Night Vision II — An Expanded View” at Artsee

Art­see Eye­wear at Gold­man Sachs presents Night Vision II — An Expanded View, David L. Nicholas’s solo exhi­bi­tion of large-scale and panoramic pho­tographs of urban spaces.  Lau­mont is pleased to have been involved in the pro­duc­tion for this show includ­ing print­ing and mounting.

From the press release:

Build­ing on his iconic views of the urban envi­ron­ment Mr. Nicholas has expanded his vision to include addi­tional world sites and panoramic views.  Panoramic views, where more than the indi­vid­ual full fame image does, incor­po­rate a nar­ra­tive of time and move­ment– an expan­sive view.

His work is for­mal and strongly graphic. Uti­liz­ing color, depth of field, and often per­spec­tive he con­tin­ues to chal­lenge our senses and stim­u­late our imagination.

Mr. Nicholas has been involved through­out his career in many facets of pho­tog­ra­phy and this is his sec­ond one-man show at Artsee.

 

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Richard Mosse, Infa, at Jack Shainman Gallery

Richard Mosse’s solo show, Infra, opens Thurs­day, Novem­ber 17, 6-8pm at Jack Shain­man Gallery in Chelsea.  Lau­mont Stu­dio is pleased to have been involved in the pro­duc­tion for this show includ­ing scan­ning, mount­ing, fram­ing and printing.

From the gallery’s press release:

They say
that Napoleon
was colour­blind
& blood for him
as green as
grass.
– from Unre­counted by WG Sebald
For cen­turies, the Congo has com­pelled and defied the West­ern imag­i­na­tion. Richard Mosse brings to this sub­ject the use of a dis­con­tin­ued mil­i­tary sur­veil­lance tech­nol­ogy, a type of color infrared film called Kodak Aerochrome. Orig­i­nally devel­oped for cam­ou­flage detec­tion, this aer­ial recon­nais­sance film reg­is­ters an invis­i­ble spec­trum of infrared light, ren­der­ing the green land­scape in vivid hues of laven­der, crim­son, and hot pink. Infrared film also found civil­ian uses among car­tog­ra­phers, agron­o­mists, hydrol­o­gists, and archae­ol­o­gists, to reveal sub­tle changes in the land­scape. In the late 1960s, the medium was appro­pri­ated in the cover art of albums by rock musi­cians like Jimi Hen­drix or the Grate­ful Dead, trick­ling into the pop­u­lar imag­i­na­tion as the palette of psy­che­delic (from the Greek for “soul-manifesting”) expe­ri­ence, even­tu­ally accu­mu­lat­ing a kitsch aesthetic. 

On his jour­neys in east­ern Congo, Mosse pho­tographed rebel groups of con­stantly switch­ing alle­giances, fight­ing nomad­i­cally in a jun­gle war zone plagued by fre­quent ambushes, mas­sacres, and sys­tem­atic sex­ual vio­lence. These tragic nar­ra­tives urgently need telling but can­not be eas­ily described. Like Joseph Con­rad a cen­tury before him, Mosse dis­cov­ered a dis­ori­ent­ing and inef­fa­ble con­flict sit­u­a­tion, so tren­chantly real that it verges on the abstract, at the lim­its of description.

In his extra­or­di­nary series of essays on Africa, The Shadow of the Sun, Ryszard Kapuś­ciński reminds us that “The rich­ness of every Euro­pean lan­guage is a rich­ness in abil­ity to describe its own cul­ture, rep­re­sent its own world. When it ven­tures to do the same for another cul­ture, how­ever, it betrays its lim­i­ta­tions, under­de­vel­op­ment, seman­tic weak­ness.” Infra offers a rad­i­cal rethink­ing of how to depict a con­flict as com­plex and intractable as that of the ongo­ing war in the Congo. The results offer a fevered infla­tion of the tra­di­tional reportage doc­u­ment, under­lin­ing the ten­sion between art, fic­tion, and photojournalism. Infra ini­ti­ates a dia­logue with pho­tog­ra­phy that begins as an intox­i­cat­ing med­i­ta­tion on a bro­ken doc­u­men­tary genre, but ends as a haunt­ing elegy for a vividly beau­ti­ful land touched by unspeak­able tragedy.

Richard Mosse (born 1980, Ire­land) is a recip­i­ent of the John Simon Guggen­heim Memo­r­ial Fel­low­ship 2011, with a gen­er­ous sup­ple­men­tal stipend from the Leon Levy Foun­da­tion. Mosse, cur­rently based in New York, earned an MFA in Pho­tog­ra­phy from Yale School of Art in 2008 and a Post­grad­u­ate Diploma in Fine Art from Gold­smiths, Lon­don, in 2005. He will have solo exhi­bi­tions at the Weath­er­spoon Art Museum, North Car­olina, and the Savan­nah Col­lege of Art and Design, Hong Kong, in Jan­u­ary, 2012. Infra was included in Dublin Con­tem­po­rary 2011 and will be shown in solo exhi­bi­tions at Open Eye, Liv­er­pool and Belfast Exposed in 2012. Mosse has exhib­ited work at Tate Mod­ern, Lon­don, the Akademie der Kün­ste, Berlin, Kun­sthalle Munich, among oth­ers. Mosse’s pub­lic col­lec­tions include the Kem­per Museum of Con­tem­po­rary Art, Kansas City, the Mar­tin Z. Mar­gulies Col­lec­tion, Miami, the Musée de l’Élysée, Lau­sanne, the Museum of Con­tem­po­rary Art, Chicago, and the Nel­son Atkins Museum, Kansas City. In 2012, Mosse will begin a res­i­dency at Kün­stler­haus Bethanien in Berlin.

Aper­ture Foun­da­tion and Pulitzer Cen­ter on Cri­sis Report­ing are pub­lish­ing a mono­graph of Richard Mosse’s Infra, with an intro­duc­tion by Adam Hochschild, which will be avail­able to view at the gallery for the dura­tion of the exhibition.

Gallery hours are Tues­day through Sat­ur­day from 10 am to 6 pm. For addi­tional infor­ma­tion and pho­to­graphic mate­r­ial please con­tact Elis­a­beth Sann at elisabeth@jackshainman.com.

The exhi­bi­tion,  located on 513 West 20th Street,  runs through Decem­ber 22.
Here is a recent arti­cle on Mr. Mosse’s  work in the New Yorker.
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Boo Riston at BravinLee

Boo Rit­son’s solo show, All Aboard, opens tonight at Bravin­Lee in Chelsea.  Lau­mont Stu­dio is pleased to have been involved in the pro­duc­tion for this show includ­ing mount­ing, fram­ing and printing.

From the gallery’s press release:

Defy­ing sim­ple cat­e­go­riza­tion, Boo Ritson’s work strad­dles the realms of paint­ing, sculp­ture, per­for­mance and pho­tog­ra­phy.  Rit­son con­ceives a char­ac­ter and cos­tumes the model/sitter.  She then paints directly on the sitter’s exposed skin and cos­tume before doc­u­ment­ing the result photographically.

This show includes two works, Prairie View and Bear Creek, part of a new thread of work in which Rit­son uses the pop­u­lar Lookie-loo motif, in which a sit­ter places his head in a hole cut atop a painted fig­ure scene backdrop.

In these two new pieces, Boo Rit­son writes, “the scenic back­grounds and the odd visual col­li­sions of every­day life are man­i­fested in punc­tured paint­ings. Heads pop up through the can­vas and are cov­ered in paint, their activ­i­ties pop­u­lat­ing the land­scape with the pos­si­bly sin­is­ter nar­ra­tives that can occur in the mind of the dis­tance trav­eler idling away a long journey.

The lone female in an unfa­mil­iar land­scape col­lides with the desire to expe­ri­ence hedo­nis­tic free­doms: the dip in the lake becomes an atmos­pheric mon­tage of all the films she has seen, and her mind places a crea­ture on the bank, its inten­tions a fig­ment of her over-active imagination.

Boo Rit­son lives and works in Lon­don and received her MA in sculp­ture from the Royal Col­lege of Art. Her work has appeared on the cov­ers of Art World her last exhi­bi­tion at Bravin­Lee was reviewed in Art in Amer­ica, and an inter­view appears in the cur­rent issue of Garage Magazine.

Here is the recent inter­view with Boo Ris­ton and Becky Poost­chi in Garage Mag­a­zine, Winter/Fall 2011.

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Jack Webb “Showing Off in Private” at No.10 Gallery

No.10 Gallery presents Jack Webb’s solo show, Show­ing Off in Pri­vate, open­ing this Thurs­day, Octo­ber 20th and run­ning through Novem­ber 28th.  Dash­wood Books will host a sign­ing at the open­ing recep­tion for Webb’s new book, Jack Webb Sus­pects His Par­ents.  Lau­mont Stu­dio is proud to have pro­duced scans and dig­i­tal Cibachrome prints for the exhibition.

From the press release:

Jack Webb wanted to pho­to­graph his par­ents hav­ing sex, but knew they’d never agree.  So the pho­tographs in the show are not of Jack’s par­ents.  They are of cou­ples who responded to a small ad, placed by Jack: ‘Pro­fes­sional pho­tog­ra­pher seeks gen­uine cou­ples for art-based project around sex and sex­u­al­ity.’  He got lots of replies, but it took a while to find the right peo­ple.  He didn’t want any­one who obvi­ously per­formed.  He wanted some­thing ‘qui­eter’.  The prob­lem was the sorts of peo­ple who would respond to his ad were very likely to be show-offs.  So Jack spend hours on the tele­phone, lis­ten­ing to people’s sex­ual fan­tasies, hear­ing about their habits, weed­ing out any­one who sounded too much like a per­former.  As he says, ‘If it’s real it prob­a­bly wouldn’t be pho­tographed.’  So he opted for the next best thing…” — Anoucha Grose

First com­mis­sioned in 1999 for the sec­ond issue of Richard­son Mag­a­zine, A2, it took Jack Webb nearly three years to find and shoot his sub­jects. Webb’s images live in a world almost as for­eign to us now as the idea of enter­ing a stranger’s bed­room. Shot on film, the images sit in a world of cel­lu­loid embed­ded with a spe­cific level of trust, but also a sense of dan­ger and the unknown between pho­tog­ra­pher and sub­ject, a rela­tion­ship that has changed so dras­ti­cally with the imme­di­acy of the dig­i­tal image. In addi­tion, Webb found his sub­jects before the height of the Inter­net changed the way we meet, inter­act and address peo­ple. By find­ing these cou­ples through an ad in the news­pa­per Webb’s sub­jects are freed from the instant-fame cul­ture the Inter­net has cre­ated. Instead, they exhibit a rare oppor­tu­nity in today’s world to find true inti­mate moments in a stranger’s world. No.10 is pleased to exhibit this beau­ti­ful and unique body of work over a decade after its nascence.

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Marta Minujín at Henrique Faria Fine Art

Hen­rique Faria Fine Art presents Marta Min­u­jín’s Pay­ing off the Argen­tine For­eign Debt with Corn, “the Latin Amer­i­can Gold”, 1985–2011 (El pago de la deuda externa argentina con maíz, “el oro latinoamericano”).

The six pho­tographs of a 12 shot photo-performance from 1985 depict the artist and Andy Warhol in his stu­dio, The Factory,  as they act out the nego­ti­a­tion of Argentina’s exter­nal debt using corn.

Lau­mont is proud to have printed, mounted and framed works for this series.

The exhi­bi­tion, at 35 East 67th St., 4th floor, will run through Novem­ber 5, 2011.

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