Summer Exposure

June 27 – August 2, 2013

Andy Goldsworthy

Andy Goldsworthy

White clay and seawater / poured over rock / turned grey / after high tide / remade with red clay / Martha's Vineyard / August 2005, 2005

Suite of four C-Prints

3 - 20 x 20 inches (50.8 x 50.8 cm) each; 1 - 10 x 10 inches (25.4 x 25.4 cm)

Petah Coyne

Petah Coyne

Untitled #1007 (Susan's Hem I, Bridal Series), 2001

Silver gelatin print

60 x 40 inches (152.4 x 101.6 cm)

Jane Hammond

Jane Hammond

Chai Wan Five, 2011

Selenium toned silver gelatin print

11 x 14 inches (27.9 x 35.6 cm)

Jane Hammond

Jane Hammond

Rally, 2011

Selenium toned silver gelatin print

11 x 14 inches (27.9 x 35.6 cm)

Alfredo Jaar

Alfredo Jaar

Double Vision, 2005

Lightbox with color transparency

49 x 97 x 5.25 inches (124.5 x 246.4 x 13.3 cm)

Alfredo Jaar

Alfredo Jaar

Field, Road, Cloud, 1997

Three color Cibachrome prints, three black and white Cibachrome prints

40 x 275 inches (101.6 x 698.5 cm) overall

Rosemary Laing

Rosemary Laing

burning Ayer #6, 2003

C type photograph

49.8 x 94.7 x 2.6 inches (126.5 x 240.5 x 6.5 cm)

Lin Tianmiao

Lin Tianmiao

Focus print 06-598A, 2007

Silk, cotton threads, foams, and print paper made by Singapore Tyler Print Institute

50 x 39.4 inches (127 x 100 cm)

Susan Meiselas

Susan Meiselas

10am, "Drop Site" near Interstate 5, Oceanside, CA, 1989

13 x 33 inches (33 x 83.8 cm)

Ana Mendieta

Ana Mendieta

Untitled (Burial Pyramid), 1974 (Estate print 2010)

Suite of five color photographs

4 - 16 x 20 inches (40.7 x 50.8 cm) each; 1 - 20 x 16 inches (40.7 x 50.8 cm)

Hélio Oiticica and Neville D’Almeida

Hélio Oiticica and Neville D’Almeida

Cosmococa 5: Hendrix - War CC5-11, 1973/2003

C-print mounted on aluminum

29.75 x 44.75 inches (75.6 x 113.7 cm)

Jaume Plensa

Jaume Plensa

Soul, 2011

Mixed media on paper

46.9 x 33.9 inches (119 x 86 cm)

Krzysztof Wodiczko

Krzysztof Wodiczko

Soldiers and Sailors Civil War Memorial Projection, 1986-87/2000

Public projection: Soldiers and Sailors Civil War Memorial, Boston, Massachusetts
C-print face-mounted on plexi

39.5 x 29.6 inches (97.8 x 72.1 cm)

Catherine Yass

Catherine Yass

Lighthouse (East), 2011

Photographic transparency, lightbox

50.8 x 40.75 x 6.5 inches (129 x 103.5 x 16.5 cm)

Press Release

Petah Coyne, Andy Goldsworthy, Jane Hammond, Alfredo Jaar, Rosemary Laing, Lin Tianmiao, Susan Meiselas, Ana Mendieta, Hélio Oiticica & Neville D’Almeida, Jaume Plensa, Krzysztof Wodiczko, Catherine Yass

In Summer Exposure, Galerie Lelong presents photographic works with a focus on artists of the gallery who examine the function of a photograph to document or to construct. The works explore themes of political and social injustice, identity, and contemporary conflicts between man and nature. The exhibition features straight and manipulated photographs, many of which have rarely been exhibited, in a range of formats including silver gelatin prints, C-prints, light boxes, mixed media, and collage. Several artists are not immediately associated with photography, yet the selected works mark an important facet of their oeuvres.

The exhibition was inspired by Alfredo Jaar’s current representation of Chile in the 55th Venice Biennale. As is true for many of the works in Summer Exposure, Jaar’s Double Vision (2005) is an exercise in seeing. Jaar examines the dichotomy between the authority of images and their inability to fully convey the events they depict. Double Vision portrays children playing on a beach, with signs of Angola’s oil wealth in the background. The mirrored effect of the image highlights the disparity between the extraordinary wealth of the elite and the lack of significant health and social programs for the country’s struggling citizens. Susan Meiselas’s compelling images also reveal a concern with complex socio-political issues, underscoring this theme that runs throughout the exhibition.

Several artists manipulate their photographs through complex processes that are not easily discerned. Jane Hammond’s seemingly vintage silver gelatin prints are actually contemporary collages, built narratives that convey the fluidity of an image’s meaning. Catherine Yass’s signature technique of layering a color transparency over a blue negative transparency results in richly colored, surreal images mounted in light boxes. Lighthouse (East) (2011) explores the relationship 

between the physical and psychological space of the structure, blurring the line between reality and illusion. Jaume Plensa and Lin Tianmiao create works on paper that begin with a photograph. Plensa alters portraits of individuals, diminishing references to gender, race, and age, and uses language to convey notions of the individual and humanity as distinctive yet universal. Lin’s works from her Focus print series (2007) begin with a soft-focus portrait, the surface of which she mars with holes and eruptions to create a ghostly, androgynous presence.

Many of the artists in the exhibition use photography as a means to document ephemeral moments. Petah Coyne’s abstract photographs capture blurred details of brides and debutantes in motion. Her striking black and white photographs create fragmented images that express fleeting beauty and the turbulence of contemporary life. Andy Goldsworthy and Rosemary Laing stage transitory interventions in the landscape. Goldsworthy’s serial photographs record the effects of time and the relationship between humans and their surroundings, conveying the beauty in loss and regeneration. Laing’s thematic series witness staged events in her native Australia to examine social and political issues of landscape and its use. Ana Mendieta’s images record the momentary action of her performance works, which investigate the body, landscape, and notions of permanence.

Hélio Oiticica and Neville D’Almeida’s large-format C-prints mounted on aluminum from the Cosmococa 5: Hendrix – War series (1973/2003) were originally conceived as projections in multi-sensorial, built environments designed as cultural critiques demanding viewers’ direct involvement and consideration. Krzysztof Wodiczko’s photographs document his socio-political activism in the form of public projections, giving a critical voice to marginalized individuals and communities and shedding light on cultural injustices.

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