Sculptures

For his newest series, artist Ion Zupcu follows previous bodies of work in which he photographed sheets of paper and painted wooden cubes. For “Sculptures,” Zupcu continues to employ the simplest of means, and here he manipulates paper sheets and colored backdrops to create small sculptural scenes that he shoots in natural studio light. However, the results are far from obvious.

In this body of work, Zupcu represents art images distilled to their most basic forms and shapes. Some of the “sculptures” are inspired by memories of real artworks, while others are completely imagined. The resulting photographs are spare and precise, though the creative process is not so straightforward. Responding to what he sees, hears, reads, and enjoys, the artist utilizes sketches to inform the entire process from the initial impression to the final print. Zupcu works with his hands both in front of and behind the camera, but ultimately feels “that the final image is fundamentally still life photography.”

Many of these new pieces take on a whimsical tone with the use of vivid color and titles that clue the viewer in to some of his inspirations. One work, simply titled “Cloud,” shows a rounded pink shape against a blue backdrop. Another nods to classical sculpture with an abstracted representation of the female form, titled after the mythological goddess Venus.

Screaming in the Streets, Exhibition Catalogue

Screaming in the Streets, Exhibition Catalogue

From ClampArt and Ward 5B (Softcover, 10 x 8 inches, 76 pages, 90 color illustrations). $40 + shipping.

Empire

From 2005-2013 Nix and Gerber worked meticulously on their series entitled “The City,” which largely pictured apocalyptic interiors. For their new work they have moved “outdoors” depicting what remains of extensive landscapes and cityscapes after mysterious, unexplained catastrophic events. They write:

Landscapes are more than a visual record of an environment. They also capture the emotional, sometimes spiritual, essence of a place. ‘Empire’ presents a world transformed by climate uncertainty and a shifting social order as it stumbles towards a new kind of frontier. These places are eerily beautiful but also unsettling in their stillness and silence. Long ago man entered the landscape and forced nature to his will. Once grand and emblematic of strength and prosperity, these landscapes now appear abused and in decay, and it is uncertain how they will continue to (d)evolve.

In order to create their disastrous scenarios, Nix and Gerber painstakingly construct intricate dioramas in their Brooklyn studio which are then carefully lighted and photographed. The obsessive process requires patience and precision and is particularly slow-going, with only a few artworks produced each year.

Deep in a Dream: New York City

September 28 – November 25, 2017

Opening reception:
Thursday, September 28, 2017
6:00 – 8:00 p.m.

ClampArt is pleased to announce “Michael Massaia | Deep in a Dream: New York City”—the artist’s first solo show with the gallery.

Sometime in his mid-20s, Michael Massaia began experiencing extreme bouts of insomnia. To fill the sleepless nights, the artist would travel into Manhattan to enjoy walks through the city without all of the chaos and cacophony. Carrying his personally retooled large-format cameras, Massaia started to shoot elegant, hushed photographs of Central Park devoid of people. Often preferring the early spring when the trees and bushes were just beginning to bloom, he would wait for the hour preceding dawn—looking for only a hint of the coming sun in the morning sky before the emergence of any harsh shadows.

Utilizing slow black-and-white film, Massaia meticulously prints and tones his large-scale analog photographs in his darkroom back in New Jersey, which has been customized to produce prints up to 3.5 x 4.5 feet. The impressively rich, detailed gelatin silver prints exhibit a breathtaking tonal scale due to a stain developer called Pyro (notorious for its toxicity).

Massaia continued his exploration of New York City in daylight hours shooting sleepers and sunbathers in Sheep Meadow. Massaia was attracted to the people he found in “perfect unassuming poses” who almost appear to be leaving their bodies. Entirely unaware of the artist and his camera, the subjects possess a profound sense of relief, as if they are completely releasing all tension in a city otherwise bustling with frenetic activity. Back in the darkroom, dramatically burning in the whole area surrounding the sleepers, the artist isolates the figures, making them seem as if they are suspended in air.

Michael Massaia is a fine art photographer and printmaker who has crafted an enviable body of work comprising fifteen portfolios by depicting ordinary and often overlooked subjects close at hand. Isolation and quietude are a constant in all of his work. He focuses primarily on large format, black-and-white film, utilizing a variety of highly modified proprietary analog and digital printing techniques. Massaia always works alone and is the sole craftsman from the instant the negative is exposed to the moment the final print is produced.

The solo show at ClampArt coincides with the release of the artist’s first monograph titled Scenes from a Childhood from Brilliant Press (Hardcover, 12.5 x 10.5 inches, 96 pages, 73 color illustrations, ISBN: 978-0-9973826-3-1), $75 + shipping.

“Art and Activism,” Forbes

From the introduction to Adam Lehrer’s interview with curator Greg Ellis on ClampArt’s exhibition “Screaming in the Streets: AIDS, Art, Activism” for Forbes:

The rise of the Alt-Right, white nationalism, neo-Fascism and Donald Trump have reinvigorated discussion about the importance of radical creativity and contemporary art in the context of activism and politics. We are once again learning the power of art as a tool of resistance, and laying witness to artists forming collectives and putting their politics on full display. We have perhaps not seen such a unified political movement in contemporary art since the response of artists to the AIDS crisis and especially the Reagan administration’s utter refusal to adequately respond to that crisis.

View the entire interview

Browse the exhibition “Screaming in the Streets: AIDS, Art, Activism” at ClampArt