From the Khaleej Times:
View the series “Eleven Years”
Browse all of Jen Davis’ work at ClampArt
Archives
Adrain Chesser’s The Return one of the best books of 2014
Image: Adrian Chesser, “Sage Field,” Lone Pine Ridge, Idaho, 2006-2012.
Adrain Chesser’s first monograph, The Return, has been listed on three end-of-year lists as a notable photography book!
PDN, FlakPhoto, and Photo-Eye have all named The Return as one of the best photo books released this year. Chesser was praised as being “sympathetic to his subjects, and shows them on their own terms with an eye for gorgeous light, telling gesture, and detail. . .” by PDN. And and Photo-Eye calls The Return “a fine addition to photographic study of the back-to-the-land lifestyle.”
View the publication, “The Return”
Browse all of Adrain Chesser’s work at ClampArt
Adrain Chesser | The Return
From Daylight Books (Hardcover, 11 x 9.25 inches, 120 pages). $15 + shipping.
Lori Nix | “These Unsettling Images Are Little,” ViralNova
From Laura Caseley’s article for ViralNova:
She isn’t the type of photographer to simply go out with a camera and capture the world. Instead, Nix builds her own worlds. Each pile of rubble, overturned car, and eerily-lit window was carefully placed by Nix herself. She uses model-building materials and creates small-scale dioramas for her photos. While she takes inspiration from her current home in New York City, she knows that street or studio photography simply isn’t her bag. “My strength lies in my ability to build and construct my world rather than seek out an existing world,” she says. By building the scenes, she’s in control of exactly the feeling she wants to portray.
Brian Finke | “What It’s Like to Be a U.S. Marshal,” Slate
From Jordan G. Teicher’s post for Slate:
The U.S. Marshals currently employ just 5,431 people nationwide, but they get a lot done: In 2013 the organization arrested more 110,000 fugitives, moved federal prisoners nearly 300,000 times, and cleared more than 134,000 warrants. Brian Finke witnessed some of that activity firsthand over the course of three years shadowing the country’s oldest law enforcement agency.
View the exhibition “U.S. Marshals”
Browse all of Brian Finke’s work at ClampArt
Manjari Sharma | “Timeless Allure of Darshan,” The Huffington Post
From The Huffington Post:
The gods and goddesses of Hindu mythology are often recreated as devotional drawings, paintings and sculptures. Sharma photographed exact replications of six holy figures, including Maa Laxmi, Lord Vishnu, Maa Durga, and Lord Shiva.
The painstaking progress, from casting to costume design to the final digital touches, bridges the space between art and spirituality and the present and the imagined.
View the series “Darshan”
Browse all of Manjari Sharma’s work at ClampArt
Jen Davis | “Photographer turns camera on herself,” Rappler
From Helen Rowe’s article for Rappler:
Davis began photographing herself in everyday situations, initially choosing images that were “safe and easy” such as hanging out her washing or having a meal with a friend.
“I wasn’t thinking about an audience and I knew I didn’t have to show them to anyone, so it didn’t inhibit me from taking pictures that were hard to look at,” she said.
But as the project went on she started to challenge herself to reveal more flesh with pictures of her trying to do up the waistband of her trousers or showing a close-up of her chin.
“I realised that I was looking at this private side of myself that I didn’t know, looking underneath this shield of how I projected myself to the world,” she said.
View the series “Eleven Years”
Browse all of Jen Davis’ work at ClampArt
Lori Nix | “Natural history museums: fact or fiction?,” ScienceLine
From Steph Yin’s article for ScienceLine:
Nix, a photographer, displayed whimsical shots of miniature dioramas-in-progress. With humor, her pieces highlight the mundane aspects behind the construction of such grand spectacles. One photo features an Arctic scene with caribou and wolves — majestic except for the snow machine parked in front of it. A shot of a room filled with taxidermied birds shows a bucket of Kentucky Fried Chicken sitting on the desk. In a pond diorama, half-assembled ducks are strewn about, a sign that sloppily reads “bird here?” tacked on some cattails.
Untitled
2008
Signed and dated, l.r. recto
Charcoal with red and white conté crayon on Rives BFK paper
30 x 19.5 inches
$1600.00
Untitled
2010
Signed, dated, and inscribed, l.l. recto
Charcoal with red and white conté crayon on Rives BFK paper
30 x 20.5 inches
Sold.
Untitled
2008
Signed and dated, l.l. recto
Two-sided drawing in charcoal with red and white conté crayon on Rives BFK paper
30 x 21.5 inches
$1600.00
Untitled
2008
Signed and dated, l.r. recto
Two-sided drawing in charcoal with red and white conté crayon on Rives BFK paper
30 x 21.5 inches
$1600.00
Untitled
2008
Signed and dated, recto
Two-sided drawing in charcoal with red and white conté crayon on Rives BFK paper
30 x 21.5 inches
Sold.
Marc Yankus | “Learn More About the Cover,” The Paris Review
From Dan Piepenbring’s article for The Paris Review:
Marc Yankus writes: “In ‘Stairs Building,’ I was drawn to the strange design of the rectangles off the street-side facade and the discreet doors tucked away toward the back. I spotted the building from a rooftop party I’d attended—its unusual shape drew me in, and I felt compelled to come back and photograph it.”
View the series “Buildings”
View all of Marc Yankus’ work at ClampArt
Orchestrating the Ordinary
January 8 – February 14, 2015
Artist’s reception:
Thursday, January 8, 2015
6.00 – 8.00 p.m.
ClampArt is pleased to announce “Adam Ekberg: Orchestrating the Ordinary,” the artist’s first solo show in New York City.
Adam Ekberg is an artist who creates constructed still life photographs exploring ephemeral occurrences. As described by Conveyor Magazine: “Ekberg locates his process in the crosshairs of photography and performance.” These seemingly simple images often transform mundane objects through poetic visual associations. Ekberg’s humble events may exist for mere moments, but often require elaborate planning and production outside the photographic frame. The artist has wryly discussed his private, staged happenings in oxymoronic terms, calling them “minor spectacles.”
The photographs do not address anything very literally in terms of subject matter, but rather broadly touch upon the artist’s daily life. The seemingly playful work builds upon itself slowly, and the artworks gain cohesion and a compelling gravity in the aggregate. Ekberg does not work quickly—instead he allows himself time for extended consideration and reflection producing just a handful of images per year.
Adam Ekberg’s other solo shows include exhibitions at De Soto Gallery, Los Angeles; Platform Gallery, Seattle; Thomas Robertello Gallery, Chicago; and Fotografiska Gallery, Stockholm, Sweden. He has been featured in group exhibitions in major cities such as San Francisco, Portland, Kansas City, and Cork, Ireland. His work is represented in the permanent collections of the Museum of Contemporary Photography and the Museum of Contemporary Art, both in Chicago.
Adrain Chesser | “Best Books 2014,” Photo-Eye
From Andy Adams’ post for Photo-Eye:
The back-to-the-land lifestyle has been heavily documented and “The Return” is a fine addition to photographic study of the topic. Chesser and White immerse themselves in a series of travels with a community of modern nomads and the result is a poetic meditation on the contemporary hunter-gatherer way of life. It’s impossible to imagine living like this but the book is a sound reminder that each of us is part of the broader narrative of environmental and human history. We’d be wise to listen to the basic principles that underscore its subjects’ desire to live like they do, off the grid, in harmony with nature.
A Disco Ball on the Mountain
2005
Signed and numbered, verso
Archival pigment print (Edition of 8)
30 x 40 inches
$14,300 + $650 mounting/framing
Brian Finke | “Goings on About Town,” The New Yorker
From Vince Aletti’s review for The New Yorker:
Finke’s pictures, taken all over the country, document both sides of the law, but, whether we’re looking at Baltimore, Las Vegas, or Houston, the mood remains the same: restrained and reportorial. Like the marshals themselves, Finke was collecting evidence, and his images of uniformed officers climbing a tenement fire escape or wading into a sea of kudzu are as matter-of-fact as his still life of a bundle of dynamite.
View a PDF of the original article
View the exhibition, “U.S. Marshals”
Browse all of Brian Finke’s work at ClampArt
Untitled
2018
Signed and dated, recto
Charcoal with red and white conté crayon on Rives BFK paper
22 x 15 inches
Sold.
Adam Ekberg
Adam Ekberg (b. 1975, Boston, MA) is an artist whose calculated performances intersect with photography’s documentary potential. Through means simple and complex, his interventions, when photographed, function as permanent reminders of fleetingness. Ekberg earned an MFA from The School of The Art Institute of Chicago.
His most recent solo exhibition was at George Eastman Museum. Other solo exhibition venues include CLAMP, New York; De Soto Gallery, Los Angeles; Platform Gallery, Seattle; Thomas Robertello Gallery, Chicago; and Fotografiska Gallery, Stockholm, Sweden.
Ekberg has been awarded residencies at Yaddo, Monson Arts, Playa, and Monhegan. He is the recipient of the Society for Photographic Education’s Imagemaker Award and the Tanne Foundation Award. His monograph The Life of Small Things was published in 2015.
His work is in the collections of the Museum of Contemporary Art, Chicago, Eastman Museum, the Museum of Contemporary Photography, and the Museum of Fine Arts, Houston, among others.