Catherine Edelman Gallery , Stand n° AM211

Pearl the Lunch Lady at Shady Grove Nursing Home, 2017 - Elizabeth Ernst

Elizabeth Ernst Pearl the Lunch Lady at Shady Grove Nursing Home, 2017

She Laughed, 2017 -  Pete Jacobs

Pete Jacobs She Laughed, 2017

Rothko Chapel, 2018 - Gregory Scott

Gregory Scott Rothko Chapel, 2018

Queen Mary, 2017 -  Alanna Airitam

Alanna Airitam Queen Mary, 2017

SL.2018.0222 Chicago, 2018 - Clarissa Bonet

Clarissa Bonet SL.2018.0222 Chicago, 2018

Yellow Tip Twist, 2017 -  Medina Dugger

Medina Dugger Yellow Tip Twist, 2017

Melanie, 2016 -  Endia Beal

Endia Beal Melanie, 2016

Chasing Birds, 2018 - Robert & Shana ParkeHarrison

Robert & Shana ParkeHarrison Chasing Birds, 2018

Class photo, 2014 -  Marina Black

Marina Black Class photo, 2014

Saint Lenox, 2017 -  Alanna Airitam

Alanna Airitam Saint Lenox, 2017

Waterfalls #6222, 2018 -  Michael Koerner

Michael Koerner Waterfalls #6222, 2018

Cyanomètre 2, 2017 -  Laurent Millet

Laurent Millet Cyanomètre 2, 2017

Cyanomètre 8, 2017 -  Laurent Millet

Laurent Millet Cyanomètre 8, 2017

Exhibiting Artists

Other Represented Artists

  • Alanna Airitam  (+)

    Biography : As a self-taught fine art photographer, Alanna Airitam (b. 1971, Queens, NY) creates portraits that help shift stagnant (and often negative) narratives about communities of color and other misrepresented and/or underrepresented people. Using photography as her delivery system, she offers the audience a look into a reality that is not based upon the limiting constraints of narrow media messaging about people of color but instead offers a glimpse into her belief about the necessity and beauty of diversity in culture. Airitam has recently participated in the San Diego Art Institute exhibition titled ABOUT-FACE. She was also the subject of a short film titled “Haarlem to Harlem” about The Golden Age and has been featured in numerous publications, podcasts and speaking events around the subject of representation of people of color in the arts.

    Detailed Description : The Golden Age is a tribute to black people. I got tired of living under the constant negative narratives and stereotypes assigned to black people and black culture and wanted to reclaim our majesty with work that showed the truth. And that truth is we are beautiful, we are powerful, and we belong. I created this body of work as a form of healing for myself. We are witnesses to the constant abuse of black lives. I decided to use my visual voice to change the messaging we receive about being black. If the media insists on depicting black people as ugly, I will show you beauty. If the government insists on a narrative that we don’t belong, I will show you how we have built this country from the ground up. If the arts cannot find room for our voices, I will build a stage and give the microphone to as many underrepresented voices that I can. We live in an increasingly volatile world. Tomorrow is not guaranteed. I’ve decided to use the rest of my life being a part of the solution in whatever way I can. And if The Golden Age has inspired or given hope to someone, then I feel I have lived a purposeful life.

    Artist's Objects:

    •  Alanna Airitam - Queen Mary, 2017 Queen Mary, 2017
    •  Alanna Airitam - Saint Lenox, 2017 Saint Lenox, 2017

  • Keliy Anderson-Staley

  • Tami Bahat

    Biography : Tami Bahat is a fine art photographer from Tel Aviv, Israel. Raised by a former dancer and a graphic artist, Bahat’s family resettled in Los Angeles when she was a child. Championed by parents who encouraged her artistic expression, Bahat experimented in various media, finding her voice as well as her place in the world. She left school at the age of fifteen and was given guidance by her father, who had taught at Bezalel Academy of Arts and Design in Jerusalem. He encouraged her independent study, through workshops and seminars of art history, photography, sculpture and design, further enhancing her creative vision. A series of family trips around the world exposed Bahat to humanity as a whole and the myriad ways that people live, providing her with a keen awareness of the beauty and loss that an earthly existence brings, an undertone in much of her work. Bahat’s fine art career began in earnest in 2010, when her photography was noticed by the editor of the U.K. publication, Nikon Owner Magazine. He was struck by her bold and imaginative approach and featured one of her portraits on the cover, along with an article detailing her as an artist. From this she participated in a series of photo events and speaking engagements, including Photo LA. Most recently, her work has been exhibited at photography events internationally, including Fotofever (Paris), AAF New York and Hong Kong, as well as the LA Art Show. Bahat was selected as a Critical Mass finalist in 2016 and invited to attend Review Santa Fe 2017. She currently lives and works in Los Angeles, CA.

  • Tom Baril

  • Endia Beal  (+)

    Biography : Endia Beal (b. 1985, Winston-Salem, NC) is a North Carolina based artist, educator and activist, who is internationally known for her photographic narratives and video testimonies that examine the personal, yet contemporary stories of minority women working within the corporate space. Beal currently serves as the Director of Diggs Gallery and Assistant Professor of Art at Winston-Salem State University. As a graduate of the University of North Carolina at Chapel Hill in 2008, Beal earned a dual bachelor’s degree in Art History and Studio Art. During her undergraduate studies, she attended the Studio Art Center International in Florence, Italy focusing on High Renaissance Art History and the romance languages of the Italian culture. Following graduation, Beal was one of four women nationally selected to participate in ArtTable, a program designed to promote women in the visual arts. Representing the Washington, D.C. district, she assisted in the curation of the Andy Warhol Exhibit at the Luther W. Brady Art Gallery of George Washington University. Beal used this experience as a platform to advocate for minority opportunities within the arts. She was instrumental in creating marketing campaigns that redefined the way minority communities interact with art. Her work experience includes, the Southeastern Center for Contemporary Art, the Connecticut Center for Arts and Technology, and The New York Times Magazine. In 2013, Beal graduated from Yale School of Art, with a Master of Fine Arts in Photography. While attending Yale, she created “Can I Touch It?” a body of work that explores the relationship of black women within the corporate space. Her work was fully developed during the artist-in-residence program at the Center for Photography at Woodstock. Beal aligns herself with artists such as Carrie Mae Weems and Lorna Simpson, who use stories as the vehicle to question conformity and gender norms. Beal is featured in several online editorials including The

    Artist's Objects:

    •  Endia Beal - Melanie, 2016 Melanie, 2016

  • Daniel Beltrá  (+)

    Biography : Born in Madrid, Spain, Daniel Beltrá is a photographer based in Seattle, Washington. His passion for conservation is evident in images of our environment that are evocatively poignant. The most striking large-scale photographs by Beltrá are images shot from the air. This perspective gives the viewer a wider context to the beauty and destruction he witnesses, as well as revealing a delicate sense of scale. After two months of photographing the Deepwater Horizon Gulf Oil Spill, he produced many visually arresting images of the man-made disaster. His SPILL exhibit premiered in August 2010 and has toured around the globe since then. Over the past two decades, Beltrá’s work has taken him to all seven continents, including several expeditions to the Brazilian Amazon, the Arctic, the Southern Oceans and the Patagonian ice fields. For his work on the Gulf Oil Spill, in 2011 he received the Wildlife Photographer of the Year Award , the Lucie Award for the International Photographer of the Year - Deeper Perspective, and was chosen as one of the six finalists for Critical Mass for Photolucida. In 2009, Beltrá received the prestigious Prince’s Rainforest Project award granted by Prince Charles. Other highlights include the BBVA Foundation award in 2013 and the inaugural “Global Vision Award” from the Pictures of the Year International in 2008. In 2007 and 2006 he received awards for his work in the Amazon from World Press Photo. Daniel’s work has been published by the most prominent international publications including The New Yorker, Time, Newsweek, The New York Times, Le Monde, and El Pais, amongst many others. Daniel Beltrá is a fellow and board member of the prestigious International League of Conservation Photographers.

    Detailed Description : The fragile state of our ecosystems is a continuous thread throughout my work. It is in nature’s beauty and complexity that I find my inspiration. My photographs show the vast scale of transformation our world is under from man-made stresses. To capture this, I have found it is often best to work from the air, which more easily allows for the juxtaposition of nature with the destruction wrought by unsustainable development. Aerial photography gives a unique perspective emphasizing that the Earth and its resources are finite. By taking viewers to remote locations where man and nature are at odds, I hope to instill a deeper appreciation for the precarious balance we are imposing on the planet.

    Artist's Documents:

  • Marina Black  (+)

    Biography : Themes central to Marina Black' work, whether in photography, drawing or writing, are mortality & anguish, beauty & abjectness of the human body, identity & memory. Most of her work may be categorized as ‘portraits’ but rather than representing an actual person, they represent a state of mind. She is interested in the emotional truth in people’s lives: what their existence like underneath the surface? She is intrigued by the idea that when words disappear the body’s presence continues to be felt through spacing, punctuation, and light. Black’s photography is about experimentation and the physical process of reworking the surface. She works in analogue, digital and camera-less technologies and likes the tactile qualities of prints, and dealing with fragments, that often take her to a new place. Marina Black originally studied History and Painting, then art has become her primary preoccupation. Black received W. Lawrence Heisey Graduate Award in Fine Arts for outstanding achievement in creative & scholarly work, as well as a number of Ontario Arts Council grants. She was a featured exhibitor of the CONTACT International Photography Festival. Her work has been published in Eyemazing Susan Vol.II, curated by Susan Zadeh; FOSSILS OF LIGHT + TIME, curated by Elizabeth Avedon, an editor of L’Oeil de la Photographie; Mercy project, curated by a photographer James Withlow Delano; and BURN, 1st edition, curated by a Magnum photographer David Alan Harvey. Black’s work has been shown in solo & group exhibitions worldwide and reviewed in numerous fine art publications. She maintains an active art practice both independently and collaboratively working with artists from different mediums. Her photographs are included in the public collection of Heritage Municipal Museum of Malaga, Spain; in Alliance Francaise in Canada; in IZOLYATSIA non-governmental arts foundation, Ukraine.

    Artist's Objects:

    •  Marina Black - Class photo, 2014 Class photo, 2014

  • Julie Blackmon

  • Clarissa Bonet  (+)

    Biography : Clarissa Bonet lives and works in Chicago. Her work explores aspects of the urban space in both a physical and psychological context. She received her M.F.A. in photography from Columbia College Chicago in 2012, and her B.S. in Photography from the University of Central Florida. Interested in the physical space of the city and its emotional and psychological impact on the body, she uses the camera to transform the physical space into a psychological one, providing a personal interpretation of the urban landscape. Her work has been exhibited nationally, internationally, and resides in the collections of The Museum of Contemporary Photography’s MPP collection, The South East Museum of Photography, and The Haggerty Museum. Most recently she received the Chicago Individual Artist Grant and was curated into a group show at Aperture Foundation Gallery.

    Detailed Description : Building facades melt into darkness, their architectural details vanish, leaving only glowing windows in a sea of pitch black, like stars in the night sky. Stray Light is an ongoing photographic project aimed at imaging the nocturnal urban landscape. We have all but lost the night for our progress. In its place we have formed a new cosmos, one of vanished surfaces and flecks of light. Carefully constructing each image from multiple photographs, I reform the urban landscape in my own vision - one that seeks to reconstruct the heavens in its absence above the cityscape. Light emanating from each window references a world unknown, evoking a sense of mystery and awe. We no longer look up to the night’s sky with awe. Instead, that is how we look out at the city.

    Artist's Documents:

    Artist's Objects:

    • Clarissa Bonet - SL.2018.0222 Chicago, 2018 SL.2018.0222 Chicago, 2018

  • Kate Breakey  (+)

    Biography : The softness of a cardinals feather; the arc of a quails head; the stoic glance of a lifeless bird; the position of a wilted petal; the explosive color of a flower after it blooms. Extinction never looked more beautiful than through the eyes of Kate Breakey, whose large scale painted photographs of decaying flowers and lifeless birds pay homage to death and the remaining spirits that persist. Kate Breakey first conceived of this project in 1995 as a visiting lecturer at the University of Texas, when she tried to rescue a sparrow from the claws of a cat. As she said in a 1999 interview, "I realized I couldn't help the circumstances of its death, but I could memorialize it in a photograph." This realization gave birth to a project which has spanned more than nine years and can be seen in two books, Small Deaths (1997) and Flowers/Birds, her recent 2003 monograph. Like the early practitioners of nature morte or mementos mori paintings and photographs, Breakey embraces death as part of life, understanding their parallels. She is careful to present these small deaths as they appeared in reality, photographing her subjects and then painstakingly painting each feather and stamen its true natural color. Enlarging them to 32 x 32", Breakey paints back the colors death has absorbed, using oil paint and colored pencils. These larger-than-life portraits act as memorials to the small creatures found within the desert of Tucson (where she now lives) and in packages sent from friends all over the country. The resulting images are both startlingly beautiful and arresting, as small creatures and objects gain a heroic status. Through Breakey's art, we confront our own mortality and the fears or solace it elicits. As she stated in the afterword in Small Deaths: "I began to pick things up to keep and examine; I collected rocks, shells, feathers, birds' nests, nuts and pods, and with great reverence labeled, ordered, and displayed them in my little glass case. Visits with my father t

    Detailed Description : Photography is a necessary, inevitable component of her project. Certainly these images would reverberate much differently if they did not give us clues to their photographic basis. By the same token, they would echo in quite different fashion if they prioritized impartial observation over poetic engagement and interpretation. Of the media she blends in her work, Breakey says, "I begin with a photograph — a highly convincing illusion, a map of reality, a piece of evidence rendered in silver-grey tones. This I smear and coat with oil paint in many transparent layers — the layers of emotional subjectivity — lies, dreams, delusions, exaggerations and embellishments. If I am lucky the media combine, become enmeshed and inseparable, a curious marriage of what might be real and what is imagined or desired. They now collude to play with my perceptions about what truth is, my favourite game. I am a sensualist. I admit to my seduction by texture, colour, light and form. It is my deepest pleasure, my lovely addiction. Golden Stardust Statement The Element 'Gold, (Au) can only be made in the nuclear reactor of stars. It came to our planet when the Earth was first forming, as dust from catastrophic astronomical events —stars imploding and ejecting energy, as light and matter. The events that produce most of the gold in the universe are called 'Gamma Ray Bursts'. This occurs when a double star consisting of two neutron stars collapses under the force of gravity. Neutron stars are the cores of dead stars. They are only a few miles in diameter; so dense that every last bit of matter has been compressed down to the density of the atomic nucleus. The two dead, dark stars spin around each other for millions of years at millions of miles per hour, constantly pulling each other closer. Then finally they touch. At that moment more energy is released than the rest of the universe combined. Much of their mass collapses into a black hole and leaves our universe forever, but the re

  • Keith Carter

  • Bruce Davidson

  • Floriane de Lassée

  • Jess T. Dugan

  • Medina Dugger  (+)

    Biography : Medina Dugger (b. Corpus Christi, Texas) is an art photographer from California, based in Lagos, Nigeria since 2011. She studied at Spe.os Photographic Institute in Paris, France. Following four years as a project coordinator/co-curator for the African Artists’ Foundation and Lagos Photo Festival, Medina turned her full attention to photography. Through collage and photography, her work seeks to bypass the "go-to" bleak story line so commonly assigned to Nigeria and Africa, instead focusing on themes both contemporary and timeless including acculturation, ethnocentrism, cultural homogenization, globalization, identity, tradition, modernity, imagination, the female form and style. Her work challenges Western preconceptions and contributes to a dialogue on the representations of race and color in visual culture today. Her photographic work has been featured in CNN Africa, Dazed, Refinery 29, Design Indaba, Marie Claire SA, Colossal, Konbini, Infringe, Heaps Magazine, De Standaard, De Volkskrant and Ours Magazine, among others.

    Artist's Objects:

    •  Medina Dugger - Yellow Tip Twist, 2017 Yellow Tip Twist, 2017

  • Liat Elbling  (+)

    Biography : Liat Elbing was born in 1980. She graduated with Honors from the Department of Photography at the Minshar School of Art and has since been working full-time as an artist in Tel Aviv, Israel. A rising star in the fine art photography field, Liat's work has been shown in numerous exhibitions, among them the Haifa Museum, Ramat Gan Museum, Indie Gallery, Beztalel Academy of Art Gallery and most notably, at the Tel Aviv Museum of Art after receiving the prestigious Leon Constantiner Prize for an Israeli photographer.

    Detailed Description : In my art I employ different media and disciplines in the aim of introducing a discussion surrounding the values of photography and reflecting on its nature. Consequently, I find that I oftentimes choose to put down the camera in order to strengthen my familiarity with it, and step away from the photograph in order to better look at it. My works touch and generate discussions in different disciplines and delve into subjects that preoccupy me: architecture and its components, as well as the notion of "home", have a predominant presence in my works, at times in its mental and emotional connotations, and other times through the examination of its graphic boundaries, its manifestation in a new space. In a research project (Untitled) I conducted over a period of more than five years, I photographed houses throughout Israel, which I then digitally manipulated by removing and obscuring basic markers in them, such openings and windows. The photographed details were designed, processed, and refined until they looked partially like pseudo-architectural three-dimensional digital models, despite having a source anchored in reality. The structures underwent transformation and from the principle of "home", became monuments with questionable content and functional quality. Throughout my process I seek to explore the basic, familiar principles of photography – its ability to preserve, to mediate, and to create – but more importantly is looking at how these principles affect our perceptions, of how elements may be represented: studying the object which "has been there" through its representation, looking at a copy instead of the original, watching a performance instead of living the experience. Nowadays, to my feel, we have no need for photography that follows reality, quite the contrary – more often we strive to match reality to the photographic image, which gained the status of an ideal. The Interactions Series, as well as Proposals for Disorder are ongoing projects, whic

  • Elizabeth Ernst  (+)

    Biography : Elizabeth Ernst is a professor emeritus at Columbia College Chicago, where she taught for 25 years. She is the recipient of numerous Illinois Arts Council Fellowships in Photography, and two Faculty Development Grants from Columbia College. Her work has been exhibited nationally and was recently featured at the Mimi and Ian Rolland Art Center, University of Saint Francis, Fort Wayne, IN. Elizabeth Ernst lives and works in Chicago.

    Detailed Description : For more than 12 years, Elizabeth Ernst has created art about the people and entertainers affiliated with the G.E. Circus, a small family owned circus of aging performers. Over the years we’ve seen them pose for the camera in their fanciful outfits, relax backstage playing cards, apply makeup in their dressing room mirrors, and perform for enthusiastic audiences. Through intimate detailed images, we’ve witnessed their joys and fears, as the glory days of the travelling circus began to fade. In her third solo show at Catherine Edelman Gallery, Ernst takes us into the Shady Grove Nursing Home, located in Clarence, NY, where several of the G.E. Circus performers have retired. Elderly, and suffering from various circus related ailments, many of the G.E. regulars find themselves waiting out their days telling stories about the good old days, substituting facts when their memories fade. But this is no ordinary nursing home. Shady Grove is situated next to a beautiful lake, and has all of the amenities one can ever desire. Shady Grove introduces us to Jake, a retired chef in the cookhouse, who vows to keep smoking until he can no longer breathe; Lenny, one of the resident caregivers, who was a former trumpet player in the circus band and still serenades his friends in the evening; the clinic, where residents go to see Dr. Stanley, who has been taking care of them for more than 30 years; and Lois, a former showgirl dancer whose beauty is still apparent, even as her body slowly succumbs to old age. At Shady Grove, Elizabeth Ernst’s cast of characters share their remaining years with us, as they reflect, dream, fantasize and embellish their personal histories to staff and visitors. Through their eyes, we experience the difficulties and richness of circus life, as it continues to change and evolve.

    Artist's Objects:

    • Elizabeth Ernst - Pearl the Lunch Lady at Shady Grove Nursing Home, 2017 Pearl the Lunch Lady at Shady Grove Nursing Home, 2017

  • Dan Estabrook

  • Terry Evans

  • Lynn Geesaman

  • Omar Imam  (+)

    Biography : Omar Imam is an Amsterdam-based, Syrian photographer and filmmaker. In his photographic works, Imam uses irony and a conceptual approach to respond to the violent situation in Syria, often publishing his work under a pseudonym. After leaving Damascus in late 2012, he began making fictional short films that often focus on the Syrian refugee experience. Individually and with NGOs, he has produced films, photographic projects, and workshops for Syrian refugees in Lebanon.

    Detailed Description : Every day the news about Syria grows worse and worse, as the country finds itself in a civil war with no apparent end. As of today, 6.6 million people have been displaced and the number keeps rising. More than 400,000 people have been murdered, and hundreds of thousands more have been severely beaten, starved and detained. More than 17,000 people have died in Syrian prisons, as a result of torture or inhumane conditions, and another 13,000 sentenced to death. The horror in Syria is now entering its 6th year, as the government seems to be systematically annihilating any form of dissent. In 2012, Syrian activist turned photographer Omar Imam (b. 1979 Damascus) was kidnapped and tortured by a militia and only let go when a friend intervened. Soon after, Imam left Damascus with his parents and wife, settling in Beirut where he and his wife started a family. In 2016, he moved to Amsterdam, where he currently resides. His wife, children and parents are still waiting for paperwork that will allow them to join him. Live, Love, Refugee is Imam’s photographic response to the chaos erupting in his homeland. In refugee camps across Lebanon, Imam collaborated with Syrians to create photographs that talked about their reality, rather than presenting them as a simple statistic. As a refugee himself, Imam understands the loss and chaos of being displaced from ones home. But dreams cannot be eradicated -- dreams of escape, dreams of love, and dreams of terror. These dreams are what Imam set out to capture. The resulting images peel back the façade of flight, to reveal the spirit of those who persevere, despite losing everything that was familiar. These composed photographs challenge our perception of victimization, offering access into the heart and soul of humanity.

  • Pete Jacobs  (+)

    Biography : Pete Jacobs lives and works in Chicago. Born and raised in New Haven, CT, he attended Wesleyan University, graduating with a B.A. in English Literature. A published poet, he has received, among other awards, a National Endowment for the Arts Fellowship. In recent years, his drive to experiment and innovate has steered his interests towards the visual arts. As a photographic conceptual artist and a painter, he often portrays a vulnerable humanism. His multi-panel Tableaux series transforms the worldly—a tightrope walker, a laughing woman, a collection of prosthetic eyes, a text statement on unrequited love—into strange and illuminating melding of expressionistic color fields with ghostly underlying imagery. In these visual narratives, the viewer experiences both a sense of fracturing into parts and a coming together as a whole. As with chapters in an unfolding story, the eye lingers on the contents of one panel and then is drawn on to the next in a progression of hue gradients and the linking up of the image. A tension hovers in this attempt at unity never fully realized due to the spatial separation of the individual panels.

    Artist's Objects:

    •  Pete Jacobs - She Laughed, 2017 She Laughed, 2017

  • Michael Kenna  (+)

    Also represented by:

  • Michael Koerner  (+)

    Biography : Michael Koerner (Okinawa, Japan, 1963) is the oldest of five brothers. Due to genetic abnormalities and cancer, he is the only remaining living son. His brothers' fates (and potentially his own one day) can be linked to their mother, who was eleven years old on August 9, 1945 when the atomic bomb was dropped on Nagasaki. She lived in Sasebo, Japan, 45 miles away from the blast. The long-term effects of severe, acute exposure to gamma radiation led to his mother’s death at an early age, and all of his brothers. Koerner’s work explores his family history and genetics through small tintypes, using photographic chemistry to assimilate the bursts and biochemical fallout from the atom bomb. I am the oldest of five brothers. The next born son of my parents lived for only several days. The next son was stillborn and the next was miscarried late in the third trimester. The cause of each of these tragedies was traced to genetic abnormalities. My youngest brother, Richard, eventually succumbed to complications associated with two separate bouts of lymphatic cancer He lived until he was 32 years of age. There is a tremendous amount of pain and guilt associated with these horrendous endings. It is almost impossible to eliminate or even subdue the feelings that something could have been done differently or avoided. Unfortunately, these feelings are amplified in my family. My mother, Kimiko Takaki, was eleven years old on August 9th, 1945 and living in Sasebo, Japan, which is about 45 miles away from the atomic bomb blast in Nagasaki that fateful day. About half of the 80 thousand deaths from the attack on Nagasaki occurred in the first day, while the other half of the deaths occurred from radiation sickness and burns in the following few months. Realistically, the ultimate death toll is at least ten times higher when you approximate the longterm effects of severe, acute exposure to gamma radiation. My mother and each of her four siblings died of rare genetic disorders and/

    Detailed Description : I am the oldest of five brothers. The next born son of my parents lived for only several days. The next son was stillborn and the next was miscarried late in the third trimester. The cause of each of these tragedies was traced to genetic abnormalities. My youngest brother, Richard, eventually succumbed to complications associated with two separate bouts of lymphatic cancer He lived until he was 32 years of age. There is a tremendous amount of pain and guilt associated with these horrendous endings. It is almost impossible to eliminate or even subdue the feelings that something could have been done differently or avoided. Unfortunately, these feelings are amplified in my family. My mother, Kimiko Takaki, was eleven years old on August 9th, 1945 and living in Sasebo, Japan, which is about 45 miles away from the atomic bomb blast in Nagasaki that fateful day. About half of the 80 thousand deaths from the attack on Nagasaki occurred in the first day, while the other half of the deaths occurred from radiation sickness and burns in the following few months. Realistically, the ultimate death toll is at least ten times higher when you approximate the longterm effects of severe, acute exposure to gamma radiation. My mother and each of her four siblings died of rare genetic disorders and/or cancer at ages much younger than the median life expectancy. I remain hyper-vigilant towards my own cancer diagnosis and exhibit my own feelings of survivor’s guilt. These feelings and family history and experiences drive my artistic hand.

    Artist's Objects:

    •  Michael Koerner - Waterfalls #6222, 2018 Waterfalls #6222, 2018

  • Gustavo Lacerda

  • Ysabel LeMay  (+)

    Also represented by:

  • Herman Leonard

  • Sandro Miller

  • Laurent Millet  (+)

    Biography : For more than twenty years, Laurent Millet has channeled his innate curiosity to create photographs that question the way objects appear within space and time. Citing R. Buckminster Fuller and Denis Diderot among his influences, Millet creates an artistic vocabulary through metal wire, vineyard posts and barrel hoops – objects prevalent in the coastal town of France in which he resides. His 1997 series, Petites Machines Littorales, addressed his surroundings, as he transformed the sea into a place for scientific experimentation, creating contraptions that suggest a way to measure water or listen to fish. These “machines” invite curiosity and questions, much like a child experimenting in a science lab. In his 2000 series Les Cabanes, Millet continues to build structures in the water, yet this time they appear to be bridges, ladders, architectural pieces and fences, suggesting a relationship between water and sky. The 2002 series, La Chasse, features objects that could be used to trap, to capture that which is hard to contain.And finally, in the 2014/15 series, Somnium, the artist photographed himself with geometric objects, polyhedra, that he fabricated. These images seem paranormal yet familiar, as the artist engages with objects hovering in the air, recording his encounter. His work can be seen in numerous publications including his 2014 book, Les Enfantillages Pittoresques (Filigranes Editions) and in major museum collections, including The Art Institute of Chicago, Maison Européenne de la Photographie (Paris), San Francisco Museum of Modern Art, Los Angeles County Museum of Art, and Fonds National d'art Contemporain (Paris), among others.

    Artist's Documents:

    Artist's Objects:

    •  Laurent Millet - Cyanomètre 2, 2017 Cyanomètre 2, 2017
    •  Laurent Millet - Cyanomètre 8, 2017 Cyanomètre 8, 2017

  • Arno Rafael Minkkinen

  • Serge Najjar  (+)

    Biography : Ever since I started photography, a few years ago, I have followed one simple principle: “It is not about what you see but how you see it”. When I started clicking and capturing real life around me, all the art books I had read during my childhood made sense: From Cubism and Abstract Art to Russian Avant Garde and Constructivism... Each single image had determined the way I looked at things around me when I was put against the challenge to create. When you look at things with a new eye, you live again. You realise how powerful you can become just by pushing others to see what they may not be able to see by themselves. You also end up realising that there is no such thing as an ideal place to photograph, or an ideal city. Architecture can, of course, be a source of inspiration, but what makes things more interesting is questioning ourselves about contexts, aesthetics, and our ability to redefine our understanding of what we already think we know, and exploring the thin line between the ugly and the beautiful, the ordinary and the extraordinary, between chaos and order, reality and Art…

    Detailed Description : From New York to Beijing, countless strangers dash across city streets in a constant state of frenzy, rushing to their destinations. But every now and then we see someone pause, marveling at his or her surroundings. It is this stillness that Serge Najjar seeks, with one simple guideline, “It is not about what you see but how you see it.” Five years ago Najjar started photographing the interaction of people and architecture in his native Beirut. Influenced by the work of Kazimir Malevich, Josef Albers, Ellsworth Kelly, Frank Stella, and Alexander Rodchenko, Najjar took to the streets, focusing his lens on daily routines: construction workers sitting on a building ledge during lunch break, the sharp lines of a high-rise facade, a man looking out an open window, and children sitting on a windowsill. Whether working in Beirut, Munich or other places he visits, Najjar’s vision is unwavering - to show other people what they may not see themselves. As he states: “There is no such thing as an ideal place to photograph, or an ideal city. Architecture inspires me, but my whole approach towards photography is to focus on what people consider as common... the people I photograph are complete strangers. I never plan where I go and what or who to shoot. My images are faithful to what I see. And every single Saturday morning I am convinced that I will never capture the picture I had the chance to capture the week before…. It is a thin line between the ugly and the beautiful, the ordinary and the extraordinary, between chaos and order.“

    Artist's Documents:

  • Lori Nix / Kathleen Gerber

  • Robert & Shana ParkeHarrison  (+)

    Biography : Much has been written about Robert & Shana ParkeHarrison, the husband and wife team whose photographic tableaus took the art world by storm more than six years ago. Creating a genre unique within the photo world, the ParkeHarrisons construct fantasies in the guise of environmental performances for their Everyman – a man dressed in a black suit and starched white shirt – who interacts with the earths landscape. Tapping into their surreal imagination, the artists combine elaborate sets (which can take months to construct) and an impeccable sense of wit and irony, to address issues about the earth and mankind's responsibility to heal the damage he has done to its landscape. Consistently dressed in his trademark outfit, this Everyman is earth's protector, healer and communicator, using low-tech implements as his aid. This everyman then shapes himself as fabricated props for theatrical performances, which are staged to be photographed. Like a production reserved for the cinema, the ParkeHarrison invent their settings, which tend to look more like scenes from "Metropolis" or "Blade Runner" rather than the family photo album. As Robert ParkeHarrison said in the foreword to his monograph, "I want to make images that have open, narrative qualities, enough to suggest ideas about human limits. I want there to be a combination of the past juxtaposed with the modern. I use nature to symbolize the search, saving a tree, watering the earth. In this fabricated world, strange clouds of smog float by; there are holes in the sky. These mythic images mirror our world, where nature is domesticated, controlled, and destroyed." In their most well-known works, the artists built oversized objects to perform improbable acts: a huge needle repairs the cracks in the earth's surface ("Mending the Earth"); a gear and propeller flying apparatus carries a man over the land so he can feed it ("The Sower"). In "Reclamation" – one of five new gravures on view – we see the suited man draggi

    Artist's Documents:

    Artist's Objects:

    • Robert & Shana ParkeHarrison - Chasing Birds, 2018 Chasing Birds, 2018

  • Olivia Parker

  • Francesco Pergolesi  (+)

    Biography : Francesco Pergolesi was born in Venice in 1975. After finishing his law degree, dedicated himself entirely to photography. He is an artist-photographer whose work explores the territory of memory. Every single shot is a kind of a theater scene. His subjects are revealed in the lights and shadows reminiscent of Flemish paintings. He lives and works between Spoleto, Rome and Barcelona. "When I was a child I used to walk free exploring my village streets. I remember I loved to spend time in the little cobbler or the grocery where my Grandmother sent me to shop. Time seemed to be extended and let me feel the sense of freedom. I grew up loving neighborhoods where human relationships were the center of life. I realized early on those places were disappearing as pushed by a mysterious force, a new era was coming." - Francesco Pergolesi

    Artist's Documents:

  • David Plowden

  • Doug Prince

  • Holly Roberts

  • Gregory Scott  (+)

    Biography : Gregory Scott, has always blurred the lines between painting and photography, incorporating paintings he did of himself, or his body, back into his photographs. The resulting images were both humorous and odd, challenging the viewer’s perception of photographic truth. Then, at the age of 49, Scott decided to go to graduate school to strengthen his knowledge of art history and video making. Having successfully merged his love of painting and photographs, his interest turned to video and its ability to move and manipulate still images. In 2008, Gregory Scott graduated with a body of work that blended all three of his artistic interests. Continuing to use himself as the model, Scott creates narrative pieces which use illusion and surprise to tackle issues ranging from identity and loneliness, to the way the art world has pigeonholed the various mediums in which he works. In his pieces, Scott challenges the definitions placed on photography, painting and video, expanding its discourse. Gregory Scott was born in Ann Arbor, Michigan in 1957 and received his Bachelor degree from the Institute of Design at IIT in Chicago in 1979 and his Master of Fine Art from Indiana University in 2008.

    Artist's Documents:

    Artist's Objects:

    • Gregory Scott - Rothko Chapel, 2018 Rothko Chapel, 2018

  • Lauren E. Simonutti

  • Ron van Dongen

  • Bettina von Zwehl

  • Joel-Peter Witkin

  • Jeffrey Wolin


Contemporary Photography and photo-based art


Catherine Edelman Gallery w: Founded:  1987 Catherine Edelman Juli Lowe Tim Campos Hannah McMaster