Ctrl+P: Photography taken offline is an exciting venture at Catherine Edelman Gallery inspired by the hundreds of photographs we see on blogs and online galleries. Started in January 2011, CEG introduces Chicagoans to new artists we find while searching the web, exhibiting a small selection of one person’s work every two months, taking the pictures offline and putting them on the wall. It is our goal that Ctrl+P will provide further exposure for these photographers away from the glow of a computer monitor and without the temptation to click to the next link. We hope you will join us by unplugging from the internet and visiting CEG to see these photographs the way they were intended — in print.

Our latest installment of Ctrl+P features the work of Rachelle Mozman. Mozman grew up in New York City, and New Jersey and currently makes work between Brooklyn and Central America. As an artist working in photography and video, her practice intersects both documentary and narrative tendencies. Mozman is fascinated with ideas of ethnography and her work engages themes around family, class and gender divides. In 2012, she was awarded an AIR at The Camera Club of NY, she participated in The (S) Files Biennial at El Museo del Barrio, received a Lens Culture 2nd Prize Award and was an AIR at Smack Mellon. In 2010, Mozman exhibited her series Costa del Este through En Foco’s Traveling Exhibition program and she participated in 31 Women in Art Photography. A selection of photographs from her series Costa del Este were published in the Light Work annual Contact Sheet as well as Humble Foundation’s, The Collectors Guide to New Art Photography Vol. 2.

In Casa de Mujeres Mozman’s mother plays the role of three women in one fictional Latin American home. Mozman’s photographs can be read as portraits of her mother as various selves – images that reveal the conflict of vanity, race and class that live within one woman, just as in one family. In these photographs the three women, a pair of twin sisters, one lighter in skin color and a maid, are family and they hold both love and contempt for each other in equal measure, but they are also the love and contempt housed in one woman. Mozman’s fascination with identity of the self, and her personal relationship to her mother has moved her to make these photographs, an act that through photography and performance allows the real to bubble to the surface. – Rachelle Mozman

Links:
Rachelle Mozman’s website

Camera Club of New York
humble arts foundation
Lensculture
Nueva Luz