Ctrl+P: Photography taken offline – Shawn Theodore

We are thrilled to feature the work of our new Ctrl+P: Photography Taken Offline artist Shawn Theodore. Theodore’s images are on view through April 29, 2017.

Shawn Theodore is a multidisciplinary Philadelphia-based artist working in photography, video, and collage. His practice embodies a defiant brand of black artistry; one that focuses on the fragmentation and manipulation of African American and African Diaspora identities and otherness, while exploring concepts of race, spirituality, patriarchy, matriarchy and class structure within disappearing Black communities. Theodore attended Tyler School of Art and received his BA in Journalism, Public Relations and Advertising from Temple University.His solo exhibition highlights include: Church of Broken Pieces ’17, African American Museum in Philadelphia; The Avenues ’16, Painted Bride Art Center; The Avenues, G-Town and Uptown ‘14, Imperfect Gallery and Scribe Video Center; The Avenues; North and West Philly, ‘14 and he has exhibited in several group shows.


Makumbusho, 2016

Church of Broken Pieces
Essayist Teju Cole once marveled at the tonal range in the shadows of an image by Roy DeCarava, musing that these darker areas might have been solid, inscrutable black in the hands of another artist. Given the long history of photographic technologies’ inability to register black skin, the artist’s embrace of subtle, modulated darkness was profoundly radical, especially in an age when mainstream representations of African American life were demanded with bombast or stereotype, if they were demanded at all. With DeCarava, Cole writes, “What is dark is neither blank nor empty. It is in fact full of wise light which, with patient seeing, can open out into glories.”[1]

It is no surprise that Philadelphia-based photographer Shawn Theodore cites the iconic Harlem artist among his greatest inspirations. Shooting entirely in the streets, Theodore relishes the many ways that natural light can caress the skin of his Afro-Diasporic subjects, from a flattening glare, to dapples and highlights that dance across the face, to dramatic shadows that all but obfuscate the body. As in the restrained masterworks of DeCarava, however, even the darkest blacks of Theodore’s images give way to nuanced tonalities upon sustained contemplation—for instance, the men and women who turn away from the camera and into the shadows, granting the viewer only the silhouette of their three-quarter profile.

The Contrapasso of the Beloved Stranger, 2016

In Church of Broken Pieces, Theodore presents a new body of photographs made on the streets of Philadelphia’s African American neighborhoods, many of them shrinking thanks to encroaching gentrification. A self-identified street shooter, Theodore has always found his subjects in chance urban encounters; some of these interactions between strangers have evolved into sustained collaborations, the fruits of which are presented here. This constellation of relationships and the community it sustains, however fleeting, are at the core of Theodore’s work.

Complementary to the intimacy and quiet darkness of many of these photographs, a strand of performative exuberance shines through. Our eyes can’t help but linger on the elegantly understated, trans-diasporic fashions in Theodore’s images, often commanding as much attention as the people themselves. Evoking the saturated palette and dynamic surrealism of the great Viviane Sassen, these photographs capture clothing and bodies in motion without sacrificing an ounce of their exquisite composed-ness. The self-possessed subjects enact the language of fashion spreads, history paintings, street performances, and mystical rites, often simultaneously.

Drawn from the name of a church close to the artist’s childhood home, the title’s self-conscious invocation of biblical grandeur calls to mind the great titles of the Harlem Renaissance and the New Negro Movement. Theodore once asked a pastor friend about the origins of the phrase, who told him that “it had to do with the tradition of smaller churches breaking away from the larger ones to continue their service to the community,” he recalls. Like the church and its powerfully simple words, Theodore’s photographs conjure a transhistorical, transnational community mobilizing against erasure. They show us beauty as history, memory, resistance, and a way forward, shining the same wise light of the artist’s forebears and, little by little, opening out into new glories.


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.

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Ctrl+P: Photography taken offline – Alexander Khokhlov

We are excited to feature the work of Alexander Khokhlov as the next Ctrl+P: Photography Taken Offline artist. Khokhlov’s photographs are on view through February 25, 2017!screen-shot-2017-01-07-at-4-31-56-pm

Weird Beauty and 2D or not 2D series
My first experience with face-art was in 2009, but it wasn’t until 2012 that I had the idea of a whole project – a monochromatic series of portraits which combined graphics, shapes and optical illusions. The Weird Beauty series is a mixture of aesthetic beauty photography with recognizable forms and logos. In 2013, I continued the theme of face transformations inspired by color pop-art posters, the result is 2D or not 2D. The goal of this series was to make the model’s face absolutely “flat” like two-dimensional pictures using only make-up and light.

Alexander Khokhlov was born in Calcutta, India, on May 9, 1982. He is now based in Moscow and works with his wife Veronica. Alexander started photography in 2008 as a commercial studio photographer. His experiments with beauty portraits and art resulted in the acclaimed series Weird Beauty and 2D or not 2D made in 2012 and 2013.

The art-photography that he creates is always based on people transformation. In Alexander’s works the human identity takes a back seat, and the models are used as canvases for well-known shapes to trick your eyes. Each project is a huge team work, a great game with words, imagination and illusions. Of course, it is also a game with the audience.

In 2015 and 2016 Alexander received several awards: 25th Trierenberg Super Circuit (Gold Medal, Weird Beauty series), One Eyeland Photography Awards (Silver Medal, Shapes and Illusions series), Neutral Density Photography Awards 2015 (Bronze Medal, Shapes and Illusions series), International Photography Awards 2015 (Honorable Mention, Shapes and Illusions series).

LINKS:
Alexander Khokhlov’s website
Visual News
Bored Panda
Arch20
Beautiful/Decay
Juxtapoz
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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.

Introducing Ctrl+P Artist: Sian Davey

We are thrilled to feature the work of Sian Davey as the next Ctrl+P: Photography Taken Offline artist. Four photographs are on view at the gallery from her Looking for Alice series through December 31, 2016.

Winter Virus ii (Alice asleep), Winter, 2014
Winter Virus ii (Alice asleep), Winter, 2014 © Sian Davey

Sian Davey is a photographer with a background in Fine Art and Social Policy. Originally from Brighton in the U.K. Sian is now based in South Devon, in the South West of England. Sian had a private Psychotherapy practice for 15 years, but has recently closed this in order to commit to her photography practice full-time. Her work is an investigation of the psychological landscapes of both herself and those around her. Her family and community are central to her work.

Sian completed her MA in Photography and her MFA (2016) in Photography at Plymouth University. She has been the recipient for numerous awards including more recently winning the Arnold Newman Award for New Directions in Portraiture and for the last three years (2014-2016) has been selected for the Taylor Wessing Portrait Award at the National Gallery in London.

Sian’s first book Looking for Alice (Trolley Books) was published in 2015 and is currently shortlisted for Photobook of the Year at the 2016 Aperture Foundation Awards at Paris Photo 2016.

Garden Gate, Summer, 2014
Garden Gate, Summer, 2014 © Sian Davey

Looking for Alice

Alice is my daughter and I started to photograph her when she was a year old. She was born with Down’s Syndrome, but is no different to any other little girl or indeed human being; she feels what we all feel and needs what you and I need. Similarly, my family is a microcosm for the dynamics occurring in many other families – all the joys, tensions, ups and downs that go with the territory of being in a family.

In my previous work  as a psychotherapist I have listened to many stories and what was revealed to me, during my  fifteen years of practice, is not how different we are to one another, but how alike we are.  The stories vary, but we are all vulnerable to the same feelings of shame, anger, grief, pride and so the list goes on.

Early on in the pregnancy my partner and I were told we had a high probability that we were carrying a baby with Down’s Syndrome. Despite this, I was not prepared for how I would feel after Alice was born and diagnosed. I was deeply shocked, it was not what I had really expected. Our first experiences in hospital did little to diffuse this.

After examining  Alice, the paediatrician  announced that we should ‘take her home and treat her like any other baby’. But she didn’t feel like my other babies. I was fraught with an anxiety that rippled through to every aspect of my relationship with her and, that penetrated my dreams. I dreamt that Alice was swaddled in a blanket and that I had forgotten all about her. In my dream I unwrapped the tight bundle to feed her, only to discover that she was covered in a white fluid – a fluid of neglect; and I was unable to feed her, unable to respond to her basic needs.

Godmother, Summer, 2014 © Sian Davey
Godmother, Summer, 2014 © Sian Davey

I could sense  that Alice was feeling my rejection of her and knew that the responsibility lay with me to work this out and find a way through the fear which as getting in the way of loving her. As my fears dissolved I fell in love with my daughter.

Alice entered a world where routine screening at twelve weeks gestation is entirely weighted towards birth prevention, rather than birth preparation.  Whilst we make our selection and decisions in private, the effect on society is that in the UK, the latest figures (in 2015) tell us that ninety two per cent of Down’s Syndrome babies are terminated at the pre-natal screening stage. Even prior to the introduction of screening, children such as Alice would have been severely marginalized and often institutionalized, with little or limited medical care.

Sitting with a Stranger, 2014
Sitting with a Stranger, 2014 © Sian Davey

Ultimately, this is a story about love and what gets in the way. This concerns all of us, my daughter’s diagnosis is only one aspect of it. The rest is about yours and mine, and indeed society’s relationship with ‘difference’ of all kinds – this is what Alice is inviting us to reflect on.

The process of photographing this work has helped me shine a light on why I struggled to love Alice, which was essentially fear and uncertainty. The project has been very much a co-creation and I have no doubt that Alice has guided to me to what needed to be expressed and understood.

She is now in the middle of everything that we do as a family and is loved unconditionally, as it should be. I can’t help but wonder how it might be for Alice to be always valued everywhere, without distinction, without exception, without a second glance.

This project is for her, for Alice

LINKS:
Sian Davey website
LensCulture
The Guardian
Slate
Aint Bad

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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.

 

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Ctrl+P: Photography taken offline – Leigh Merrill

We are excited to feature the work of Leigh Merrill as the next Ctrl+P: Photography Taken Offline artist. Merrill’s photographs and videos will be on view September 9 – October 29, 2016!

Leigh Merrill’s work examines the construction of desire, fiction and beauty in our urban landscapes. The subjects in Merrill’s photographs are often created from ubiquitous objects and architecture. Familiar elements such as the lawn, manicured and manipulated plants, new buildings mimicking other eras and locations, often reveal a culture of perpetual longing. Elements of our constructed environments simulate, or reference other places and histories acting as evidence of desire. Merrill often mixes together the real and the fake in her work to create images of places and objects that challenge our expectations or reveal the simulacrum in our environments.

White Street, 2009
White Street, 2009

Merrill’s process begins by making thousands of individual photographs, videos, and audio recordings while exploring a city or neighborhood. In the studio, she then digitally assembles these sources to create photographs and videos of imaginary spaces. Some of the images have some veracity, but more often they suggest a visual hyperbole – an embellished scene circulating around a small detail or object that fascinated her. These composite images function as a metaphor to the ways in which desire and control is physically constructed in the landscape.

Lemmon at Mahanna Street, 2012 (still from video)
Lemmon at Mahanna Street, 2012 (still from video)

Leigh Merrill received her BFA from the University of New Mexico and her MFA from Mills College (Oakland, CA). Merrill’s work has been a part of exhibitions throughout the United States in venues such as the Phoenix Art Museum, the diRosa Art Preserve, The Lawndale Art Center, the Tremaine Gallery, Fotofest International, and the Museum of Texas Tech University. Merrill’s work has been included in online and print publications such as the Design Observer/Places Journal, Dwell.com, BLDGBLOG blog, PaperCity Magazine, and the Washington Post. Her work is part of the permanent collections of the Museum of Texas Tech University, the City of Phoenix, the California Institute of Integral Studies, as well as various private collections. Merrill currently lives and works in Dallas, Texas, where she is an Assistant Professor of Art at Texas A&M University-Commerce.

LINKS:
Leigh Merrill website
Aint–Bad
Dwell
Lenscratch
Places Journal

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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.

Introducing Ctrl+P Artist: Garrett O. Hansen

CEG is excited to introduce our next Ctrl+P: Photography Taken Offline artist, Garrett O. Hansen! Nine photographs from Garrett O. Hansen’s series, The Void, are on view in the gallery through July 1, 2016.

Void (.22 Caliber), 2015 (double hole) Void (.22 Caliber), 2015 (single hole)

Void (.22 Caliber), 2015 © Garrett O. Hansen                Void (.22 Caliber), 2015 © Garrett O. Hansen
Void (.38 Special), 2015 (double hole)Void (.38 Special), 2015 © Garrett O. Hansen

Garrett O. Hansen graduated from Grinnell College, where he studied economics and political science. He completed his MFA in photography at Indiana University and has taught at several universities in the United States and in Asia; he is now an Assistant Professor of Photography at the University of Kentucky. Garrett has had numerous solo and group exhibitions in the United States, Europe, Indonesia, and Japan.

Void (.38 Special), 2015 (single hole)Void (.38 Special), 2015 © Garrett O. Hansen

The Void

Roughly 40% of the population in the US owns a gun and there are enough guns – approximately 300 million – to arm nearly every man, woman, and child in the country.

At the core of The Void series is a desire to consider these facts and to create a set of images that speaks to their implications.  Each of the images is created from individual bullet holes.  While shooting is fundamentally a destructive act, by bringing these holes into the darkroom, enlarging them and then processing and printing the results, I am able to balance this destruction with creation.  The viewer is presented with something that speaks to the sublime – they are both attractive and terrifying at the same time.   In many ways this reflects our own opinions of guns in America, a country where the debate between rights and controls continues to rage.

Void (.40 Caliber), 2015 (darker) Void (9mm), 2015 (larger hole)

Void (.40 Caliber), 2015 © Garrett O. Hansen                    Void (9mm), 2015 © Garrett O. Hansen

LINKS
Juxtapoz
Wired
Light Leaked

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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.

Introducing Ctrl+P Artist: Jonna Kina

CEG is thrilled to introduce our next Ctrl+P: Photography Taken Offline artist, Jonna Kina!

Snow, From the series Foley Objects, 2013

Snow, 2013 © Jonna Kina

Six images from Jonna Kina’s Foley Objects are on view through April 30, 2016. We are excited to feature Kina’s work, especially since this will be the largest U.S. exhibition of work from this series to date!

both

Leaves of grass, 2013  and Pigeons, 2013  © Jonna Kina

Jonna Kina lives and works in Helsinki. Her practice incorporates photography, video and text. In her photography series Foley Objects, she plays with viewer’s expectations and with the conceptual delimitation of the photographic medium. The words refer to the sound generated by the objects that are portrayed. Foley means, the reproduction of sound effects, which are added in post production to enhance the audio experience in films. The connection of the two, image and the text, is in a sense arbitrary and surreal but also strictly documentary in its approach. This collection of images could be seen as an archive of sounds, as well as a twist between documentation and absurd playfulness.

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 Champagne, 2013 and Spaceship door, 2013 © Jonna Kina

Jonna has exhibited her work nationally and internationally. Kina recently published the book Foley Objects by Kehrer Verlag. Foley Objects has been nominated for numerous awards such as the Source Cord Prize, UK (2014), Nordic Dummy Award, NO (2014), Photo Levallois Award, FR (2013), New York Photo Award, USA (2013) and Hasselblad Foundation – Victor Fellowship Award, SE (2013) among others. She is represented in the collections of Musée de l’Elysée, Switzerland, Finnish National Gallery, Fundación RAC, Foundation of Contemporary Art, Spain, Helsinki Art Museum, City of Levallois, France and in the Finnish Art Association.

Wind, From the series Foley Objects, 2013

Wind, 2013 © Jonna Kina

LINKS
Fotografia Magazine
reGeneration3 – video
The Telegraph

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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.

Introducing Ctrl+P Artist: Carson Davis Brown

028, 2014 © Carson Davis Brown
028, 2014 © Carson Davis Brown

We are excited to feature the work of Carson Davis Brown as the next Ctrl+P: Photography Taken Offline artist. Carson currently lives and works in California and Michigan. His current series, Mass, combines photography, installation and sculpture. Carson works inside big box stores to create sculptures of consumer products that have been grouped together by color. Once erected, these ephemeral sculptures are photographed and then abandoned.

L to R: 062, 2014, and 021, 2014 © Carson Davis Brown
062, 2014 and 021, 2014 © Carson Davis Brown

Carson Davis Brown (b. 1985, Grand Rapids, MI) is a visual artist working in photography and film. His background ranges from commercial design and photography to documentary and film. Brown often marries the functional to the abstract. His work examines the narratives of larger social structures by dismantling the landscape those narratives exist in and re-assembling it. This contextual re-imagination forces the observer to become hyper-aware of his/her environment.

Mass
Mass
is a site-specific installation project about creating visual disruptions in places of mass (to date: big-box stores, super-centers, etc.). At an intersection between Street Art and Land Art, installations are made without permission, using found materials within the retail landscape. The installations are made, photographed, then left on site to be experienced by bystanders and ultimately, dissembled by staff at the location. The photographs made of the installations are also exhibited initially in a similar consumer landscape. The images are printed, framed then exhibited in these big-box stores, all without permission.

044, 2014 © Carson Davis Brown
044, 2014 © Carson Davis Brown

LINKS
LA Times
Issue Magazine
Visual Supply Co.
Beautiful/Decay
Mn Artists
Humble Arts Foundation

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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.