Opening tonight! The Chicago Project VII: Selections from our Online Gallery!

CEG  is proud to present our biannual summer exhibition, The Chicago Project VII: Selections from our Online Gallery, featuring the work of Barbara Diener, Jim Ferguson, Whit Forrester, Andy Goodwin, Angie McMonigal, Natasha Spencer, and Samantha VanDeman. The opening reception with the artists is tonight, July 13, from 5:00 pm to 8:00 pm!

2018 marks the fifteen-year anniversary of The Chicago Project, created in 2003 as an online-only gallery devoted to unrepresented photographers in the Chicagoland area. In an effort to promote local talent, Catherine Edelman Gallery put out a call for submission to all local photographers, that exists on a year round basis. To date, the site has featured more than 100 photographers whose images range from traditional black & white landscapes and documentary work, to color narratives and digital constructions. The goal of the online gallery is to expose local artists to our ever-increasing global audience of curators and collectors.

Barbara Diener
Born in 1982 in Germany Barbara Diener received her Bachelor of Fine Art in photography from the California College of the Arts and Masters in Fine Art in Photography from Columbia College Chicago. Her work has been exhibited at Alibi Fine Art, Chicago, IL, Museum of Contemporary Photography, Chicago, IL, Hyde Park Art Center, Hyde Park, IL, David Weinberg Gallery, Chicago, IL, New Mexico Museum of Art, Santa Fe, NM, Griffin Museum of Photography, Winchester, MA, Invisible Dog Gallery, Brooklyn, NY, Lilllstreet Art Center, Chicago, IL, Riverside Art Center, Chicago, IL. Pingyao Photo Festival, China, The Arcade, Chicago, IL, Philadelphia Photo Arts Center, Philadelphia, PA, Darkroom Gallery, Essex Junction, VT and Project Basho, Philadelphia, PA among others. Diener’s photographs are part of several private and institutional collections including the New Mexico Museum of Art and the Museum of Contemporary Photography.

Tracing Spirits (American Flag), 2015 © Barbara Diener
Tracing Spirits (American Flag), 2015 © Barbara Diener

In 2013 Diener was selected to participate in two highly ambitious and competitive artist residency programs, the Fields Project in Oregon, IL and ACRE in Steuben, WI and she is currently participating in the residency program HATCH Projects 2015-2016 through the Chicago Artist Coaltition.

Diener is a winner of Flash Forward 2013, the recipient of a Follett Fellowship at Columbia College Chicago and was awarded the Albert P. Weisman Award in 2012 and 2013. In addition Diener received an Individual Artist Grant from the Chicago Department of Cultural Affairs and Events in 2015. She is the Collection Manager in the Department of Photography at the Art Institute of Chicago and teaches photography at Oakton Community College and at the School of the Art Institute.

smoke in forest
Smoke in Forest, 2017 © Barbara Diener

Phantom Power
In my previous body of work, Sehnsucht, I photographed in small, rural towns that triggered childhood memories. During that process I met and became fascinated with a woman named Kathy. She owns the diner in her town and lives on her husband’s family farm, which is haunted by his ancestors. Her belief in the spectral sparked my own interest in the unexplained and ties back to my ongoing curiosity about religion, spirituality and the human desire to believe that something else happens after we die and that a part of us–the spirit or soul–continues on.

Infrared+Tree
Infared Tree, 2016 © Barbara Diener

The camera is a crucial tool for most paranormal investigators, so it was a natural step for me to become an amateur ghost hunter myself. Photography has been linked to the spirit world since the 1860s with the popularity of spirit photography and post-mortem portraits. Since its invention photography has lent a sense of immortality to its subjects. In recent years the paranormal has received amplified media attention through numerous ‘reality’ television programs that sensationalize any phenomena for the camera. On the contrary my approach is self-reflective and curious. To make the resulting images I have adopted both traditional and contemporary methods of capturing the invisible, as well as employed my own interpretation of the magical and mystical.

Jim Ferguson
I like to classify myself not as an emerging artist but as a reemerging artist. I have a BFA from San Francisco Art Institute and MFA from the School of the Art Institute of Chicago. After getting my BFA, I started showing and selling my work. As a result of this effort my work is in the collections of the Dallas Museum of Art, Seattle Art Museum, Museo Nacional de Antropologia- Mexico, Amon Carter Museum of American Art, The Art Institute of Chicago, and numerous private collections. I am also included in the Macmillian Encyclopedia of Photographic Artists and Innovators. I took an extended leave of absence from showing but not photographing.  Now I’m reemerging into the fine art photography scene.

Reconstructed Space 2, 1986
Reconstructed Space 02, 1986 © Jim Ferguson

Reconstructed Space
Reconstructed Space is a portfolio made up of abstract landscape images taken in Europe, Asia, Latin America and the U.S. My intent was to share the hidden realities I see with my altered sense of depth perception.

Born cross-eyed, corrective surgery left me with no depth perception. I developed a different way of seeing things, measuring spaces, layers and distances that I use in my photography. It is this vision I share with my viewers.

Reconstructed Space 9, 2014
Reconstructed Space 09, 2014 © Jim Ferguson

Once I select a scene, I deconstruct then reconstruct the scene to show the viewer my take on the place, often creating an unfamiliar and potentially a disorienting depiction. I sometimes reinterpret a space by flattening and compressing layers of the various elements in the image.

I emphasize light, shadow, form and movement, in an effort to depict my personal perspective. By purposefully avoiding people and turning off color in my images I am able to produce a cleaner, stronger, more abstract photograph that brings out the graphic nature and textural elements in the shot.

Most of my photographs are taken outside the U.S., often in familiar locations. However, in my reconstructed images the locations become ambiguous. The scenes can be elusive. There is normally something, or enough in the image, that allows the viewer to define the image for themselves…to pull them into my work. I don’t care where they land as long as it’s a thoughtful landing. This allows the viewer to be part of the act of creation.

While often drawn to historical settings such as Medieval and Colonial towns and archaeological sites, I don’t feel obligated photographically to illustrate the preceding history, but to transform the place into powerful images that are both enigmatic and engaging.

 

Whit Forrester
Forrester is based in Chicago, IL. He has a BA in Environmental Studies from Oberlin College and an MFA in Photography from Columbia College. He has exhibited widely, in both national and international contexts, and has a range of aesthetic interests that include: practices of accumulation, manifestations of power, diaspora, noetic science, new materialisms, discourses around the transcendent and the material relationship between self and world. These encounter fusion around ideas of collective liberation, quantum feminisms, queer theory, and decolonization as a spiritual practice.

Fig. 47 Aloe vera, Louisville, KY, 2016
Fig. 47 Aloe vera, Louisville, KY, 2016 © Whit Forrester

Domesticating the Numinous
As principal actors in nature, plants energize the spaces of my research and work. Here, historical and contemporary aesthetic dimensions intersect with our assumed relationships to the natural world, and to what is known as the Divine or spiritual. At this juncture I primarily employ photographic processes alongside historical techniques of representation to place the work in conversation with art and colonial histories. Gold to represent light, light to represent the Divine, and a portraiture which exists at the edge of still life and iconography. The resulting works are intended to guide our responses as both viewers and participants in the larger world, taking cues from new materialism and the ongoing discourses that conjoin the metaphysical and quantum.

Fig. 65b Crassula ovata, Chicago, IL
Fig. 65b Crassula ovata, Chicago, IL, 2016 © Whit Forrester

Inside these aesthetic realms’ and metaphysical environment’s relationship to power, the natural world as the subject takes on multiple roles. It serves as a historical recipient, an active participant (equal in importance to our human physicality and spirituality), and ultimately a collaborative transformer for the social relationships that compose larger systems of economic and societal power. I am ultimately interested in the potential of houseplants to queer our perceptions of our environments through the capitulation that they are, in fact, living multidimensional prints of the divine themselves.


Andy Goodwin
Most of my time is spent in the commercial photography world shooting for clients like Sony, John Deere, Aflac, Boeing, GM, FORBES and others. However, it’s my personal and pro bono projects that excite me the most.

Charreada
The Charreada, predecessor to the American Rodeo.

charreada-2-2015
Charreada [Ref. #2], 2015 © Andy Goodwin

What began as a curious look into a sport I was unfamiliar with became a fascinating journey into the world of the Charro, a proud culture filled with ordinary Mexican Americans who suit up on the weekends to keep their tradition alive. The time and money spent perfecting these skills handed down from 100 years ago is an incredible spectacle to behold. It’s a dangerous sport and the rewards are often little or nothing with men commonly getting injured.

Charreada 1, 2015 © Andy Goodwin
Charreada [Ref. #1], 2015 © Andy Goodwin

Tradition can be a good enough reason to participate in something but there is a shared importance and comfort here that I think helps these dedicated horsemen stay connected to each other and to a heritage that must seem far away.

This work has been recognized by National Geographic and has won awards with The Smithsonian and The Creative Quarterly.

 

Angie McMonigal
Angie McMonigal moved to Chicago more than 15 years ago and has been exploring the city with her camera ever since. Raised in a small town in Wisconsin, she approaches the urban environment with the spirit of someone who grew up surrounded by nature, finding moments of meditative calm in terrain that is always transforming. Focusing more frequently on bold architectural details rather than sweeping cityscapes, her photographs celebrate those unexpectedly iconic elements hiding in plain sight. From landmark buildings she distills the essential lines and textures that frame the city. McMonigal sees these structures as actively shaping, and shaped by, human activity; they are never mere backdrop. Steel and brick towers are presented as quilts rich with history, solid structures soar with soul, and concrete edifices echo the lofty ambition of planners and dreamers.

An award-winning fine art photographer, Angie’s work has been internationally exhibited and published. Her photos have been showcased by galleries in Chicago, Los Angeles, New York, and other destinations. Publication credits include National Geographic, Departures, and SHOTS Magazine. She has received awards from the International Photography Awards (IPA) and Prix de la Photographie Paris (Px3), among others.

Screen Shot 2017-07-20 at 1.43.53 PM
Urban Quilt 8473, 2016 © Angie McMonigal

Urban Quilt
In the city that built the first skyscraper, the lines that structure the urban landscape run north and south, east and west thus creating ‘the grid’. This is not just a tool for getting around; it’s the secret code that makes order out of chaos. However, the most striking lines are the ones that run from street to sky. The facades of Chicago’s imposing towers make up this whole other grid, the one staring straight at you, composed of windows, beams, balconies, pillars, rooflines.

We are surrounded by horizontal and vertical lines repeating rhythmically in steel, brick, stone, and glass. I’ve started to see this grid as a quilt. Because I don’t just see individual buildings standing there as imposing towers of steel. I see a patchwork. Different colors, different textures, different materials, different architectural styles, all pieced together. Some patches are pristine and new, others a little more worn. There are iconic patterns, immediately recognizable, and also bits that are hard to identify, fragments that feel familiar but are hard to place. Some blocks make clear that they were destined to be joined together, others look like accidents, or even challenging points of tension.

Screen Shot 2017-07-20 at 2.36.48 PM
Urban Quilt 1083, 2016 © Angie McMonigal

We often think of photographs as capturing a single moment in time. A shutter clicks, an instant is preserved. When I started photographing the city as an urban quilt, I became more aware of the way these buildings preserve different moments from our history. Those moments aren’t arranged in a nice orderly timeline like you’d find in a history book or a museum display. They’re standing next to each other, layered on top of one another. My photographs flatten out the miles between the streets and erase the years that separate one construction project from the next. It’s all stitched together now on a single plane.

 

Natasha Spencer
Natasha Spencer is an interdisciplinary, American artist. Her digital work has screened in film, video, and new media venues across the country and abroad. Her audio piece, “The House She Flew In On”, is included on the compilation CD, “Extracted Celluloid”, produced by Illegal Art, Negativland, and RtMark, and has aired on the John Peel’s Show, Radio 1, BBC, London. In 2002 she was awarded a residency at The Wexner Center for the Arts Video Lab where she completed “The House She Flew In On : The Video” and “Somewhere”. Natasha received a 2004 Fellowship in the Media Arts from the Illinois Arts Council and an Illinois Art Council Fellowship in the Visual Arts in 1999. Additionally, she is archived at the The National Museum of Women in the Arts in Washington DC. Natasha currently works and resides in Chicago, IL.

Screen Shot 2017-05-17 at 4.05.21 PM
Clownfish Stripes, Postmortem © Natasha Spencer

Visual Improv
When materials in an environment interplay in such a way that they allow everyday scenes to be framed as culture narratives; What went unnoticed is now obvious as a found object. Each photograph is a document of such observations, taken without further manipulation on my part, during the comings-and-goings of the day.

Samantha VanDeman
Born in 1982, Samantha VanDeman grew up in the suburbs of Chicago. She studied fine arts at Columbia College Chicago, receiving a BFA in 2005. In 2007, she returned to college, this time to earn a MFA in visual arts from the Art Institute of Boston at Lesley University in 2009.

Blue_Sofa_-_Hotel_Columbia_in_Sharon_Springs__New_York__2012_
Blue Sofa – Hotel Columbia in Sharon Springs, New York, 2012 © Samantha VanDeman

Samantha has been exhibited her work at Emory Visual Arts Gallery, Atlanta, GA; Finch and Ada, NY; New Orleans Photo Alliance Gallery, New Orleans, LA; Las Manos Gallery, Chicago, IL; Gallery 263, Cambridge, MA; Midwest center for Photography, Wichita, KS; Gallery 808, Boston, MA; Change Artist Space, San Francisco, CA; Perspective Gallery, Evanston, IL; Barrett Art Center Galleries, Poughkeepsie, NY and Fourth Wall Projects in Boston, MA; Center for Photography at Woodstock, NY; Rayko Photo center, San Francisco, CA; Smashbox Studios, Culver City, CA; Newspace Center for Photography, Portland, OR; The Center for Fine Art Photography, Fort Collins, CO; Wall Space Gallery, Santa Barbara, CA. She most recently was selected as a winner for Flash Forward 2013 and won first place for architectural interiors in The International Photography Awards. Samantha’s work has been published in SHOTS Magazine, LENSCRATCH, F-Stop Magazine, CDS Porch and International Photography Annual.

Television_Room_-_Thomas_Jefferson_Hotel_in_Birmingham__Alabama__2011_
Television Room – Thomas Jefferson Hotel in Birmingham, Alabama, 2011 © Samantha VanDeman

No Vacancy
No Vacancy is an ongoing photographic series documenting abandoned hotel interiors that have sat vacant for nearly five to thirty years.

Three_Red_Chairs_-_Hotel_Washington_in_Sharon_Springs__New_York__2013_
Three Red Chairs – Hotel Washington in Sharon Springs, New York, 2013 © Samantha VanDeman

In my work, I’m often drawn to abandoned places that appear to be frozen in time. I use my camera to examine these places that have been forgotten by society. Through the use of color and light, I attempt to capture the beauty that once existed in these magnificent environments. By photographing these hotels, I hope to provide a visual record of what might be lost forever.

See the entire exhibition in full on our website here, and join us tonight for the opening reception with the artists!

Advertisements

Preview Catherine Edelman Gallery at Photo London

Screen Shot 2018-05-16 at 9.50.15 AMInstallation is complete and we are ready for today’s preview of Photo London 2018! The invitation-only preview is from 11:00 am – 9:00 p.m (21:00). We are thrilled to be showing the work of Daniel BeltráClarissa BonetOmar ImamMichael KoernerYsabel LeMay, Laurent MilletFrancesco Pergolesi, and Gregory Scott. Whether you are attending todays’s preview, or you plan to visit later this week, we look forward to seeing you at booth G15!

Screen Shot 2018-05-16 at 9.50.03 AMScreen Shot 2018-05-16 at 9.51.03 AMScreen Shot 2018-05-16 at 9.50.36 AMScreen Shot 2018-05-16 at 9.50.48 AM

Follow along with us this week on Cyclopsblog, Twitter, Instagram, and Facebook for highlights and behind-the-scenes images from London! Plan your visit to the fair here, and be sure to visit booth G15! Stateside viewers can also see the booth in full on our website here.

Photo London
May 16 – 20, 2018
Somerset House
Strand
London
WC2R 1LA

Thursday 17 May 12:00 – 20:00
Friday 18 May 12:00 – 19:30
Saturday 19 May 12:00 – 19:30
Sunday 20 May 12:00 – 18:30

@edelmangallery @photolondonfair #photolondonfair2018

CEG arrives in London!

Catherine Edelman Gallery is pleased to be back this year at Photo London! Photo London brings together the world’s leading galleries in a major international photography fair to exhibit the most innovative emerging artists, new work by established masters, and rare vintage pieces. All combined with an innovative public program supported by the LUMA Foundation. The fair is open May 17 – 20, 2018 , with an invitation-only preview tomorrow, Wednesday, May 16 from 11:00 – 9:00 p.m. We are pleased to be featuring the work of Daniel BeltráClarissa BonetOmar ImamMichael KoernerYsabel LeMay, Laurent MilletFrancesco Pergolesi, and Gregory Scott.

Screen Shot 2018-05-15 at 10.26.59 AMScreen Shot 2018-05-15 at 10.29.29 AMScreen Shot 2018-05-15 at 10.29.05 AMScreen Shot 2018-05-15 at 10.27.19 AMScreen Shot 2018-05-15 at 10.29.51 AM

Installation is wrapping up! Stay tuned for final images of our booth ahead of the VIP preview. Follow along with us this week on Cyclopsblog, Twitter, Instagram, and Facebook for highlights and behind-the-scenes images from London! Plan your visit to the fair here, and be sure to visit booth G15! Stateside viewers can also see the booth in full on our website here.

Photo London
May 16 – 20, 2018
Somerset House
Strand
London
WC2R 1LA

Thursday 17 May 12:00 – 20:00
Friday 18 May 12:00 – 19:30
Saturday 19 May 12:00 – 19:30
Sunday 20 May 12:00 – 18:30

@edelmangallery @photolondonfair #photolondonfair2018

Ctrl+P: Photography taken offline – Kelly Catarino

Catherine Edelman Gallery is pleased to present Kelly Catarino, our current Ctrl+P: Photography Taken Offline artist! It was a joy for us to watch this exhibition grow day by day last week. The artist’s photographs and immersive installation will be on view through July 7, 2018.

Installation view
Kelly Catarino (b. 1996, CT) is a photographer currently based in Chicago, IL. Her practice uses collage techniques to explore constructed landscapes, perception, and the space between virtual and physical space. She is pursuing her BFA (2018) at the School of the Art Institute of Chicago.

 

From the artist: “Garden is an ongoing series that examines the site of the garden and its relationship to construction, escapism, and the desire to feel connected with nature. I use collage as a strategy for imagining constructed landscapes through its ability to simultaneously collapse time, space, and place. My photographs are multi-dimensional amalgamations that mix personal photographs, stock photography, and fake plants to play with variations in resolution between a multitude of images and image sources. These constructions play on photography’s ability to act as both mirror and mediator by creating a hyper-saturated world that attempts to blur the line between reality and fiction.”

Installation viewInstallation viewOpening reception

LINKS:
Kelly’s website
Hyperallergic


Ctrl+P: Photography taken offline is an initiative at Catherine Edelman Gallery inspired by the hundreds of photographs we see on blogs and online galleries. Started in January 2011, Ctrl+P provides further exposure for 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.

Barbara Diener added to The Chicago Project!

CEG is excited to announce our latest addition to The Chicago Project, Barbara Diener! Born in Germany in 1982, Barbara Diener received her Bachelor of Fine Art in photography from the California College of the Arts and Masters in Fine Art in Photography from Columbia College Chicago. Diener received critical acclaim for her series Sehnschut, and recently debuted a book of her newest series Phantom Power at Daylight Book‘s AIPAD 2018 booth.

Tracing Spirits (American Flag), 2015 © Barbara Diener
Tracing Spirits (American Flag), 2015 © Barbara Diener

From the artist: “In my previous body of work, Sehnsucht, I photographed in small, rural towns that triggered childhood memories. During that process I met and became fascinated with a woman named Kathy. She owns the diner in her town and lives on her husband’s family farm, which is haunted by his ancestors. Her belief in the spectral sparked my own interest in the unexplained and ties back to my ongoing curiosity about religion, spirituality and the human desire to believe that something else happens after we die and that a part of us–the spirit or soul–continues on.

Infrared+Tree
Infared Tree, 2016 © Barbara Diener

“The camera is a crucial tool for most paranormal investigators, so it was a natural step for me to become an amateur ghost hunter myself. Photography has been linked to the spirit world since the 1860s with the popularity of spirit photography and post-mortem portraits. Since its invention photography has lent a sense of immortality to its subjects. In recent years the paranormal has received amplified media attention through numerous ‘reality’ television programs that sensationalize any phenomena for the camera. On the contrary my approach is self-reflective and curious. To make the resulting images I have adopted both traditional and contemporary methods of capturing the invisible, as well as employed my own interpretation of the magical and mystical.”

Hollow+Log
Hollow Log, 2017  © Barbara Diener

Diener’s work has been exhibited at Alibi Fine Art, Museum of Contemporary Photography, Hyde Park Art Center, Hyde Park, David Weinberg Gallery, New Mexico Museum of Art in Santa Fe, Griffin Museum of Photography, Invisible Dog Gallery, Lillstreet Art Center, Riverside Art Center, Pingyao Photo Festival, The Arcade, Philadelphia Photo Arts Center, Darkroom Gallery, and Project Basho among others. Diener’s photographs are part of several private and institutional collections including the New Mexico Museum of Art and the Museum of Contemporary Photography.

The artist has participated in highly ambitious artist residency programs, including the Fields Project in Oregon, IL and ACRE in Steuben, WI, as well as HATCH Projects 2015-2016 through the Chicago Artist Coaltition.

Diener is a winner of Flash Forward 2013, the recipient of a Follett Fellowship at Columbia College Chicago and was awarded the Albert P. Weisman Award in 2012 and 2013. In addition, Diener received an Individual Artist Grant from the Chicago Department of Cultural Affairs and Events in 2015. She is the Collection Manager in the Department of Photography at the Art Institute of Chicago and teaches photography at Oakton Community College and at the School of the Art Institute.

See more of Barbara Diener’s work on the Chicago Project website here.

__________________________________________________________

The Chicago Project is an online gallery initiative by Catherine Edelman Gallery, devoted to new and established photographers in the Chicago area, who we feel deserve recognition. It is our hope to expose local talent to a wider audience and we plan on adding photographers as we find them. If you are interested in learning more about the Chicago Project or would like information on how to submit, click HERE.

Catherine Edelman Gallery representing Garrett O. Hansen!

Catherine Edelman Gallery is excited to announce our newest represented artist, Garrett O. Hansen! You may recall seeing Garrett’s Chicago-specific work titled Memorial, as well as his Silhouettes series of laser-cut mirrors in our summer 2017 exhibition, Targeted. Garrett O. Hansen (b. 1979, NYC) 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.

“Roughly 40% of US households have 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, the artist is able to balance this destruction with creation. The viewer is presented with images that speak 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.

While The Void series deals with the power of the single bullet, the Silhouette series engages the broader culture of guns in America. Garrett visits a local gun range and collect the cardboard backings that are used behind their standard target. The targets depict an unarmed man’s silhouette, a highly common target throughout civilian and police gun ranges. Each shooter is presented with a fresh target, while the backings slowly erode from the thousands of rounds shot at the unarmed man. The groupings that one most often sees are in the chest and head areas. The artist collects the pieces of cardboard and bring them into the darkroom, where he makes full sized contact prints of them.  These prints are then scanned and form the basis for the final pieces. The final pieces are made of mirrored plexiglass and are one-to-one replicas of the original cardboard backings. As viewers approach the piece, they see their own reflections hollowed out by the countless bullets.

The third component to this ongoing project is comprised of bullets that have been collected from gun ranges. Each bullet, sculpted by impact with a ballistic steel wall, takes on a dramatic new form. The contorted shapes speak to the inherent violence in shooting and the transformation of each fired bullet from a sleek projectile into a twisted shard of lead. As with The Void series, this work deals with the complex connections between destruction and creation.

The latest component to this ongoing series is entitled Memorial. Each piece documents gun deaths in a particular place and for a particular length of time. The first incarnation of this work entitled Memorial – Kentucky, 2016 is comprised of twelve panels. Each panel represents a single month in Kentucky and records every homicide involving a gun that occurred during that month. This work acknowledges and lays bare the heavy price of having a heavily armed civilian population.

Screen Shot 2018-04-19 at 3.58.05 PM
Installation view, comparing the city of Chicago to the state of Kentucky.

You can read an in-depth article about Garrett from the The Trace in conjunction with Targeted, and watch Catherine speak with Garrett in his July 2017 Artist Talk below.

 

Catherine Edelman Gallery is pleased to announce representation of Michael Koerner!

We are thrilled to present to you the work of our newest represented artist, Michael Koerner (b. Okinawa, Japan, 1963), whose work we will be debuting this week at The Photography Show, presented by AIPAD! Michael is a photographer and chemist, combining the two to create unique collodion photograms on tin plates that range in size from 6 x 4″ to 9 x 6.”

Screen Shot 2018-03-31 at 3.45.32 PM
Coronae #9866, 2017 © Michael Koerner

The artist 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.

The artist states:

“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.”

See more of Michael’s work on our website here, and on view in our booths at
The Photography Show, April 4 – 8, and at Photo London, May 16 – 20.