The black-and-white photograph Men (055, 065) (2012) depicts two similarly built young men – young and slim, with dark tousled hair and a square jaw line – seated aside one another in identical outfits. It is unclear if these subjects are related, despite the obvious doubling of visual cues, and Lassry offers few hints to suggest that these men have any association beyond their sitting for the same picture. By extension, Lassry subverts conventions in portrait photography by identifying his subjects with numbers, erasing the familiarity inherent in the act of naming, Men (055, 065) functions as an anti-portrait in which anonymity supplants intimacy. In establishing a deliberate distance between viewer and subject, Lassry raises questions about representation itself and how all portraits are, in effect, fully constructed objects that only gain meaning once we ascribe them with our own personal associations and emotions.
Elad Lassry explores how visual languages are constructed across multiple disciplines and media. His larger body of work responds to the relationship between artistic mediums and their forms, and his prints question familiar modes of viewership and our continuous desire to find and identify clear narratives in photographs. Lassry utilizes both found photographs and original compositions in his work, a juxtaposition that challenges notions of authorship and attribution. By emphasizing how photographic images are deliberately staged and constructed, Lassry destabilizes notions that photographs depict and document “the real.” In foregrounding the image as object, he also suggest that the photograph only provides a referent for a presence that “has-been” but that no longer exists in the current moment. Born in Israel, Lassry earned his BFA in film from the California Institute of Arts in 2003 and his MFA from the University of Southern California in 2007.
Yael Bartana’s video work A Declaration was shot in southern Tel Aviv, on the visible border between that city and Jaffa...
Yael Bartana received great international attention for the trilogy series And Europe Will be Stunned (2007 – 2011)...
A young settler girl, dressed in a bridal outfit for Purim, stands in a street in Hebron waiting, perhaps for her parents or other children to join her...
The voids in Baldessari’s painted photographs are simultaneously positive and negative spaces, both additive and subtractive...
Oded Hirsch’s video work Nothing New (2012) utilizes seemingly absurdist tropes to raise more trenchant questions about communal action and collective identity in modern day Israel...
In his composition, Chocolate Bars, Eggs, Milk, Lassry’s subjects are mirrored in their surroundings (both figuratively, through the chocolate colored backdrop and the brown frame; and literally, in the milky white, polished surface of the table), as the artist plays with color, shape, and the conventions of representational art both within and outside of the photographic tradition...
The voids in Baldessari’s painted photographs are simultaneously positive and negative spaces, both additive and subtractive...
Bread and Roses takes its name from a phrase famously used on picket signs and immortalized by the poet James Oppenheim in 1911...
Dutch Emerging: Ruben Janssen X GRA Fashion Bachelor 2023 – A Shaded View on Fashion From the back to the middle and around again — Ria’s wedding dress, Alan’s patterns and John’s model: ‘My project is an investigation into evolution, explored through prisms of biology, computation and a poetic personal narrative, shifting between timescales on an evolutionary timeline...
The photographic quality of the film Baobab is not only the result of a highly sophisticated use of black and white and light, but also of the way in which each tree is characterized as an individual, creating in the end a series of portraits...
In his composition, Chocolate Bars, Eggs, Milk, Lassry’s subjects are mirrored in their surroundings (both figuratively, through the chocolate colored backdrop and the brown frame; and literally, in the milky white, polished surface of the table), as the artist plays with color, shape, and the conventions of representational art both within and outside of the photographic tradition...
In establishing a deliberate distance between viewer and subject, Lassry raises questions about representation itself and how all portraits are, in effect, fully constructed objects that only gain meaning once we ascribe them with our own personal associations and emotions...
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
Architectural details become abstracted renderings in Chris Wiley’s inkjet prints 11 and 20 (both 2012)...
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
“The two men were relatives and both were in the Lebanese Army.” Hashem El Madani...