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Karen Knorr - Heaven’s Vault, Villa Farnese, Caprarola (Metamorphoses)
Karen Knorr
Heaven’s Vault, Villa Farnese, Caprarola (Metamorphoses)
Archival Pigment Photograph
2015-2017
31 1/2 x 39 3/8 inches
Karen Knorr - The Wedding Guests (Lanesborough)
Karen Knorr
The Wedding Guests (Lanesborough)
Archival Pigment Photograph
2015
48 x 59 3/4 inches

Signed, titled, dated and editioned 1/5 on certificate of authenticity.

Karen Knorr | The Winds of Change, Villa Farnese
Karen Knorr
The Winds of Change, Villa Farnese, Caprarola (Metamorphoses)
Archival Pigment Photograph
2015-2017
48 x 59 3/4 inches
Karen Knorr - The Wedding Party (Lanesborough)
Karen Knorr
The Wedding Party (Lanesborough)
Archival Pigment Photograph
2015
31 1/2 x 39 3/8 inches

Signed, titled, dated and editioned 2/5 on certificate of authenticity.

Karen Knorr - The Peers of the Realm (Lanesborough)
Karen Knorr
The Peers of the Realm (Lanesborough)
Archival Pigment Photograph
2015
48 x 59 3/4 inches

Signed, titled, dated and editioned 2/5 on certificate of authenticity.

Karen Knorr - Callisto’s Despair, Palazzina Cinese (Metamorphoses)
Karen Knorr
Callisto’s Despair, Palazzina Cinese (Metamorphoses)
Archival Pigment Photograph
2015-2017
23 5/8 x 30 inches
Karen Knorr - Callisto’s Despair, Palazzina Cinese (Metamorphoses)Taking Refuge
Karen Knorr
Taking Refuge (India Songs)
Archival Pigment Photograph
2015-2017
48 x 59 3/4 inches

Signed, titled, dated and numbered (edition of 5) on certificate of authenticity.

Andre Lichtenberg | Study One (Impossible Utopia)
André Lichtenberg
Study One (Impossible Utopia)
C-Type Photograph
2017
39 3/8 x 58 1/4 inches

Signed and numbered 1/7 on recto.

Andre Lichtenberg | Madeira Drive (Impossible Utopia)
André Lichtenberg
Madeira Drive (Impossible Utopia)
C-Type Photograph
2017
54 3/4 x 70 1/2 inches

Signed and numbered 1/7 on recto.

Andre Lichtenberg - Stairs
André Lichtenberg
Stairs - Licht Series
C-Type Photograph
2010, printed 2016
23 1/2 x 35 1/2 inches

Signed and numbered 3/20 on recto.

Andre Lichtenberg - Two White Huts
André Lichtenberg
Two White Huts - Licht Series
C-Type Photograph
2010, printed 2016
23 1/2 x 35 1/2 inches

Signed and numbered edition of 20 on recto.

Andre Lichtenberg - White Hut
André Lichtenberg
White Hut - Licht Series
C-Type Photograph
2010, printed 2016
23 1/2 x 35 1/2 inches

Signed and numbered edition of 20 on recto.

Andre Lichtenberg - NY, Midtown East
André Lichtenberg
NY, Midtown East - Within Series
C-Type Photograph Mounted on Dibond
2015, printed 2016
55 1/4 x 85 1/2 inches

Signed, dated and numbered 2/8 on certificate of authenticity.

Andre Lichtenberg | NY, Highline Chelsea (Within Series)
André Lichtenberg
NY, Highline Chelsea (Within Series)
C-Type Photograph
2017
55 x 81 inches

Signed and numbered 1/8 on recto.

Andre Lichtenberg - City of London with Fog
André Lichtenberg
City of London with Fog - Within Series
C-Type Photograph Mounted on Dibond
2014, printed 2016
59 x 95 1/2 inches

Signed, dated and numbered 4/8 on certificate of authenticity.

Andre Lichtenberg - NY, Rockefeller
André Lichtenberg
NY, Rockefeller - Within Series
C-Type Photograph Mounted on Dibond
2015, printed 2016
47 1/4 x 71 1/2 inches

Signed, dated and numbered 3/8 on certificate of authenticity.

Massimo Listri | Biblioteca di Mafra III Portogallo
Massimo Listri
Biblioteca di Mafra III Portogallo
Archival Lambda Color Photograph
2015
47 1/4 x 59 inches

Signed, titled, dated and editioned on artist's label on verso.

Massimo Listri - Natural History Museum, Londra
Massimo Listri
Natural History Museum, Londra
Archival Lambda Photograph
2005, printed 2014
70 7/8 x 88 5/8 inches

Signed, titled, dated and numbered (edition of 5) on artist's label on verso.

Massimo Listri | Palazzo Bardini II, Firenze
Massimo Listri
Palazzo Bardini II, Firenze
Archival Lambda Color Photograph
2009
47 1/4 x 59 inches

Signed, titled, dated and numbered (edition of 5) on artist's label on verso.

Massimo Listri - Palazzo Reale II, Stoccolma
Massimo Listri
Palazzo Reale II, Stoccolma
Archival Lambda Color Photograph
1998, Printed 2014
59 x 47 1/4 inches

Signed, titled, dated and numbered (edition of 5) on artist's label on verso.

Massimo Listri - Palazzo Butera II, Palermo
Massimo Listri
Palazzo Butera II, Palermo
Archival Lambda Color Photograph
2016
70 7/8 x 88 5/8 inches

Signed, titled, dated and editioned out of 5 on artist's label on verso.

Massimo Listri - Venaria Reale VII, Torino
Massimo Listri
Venaria Reale VII, Torino
Archival Lambda Color Photograph
2016
70 7/8 x 88 5/8 inches

Signed, titled, dated and editioned out of 5 on artist's label on verso.

Massimo Listri - Teatro Sao Carlos, Lisbona
Massimo Listri
Teatro Sao Carlos, Lisbona
Archival Lambda Color Photograph
2017
70 7/8 x 88 5/8 inches

Signed, titled, dated and editioned out of 5 on artist's label on verso.

Massimo Listri -Kunsthistorisches Museum I, Vienna
Massimo Listri
Kunsthistorisches Museum I, Vienna
Archival Lambda Color Photograph
2014, printed later
47 x 59 inches

Signed, titled, dated and editioned on artist's label on verso.

Stephen Wilkes - Tunnel View, Yosemite National Park - Day to Night
Stephen Wilkes
Tunnel View, Yosemite National Park (Day to Night)
Fuji Crystal Archival Photograph
2014
48 x 72 inches

Signed, titled and editioned # 2/12 on verso.

Stephen Wilkes - Cherry Blossoms, National Mall & Memorial, Washington DC (Day t
Stephen Wilkes
Cherry Blossoms, National Mall & Memorial, Washington DC (Day to Night)
Fuji Crystal Archival Photograph
2015
32 x 55 inches

Signed, titled and editioned # 1/20 on verso.

Stephen Wilkes - Brooklyn Bridge Park, NYC - Day to Night
Stephen Wilkes
Brooklyn Bridge Park, NYC (Day to Night)
Fuji Crystal Archival Photograph
2016
38 x 48 3/4 inches

Signed, titled and numbered (edition of 20) on verso.

Stephen Wilkes - Serengeti, National Park, Tanzania
Stephen Wilkes
Serengeti, National Park, Tanzania (Day to Night)
Fuji Crystal Archival Photograph
2015
32 x 54 inches

Signed, titled and numbered (edition of 20) on verso.

K

Constructed Space: The Architectural Visions of Four Photographers

1/27/18 - 2/24/18

Since its inception, photography has been used not only as a medium to present the world in actuality, but also as a tool to convey a potential, imagined world. As early as the Civil War, or with Bayard’s “…Drowned Man” image in 1840, photographers have carefully and meticulously organized a space and set a stage to create pictures that go beyond technical or decorative imagery, and created narratives and realities through the imagination and innovation of their vision. The photographers in this show have constructed or designed spaces to present their individual conceptions on various themes of human experience. These pictures underscore our relationship to the passing of time and to the heightened realities of a familiar space. They often juxtapose nature with abstractions of space and the insertion of unexpected objects and can also set a stage to document the aging and deterioration of a structure. These photographers creatively engineer space differently, establishing narratives uniquely their own, but also with common threads.

Stephen Wilkes’s meticulous process of shooting from a fixed camera for up to 30 hours create the heightened ability of seeing day and night in one image. This process includes the painstaking selection of thousands of images to create a work that extols the phenomenon of life. Wilkes’s pictures montage the seemingly random events that happen throughout the day with a longer, more complex matrix involving human drama and set within complex spaces. Wilkes’s images capture ephemeral human moments, suspends them, bringing us closer to another possible reality. The work also studies the impact citizens have on their surroundings and vice versa, the cycle of light and on the grandeur of the landscape; a collection of human experiences.

Andre Lichtenberg’s landscapes present us with abstracted cityscapes. The photographer gives careful consideration to the individual placement of each building. His images have a texture that feels almost palpable. Lichtenberg’s rejection of traditional landscape imagery, finding it too literal as a record of the cityscape or landscape, motivates him to present an abstraction of the places he photographs. His composite pictures allow him more freedom in inscribing the individuality of the separate buildings and how they are cumulatively organized. To further abstract the pictures, Lichtenberg inverts the colors and constructs the cityscapes using methods bridging science and art. His work also pushes the boundaries of the medium with exposure light lines drawn around structures, bodies of water that appear as textured masses of color, and perspectives that are heightened and inverted to reflect a crafted place between unconstrained amusement and restricted precision.
Thus, he aptly titles the new work “Impossible Utopias”.

Karen Knorr, inspired by Conceptual art and Magical Realism, presents the viewer with the illusion of animals inside elaborate and luxuriant interiors. Knorr’s work conjures up the symbolism of parables and mythologies; anthropomorphic tales of morality and cultural significance that create a subtext as individual tales for each image. Knorr investigates the power and ancestry of these interiors, institutions of national identity and history, and the connotative and instructive characteristics we ascribe to animals by visualizing in the picture something unique and original to her; she shoots the architectural interiors and animals separately, joining them in post-production. What if our domestic tranquility was interrupted by the chaos of an animal invasion? Her pictures call into questions our assumptions of how we live in and use domestic spaces as well as how we relate to the greater world of nature.

Massimo Listri is a Renaissance man whose trained eye for classical architecture and historical preservation shows us the grand harmonies and achievements of western architecture but that can also intimately display their wear and age. Listri’s work beautifully presents the interior architecture of libraries, palaces, villas, museums, and castles, capturing the magnificence and energy of their ambitious designs. Listri removes any living subject from the image and concentrates only on the built environment, allowing for a focus on the positive qualities of the interior space. Listri’s photography is so seductive in the use of natural light, long exposures and a detailed depth of field, that they achieve an equilibrium and produce a feeling of grandeur and a sense of serenity and tranquility. This concentration also reveals to the viewer, the hidden particularities of each space the photographer encounters, noting the imperfections and deterioration caused by time and history further highlighting each structure’s unique character. Listri’s work illustrates the beauty and successes of classical architecture and are compelling because of his fascination with the form and interior spaces, setting a stage to remind the viewer of the histories and human dramas both personal and collective that these structures contained.

‘Constructed Space’ is a show about space, architecture, human inventiveness, and how we have historically viewed the world. It is about the adaptive use of space as well as how photographers handle three or even four dimensions and present bodies of work that are both unique, inventive, expansive, as well as aesthetically, and intellectually compelling.
Architecture has historically fascinated photographers because its purpose is to give structure to the world. It is a pleasure to present a photographic exhibition where the concerns and interests of architecture are both monumental and human; where time and space become the ultimate motivations to produce beautiful and fascinating images.

See installation images