Pryde’s work attacks stock photographic aesthetic by technically reworking and reconfiguring images and by addressing the conditions of their display. The surfaces of glossy fashion photographs are disrupted by the insertion of aluminium tubes, which emphasise their ‘objectness’ and their status as artworks. Colourful photoshop juxtapositions of MRI scans of the human foetus and macro-lens desertscapes are unnervingly loaded. They refer to the history of darkroom experimentation and to contemporary medical-imaging techniques. Pryde doesn’t reject the language of photographic imagery, rather she adopts it and layers it up. Her guinea pig portraits are inspired by ‘cute pet photography’ but her choice of subject conjures associations with laboratory research.
En Plein Air
Simon Lee Gallery, London, is pleased to present En Plein Air, bringing together works by artists who seek to reinterpret the artistic tradition of painting outdoors for a contemporary audience. The plein air approach has been prevalent since the mid-19th century, although it gained traction in the 1860s as a practice essential to the development of the Impressionist movement. While artists had long painted from observation to create preparatory sketches or studies, during this period the plein air method led to a naturalistic style that threw out the academic rulebook in the pursuit of formal and compositional spontaneity. The artists included in En Plein Air are united by a desire to refresh the audience’s interpretation of outdoor painting, whether via landscapes or portraits, photography or painting, figuration or abstraction, and in this way, the exhibition explores scenes of the outdoors in relation to contemporary studio practice.
Studio Photography: 1887–2019
Simon Lee Gallery, New York, is pleased to present Studio Photography: 1887-2019, a wide-ranging survey exhibition featuring work by a diverse group of artists whose studio-based practices span the past 130 years. During this time period, the establishment of photography as an artistic medium, the ensuing major advancements in image capture technology and the resulting evolution of photography from an intensive, specialized art form to an inescapeable aspect of everyday life, has led to innovative developments in the field of fine art photography.
A broad, cross-generational overview, Studio Photography: 1887–2019 develops multiple long-ranging conversations among artists engaged in specific areas of inquiry. Finding common ground, John Edmonds, Robert Mapplethorpe, Paul Mpagi Sepuya, and Lionel Wendt all employ the historical genre of portrait photography in order to grapple with issues surrounding representation and identity; however, their strategies are varied and, occasionally, in conflict. Elsewhere Barbara Kasten, Willa Nasatir, and Erin Shirreff present complex, abstracted images through their use of sculpture. Similar to Constantin Brancusi, these artists transcend straightforward documentation of their sculptural work, suggesting a rich interplay between two- and three-dimensional forms.
Josephine Pryde: In Case My Mind Is Changing
Simon Lee Gallery is pleased to present an exhibition of new photography, together with some models in 3D, by Josephine Pryde, her second to be held in the London gallery.
The Tissue of Memory
Simon Lee Gallery New York is pleased to present The Tissue of Memory, a cross-generational group exhibition that considers the gesture and its history, as exemplified by the practices of Kelly Akashi, Robert Mangold, Agnes Martin, Win McCarthy, Monique Mouton, Josephine Pryde, Gary Simmons, Cy Twombly, and Heimo Zobernig.
Simon Lee Gallery is proud to present ‘Faux Amis’, a group exhibition that centres on the dialogue between the work of gallery artists and their chosen ‘false friend’.
For this, the first exhibition to cover both the ground and the new first floor spaces of the London gallery, Simon Lee Gallery artists are invited to exhibit alongside, and in dialogue with, the work of an artist of their choice which they find forges a relevant, interesting, distracting, misleading, or stimulating relationship with their own practice. The resultant selection of works not only highlights the interesting discourses that can exist between artists of divergent practices and generations, but also suggests new readings of the individual works on display.