NY Arts Magazine » Sternthal Books http://www.abrahamlubelski.com NY Arts Mon, 12 Mar 2018 20:06:05 +0000 en-US hourly 1 https://wordpress.org/?v=4.2.38 Yesterday’s Sun by Uri Gershuni from Sternthal Books http://www.abrahamlubelski.com/yesterdays-sun-by-uri-gershuni-from-sternthal-books/ http://www.abrahamlubelski.com/yesterdays-sun-by-uri-gershuni-from-sternthal-books/#comments Mon, 21 Oct 2013 15:44:13 +0000 http://www.abrahamlubelski.com/?p=13437 The haunting photographs in Uri Gershuni’s latest book Yesterday’s Sun pit contemporaneity against nostalgia in creating a series of images that not only capture lost moments in time, but also give the same urgency to the present day. Gershuni follows in the footsteps of William Henry Fox Talbot, one of photography’s pioneers, recapturing his estate […]

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]]> The haunting photographs in Uri Gershuni’s latest book Yesterday’s Sun pit contemporaneity against nostalgia in creating a series of images that not only capture lost moments in time, but also give the same urgency to the present day. Gershuni follows in the footsteps of William Henry Fox Talbot, one of photography’s pioneers, recapturing his estate and reinterpreting his aesthetic. These images celebrate photography’s early camera models and traditional subjects. By rigging his digital camera to operate as a pinhole camera, Gershuni produces the gauzy and slightly eerie images of the contents and atmosphere of Talbot’s Lacock Abbey in Wilshire.

The series begins with a photograph of Talbot’s epitaph followed by images of the cemetery where it resides. Upfront, Gershuni presents his inspiration before allowing the viewer to indulge in his interpretation. The air of a forgotten place and era grows stronger through each image. The village where Lacock Abbey is located appears desolate and frozen in time and the same feels true for the surrounding property and the abby interior. However, interspersed between the quiet and still images of the Abbey, Gershuni interjects portraits of a modern day man named Bambi. His presence throughout the series showcases Gershuni’s ability with the portrait, but still elicits the same feeling of a solitary existence. The New World collides with the Old World as Gershuni’s portraits punctuate the series of still-life and architectural photographs. Bambi acts as the life force moving through the series of ghostly images, weaving Gershuni’s exploration into a narrative. At the end of Yesterday’s Sun we are brought back to the cemetery, reminding us that the journey we just took began and ended with something that has already left this world.

Review by Caitlin Díaz

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]]> http://www.abrahamlubelski.com/yesterdays-sun-by-uri-gershuni-from-sternthal-books/feed/ 0 Dana Levy’s World Order from Sternthal Books http://www.abrahamlubelski.com/dana-levys-world-order-from-sternthal-books/ http://www.abrahamlubelski.com/dana-levys-world-order-from-sternthal-books/#comments Fri, 18 Oct 2013 09:00:08 +0000 http://www.abrahamlubelski.com/?p=13335 Abandoned spaces, preserved materials, and the lingering feeling of a life once lived—these are all necessary components in the video and photography work of Dana Levy. Her new monograph World Order, published for her solo exhibition at the CCA in Tel-Aviv, highlights her interest with the appropriation, display and study of everyday curiosities. The two […]

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]]> Abandoned spaces, preserved materials, and the lingering feeling of a life once lived—these are all necessary components in the video and photography work of Dana Levy. Her new monograph World Order, published for her solo exhibition at the CCA in Tel-Aviv, highlights her interest with the appropriation, display and study of everyday curiosities. The two pieces that captured my attention the most were her video works Silent Among Us (2008) and The Wake (2011). Each piece takes place in a museum setting that contains and collects life. The release of live birds and butterflies into the still-life setting births a new dynamic, merging the past with the present. This theme, coupled with the contrast of confinement and freedom, is constant throughout the collection of pieces showcased in World Order.

The monograph also contains essays by Maayan Sheleff, Christopher Eamon, and Berta Sichel that shed light on Levy’s concern with the past and its importance and mystery in the present.  For the reader, these essays illustrate poignant moments in her work such as with Dead World Order where “an elegant European woman carefully handles the objects with finesse and love.” The authors also discuss and dissect the setting, composition and mood of the work, comparing some shots to be reminiscent of a Hitchcock film. The discourse through description and interpretation bring life to the static images, as well as add a new layer of interest to each piece. World Order does a wonderful job of capturing the essence of Levy’s art, and will definitely pique the interest both of those familiar and new to her work.

Review by Caitlin Díaz
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