April 8 - May 9, 2021
For our yearly thematic group exhibition we present “Nature Morte”, a 60-artist still life show with an environmental edge. Using the entire exhibition space and both showroom and office, this mega-show includes a total transformation of the gallery space into a dark concrete and forest environment.
Mainly comprising still life works, the exhibition chooses the French appellation for the pictorial genre to foreground literal “dead nature”, tracing themes of the global environmental crisis with subject matter ranging from turgid bouquets (Ivan Seal) and Holbein-inspired skulls (Robert Lazzarini) to a roasted duck on a hook (Stephanie H. Shih) and a melting garbage snowman (Theo A. Rosenblum and Chelsea Seltzer).
Including painting, sculpture, works on paper and photography, Nature Morte features 60 artists from renowned to unknown whose works challenge the traditional elements of still life, leading viewers into the uncharted territory of our dark concrete forest. In 2021 the still life genre is impacted by not just the transience of life but by the impending global catastrophe that promises the end of all life.
Responding to the climate crisis in disparate ways, the artists in Nature Morte depict disease, death and dark nature—the animals are taxidermied and the fruits inedible. From a delicate dead sparrow by Allison Schulnik to a gigantic bronze CGI lion by Austin Lee; a forest fire by Aaron Elvis Jupin to a highway overpass by Adam de Boer; even the lively-looking works have a whiff of death to them, like Rosson Crow’s vibrant jungle laced with tar pits.
When pondering death in the 17th century, audiences looked at skulls, blown out candles, dead animals, flowers and fruits—and bubbles for some reason. Today we gaze upon much of the same, plus melting mini-fridges, sliced up butterflies, flooding, cigarette butts and mylar balloons. Collectively, the works in Nature Morte contemplate death at a time when humanity’s doom is realistically into view; life is fleeting as you see a blown out candle or life is fleeting as you see melting ice sheet chunks the size of Manhattan. All these artists have one eye on the death of the natural world—the extinction of the human race, even—whether painting a shoe or a skull.
30 March – 30 April 2021
The first UK solo exhibition of American photographer, Daniel Gordon will open at Huxley-Parlour in March 2021. The exhibition includes four large-scale works, as well as fourteen intimate works that form Gordon’s latest body of work, exhibited here for the first time.
Moving between two and three-dimensions, Gordon’s practice appropriates images of still-life subjects he finds on the Internet. Printing the images on paper before cutting them out, he then assembles a three-dimensional tableau in the studio which is subsequently photographed, linking handmade and digital-based processes and materials.
Gordon’s new photographic series, made during lockdown in New York in 2020, continues his rigorous and vibrant investigation of the still-life genre. The new works includes quotidian objects that reveal the routine of domestic life during quarantine, giving a wry nod to the banality and homogeneity of life lived in confinement. Tennis rackets and trainers hint at the routine of exercise, and are paired with other accoutrements of daily life including batteries and cutlery. The works utilise the artist’s signature use of colour and composition, revelling in pattern and palette.
March 16 - June 27, 2021
Still/Live explores how contemporary artists working in photography, video and new media are reimagining the genre of still life. Since ancient times, deceptively simple depictions of fruit, flowers and everyday objects have disguised rich layers of symbolic association. The artists represented in Still/Live work from within the still life tradition, examining three themes – time, contemporary symbolism, and trompe l’oeil – with new technologies and from new perspectives.
In the last ten years, the boundaries between photography and sculpture, architecture, painting, drawing, media and computation have become increasingly porous. Central to the efficacy of photography today is its relationship to language. Like language, photography is a communicative medium that belongs to every discipline, allowing it to shift from commercial to critical and across media.
AND/ALSO: Photography (Mis)represented unites six photographers based in New York whose divergent practices all demonstrate the easy slippage between one medium and the next. Their methodologies contend with medium specific conceptions historically associated with photography, like authorship, deadpan documentation, and chemical composition, to imagine a system of representation that exists in quantum states, oscillating in and out of its own parameters. Taken collectively, the thirteen photographs exhibited make evident that a new approach to formalism is emerging within the contemporary construct, one that is multidisciplinary and upended by new technologies and advanced editing softwares.
Hue and Saturate brings together 11 works from New York-based artist, Daniel Gordon, for his first solo exhibition in Houston. Often described in the style of Matisse’s cut-outs or Cezanne’s still lifes, Gordon’s work uses shape, color, and size to playfully disrupt our ideas about medium-specificity, artifice, and photography in the age of the internet. Born in 1980, Gordon is squarely positioned in a pre and post-internet world. His tableaus break down classical objects found in still lifes into constructed forms and in some cases trace references, shadows, and pixels of flora, fauna, produce, and tableware. This emphasis on the digital construction of the image has a hide-and-seek characteristic throughout this show, alternating between explicitly revealing itself and tucking itself into painterly compositions of paper objects. While Matisse or Cezanne’s work might refer more to the shift from objective to subjective perception through the construction of the painted form, Gordon’s use of pattern, repetition and digital imaging illustrates the deconstruction and reconstitution of form from one reality or plane to another.
June 26th - August 16th
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.
LEX BROWN, RAQUE FORD, DANIEL GORDON, XANDRA IBARRA, JOIRI MINAYA, MACON REED AND KEN TISA
MAY 28 - JULY 26, 2019
OPENING RECEPTION MAY 28, 2019 FROM 6-8PM
The exhibition explores how food is represented and what its significance can be by means of three themes. For Still Life one of the most popular genres in painting is taken as the starting point. The photographs show how the artists have been inspired by the genre and how it has changed in the course of time. Around the Table looks at the ritual that takes place around food. In addition, this section also deals with cultural identity that is reflected in food. Finally, Playing with your Food shows what happens when humour, fun and irony are combined with food. In addition to the photos there will be a number of cookbooks on display. The books provide an additional visual history and supply context to the photos on the wall.
With works by: Nobuyoshi Araki, Guy Bourdin, Imogen Cunningham, Roe Ethridge, Marion Faller and Hollis Frampton, Rotimi Fani Kayode, Roger Fenton, Peter Fischli and David Weiss, Nan Goldin, Daniel Gordon, Rinko Kawauchi, Russell Lee, Laura Letinsky, Vik Muniz, Nickolas Muray, Martin Parr, Martha Rosler, Ed Ruscha, Cindy Sherman, Stephen Shore, Edward Steichen, Paul Beach, Wolfgang Tillmans, Lorenzo Vitturi, Tim Walker, Andy Warhol, Weegee, Edward Weston, Hank Willis Thomas and many others.
Simultaneous to León Ferrari’s exhibition at Galeria Nara Roesler – SP, the 28th edition of Roesler Hotel hosts Screenspace, which presents the recent production of 20 artists investigating contemporary visual culture through photographic language in a post-digital context.
The current edition of Roesler Hotel is curated by Vik Muniz – one of the artists represented by the gallery –, Lucas Blalock and Barney Kulok, whose works are also part of the show. Screenspaces manifests the way digital photography has permanently changed our perception of the world around us.
The construction of notions of truth and reality and the illustrative links between the photographed and its representation – themes traditionally held dear to photography – remain present in these artists’ research. However, the most striking element of the exhibition is the interest in perceiving digital technologies not merely as tools, but as devices capable of reshaping our imagery and the way we relate to images.
Participating artists: Anna K.E., Awol Erizku, Barney Kulok, Chris Wiley, Daniel Gordon, Deana Lawson, Dillon DeWaters, Erin Shirreff, Hannah Whitaker, Jibade-Khalil Huffman, John Houck, Jonathan Ehrenberg, Leah Beeferman, Leslie Hewitt, Lucas Blalock, Mariah Robertson, Paul Mpagi Sepuya, Sara Cwynar, Vik Muniz, Whitney Hubbs.
In 2014, Foam presented to the public work from its own collection for the first time, in the exhibition Reflected - Works from the Foam Collection. Since then, the collection has grown from over 400 to around 550 works of art. The collection – which is focused solely on contemporary photography – is still constantly developing. Loading… Works from the Foam Collection shows a selection of the most recent additions from the last five years. It features work from 30 international photographers in a diverse exhibition that reflects Foam’s exhibition programme. From the monumental work by the French artist Noémie Goudal to experiments with negatives by the Japanese Daisuke Yokota, and from the sophisticated work of Sjoerd Knibbeler to the still lifes of the young American Daniel Gordon and the strong, colourful images by Viviane Sassen.
Foam has been working for over ten years on its growing collection that shows the development of the medium throughout the 21st century. By spotting and presenting young talented photographers at an early stage of their careers and simultaneously adding their work to the collection, the museum ensures that its collection keeps pace with the potential and development of the young artists. In this way Foam tries to recognise and record the most recent developments of the medium as contemporaneously as possible.
With works by: Paul Bogaers, Sofia Borges, Antony Cairns, Juno Calypso, Uta Eisenreich, Daniel Gordon, Noémie Goudal, Adam Jeppesen, Heikki Kaski, Sjoerd Knibbeler, Awoiska van der Molen, Anouk Kruithof, Ola Lanko, Matthew Leifheit & Cynthia Talmadge, Romain Mader, Nerhol, Momo Okabe, Olya Oleinic, Peter Puklus, Jan Rosseel, Viviane Sassen, Scheltens & Abbenes, Jean-Vincent Simonet, Theo Simpson, Anne de Vries, Harley Weir and Daisuke Yokota.
Rose Is A Rose Is A Rose Is A Rose
Curated by Nikki Maloof and Louis Fratino
Sarah Bedford, Holly Coulis, Ann Craven, Ralph Delia, Lois Dodd, Daniel Gordon, Jenna Gribbon, Anthony Iacono, Hein Koh, John McAllister, Emily Mullin, Shota Nakamura, Danielle Orchard, Sally Saul, Allison Schulnik, Michael Stamm, Tim Wilson
June 28th - August 3rd, 2018
Thursday, June 28th, 6-8pm
February 27â€“May 27, 2018
Interaction with paper plays an integral role in the practice of many photographers working today. Some create paper models with images gleaned from current events, popular magazines, or the internet for the express purpose of photographing them. Others cut, layer, fold, and/or assemble representational photographs to introduce tactile or narrative elements. The exhibition features works by Thomas Demand, Christiane Feser, Daniel Gordon, Soo Kim, Matt Lipps, and Christopher Russell.
The Boca Raton Museum of Art's newly created photography forum is established to present the work of emerging to mid-career artists working in the medium of photography. The first exhibition, slated to open in the fall of 2017 includes the work of Daniel Gordon (b. 1980 Brooklyn, NY), Paul Kneale (b. 1986 Brantford, Canada), and Florian Maier-Aichen (b. 1973 Stuttgart, Germany).
The medium of photography has shifted with the advent of new technologies; while it is the foundation for the work in this exhibition, these artists use the process merely as a starting point. The photographic works are largely influenced by an understanding of Postmodernism as a reaction to or rejection of Modernism by revisiting the early Modernist crossover between abstraction and representation. Collectively they exhibit the similarities between the new medium of photography and painting. The exhibition considers photography's influential role in contemporary art and also aims to build upon the significant collection of 1,600 historical photographs in the Boca Raton Museum of Art's collection.
Fickle Food Upon A Shifting Plate
Curated by Tayah Leigh Barrs and organised with Laurence Owen
6-8 Garden Walk, EC2A
Private View: 14 September 2017, 6-9pm
15 September 2017 - 12 October 2017
Oliver Twist, Chapter 2
May 20 - June 17, 2017
Opening Reception May 27, 6-8pm
Zachary Armstrong / Conor Backman / AndrÃ© Butzer / Matteo Callegari / Matthew Chambers / Holly Coulis / Robert Davis / Daniel Feinberg / Brendan Fowler / Aaron Garber-Maikovska / Daniel Gordon / Van Hanos / Roger Herman / Loie Hollowell / Sheree Hovsepian / Ridley Howard / Alex Israel / Rashid Johnson / Sherrie Levine / Eddie Martinez / Aubrey Mayer / Sam Moyer / Joshua Neustein / Anthony Pearson / Danica Phelps / Kour Pour / Jon Pylypchuk / RH Quaytman / Jon Rafman / Ry Rocklen / Jennifer Rubell / Mason Saltarrelli / Kenny Schachter / Hubert Schmalix / Ruby Sky Stiler / Henry Taylor / Kon Trubkovich / Jordan Wolfson / Jonas Wood / Thomas Zipp and maybe Darren Bader.
Ready. Fire! Aim. is a joint exhibition that will take place at the Hall Art Foundation in Reading, Vermont (6 May – 26 November 2017) and at the BCA Center in Burlington, Vermont (21 April — 9 July 2017). Inspired by Andy and Christine Hall's art collecting philosophy, this group show explores the psychology of impulsive action and strategic thinking. Using the creative process as a point of departure, Ready. Fire! Aim. brings together artworks addressing issues of violence and decay, gestural abstraction and linear precision, as well as the sensible and the absurd. BCA Center's presentation will include work by six emerging to nationally recognized Vermont-based artists, while the Hall Art Foundation's presentation will feature a selection of paintings, sculptures, and photographs by internationally recognized contemporary artists.
Hall Art Foundation artists: Richard Artschwager, Joseph Beuys, Olafur Eliasson, Anoka Faruqee, Lara Favaretto, Eric Fischl, Daniel Gordon, Keith Haring, Glenn Ligon, Robert Longo, Tony Matelli, Bruce Nauman, Susan Rothenberg, Michael Scoggins.
BCA Center artists: Mildred Beltré, Nancy Dwyer, Peter Gallo, Jonathan Gitelson, Timothy Horn, Matthew Peterson
Ready. Fire! Aim. is a collaboration between the Hall Art Foundation and Burlington City Arts and is curated by DJ Hellerman.
Opening Reception February 1, 2017
The work of Daniel Gordon (b. 1980) operates at the intersection of analogue and digital imaging technologies, shifting smoothly between techniques common to the traditional darkroom and those made available through the use of graphics editing programs such as Photoshop. In his pictures, the art historical genre of the still life is made the departure point for formal exercises that link handmade and computer-based processes and materials—the show’s title is a nod to Photoshop’s retention of the term “canvas” for a new document—mapping out a hybridized terrain for photographic practice today.
In a series of mounted photographs, Gordon appropriates images of common still life subjects he finds online (vases, fruits, plants), combining these with forms he produces digitally. Printing the images on paper before cutting them out, the artist assembles a three-dimensional tableau in the studio that he then photographs with an 8x10 large format camera. In this way, Gordon transfers his chosen materials from the online to the corporeal, and from the 2D to the 3D and back again. The resulting pictures recall the still lifes of Cézanne or Matisse as well as German Dadaist collage, inhabiting an ambiguous pictorial space and oscillating between flatness and depth.
Turning away from all-over pattern and collage, a series of inkjet prints on canvas sees Gordon’s practice shift toward more explicitly formal concerns. In these images, the artist’s familiar fruits and vases appear again, though their heightened abstraction now brings color and shape more closely to the fore. Produced via a kind of digital excavation, these compositions are the remainder of a repeated process of peeling away transparent layers in Photoshop. Gordon’s use of simpler form and solid planes of color in these prints turns process perceptible, drawing out the expressive and mark-making capacities of the digital.
Hand, Select & Invert Layer
27th August - October
Daniel Gordon is known for his colourful, patterned photographs, portraits, still lifes, and photographic abstractions printed on canvas: so-called Screen Selections. In his first solo exhibition at BolteLang Gordon will present a site-specific wallpaper installation alongside new still lifes and screen selections.
Gordon’s still lifes include classic subjects such as vessels, fruit, plants and vegetables. He culls photographic images from the Internet, combining them with his own digitally drawn motifs, and uses them to build three-dimensional tableaus, which he then photographs with an 8 x 10 view camera. After the photograph is taken, the sculptures are dismantled and background patterns are re-used to make new works. Using a manual cut-and- paste technique, Gordon builds forms that expand upon the rich history of collage and appropriation, while also nodding to the long lineage of the painted still life (Matisse’s colourful arrangements, Wiener Werkstätte textiles, Cézannes still lifes, and digital artifacts come to mind).
Gordon’s subject matter lies in a series of binaries that frequently coexist in his photographs: Wholeness and fracture, analogue and digital, classical and contemporary. These dualities are underscored through the process itself: torn edges are left raw, forms fuse and separate, teetering between completion and dissolution, machine and man.
The wallpapers appear for the very first time in Hand, Select & Invert Layer and are based on background elements in his photographic works.
The exhibition was initiated and curated by Claudia Groeflin Ziltener.
May 2, 2016 - January 31, 2017
Collected—the eighth exhibition at Pier 24 Photography—brings together photographs from the Pilara Foundation and other Bay Area collections. Nine collectors were invited to select works from their holdings that reflect their interests in the medium. The exhibition thus offers a lens on various collecting approaches, with some collectors focusing on the work of particular artists or on specific art historical movements or themes, and others developing their own criteria, whether deliberately or unconsciously. Spanning the last hundred years of the medium, the selections on view here reflect each collector’s strong understanding of photography while also highlighting the singular sensibilities guiding the deeply personal act of collecting. Yet for all their variety, the assembled photographs also reveal the shared traits that unite all passionate collectors: curiosity and discipline paired with rigorous study and close looking.
New Builds is an exhibition of four American artists who compress sculptural, painterly and collage instincts into photographic space.
Daniel Gordon photographs elaborate still lifes in vibrating patterns. Pitchers, fruit and flowers are built from photographs of pitchers, fruit and flowers, then built into studio sets. The scenes are tuned in Photoshop for heightened effect, reaching toward pure graphics at times, while the crunch of the paper seam always remains, keeping the hand present and the exotic space physical. Matt Lipps three-dimensional collages of archival photographic reproductions create expansive new taxonomies of visual culture, precisely staged and lit, scholarly but brimming with narrative. In John Houck’s iterative History of Graph Paper works photography combines with rephotography, making reproductions share the frame with their subjects, generating uncanny, dreamy space that has experienced no digital manipulation. Anthony Lepore created a studio inside his father’s bikini factory in Los Angeles, developing from there an ongoing series of photographs that reflect on the processes of manufacturing, the banality of labor, the creation of fantasy and the (sometimes literal) ties that bind.
New Builds is conceived as a photography exhibition that breathes, flexing around the idea of the rectangle pigmented with chemicals. It is a show about contemporary image-making that does not fixate on the implications of the screen and dematerialisation of photographic imagery, but instead chews on the material and the object, the stuff of photography. Philosophically these artists take the approach that object and material lead into concept, not the other way round. New Builds invites discussion about the contemporary photograph in the physical world rather than the contemporary photograph’s relationship to virtual space.
ONE STAR PRESS
Fruits et Riche Vaisselle Sur Une Table 1640 – 2015
Opens November 10, 2015
8 April - 30 May 2015
Preview: Saturday 18 April, 6 - 9pm
Wallspace is pleased to announce Screen Selections and Still Lifes, Daniel Gordon’s second solo exhibition at the gallery, opening Thursday, October 30th and running through December 20th.
The exhibition is comprised of two bodies of work, a new group of large-scale still lifes, the artist’s most ambitious and complex to date, and a new body of work, Screen Selections, which takes the textile-inspired backdrops Gordon uses in constructing his tableaux as a point of departure.
The still lifes on view compress a range of historical iconography into one cacophonous plane through a post-internet assemblage that includes analog and digital processes. Skulls, vases, fruit and vegetables are rendered in impossible perspective, made manifest through an obsessive culling and meticulous reconstructing of internet images. Here, Cubism, German Dadaism, Fauvism, Wiener Werkstaatte textiles and digital artifacts collide to form a vibrant surface, reverberating across time periods and styles.
While the still lifes are immersive and almost psychedelic in their optical density, the Screen Selections assert themselves as abstract compositions that appear divorced from time, place or context. In these works, Gordon selects sections from his constructed backgrounds and re-presents them as their own discrete, self-referential works. The patterning and colors that once framed objects within the compositions are now foregrounded and flattened out, reintroduced into the two-dimensional plane (i.e. screen) from which they were initially extracted.
Under Construction â€“ New Positions in American Photography
17 September â€“ 10 December 2014
Foam presents 'Under Construction - New Positions in American Photography', a group exhibition featuring the work of nine young American and Canadian artists: Sara VanDerBeek, Lucas Blalock, Joshua Citarella, Jessica Eaton, Daniel Gordon, Owen Kydd, Matt Lipps, Matthew Porter and Kate Steciw. Even though the results of the artists' individual artistic practices are very diverse, the mentality, methodology and presentation of their work show a number of remarkable similarities.
12 September â€“ 2 November 2014
Foam welcomes the exhibition Shadows, Patterns, Pears by the American artist Daniel Gordon (b. 1980 Boston, USA). Gordon was chosen as the winner of the Foam Paul Huf Award 2014. This prize is organised by Foam and awarded annually to a young, promising international photographer under 35. The exhibition features a selection of colorful portraits and still lifes, created and photographed between 2010 and 2014.
August 4, 2014 - May 31, 2015
For its sixth exhibition, Pier 24 Photography presents Secondhand, featuring artists who build repositories of found images, from which they appropriate, construct, edit, and sequence in order to create something entirely new. Through this process, their distinctly personal approaches become as wide-ranging as their source material.
The works presented in Secondhand resonate with our visual culture's obsession with communicating through selecting and editing existing material, allowing the distinction between curator and creator to become less defined. With more than one hundred and fifty years of printed photographs at their disposal, along with the millions of digital pictures uploaded daily, the artists included in Secondhand critically examine the role of images in our society. While mining these found images to reveal their own perspectives, the defining features of their artistic voices become process, craft, and display.
Maurizio Anzeri, John Baldessari, Viktoria Binschtok, Melissa Catanese, Daniel Gordon, Erik Kessels, Mike Mandel, Matt Lipps, Richard Prince, Rashid Rana, Joachim Schmid, Larry Sultan, Hank Willis Thomas, and selections from the Archive of Modern Conflict.
The Crystal Palace
June 28 - August 16, 2014
Opening Reception: Saturday, June 28, 6-8 pm
Balthus, Joseph Cornell, Daniel Gordon, Van Hanos, Robert Indiana, Jamian Juliano-Villani, Ray Johnson, Anya Kielar, Claes Oldenburg, Dushko Petrovich and Roger White, James Rosenquist, Pierre Roy, Peter Saul, Johannes VanDerBeek, and Stan VanDerBeek