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JANUARY 11-15 | 2018 VIP PREVIEW JAN 11

Catherine Edelman Gallery

300 W. Superior Street

Ilinois IL 60654 Chicago

United States

Phone : +1 (312) 266 2350

Fax :

Mobile Ph. :

URL : www.edelmangallery.com

Catherine Edelman   (Owner)

Juli Lowe   (Director)

Tim Campos   (Gallery Manager)

Hannah McMaster   ()

About

Catherine Edelman opened her Chicago gallery 29 years ago after completing her MFA in Photography at The School of the Art Institute of Chicago. Since its founding in 1987, the gallery quickly establishing itself as one of the leading galleries in the Midwest devoted to the exhibition of prominent contemporary photographers alongside local, new & young talent, showcasing a broad range of subject matter. The gallery exhibits in major art fairs throughout the country and is widely respected as a leader, educator and specialist in the field of contemporary photography.

Catherine Edelman is an active member of the Association of International Photography Art Dealers (AIPAD).

Reflected Red, 2016 - Serge Najjar

Serge Najjar Reflected Red, 2016

Eden III, 2017 - Ysabel LeMay

Ysabel LeMay Eden III, 2017

Exhibiting Artists

  • Tami Bahat

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  • Daniel Beltrá  (+)

    Biography : Born in Madrid, Spain, Daniel Beltrá is a photographer based in Seattle, Washington. His passion for conservation is evident in images of our environment that are evocatively poignant. The most striking large-scale photographs by Beltrá are images shot from the air. This perspective gives the viewer a wider context to the beauty and destruction he witnesses, as well as revealing a delicate sense of scale. After two months of photographing the Deepwater Horizon Gulf Oil Spill, he produced many visually arresting images of the man-made disaster. His SPILL exhibit premiered in August 2010 and has toured around the globe since then. Over the past two decades, Beltrá’s work has taken him to all seven continents, including several expeditions to the Brazilian Amazon, the Arctic, the Southern Oceans and the Patagonian ice fields. For his work on the Gulf Oil Spill, in 2011 he received the Wildlife Photographer of the Year Award , the Lucie Award for the International Photographer of the Year - Deeper Perspective, and was chosen as one of the six finalists for Critical Mass for Photolucida. In 2009, Beltrá received the prestigious Prince’s Rainforest Project award granted by Prince Charles. Other highlights include the BBVA Foundation award in 2013 and the inaugural “Global Vision Award” from the Pictures of the Year International in 2008. In 2007 and 2006 he received awards for his work in the Amazon from World Press Photo. Daniel’s work has been published by the most prominent international publications including The New Yorker, Time, Newsweek, The New York Times, Le Monde, and El Pais, amongst many others. Daniel Beltrá is a fellow and board member of the prestigious International League of Conservation Photographers.

    Detailed Description : The fragile state of our ecosystems is a continuous thread throughout my work. It is in nature’s beauty and complexity that I find my inspiration. My photographs show the vast scale of transformation our world is under from man-made stresses. To capture this, I have found it is often best to work from the air, which more easily allows for the juxtaposition of nature with the destruction wrought by unsustainable development. Aerial photography gives a unique perspective emphasizing that the Earth and its resources are finite. By taking viewers to remote locations where man and nature are at odds, I hope to instill a deeper appreciation for the precarious balance we are imposing on the planet.

    Artist's Documents:

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  • Clarissa Bonet  (+)

    Biography : Clarissa Bonet lives and works in Chicago. Her work explores aspects of the urban space in both a physical and psychological context. She received her M.F.A. in photography from Columbia College Chicago in 2012, and her B.S. in Photography from the University of Central Florida. Interested in the physical space of the city and its emotional and psychological impact on the body, she uses the camera to transform the physical space into a psychological one, providing a personal interpretation of the urban landscape. Her work has been exhibited nationally, internationally, and resides in the collections of The Museum of Contemporary Photography’s MPP collection, The South East Museum of Photography, and The Haggerty Museum. Most recently she received the Chicago Individual Artist Grant and was curated into a group show at Aperture Foundation Gallery.

    Detailed Description : Building facades melt into darkness, their architectural details vanish, leaving only glowing windows in a sea of pitch black, like stars in the night sky. Stray Light is an ongoing photographic project aimed at imaging the nocturnal urban landscape. We have all but lost the night for our progress. In its place we have formed a new cosmos, one of vanished surfaces and flecks of light. Carefully constructing each image from multiple photographs, I reform the urban landscape in my own vision - one that seeks to reconstruct the heavens in its absence above the cityscape. Light emanating from each window references a world unknown, evoking a sense of mystery and awe. We no longer look up to the night’s sky with awe. Instead, that is how we look out at the city.

    Artist's Documents:

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  • Kate Breakey  (+)

    Biography : The softness of a cardinals feather; the arc of a quails head; the stoic glance of a lifeless bird; the position of a wilted petal; the explosive color of a flower after it blooms. Extinction never looked more beautiful than through the eyes of Kate Breakey, whose large scale painted photographs of decaying flowers and lifeless birds pay homage to death and the remaining spirits that persist. Kate Breakey first conceived of this project in 1995 as a visiting lecturer at the University of Texas, when she tried to rescue a sparrow from the claws of a cat. As she said in a 1999 interview, "I realized I couldn't help the circumstances of its death, but I could memorialize it in a photograph." This realization gave birth to a project which has spanned more than nine years and can be seen in two books, Small Deaths (1997) and Flowers/Birds, her recent 2003 monograph. Like the early practitioners of nature morte or mementos mori paintings and photographs, Breakey embraces death as part of life, understanding their parallels. She is careful to present these small deaths as they appeared in reality, photographing her subjects and then painstakingly painting each feather and stamen its true natural color. Enlarging them to 32 x 32", Breakey paints back the colors death has absorbed, using oil paint and colored pencils. These larger-than-life portraits act as memorials to the small creatures found within the desert of Tucson (where she now lives) and in packages sent from friends all over the country. The resulting images are both startlingly beautiful and arresting, as small creatures and objects gain a heroic status. Through Breakey's art, we confront our own mortality and the fears or solace it elicits. As she stated in the afterword in Small Deaths: "I began to pick things up to keep and examine; I collected rocks, shells, feathers, birds' nests, nuts and pods, and with great reverence labeled, ordered, and displayed them in my little glass case. Visits with my father t

    Detailed Description : Photography is a necessary, inevitable component of her project. Certainly these images would reverberate much differently if they did not give us clues to their photographic basis. By the same token, they would echo in quite different fashion if they prioritized impartial observation over poetic engagement and interpretation. Of the media she blends in her work, Breakey says, "I begin with a photograph — a highly convincing illusion, a map of reality, a piece of evidence rendered in silver-grey tones. This I smear and coat with oil paint in many transparent layers — the layers of emotional subjectivity — lies, dreams, delusions, exaggerations and embellishments. If I am lucky the media combine, become enmeshed and inseparable, a curious marriage of what might be real and what is imagined or desired. They now collude to play with my perceptions about what truth is, my favourite game. I am a sensualist. I admit to my seduction by texture, colour, light and form. It is my deepest pleasure, my lovely addiction. Golden Stardust Statement The Element 'Gold, (Au) can only be made in the nuclear reactor of stars. It came to our planet when the Earth was first forming, as dust from catastrophic astronomical events —stars imploding and ejecting energy, as light and matter. The events that produce most of the gold in the universe are called 'Gamma Ray Bursts'. This occurs when a double star consisting of two neutron stars collapses under the force of gravity. Neutron stars are the cores of dead stars. They are only a few miles in diameter; so dense that every last bit of matter has been compressed down to the density of the atomic nucleus. The two dead, dark stars spin around each other for millions of years at millions of miles per hour, constantly pulling each other closer. Then finally they touch. At that moment more energy is released than the rest of the universe combined. Much of their mass collapses into a black hole and leaves our universe forever, but the re

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  • Liat Elbling  (+)

    Biography : Liat Elbing was born in 1980. She graduated with Honors from the Department of Photography at the Minshar School of Art and has since been working full-time as an artist in Tel Aviv, Israel. A rising star in the fine art photography field, Liat's work has been shown in numerous exhibitions, among them the Haifa Museum, Ramat Gan Museum, Indie Gallery, Beztalel Academy of Art Gallery and most notably, at the Tel Aviv Museum of Art after receiving the prestigious Leon Constantiner Prize for an Israeli photographer.

    Detailed Description : In my art I employ different media and disciplines in the aim of introducing a discussion surrounding the values of photography and reflecting on its nature. Consequently, I find that I oftentimes choose to put down the camera in order to strengthen my familiarity with it, and step away from the photograph in order to better look at it. My works touch and generate discussions in different disciplines and delve into subjects that preoccupy me: architecture and its components, as well as the notion of "home", have a predominant presence in my works, at times in its mental and emotional connotations, and other times through the examination of its graphic boundaries, its manifestation in a new space. In a research project (Untitled) I conducted over a period of more than five years, I photographed houses throughout Israel, which I then digitally manipulated by removing and obscuring basic markers in them, such openings and windows. The photographed details were designed, processed, and refined until they looked partially like pseudo-architectural three-dimensional digital models, despite having a source anchored in reality. The structures underwent transformation and from the principle of "home", became monuments with questionable content and functional quality. Throughout my process I seek to explore the basic, familiar principles of photography – its ability to preserve, to mediate, and to create – but more importantly is looking at how these principles affect our perceptions, of how elements may be represented: studying the object which "has been there" through its representation, looking at a copy instead of the original, watching a performance instead of living the experience. Nowadays, to my feel, we have no need for photography that follows reality, quite the contrary – more often we strive to match reality to the photographic image, which gained the status of an ideal. The Interactions Series, as well as Proposals for Disorder are ongoing projects, whic

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  • Ysabel LeMay  (+)

    Artist's Objects:

    • Ysabel LeMay - Eden III, 2017 Eden III, 2017

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  • Serge Najjar  (+)

    Biography : Ever since I started photography, a few years ago, I have followed one simple principle: “It is not about what you see but how you see it”. When I started clicking and capturing real life around me, all the art books I had read during my childhood made sense: From Cubism and Abstract Art to Russian Avant Garde and Constructivism... Each single image had determined the way I looked at things around me when I was put against the challenge to create. When you look at things with a new eye, you live again. You realise how powerful you can become just by pushing others to see what they may not be able to see by themselves. You also end up realising that there is no such thing as an ideal place to photograph, or an ideal city. Architecture can, of course, be a source of inspiration, but what makes things more interesting is questioning ourselves about contexts, aesthetics, and our ability to redefine our understanding of what we already think we know, and exploring the thin line between the ugly and the beautiful, the ordinary and the extraordinary, between chaos and order, reality and Art…

    Detailed Description : From New York to Beijing, countless strangers dash across city streets in a constant state of frenzy, rushing to their destinations. But every now and then we see someone pause, marveling at his or her surroundings. It is this stillness that Serge Najjar seeks, with one simple guideline, “It is not about what you see but how you see it.” Five years ago Najjar started photographing the interaction of people and architecture in his native Beirut. Influenced by the work of Kazimir Malevich, Josef Albers, Ellsworth Kelly, Frank Stella, and Alexander Rodchenko, Najjar took to the streets, focusing his lens on daily routines: construction workers sitting on a building ledge during lunch break, the sharp lines of a high-rise facade, a man looking out an open window, and children sitting on a windowsill. Whether working in Beirut, Munich or other places he visits, Najjar’s vision is unwavering - to show other people what they may not see themselves. As he states: “There is no such thing as an ideal place to photograph, or an ideal city. Architecture inspires me, but my whole approach towards photography is to focus on what people consider as common... the people I photograph are complete strangers. I never plan where I go and what or who to shoot. My images are faithful to what I see. And every single Saturday morning I am convinced that I will never capture the picture I had the chance to capture the week before…. It is a thin line between the ugly and the beautiful, the ordinary and the extraordinary, between chaos and order.“

    Artist's Documents:

    Artist's Objects:

    • Serge Najjar - Reflected Red, 2016 Reflected Red, 2016

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  • Gregory Scott  (+)

    Biography : Gregory Scott, has always blurred the lines between painting and photography, incorporating paintings he did of himself, or his body, back into his photographs. The resulting images were both humorous and odd, challenging the viewer’s perception of photographic truth. Then, at the age of 49, Scott decided to go to graduate school to strengthen his knowledge of art history and video making. Having successfully merged his love of painting and photographs, his interest turned to video and its ability to move and manipulate still images. In 2008, Gregory Scott graduated with a body of work that blended all three of his artistic interests. Continuing to use himself as the model, Scott creates narrative pieces which use illusion and surprise to tackle issues ranging from identity and loneliness, to the way the art world has pigeonholed the various mediums in which he works. In his pieces, Scott challenges the definitions placed on photography, painting and video, expanding its discourse. Gregory Scott was born in Ann Arbor, Michigan in 1957 and received his Bachelor degree from the Institute of Design at IIT in Chicago in 1979 and his Master of Fine Art from Indiana University in 2008.

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  • Bettina von Zwehl

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Other Represented Artists

  • Keliy Anderson-Staley

  • Tom Baril

  • Julie Blackmon

  • Keith Carter

  • Bruce Davidson

  • Floriane de Lassée

  • Jess T. Dugan

  • Elizabeth Ernst

  • Dan Estabrook

  • Terry Evans

  • Lynn Geesaman

  • Omar Imam  (+)

    Biography : Omar Imam is an Amsterdam-based, Syrian photographer and filmmaker. In his photographic works, Imam uses irony and a conceptual approach to respond to the violent situation in Syria, often publishing his work under a pseudonym. After leaving Damascus in late 2012, he began making fictional short films that often focus on the Syrian refugee experience. Individually and with NGOs, he has produced films, photographic projects, and workshops for Syrian refugees in Lebanon.

    Detailed Description : Every day the news about Syria grows worse and worse, as the country finds itself in a civil war with no apparent end. As of today, 6.6 million people have been displaced and the number keeps rising. More than 400,000 people have been murdered, and hundreds of thousands more have been severely beaten, starved and detained. More than 17,000 people have died in Syrian prisons, as a result of torture or inhumane conditions, and another 13,000 sentenced to death. The horror in Syria is now entering its 6th year, as the government seems to be systematically annihilating any form of dissent. In 2012, Syrian activist turned photographer Omar Imam (b. 1979 Damascus) was kidnapped and tortured by a militia and only let go when a friend intervened. Soon after, Imam left Damascus with his parents and wife, settling in Beirut where he and his wife started a family. In 2016, he moved to Amsterdam, where he currently resides. His wife, children and parents are still waiting for paperwork that will allow them to join him. Live, Love, Refugee is Imam’s photographic response to the chaos erupting in his homeland. In refugee camps across Lebanon, Imam collaborated with Syrians to create photographs that talked about their reality, rather than presenting them as a simple statistic. As a refugee himself, Imam understands the loss and chaos of being displaced from ones home. But dreams cannot be eradicated -- dreams of escape, dreams of love, and dreams of terror. These dreams are what Imam set out to capture. The resulting images peel back the façade of flight, to reveal the spirit of those who persevere, despite losing everything that was familiar. These composed photographs challenge our perception of victimization, offering access into the heart and soul of humanity.

  • Jan Kaesbach

  • Michael Kenna

  • Gustavo Lacerda

  • Herman Leonard

  • Sandro Miller

  • Laurent Millet  (+)

    Biography : For more than twenty years, Laurent Millet has channeled his innate curiosity to create photographs that question the way objects appear within space and time. Citing R. Buckminster Fuller and Denis Diderot among his influences, Millet creates an artistic vocabulary through metal wire, vineyard posts and barrel hoops – objects prevalent in the coastal town of France in which he resides. His 1997 series, Petites Machines Littorales, addressed his surroundings, as he transformed the sea into a place for scientific experimentation, creating contraptions that suggest a way to measure water or listen to fish. These “machines” invite curiosity and questions, much like a child experimenting in a science lab. In his 2000 series Les Cabanes, Millet continues to build structures in the water, yet this time they appear to be bridges, ladders, architectural pieces and fences, suggesting a relationship between water and sky. The 2002 series, La Chasse, features objects that could be used to trap, to capture that which is hard to contain.And finally, in the 2014/15 series, Somnium, the artist photographed himself with geometric objects, polyhedra, that he fabricated. These images seem paranormal yet familiar, as the artist engages with objects hovering in the air, recording his encounter. His work can be seen in numerous publications including his 2014 book, Les Enfantillages Pittoresques (Filigranes Editions) and in major museum collections, including The Art Institute of Chicago, Maison Européenne de la Photographie (Paris), San Francisco Museum of Modern Art, Los Angeles County Museum of Art, and Fonds National d'art Contemporain (Paris), among others.

    Artist's Documents:

  • Arno Rafael Minkkinen

  • Lori Nix

  • Robert & Shana ParkeHarrison  (+)

    Biography : Much has been written about Robert & Shana ParkeHarrison, the husband and wife team whose photographic tableaus took the art world by storm more than six years ago. Creating a genre unique within the photo world, the ParkeHarrisons construct fantasies in the guise of environmental performances for their Everyman – a man dressed in a black suit and starched white shirt – who interacts with the earths landscape. Tapping into their surreal imagination, the artists combine elaborate sets (which can take months to construct) and an impeccable sense of wit and irony, to address issues about the earth and mankind's responsibility to heal the damage he has done to its landscape. Consistently dressed in his trademark outfit, this Everyman is earth's protector, healer and communicator, using low-tech implements as his aid. This everyman then shapes himself as fabricated props for theatrical performances, which are staged to be photographed. Like a production reserved for the cinema, the ParkeHarrison invent their settings, which tend to look more like scenes from "Metropolis" or "Blade Runner" rather than the family photo album. As Robert ParkeHarrison said in the foreword to his monograph, "I want to make images that have open, narrative qualities, enough to suggest ideas about human limits. I want there to be a combination of the past juxtaposed with the modern. I use nature to symbolize the search, saving a tree, watering the earth. In this fabricated world, strange clouds of smog float by; there are holes in the sky. These mythic images mirror our world, where nature is domesticated, controlled, and destroyed." In their most well-known works, the artists built oversized objects to perform improbable acts: a huge needle repairs the cracks in the earth's surface ("Mending the Earth"); a gear and propeller flying apparatus carries a man over the land so he can feed it ("The Sower"). In "Reclamation" – one of five new gravures on view – we see the suited man draggi

    Artist's Documents:

  • Olivia Parker

  • Francesco Pergolesi  (+)

    Biography : Francesco Pergolesi was born in Venice in 1975. After finishing his law degree, dedicated himself entirely to photography. He is an artist-photographer whose work explores the territory of memory. Every single shot is a kind of a theater scene. His subjects are revealed in the lights and shadows reminiscent of Flemish paintings. He lives and works between Spoleto, Rome and Barcelona. "When I was a child I used to walk free exploring my village streets. I remember I loved to spend time in the little cobbler or the grocery where my Grandmother sent me to shop. Time seemed to be extended and let me feel the sense of freedom. I grew up loving neighborhoods where human relationships were the center of life. I realized early on those places were disappearing as pushed by a mysterious force, a new era was coming." - Francesco Pergolesi

    Artist's Documents:

  • David Plowden

  • Doug Prince

  • Holly Roberts

  • Lauren E. Simonutti

  • Jack Spencer  (+)

    Also represented by:

  • Ron van Dongen

  • Joel-Peter Witkin

  • Jeffrey Wolin