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CLAMPART: Jill Greenberg: 'Paintings' || Chuck Samuels: Before the Camera - 19 Feb 2015 to 28 Mar 2015

Current Exhibition

19 Feb 2015 to 28 Mar 2015
Tuesday - Saturday, 10.00 am - 6.00 pm
521-531 West 25th St
Ground Floor
NY 10001
New York, NY
New York
North America
T: +1 646.230.0020
F: +1 646.230.8008

Jill Greenberg, 1411129 Painting 0245 2014
Unique archival pigment print
77 x 58 inches

Artists in this exhibition: Jill Greenberg, Chuck Samuels

Jill Greenberg | “Paintings”

February 19 – March 28, 2015

Artist’s reception:
Thursday, February 19, 2015
6:00 to 8:00 p.m.

ClampArt is very pleased to announce “Jill Greenberg: ‘Paintings,’” the artist’s eighth solo show at the gallery.

Well known for her daring and experimental photographic portraits, Jill Greenberg has returned to drawing and painting with real, physical pigment. Applying and combining a variety of paints—from oil to acrylic to gouache—on a glass support, the artist lights the surface with a combination of artificial and natural light before photographing tight details of the abstract compositions by use of a sophisticated digital camera back which allows for maximum detail. While contrast and hue are pushed in the digital capture software, the images themselves are all authentic recordings of the ever-changing light reflected off the paint. Greenberg’s wet and dry pigments fuse creating a dizzying and dynamic field of scrapes and bubbles.

Greenberg purposely took on the medium of painting in response to the appropriation tactics of certain Pictures Generation artists who mine photographic images from mass media, advertising, and the fine arts. These artworks, which have historically been understood to call into question Modernist conceits such as autonomy and originality, have now become so ensnared in the market, they have folded back upon themselves and raise ethical issues concerning fair use and, of course, copyright.

By photographing paintings Greenberg is evoking contemporary criticism concerning medium specificity and what Rosalind Krauss has called “The Post-Medium Condition.” Interested in displacing and disrupting formalist definitions, Greenberg further confounds by thwarting the endless reproducibility of the photographic image and offers her mural-sized pieces as unique, one-of-a-kind art objects.

Jill Greenberg’s work has appeared in numerous prestigious publications such as the New Yorker, Washington Post, Boston Globe, New York Sun, Blink, Harper’s Magazine, Art Ltd Magazine, and French Photo. Her photographs have been exhibited in a great number of gallery and museum exhibitions all around the world, including mid-career retrospectives at the Southeast Museum of Photography in Daytona Beach, Florida and Fotografiska in Stockholm, Sweden. Her art is represented in such permanent collections as the Portland Art Museum, Oregon; The Kemper Museum, Kansas City, Missouri; National Academy of Sciences, Washington, DC; San Francisco Museum of Modern Art; among others.


Chuck Samuels | Before the Camera
February 19 – March 28, 2015

Artist’s reception:
Thursday, February 19, 2015
6:00 to 8:00 p.m.

ClampArt is proud to present “Chuck Samuels: Before the Camera.” While his work has been exhibited internationally quite extensively since 1980, this is the artist’s first solo show in New York City.

Based in Montréal, Samuels frequently photographs or films himself, and his work often touches upon art history, feminism, and psychoanalysis. For this early body of work being presented at ClampArt, Samuels created twelve astonishingly faithful reconstructions of portraits of nude women from the history of photography by such modern masters as Paul Outerbridge, Man Ray, Edward Weston, and Richard Avedon, among others. However, in place of the female subjects, Samuels has staged himself “before the camera.”

Going so far as to replicate the precise size and style of display of the original artworks, Samuels caps his deconstructive statement by asking women to click the shutter release on the camera, finalizing his gender inversion. While everyone is aware of the ubiquity and violence of female objectification in Western culture, by parodying these iconic art historical images with his own body, Samuels establishes himself as an erotic object, confusing a typically implicit male gaze. As Deborah Bright writes in her groundbreaking book “The Passionate Camera”: “Samuels’ photographs expose the consistent heterosexist underpinnings of elite culture and taste as he vamps and camps through official photo history. Even better, he overtly homosexualizes those master photographers whose signature styles remain carefully preserved.”

Samuels’ photographs are part of the collections of La Maison Européenne de la Photographie, Paris; Le Musée de la Photographie, Charleroi, Belgium; the George Eastman House, Rochester, New York; the Canadian Museum of Contemporary Photography (now part of the National Gallery of Canada), Ottawa, Ontario; Le Musée national des beaux-arts du Québec; Worcester Art Museum, Massachusetts; and the Cinémathèque québécoise, Montréal; as well as many private collections.

Chuck Samuels would like to thank the Conseil des arts et des lettres du Québec their support in the form of a travel grant.


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