Yossi Milo Gallery is pleased to participate in the 2022 edition of Paris Photo at the Grand Palais Éphémère in Paris from November 10 – 13. The booth features artists who challenge the conventions of photography, redefining studio portraiture, toying with the viewer’s perception, and experimenting with media. Our booth includes work by Nathalie Boutté, Matthew Brandt, Markus Brunetti, Sarah Anne Johnson, Myoung Ho Lee, Meghann Riepenhoff, Alison Rossiter, Shikeith, Sanlé Sory, and Ezra Stoller, as well as Kathrin Linkersdorff, marking her first presentation with the gallery.
For her debut with Yossi Milo Gallery, Kathrin Linkersdorff (German; b.1966) will present her large-format photographs that capture the delicacy and ephemeral beauty of flowers with cutting precision. Trained as an architect, Linkersdorff brings an eye for minute detail to her photography practice, which offers a magnified view of the fragile, internal structures of flowers submerged in a liquid medium. For her Fairies series, the artist begins by collecting tulips and carefully drying them over a period of several weeks. During this period, she extracts the flowers’ pigments, which are then re-concentrated into a natural dye. Linkersdorff then submerges the dried, translucent flowers into a liquid medium where their petals unfurl. Often, the artist introduces the floral dye into that very same medium where it diffuses in swirling, colorful tendrils. The result is a fluid dance between the natural flow of the pigment and the brittle form of the preserved flower.
The booth will also feature work by Nathalie Boutté, Myoung Ho Lee, Sanlé Sory, and Shikeith, all of whom work in unique ways to interrogate the legacy of portraiture in the history of photography. Nathalie Boutté (French, b. 1967) assembles thousands of paper strips into feathery rows to create textural re-interpretations of 19th-century portraiture. Sometimes burned, shaded with ink or covered in typed letters, each strip of paper’s tint gives form to the image pictured in the original archival photograph. Myoung Ho Lee (Korean, b. 1975) finds an unconventional portrait subject in trees, behind which the artist and his large production crew erect a white canvas backdrop. By creating a partial, temporary outdoor studio for each tree, the artist’s ‘portraits’ blend the tradition of landscape photography with the fixings of studio portraiture. Sanlé Sory’s (Burkinabe, b. 1943) portraits are key documents of the exuberant youth culture in Burkina Faso following the small West African nation’s independence from France. His portraits offer intimate insight into the shifting boundaries around national identity, notions of individuality, and a growing sense of solidarity spread through radio, music recordings, film and photography itself. Shikeith’s (American, b. 1989) photographs are dreamlike portraits that blur the line between sacred and secular encounters with ecstasy. Influenced by his interest in spiritual traditions from the African diaspora, Shikeith examines queer Black bodies and challenges dominant ideas of Black masculinity.
Yossi Milo Gallery will also present a selection of artists whose work captures the majesty of architecture and the natural world, highlighting the similarities between human artifice and the principles of nature. Presented in the booth will be work by Markus Brunetti (German, b. 1965), who captures the façades of historic monuments across Europe. To create a single work, Brunetti takes thousands of photographs of these architectural masterpieces and digitally reassembles them to produce a meticulous image of the building’s full façade, unmarred by physical marks of aging, modern-day distractions, or skewed perspectives. In her Woodland series, Sarah Anne Johnson (Canadian, b. 1976) fills in the spaces between branches and tangles of foliage with oil paint, glitter, retouching ink, and holographic stickers, likening the naturally-occurring organic to the stained-glass windows of Europe’s finest cathedrals. Legendary architectural photographer Ezra Stoller’s concise and descriptive photographs define perceptions of post-War Modern architecture in the United States. Stoller worked closely with the day’s leading architects to capture their creations exactly according to their visions.
Delving into abstraction and material experimentation, our booth will also present work by Matthew Brandt, Meghann Riepenhoff, and Alison Rossiter. Matthew Brandt’s (American, b. 1982) work revives traditional photographic techniques and finds common ground between the medium and the subject. For his Birch and Silver series, Brandt creates sculptural photographs that incorporate birch wood and liquid silver respectively, referencing the depicted subject itself or the very medium of photography. Working without a camera, Meghann Riepenhoff (American, b. 1979) places paper coated with homemade cyanotype emulsion in contact with ocean waves, rain, snow, or ice in the landscape. UV light and water activate the photochemistry, allowing the artist to collaborate with nature to yield abstract images in various tones of blue, sometimes punctuated by flashes of green, yellow, and gold. Through the past two decades, Alison Rossiter (American, b. 1953) has collected photographic papers from the 19th and early 20th centuries. The artist develops the expired papers, allowing the effects of time to take image, or selectively dips them into developing fluid, coaxing minimal, geometric forms from the paper’s surface.
|Paris Photo 2022|
|Grand Palais Éphémère, Paris|
November 10 – 13, 2022