Sara VanDerBeek, ‘Photo Portfolio’, 2010, SculptureCenter
Sara VanDerBeek, ‘Photo Portfolio’, 2010, SculptureCenter
Sara VanDerBeek, ‘Photo Portfolio’, 2010, SculptureCenter
Sara VanDerBeek, ‘Photo Portfolio’, 2010, SculptureCenter
Sara VanDerBeek, ‘Photo Portfolio’, 2010, SculptureCenter

Central to a current dialogue around the relationship between sculpture and photography, these artists share an interest in the materiality of images and the way the photographic image affects the way we experience form. The portfolio is published in an edition of 50. Each print is approximately 16 by 20 inches and is numbered and signed by the artist. All proceeds from the sale of this edition will directly support SculptureCenter's exhibition program. The portfolio was launched at SculptureCenter's Gala on December 8th, 2010.

Image rights: Courtesy the artist.

About Sara VanDerBeek

Sara VanDerBeek’s photographs are based primarily on abstract sculptural forms that incorporate diverse sources such as art history books, personal images, magazines, and newspapers. Creating the sculptures in her studio, VanDerBeek photographs and often dismantles them, destroying all evidence of their existence save for the images. "I am fascinated by the transformative quality of photography," she says. "Photographs can affect your sense of time, place, memory, and scale and thus are attuned to the central aspects of our existence." Recently, VanDerBeek has taken to preserving and displaying her sculptural forms alongside her photographs, further complicating the relationship between object, image of the object, and the idea of the image as an object itself.

American, b. 1976, Baltimore, Maryland

About Kathrin Sonntag

Kathrin Sonntag creates artworks that portray everyday situations and scenes injected with uncanny and unsettling details. In sculpture, photography, film, and drawings, Sonntag evokes environments that are familiar yet oddly fraught and foreign, attempting to capture “the moment when abstraction hits everyday life.” For her 2008 “Mittnacht” (Midnight) project, she created photographs evoking paranormal phenomena through intricate plays of reflection, shadow, and light in simple barren interiors. Sonntag’s installations are combinations of household and studio objects set in ambiguous configurations—a table “standing” on a wall, a doorframe with no door—intended to elicit complex associations and a reconsideration of typical viewing experiences.

German, b. 1981, Berlin, Germany, based in Berlin, Germany

About Erin Shirreff

Erin Shirreff’s interest in in-between states and focus on formal characteristics—volume, shape, and dimension—influence her sculptures, photographs, and videos. Her works often feature abstract, geometric forms or images of representational elements, such as abandoned architectural structures, rendered semi-abstract by the artist’s framing and presentation. In many of her compositions, Shirreff blurs the lines between two- and three-dimensional space, and wholeness and incompleteness. Her sculptures consist of variously arranged planes, which appear to shift—expanding and flattening—when viewed from different angles. In her photographs, she pieces together images of disparate sculptural forms, demonstrating that sculpture can be crafted in two dimensions. All of Shirreff’s work reflects her interest in the openness of objects and undefined situations—a state she describes as a “wonderful zone of possibility.”

Canadian, b. 1975

Solo Shows

Group Shows

2018
New York,
Interventions
2018
New York,
Painting/Object: Sarah Crowner, N. Dash, Sam Moyer, Julia Rommel, Erin Shirreff
2017
The FLAG Art Foundation, 
New York, USA,
Cynthia Daignault: There is Nothing I could Say That I Haven't Thought Before

Fair History on Artsy

2018
Sikkema Jenkins & Co. at Frieze New York 2018
2017
Sikkema Jenkins & Co. at Art Basel in Miami Beach 2017

About Marlo Pascual

Using amateur photography found in vintage stores and on Ebay, Marlo Pascual creates images and installations that give photographs a new life as objects removed from the context in which they were taken. Pascual cuts, folds, impales, and situates the enlarged prints in minimalist assemblages that employ props such as large rocks and plants, coat racks, and fluorescent lights. At a 2009 exhibition, Pascual placed the glamour shot of a woman’s legs in Untitled (2009), framed between plates of Plexiglas, at a right angle to the wall, providing the momentary impression of a figure reclining on the ground. Nearby, a small kitchen table supported a print, also untitled, of a topless woman posing suggestively. Facing it was an empty chair, making passing viewers recipients of the woman’s earnest overtures.

American, b. 1972, Nashville, Tennessee, based in Brooklyn, New York

About Leslie Hewitt