In Space
April 23, 2022 – June 1, 2022
Works In Exhibition
Tent-Camera Image on Ground: Walden Pond
Abelardo Morell
Tent-Camera Image on Ground: Walden Pond
2016
Color photograph
Edition of 6
Image size: 48 x 64 inches (121.9 x 162.6 cm)
Paper size: 58 x 74 inches (147.3 x 188 cm)
Frame size: 60 1/2 x 76 1/2 inches (153.7 x 194.3 cm)
(Inventory #33614)
Since 1991, Abelardo Morell has converted rooms into Camera Obscuras in order to photograph the strange and delightful meeting of the outside world with the room’s interior. In setting up a room to make this kind of photograph, he covers all windows with black plastic in order to achieve total darkness. Then, he cuts a small hole in the material he uses to cover the windows. This opening allows an inverted image of the view outside to flood onto the back walls of the room. Typically, he then uses a large-format camera capture this scenario as a photograph.
In an effort to find new ways to push this technique, Morell has worked with his assistants, C.J. Heyliger and subsequently, Maxwell LaBelle, on designing lightproof tents, which can project views of the surrounding landscape, via periscope-type optics, onto the surface of the ground inside the tent. Within this darkened space, like in the indoor rooms, he uses a camera to record the sandwich of these two outdoor realities meeting on the ground. Depending on the quality of the surface terrain, these views can take on a variety of painterly effects.
Morell’s tent-camera liberates him to use the Camera Obscura technique in places where it would have been previously impossible to work, because he now has a portable room, so to speak.
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Abelardo Morell
Tent-Camera Image on Ground: Walden Pond, 2016
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Abelardo Morell
Tent-Camera Image on Ground: Walden Pond
2016
Color photograph
Edition of 6
Image size: 48 x 64 inches (121.9 x 162.6 cm)
Paper size: 58 x 74 inches (147.3 x 188 cm)
Frame size: 60 1/2 x 76 1/2 inches (153.7 x 194.3 cm)
(Inventory #33614)
Since 1991, Abelardo Morell has converted rooms into Camera Obscuras in order to photograph the strange and delightful meeting of the outside world with the room’s interior. In setting up a room to make this kind of photograph, he covers all windows with black plastic in order to achieve total darkness. Then, he cuts a small hole in the material he uses to cover the windows. This opening allows an inverted image of the view outside to flood onto the back walls of the room. Typically, he then uses a large-format camera capture this scenario as a photograph.
In an effort to find new ways to push this technique, Morell has worked with his assistants, C.J. Heyliger and subsequently, Maxwell LaBelle, on designing lightproof tents, which can project views of the surrounding landscape, via periscope-type optics, onto the surface of the ground inside the tent. Within this darkened space, like in the indoor rooms, he uses a camera to record the sandwich of these two outdoor realities meeting on the ground. Depending on the quality of the surface terrain, these views can take on a variety of painterly effects.
Morell’s tent-camera liberates him to use the Camera Obscura technique in places where it would have been previously impossible to work, because he now has a portable room, so to speak.
Abelardo Morell
Tent-Camera Image on Ground: Walden Pond
2016
Color photograph
Edition of 6
Image size: 48 x 64 inches (121.9 x 162.6 cm)
Paper size: 58 x 74 inches (147.3 x 188 cm)
Frame size: 60 1/2 x 76 1/2 inches (153.7 x 194.3 cm)
(Inventory #33614)
Since 1991, Abelardo Morell has converted rooms into Camera Obscuras in order to photograph the strange and delightful meeting of the outside world with the room’s interior. In setting up a room to make this kind of photograph, he covers all windows with black plastic in order to achieve total darkness. Then, he cuts a small hole in the material he uses to cover the windows. This opening allows an inverted image of the view outside to flood onto the back walls of the room. Typically, he then uses a large-format camera capture this scenario as a photograph.
In an effort to find new ways to push this technique, Morell has worked with his assistants, C.J. Heyliger and subsequently, Maxwell LaBelle, on designing lightproof tents, which can project views of the surrounding landscape, via periscope-type optics, onto the surface of the ground inside the tent. Within this darkened space, like in the indoor rooms, he uses a camera to record the sandwich of these two outdoor realities meeting on the ground. Depending on the quality of the surface terrain, these views can take on a variety of painterly effects.
Morell’s tent-camera liberates him to use the Camera Obscura technique in places where it would have been previously impossible to work, because he now has a portable room, so to speak.
Abelardo Morell
Tent-Camera Image on Ground: Walden Pond
2016
Color photograph
More Information
Edition of 6
Image size: 48 x 64 inches (121.9 x 162.6 cm)
Paper size: 58 x 74 inches (147.3 x 188 cm)
Frame size: 60 1/2 x 76 1/2 inches (153.7 x 194.3 cm)
(Inventory #33614)
Since 1991, Abelardo Morell has converted rooms into Camera Obscuras in order to photograph the strange and delightful meeting of the outside world with the room’s interior. In setting up a room to make this kind of photograph, he covers all windows with black plastic in order to achieve total darkness. Then, he cuts a small hole in the material he uses to cover the windows. This opening allows an inverted image of the view outside to flood onto the back walls of the room. Typically, he then uses a large-format camera capture this scenario as a photograph.
In an effort to find new ways to push this technique, Morell has worked with his assistants, C.J. Heyliger and subsequently, Maxwell LaBelle, on designing lightproof tents, which can project views of the surrounding landscape, via periscope-type optics, onto the surface of the ground inside the tent. Within this darkened space, like in the indoor rooms, he uses a camera to record the sandwich of these two outdoor realities meeting on the ground. Depending on the quality of the surface terrain, these views can take on a variety of painterly effects.
Morell’s tent-camera liberates him to use the Camera Obscura technique in places where it would have been previously impossible to work, because he now has a portable room, so to speak.
Rain Bow
Kate Shepherd
Rain Bow
2013
Oil and enamel on dibond panel
Signed and dated on reverse
14 x 10 inches (35.6 x 25.4 cm)
(Inventory #25896)
“In the studio, I make an effort to execute new ideas before explaining them away, so as not to lose momentum and a personal connection to the process. Afterwards, I try to avoid “storytelling” in the hope and belief that the work can speak for itself. I try to speak about my work honestly, which is hard to do because by the time the work is done, I have forgotten a lot. Essentially, the response of the viewer (friend, dealer, collector) is the last element of “support,” which helps me to understand the effectiveness of my expression and intention.”
Kate Shepherd
Kate Shepherd’s two paintings were each created the same way and yet the small differences between them lay bare the strength of the final actions the artist makes upon the panels. Each piece is painted with numerous colors, then a “resist” is put on the surface, a monochrome layer of blue/grey/black is painted across the entire surface, the “resist” is removed, thus exposing the underlying colors and then thin whitish lines of oil paint are delicately painted across the surface. In “Rain Bow,” the lines create a grid (on the bias) of squares with hatch marks. In “De L’Announce,” the hatch marks are gone and the grid is of parallelograms. Both paintings seemingly reference some sort of chart of the night sky and yet they also are abstract compositions that allow a viewer to see depth, flatness, color and the monochrome all at the same time.
Kate Shepherd was born and raised in New York City. She received her MFA from the School of Visual Arts in 1990. She has been a resident at Skowhegan, the MacDowell Colony, and the Chinati Foundation in Marfa, Texas. Her work appears in numerous international public and private collections.
Kate Shepherd
Rain Bow
2013
Oil and enamel on dibond panel
More Information
Signed and dated on reverse
14 x 10 inches (35.6 x 25.4 cm)
(Inventory #25896)
“In the studio, I make an effort to execute new ideas before explaining them away, so as not to lose momentum and a personal connection to the process. Afterwards, I try to avoid “storytelling” in the hope and belief that the work can speak for itself. I try to speak about my work honestly, which is hard to do because by the time the work is done, I have forgotten a lot. Essentially, the response of the viewer (friend, dealer, collector) is the last element of “support,” which helps me to understand the effectiveness of my expression and intention.”
Kate Shepherd
Kate Shepherd’s two paintings were each created the same way and yet the small differences between them lay bare the strength of the final actions the artist makes upon the panels. Each piece is painted with numerous colors, then a “resist” is put on the surface, a monochrome layer of blue/grey/black is painted across the entire surface, the “resist” is removed, thus exposing the underlying colors and then thin whitish lines of oil paint are delicately painted across the surface. In “Rain Bow,” the lines create a grid (on the bias) of squares with hatch marks. In “De L’Announce,” the hatch marks are gone and the grid is of parallelograms. Both paintings seemingly reference some sort of chart of the night sky and yet they also are abstract compositions that allow a viewer to see depth, flatness, color and the monochrome all at the same time.
Kate Shepherd was born and raised in New York City. She received her MFA from the School of Visual Arts in 1990. She has been a resident at Skowhegan, the MacDowell Colony, and the Chinati Foundation in Marfa, Texas. Her work appears in numerous international public and private collections.
De L’Annonce
Kate Shepherd
De L’Annonce
2013
Oil and enamel on dibond panel
Signed and dated on reverse
16 x 12 inches (40.6 x 30.5 cm)
(Inventory #25895)
“In the studio, I make an effort to execute new ideas before explaining them away, so as not to lose momentum and a personal connection to the process. Afterwards, I try to avoid “storytelling” in the hope and belief that the work can speak for itself. I try to speak about my work honestly, which is hard to do because by the time the work is done, I have forgotten a lot. Essentially, the response of the viewer (friend, dealer, collector) is the last element of “support,” which helps me to understand the effectiveness of my expression and intention.”
Kate Shepherd
Kate Shepherd’s two paintings were each created the same way and yet the small differences between them lay bare the strength of the final actions the artist makes upon the panels. Each piece is painted with numerous colors, then a “resist” is put on the surface, a monochrome layer of blue/grey/black is painted across the entire surface, the “resist” is removed, thus exposing the underlying colors and then thin whitish lines of oil paint are delicately painted across the surface. In “Rain Bow,” the lines create a grid (on the bias) of squares with hatch marks. In “De L’Announce,” the hatch marks are gone and the grid is of parallelograms. Both paintings seemingly reference some sort of chart of the night sky and yet they also are abstract compositions that allow a viewer to see depth, flatness, color and the monochrome all at the same time.
Kate Shepherd was born and raised in New York City. She received her MFA from the School of Visual Arts in 1990. She has been a resident at Skowhegan, the MacDowell Colony, and the Chinati Foundation in Marfa, Texas. Her work appears in numerous international public and private collections.
Kate Shepherd
De L’Annonce
2013
Oil and enamel on dibond panel
More Information
Signed and dated on reverse
16 x 12 inches (40.6 x 30.5 cm)
(Inventory #25895)
“In the studio, I make an effort to execute new ideas before explaining them away, so as not to lose momentum and a personal connection to the process. Afterwards, I try to avoid “storytelling” in the hope and belief that the work can speak for itself. I try to speak about my work honestly, which is hard to do because by the time the work is done, I have forgotten a lot. Essentially, the response of the viewer (friend, dealer, collector) is the last element of “support,” which helps me to understand the effectiveness of my expression and intention.”
Kate Shepherd
Kate Shepherd’s two paintings were each created the same way and yet the small differences between them lay bare the strength of the final actions the artist makes upon the panels. Each piece is painted with numerous colors, then a “resist” is put on the surface, a monochrome layer of blue/grey/black is painted across the entire surface, the “resist” is removed, thus exposing the underlying colors and then thin whitish lines of oil paint are delicately painted across the surface. In “Rain Bow,” the lines create a grid (on the bias) of squares with hatch marks. In “De L’Announce,” the hatch marks are gone and the grid is of parallelograms. Both paintings seemingly reference some sort of chart of the night sky and yet they also are abstract compositions that allow a viewer to see depth, flatness, color and the monochrome all at the same time.
Kate Shepherd was born and raised in New York City. She received her MFA from the School of Visual Arts in 1990. She has been a resident at Skowhegan, the MacDowell Colony, and the Chinati Foundation in Marfa, Texas. Her work appears in numerous international public and private collections.
Exhibition View
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Works by Barbara Broughel and Abelardo Morell
Broken Sky (cerulean clouds)
Barbara Broughel
Broken Sky (cerulean clouds)
2007-2008
Six poplar panels (11 x 11 inches each) with oil paint, three pine shelves
Overall size: 37 x 26 x 3 ¼ inches (94 x 66 x 8.25 cm)
(Inventory #21316)
“Abstraction pushed the use of the perspectival grid beyond its primary function (to allow the rendering of objects in perspective without distortion) and inadvertently made “compositions” from the individual squares within the grid.” (Barbara Broughel)
Broughel’s “Broken Sky (cerulean clouds)” examines the history of abstraction in one of its possible birthplaces (circa 1700 Northern Europe) through the depiction, not only of a period-related subject – clouds and the sky – but of the process and materials of rendering (Broughel used pigments and wood that would have been used at that time). What is unconventional, or even radical for the period is the composition and the way it fractures the realism of the image through leaving the grid visible (thus it references the tool which allows for that realism). The display mechanism of the shelves furthers the focus not just on the imagery but on the object-ness of the broken grid.
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Barbara Broughel
Broken Sky (cerulean clouds), 2007-2008
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Barbara Broughel
Broken Sky (cerulean clouds)
2007-2008
Six poplar panels (11 x 11 inches each) with oil paint, three pine shelves
Overall size: 37 x 26 x 3 ¼ inches (94 x 66 x 8.25 cm)
(Inventory #21316)
“Abstraction pushed the use of the perspectival grid beyond its primary function (to allow the rendering of objects in perspective without distortion) and inadvertently made “compositions” from the individual squares within the grid.” (Barbara Broughel)
Broughel’s “Broken Sky (cerulean clouds)” examines the history of abstraction in one of its possible birthplaces (circa 1700 Northern Europe) through the depiction, not only of a period-related subject – clouds and the sky – but of the process and materials of rendering (Broughel used pigments and wood that would have been used at that time). What is unconventional, or even radical for the period is the composition and the way it fractures the realism of the image through leaving the grid visible (thus it references the tool which allows for that realism). The display mechanism of the shelves furthers the focus not just on the imagery but on the object-ness of the broken grid.
Barbara Broughel
Broken Sky (cerulean clouds)
2007-2008
Six poplar panels (11 x 11 inches each) with oil paint, three pine shelves
Overall size: 37 x 26 x 3 ¼ inches (94 x 66 x 8.25 cm)
(Inventory #21316)
“Abstraction pushed the use of the perspectival grid beyond its primary function (to allow the rendering of objects in perspective without distortion) and inadvertently made “compositions” from the individual squares within the grid.” (Barbara Broughel)
Broughel’s “Broken Sky (cerulean clouds)” examines the history of abstraction in one of its possible birthplaces (circa 1700 Northern Europe) through the depiction, not only of a period-related subject – clouds and the sky – but of the process and materials of rendering (Broughel used pigments and wood that would have been used at that time). What is unconventional, or even radical for the period is the composition and the way it fractures the realism of the image through leaving the grid visible (thus it references the tool which allows for that realism). The display mechanism of the shelves furthers the focus not just on the imagery but on the object-ness of the broken grid.
Barbara Broughel
Broken Sky (cerulean clouds)
2007-2008
Six poplar panels (11 x 11 inches each) with oil paint, three pine shelves
Overall size: 37 x 26 x 3 ¼ inches (94 x 66 x 8.25 cm)
(Inventory #21316)
“Abstraction pushed the use of the perspectival grid beyond its primary function (to allow the rendering of objects in perspective without distortion) and inadvertently made “compositions” from the individual squares within the grid.” (Barbara Broughel)
Broughel’s “Broken Sky (cerulean clouds)” examines the history of abstraction in one of its possible birthplaces (circa 1700 Northern Europe) through the depiction, not only of a period-related subject – clouds and the sky – but of the process and materials of rendering (Broughel used pigments and wood that would have been used at that time). What is unconventional, or even radical for the period is the composition and the way it fractures the realism of the image through leaving the grid visible (thus it references the tool which allows for that realism). The display mechanism of the shelves furthers the focus not just on the imagery but on the object-ness of the broken grid.
Barbara Broughel
Broken Sky (cerulean clouds)
2007-2008
Six poplar panels (11 x 11 inches each) with oil paint, three pine shelves
Overall size: 37 x 26 x 3 ¼ inches (94 x 66 x 8.25 cm)
(Inventory #21316)
“Abstraction pushed the use of the perspectival grid beyond its primary function (to allow the rendering of objects in perspective without distortion) and inadvertently made “compositions” from the individual squares within the grid.” (Barbara Broughel)
Broughel’s “Broken Sky (cerulean clouds)” examines the history of abstraction in one of its possible birthplaces (circa 1700 Northern Europe) through the depiction, not only of a period-related subject – clouds and the sky – but of the process and materials of rendering (Broughel used pigments and wood that would have been used at that time). What is unconventional, or even radical for the period is the composition and the way it fractures the realism of the image through leaving the grid visible (thus it references the tool which allows for that realism). The display mechanism of the shelves furthers the focus not just on the imagery but on the object-ness of the broken grid.
Barbara Broughel
Broken Sky (cerulean clouds)
2007-2008
Six poplar panels (11 x 11 inches each) with oil paint, three pine shelves
More Information
Overall size: 37 x 26 x 3 ¼ inches (94 x 66 x 8.25 cm)
(Inventory #21316)
“Abstraction pushed the use of the perspectival grid beyond its primary function (to allow the rendering of objects in perspective without distortion) and inadvertently made “compositions” from the individual squares within the grid.” (Barbara Broughel)
Broughel’s “Broken Sky (cerulean clouds)” examines the history of abstraction in one of its possible birthplaces (circa 1700 Northern Europe) through the depiction, not only of a period-related subject – clouds and the sky – but of the process and materials of rendering (Broughel used pigments and wood that would have been used at that time). What is unconventional, or even radical for the period is the composition and the way it fractures the realism of the image through leaving the grid visible (thus it references the tool which allows for that realism). The display mechanism of the shelves furthers the focus not just on the imagery but on the object-ness of the broken grid.