Abbey Gilbert

Holding Anna's hand in the car

2023

Two signed and dated colored screen-prints on woven paper political analogy with a motif of the United States as a target. The overlayed text rails against the lack of response to th...

Original Dirk Rowntree archival pigment print on view at Hal Bromm Gallery for THE QUEER SHOW PART I.

Abbey Gilbert is a photographer based in New York City. As she navigates through her personal exploration of lesbian sexual chemistry, Abbey Gilbert examines the ambiguous space betw...

Original piece by Abbey Gilbert. Showing at The Queer Show Part II.

JR Wombat Portfolio and Print Stamp-dated, numbered and hand-assembled The Wombat box No. 37 is a special Edition made with JR for the occasion of his new exhibition MOMENTUM at La ...

Reviewing the photographs of Julie Blackmon, critic Leah Ollman of the Los Angeles Times wrote: “Each frame is an absorbing, meticulously orchestrated slice of ethnographic theater … that abounds with tender humor but also shrewdly subtle satire.” Blackmon is a native of Springfield, MO, and her photographs are inspired by her experience of growing up the oldest of nine children—including five sisters—in what she calls “a generic American town in the middle of the U.S.” In college, Blackmon was introduced to the work of artists Sally Mann, Diane Arbus, and Helen Levitt, and she describes herself as “obsessed” with their images. “When my three children were small,” she recalls, “we moved into an old house with a darkroom in the basement. Like any mother, I wanted to take pictures of my kids. But I didn’t want to be just the ‘mother photographer.’ I wanted my work to be more: more penetrating, more artful, more striking, more thoughtful, more a reflection of the times. “Over the next few years, I progressed from making documentary black and white photographs of my life and the lives of my sisters to creating colorful, fictitious images that offered a more fantastical look at everyday life. My work became more conceptual, as I began to realize that I was not obligated to capture “reality” exactly, but that I could work more like a painter or a filmmaker, actively shaping the images I was creating. This realization—that fiction can often capture the truth more memorably than reality—was a major shift in how I saw the world around me, and it transformed my work.” “It’s thrilling to see the most common aspects of everyday life as potential stories or themes for a photograph. It changes how you see things: suddenly, a Starbucks employee on a smoke break, or an outmoded beauty shop catering to an elderly clientele, can spark a memorable image. As Nora Ephron...

Slide by Julie Blackmon is from an ongoing series titled Home Grown According to the Los Angeles Times, Blackmon's images are “absorbing, meticulously orchestrated slices of ethnogr...

Babysitter, 2006 by Julie Blackmon is from her ongoing series Domestic Vacations. The Dutch proverb “a Jan Steen household” originated in the 17th century and is used today to refe...