Penelope Umbrico

Range (Group #22) from Range: of Masters of Photography, 2014

2014

Image. jpg, 2015 ; from the series Bad Display (eBay), 2009-ongoing Additional information: Medium: Chromogenic print Dimensions: 30 x 40 in. Edition of 3 + 2 AP Penelope Umbrico ...

Bad Display (Drawings/eBay), group of 42, 2016 ; from the series Bad Display (eBay), 2009-ongoing Additional information: Medium: Color laser print on acetate Dimensions: Each 8.5 x...

Used Wires (eBay), group of 3, 2016 from the series Used Wires (eBay), 2009-ongoing Additional information: Medium: Chromogenic print Dimensions: each 8 x 10 in. Penelope Umbrico o...

Future Ruin, Digital Print, 2022 Additional information: Medium: Digital print Dimensions: 8 x 16 in Heidi Schwegler explores a wide range of materials in the service of her subjec...

Mixed media, archival pigment and silkscreen on deckle-edged satin paper 101.6 × 67.3 cm Edition of 195 hand-signed and numbered by the artist James McQueen, born in 1977, is a Brit...

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...