{"id":405808,"date":"2023-02-10T15:00:00","date_gmt":"2023-02-10T20:00:00","guid":{"rendered":"https:\/\/www.1stdibs.com\/blogs\/the-study\/?p=405808"},"modified":"2025-04-07T13:45:04","modified_gmt":"2025-04-07T17:45:04","slug":"e2-kleinveld-and-julien","status":"publish","type":"post","link":"https:\/\/www.1stdibs.com\/blogs\/the-study\/e2-kleinveld-and-julien\/","title":{"rendered":"Photographers to Know: E2 – Kleinveld & Julien"},"content":{"rendered":"\n
\"Ode
Photographers Elizabeth Kleinveld and Epaul Julien<\/a>, who collaborate under the name E2, offer diverse and inclusive takes on masterworks dating back to the 15th century. Ode to Van Gogh’s Self-Portrait with Bandaged Ear and Pipe, 2023<\/em><\/a>, reenvisions the Dutch artist as a Black man, while Ode to Vermeer’s Girl with a Pearl Earring, 2012<\/em><\/a>, places an Asian woman in the title role.<\/figcaption><\/figure>\n\n\n\n

It\u2019s often said that the best kind of art holds a mirror up to society. But reflections can also create distorted images that need redressing. With a mix of humor, irreverence and irony, photographic duo E2<\/a> \u2014 New Orleans natives Elizabeth Kleinveld and Epaul Julien \u2014 re-create masterpieces from previous eras in ways that reflect a view of the world more relevant and engaging to visual art’s growing audiences. <\/p>\n\n\n\n

In doing so, the pair explores race, gender, sexuality, socioeconomic status and beauty, prompting a revaluation of the norms and stereotypes perpetuated by the Western art canon. The act of dismantling these established “truths,” however, isn\u2019t a reductive process for E2. Rather, their glossy hyperreal photographs<\/a> are lavishly constructed compositions. <\/p>\n\n\n\n

\"Ode<\/a>
Ode to Rembrandt’s The Night Watch<\/em>, 2015<\/a><\/figcaption><\/figure>\n\n\n\n

Take Ode to Rembrandt\u2019s The Night Watch<\/em>, 2015<\/a>. The picture contains no fewer than 32 characters, including a dog, but unlike the 17th-century Dutch original, it is an all-female militia that is depicted preparing to defend the city from attack. <\/p>\n\n\n\n

Opulent tableaux like this can take months to produce. The pair casts sitters, sources costumes and creates elaborate sets before shooting the images, which are then finessed using meticulous postproduction techniques as the artists exactingly replicate the original compositions. <\/p>\n\n\n

\n
\"Ode<\/a>
Ode to Zoffany’s Portrait of Belle and Murray<\/em>, 2016<\/a><\/figcaption><\/figure><\/div>\n\n\n

That verisimilitude adds gravitas and drama to new and surprising scenarios. Within the familiar stylistic settings, the duo severs ties with the past, placing marginalized communities at the center of the story and thus shifting the narrative focus toward hope, equality and inclusion, always with a sense of theatricality and playfulness. <\/p>\n\n\n\n

Titled \u201cIn Empathy We Trust,\u201d the series began with a reenvisioning of the Old Masters<\/a>. The pair’s latest body of work, \u201cEverything Changes,\u201d continues in the same vein but draws on modern and contemporary canvases, including Norman Rockwell<\/a>‘s “Four Freedoms,” for source material. An exhibition of their recent output debuts at Jonathan Ferrara Gallery<\/a>, in New Orleans, on February 25. Ahead of the show, the gallery, which represents the duo, is offering the new photographs, as well as several of their previous works, on 1stDibs.<\/p>\n\n\n

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\"Ode<\/a>
Ode to Munch’s The Scream<\/em>, 2023<\/a><\/figcaption><\/figure><\/div>\n\n\n

With many pieces completed during the pandemic, this latest installment displays a shift in style. The artists have added paint to the surfaces of some photographic prints, adding depth to their already-altered mise-en-sc\u00e8nes. This technique also represents a visual metaphor for the feelings of strangeness that many people experienced during the lockdown.<\/p>\n\n\n\n

Kleinveld and Julien note in their artist statement that the title for the series was inspired by one of their favorite Frida Kahlo<\/a> quotes: \u201cNothing is absolute. Everything changes, everything moves, everything revolves, everything flies and goes away.\u201d <\/p>\n\n\n\n

\u201cThe pandemic fostered a collective understanding of just how malleable and fragile our reality is,\u201d they explain. \u201cOur perceptions, our personal routines and our culture as a whole \u2014 these realities are never guaranteed stasis, and the only way to move forward is to evolve, both as artists and individuals. The pieces in this show invite viewers to embrace the inevitability of change and the natural discomfort of re-examining their expectations of how a work of art \u2014 and by extension, a culture \u2014 should look.\u201d<\/p>\n\n\n

\n
\"Ode<\/a>
Ode to Rockwell’s Freedom from Want<\/em>, 2020<\/a><\/figcaption><\/figure><\/div>\n\n\n

In one recent work, Ode to Rockwell\u2019s Freedom from Want<\/em>, 2020<\/a>, the Thanksgiving meal becomes a celebration of nontraditional gender roles and multiethnicity. E2\u2019s modern family revels in a bountiful feast, subverting the notion of a homogeneous, heterosexual middle class and revealing a changing America.<\/p>\n\n\n\n

According to gallery director and partner Matthew Weldon Showman, the duo\u2019s photographs use \u201cmemory and matching\u201d to inventively broaden our perspectives. \u201cThe viewer is initially drawn in by their recognition of the original artworks that the pieces reference,” he notes. “This sense of familiarity makes the work accessible to a broader audience that may otherwise not visit a gallery or engage with contemporary art<\/a>. Upon close observation of E2’s individual works, the viewer embarks on a journey of identifying the various elements which the artists have changed, initiating conversations about gender, race, sexual orientation and a wide array of other current socio-political issues we face.\u201d<\/p>\n\n\n

\n
\"Ode<\/a>
Ode to Durer’s Self-Portrait at Twenty-Eight<\/em>, 2013<\/a><\/figcaption><\/figure><\/div>\n\n\n

This is perhaps best illustrated by several self-portraits in which Julien assumes the identities of celebrated white artists like Albrecht D\u00fcrer<\/a>, Norman Rockwell<\/a> and Jan van Eyck<\/a>. These images say as much about the absence of the Black figure in the history of Western painting as they do about the importance of broadening the scope of work on today\u2019s museum calendars. <\/p>\n\n\n\n

Showman has some thoughts about how larger institutions might tackle the latter issue. \u201cDisplaying E2 works in museum spaces alongside the original works would be a powerful viewing experience,\u201d he says. \u201cSeeing the past and present alongside one another and understanding the differences in the contexts in which they were created would perfectly illustrate the immense importance and purpose of E2’s work within the narrative of art history.\u201d <\/p>\n\n\n\t

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\n\t\t\t\t\t\tFind More E2 - Kleinveld & Julien Photographs on 1stDibs\t\t\t\t\t<\/div>\n\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/a>\n\t\t\t\t\n\t\t\t\t\tShop All<\/span>\n\t\t\t\t<\/a>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\n","protected":false},"excerpt":{"rendered":"

It\u2019s often said that the best kind of art holds a mirror up to society. But reflections can also create distorted images that need redressing. With a mix of humor, irreverence and irony, photographic duo E2 \u2014 New Orleans natives Elizabeth Kleinveld and Epaul Julien \u2014 re-create masterpieces from previous eras in ways that reflect […]<\/p>\n","protected":false},"author":394,"featured_media":406000,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"apple_news_api_created_at":"2023-02-10T20:07:15Z","apple_news_api_id":"8f6ba6a5-fad4-4f1a-b22e-682584f2b803","apple_news_api_modified_at":"2025-04-07T17:46:57Z","apple_news_api_revision":"AAAAAAAAAAAAAAAAAAAAEw==","apple_news_api_share_url":"https:\/\/apple.news\/Aj2umpfrUTxqyLmglhPK4Aw","apple_news_cover_media_provider":"image","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_cover_video_id":0,"apple_news_cover_video_url":"","apple_news_cover_embedwebvideo_url":"","apple_news_is_hidden":"","apple_news_is_paid":"","apple_news_is_preview":"","apple_news_is_sponsored":"","apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":[],"apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"footnotes":""},"categories":[260],"tags":[15568164,264,15038713,15570149,15570152,15570153,15570155,15570150,15570156,15531573,15570154,15570151,104],"dibs-categories":[15565858,15565868],"dibs-designs":[],"dibs-styles":[],"dibs-creators":[15570147],"dibs-sellers":[15570148],"class_list":["post-405808","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-fine-art","tag-art-history","tag-contemporary-art","tag-contemporary-photography","tag-e2","tag-elizabeth-kleinveld","tag-epaul-julien","tag-jonathan-ferrara-gallery","tag-kleinveld-julien","tag-matthew-weldon-showman","tag-new-orleans","tag-norman-rockwell","tag-old-masters","tag-photography","dibs-categories-dibs-a","dibs-categories-dibs-a_pho","dibs-creators-dibs-e2-kleinveld-and-julien","dibs-sellers-dibs-jonathan-ferrara-gallery"],"acf":{"post_format":"article","subtitle":"With elaborate staging and meticulous postproduction techniques, the subversive duo is reimagining art history.","contributors":{"hide_byline":false,"columnist":[{"ID":361856,"post_author":"456","post_date":"2021-12-14 22:36:15","post_date_gmt":"2021-12-15 03:36:15","post_content":"\n

Alexandra Zagalsky is a London-based journalist specializing in luxury topics, art and travel content. She began her journalistic career in Paris, where she worked on a cultural guide for English-speaking expats. Her first big break was an interview with Lionel Poil\u00e2ne, the late, venerable baker from Paris\u2019s Saint-Germain-des-Pr\u00e9s district who popularized the two-kilogram sourdough loaf and once made a bread chandelier for Salvador Dal\u00ed<\/a>.

Zagalsky moved back to London in her early 20s and has since worked with a number of august publications, including the Week<\/em>, the Telegraph<\/em>, the Times<\/em> and a variety of art and design outlets, such as Introspective<\/em><\/a> and V&A<\/em>, Sotheby\u2019s<\/em> and Christie\u2019s<\/em> magazines. She studied fine art and the history of art at Goldsmiths, University of London, and continues to explore the contemporary art scene, including the world of NFTs.

She has written extensively on the subject of vintage watches<\/a> and describes the Cartier<\/a> Crash as her favorite timepiece. \u201cIt\u2019s a great emblem of the Swinging Sixties and an adaptation of the house\u2019s classic Baignoire<\/a> Allong\u00e9e wristwatch, its sinuous Daliesque style apparently inspired by a model brought into the London Cartier workshop that had been distorted in a car crash,\u201d she says. \u201cI love it for all sorts of reasons, not least because it\u2019s so unconventional and daring, as all great design objects often are.\u201d

Find out more about Zagalsky\u2019s work on Linkedin<\/a>.<\/p>\n","post_title":"Alexandra Zagalsky","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"alexandra-zagalsky","to_ping":"","pinged":"","post_modified":"2025-11-27 03:14:00","post_modified_gmt":"2025-11-27 08:14:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.1stdibs.com\/blogs\/the-study\/contributors\/alexandra-zagalsky\/","menu_order":0,"post_type":"contributors","post_mime_type":"","comment_count":"0","filter":"raw"}],"photographer":"","custom_byline":false},"show_date":true,"interstitial_banners":[{"acf_fc_layout":"collection","interstitial_banner_shortcode":"e2-auction-cta","interstitial_banner_background_image":406006,"interstitial_banner_heading":"Find More E2 - Kleinveld & Julien Photographs on 1stDibs","interstitial_banner_subheading":"","interstitial_banner_button_text":"Shop 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