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NY | Chelsea

Print/Process/Repeat

March 11 – April 17, 2021

Ghiora Aharoni, When All Roads Are One, 2017, assemblage sculpture with vintage Indian taxi meter encased in 23-karat gold leaf retrofitted with two screens, 55 x 12 x 12 inches/139.7 x 30.5 x 30.5 cm

Ghiora Aharoni, When All Roads Are One, 2017, assemblage sculpture with vintage Indian taxi meter encased in 23-karat gold leaf retrofitted with two screens, 55 x 12 x 12 inches/139.7 x 30.5 x 30.5 cm

Ghiora Aharoni, Thank God for Making Me A Woman (Hebrabic©), 2019, polished aluminum, 5.5 x 24.5 x 1 inches/14 x 62.2 x 2.5 cm

Ghiora Aharoni, Thank God for Making Me A Woman (Hebrabic©), 2019, polished aluminum, 5.5 x 24.5 x 1 inches/14 x 62.2 x 2.5 cm

Ghiora Aharoni, The Road to Sanchi, 2016, assemblage sculpture with vintage Indian taxi meter retrofitted with two screens displaying videos filmed by the artist in India, mounted on a circular wooden platform on a cylindrical steel base with a glass dome, 55 x 11.6 inches/139.7 x 29.5 cm each

Ghiora Aharoni, The Road to Sanchi, 2016, assemblage sculpture with vintage Indian taxi meter retrofitted with two screens displaying videos filmed by the artist in India, mounted on a circular wooden platform on a cylindrical steel base with a glass dome, 55 x 11.6 inches/139.7 x 29.5 cm each

Kamolpan Chotvichai, Rupa (Body), 2015, c-type print and hand cut canvas, 27.2 x 37 inches/69 x 94 cm

Kamolpan Chotvichai, Rupa (Body), 2015, c-type print and hand cut canvas, 27.2 x 37 inches/69 x 94 cm

Kamolpan Chotvichai, Karma (deed), 2015, c-type print and hand cut canvas, 40.5 x 54.25 inches/103 x 138 cm

Kamolpan Chotvichai, Karma (deed), 2015, c-type print and hand cut canvas, 40.5 x 54.25 inches/103 x 138 cm

Kim Joon, Johnnie Walker, 2011, digital print, 47 x 82.7 inches/119.4 x 210.1 cm

Kim Joon, Johnnie Walker, 2011, digital print, 47 x 82.7 inches/119.4 x 210.1 cm

Kim Joon, Fragile-Chunhyang on the Limoges, 2010 Digital print 39.4 x 55.1 inches/100 x 140 cm

Kim Joon, Fragile-Chunhyang on the Limoges, 2010 Digital print 39.4 x 55.1 inches/100 x 140 cm

Kim Joon, Rocker-Sex Pistols, 2012, digital print, 27.2 x 34.3 inches/69.1 x 87.1 cm

Kim Joon, Rocker-Sex Pistols, 2012, digital print, 27.2 x 34.3 inches/69.1 x 87.1 cm

Kim Joon, Fragile-Adam & Eve, 2010, digital Print, 82.7 x 47 inches/210.1 x 119.4 cm

Kim Joon, Fragile-Adam & Eve, 2010, digital Print, 82.7 x 47 inches/210.1 x 119.4 cm

Karen Knorr, Homage to Ustad Mansur, Red Fort, Agra, 2017, colour pigment print on Hahnemühle Fine Art Pearl Paper, 48 x 60 inches/122 x 152 cm

Karen Knorr, Homage to Ustad Mansur, Red Fort, Agra, 2017, colour pigment print on Hahnemühle Fine Art Pearl Paper, 48 x 60 inches/122 x 152 cm

Karen Knorr, The Wedding Guests, Belgravia Room, 2015 colour pigment print on Hahnemühle Fine Art Pearl Paper, 48 x 60 inches/122 x 152.4 cm

Karen Knorr, The Wedding Guests, Belgravia Room, 2015 colour pigment print on Hahnemühle Fine Art Pearl Paper, 48 x 60 inches/122 x 152.4 cm

Karen Knorr, Flight to Freedom, Durbar Hall, Dungarpur, 2010 colour pigment print on Hahnemühle Fine Art Pearl Paper, 23.6 x 30 inches/60 x 76.2 cm

Karen Knorr, Flight to Freedom, Durbar Hall, Dungarpur, 2010 colour pigment print on Hahnemühle Fine Art Pearl Paper, 23.6 x 30 inches/60 x 76.2 cm

Karen Knorr, The Way of Ishq, Grand Mosque, Abu Dhabi, 2019, colour pigment print on Hahnemühle Fine Art Pearl Paper, 23.6 x 30 inches/60 x 76.2 cm

Karen Knorr, The Way of Ishq, Grand Mosque, Abu Dhabi, 2019, colour pigment print on Hahnemühle Fine Art Pearl Paper, 23.6 x 30 inches/60 x 76.2 cm

Ricardo Mazal, SP Text 1, 2019, oil on linen, 77 x 113 inches/195.6 x 287 cm

Ricardo Mazal, SP Text 1, 2019, oil on linen, 77 x 113 inches/195.6 x 287 cm

Ricardo Mazal, SP Text 3, 2019, oil on linen, 77 x 84 inches/195.6 x 213.4 cm

Ricardo Mazal, SP Text 3, 2019, oil on linen, 77 x 84 inches/195.6 x 213.4 cm

Ricardo Mazal, Silence in Prague PH 3, 2019, pigment ink print on paper, 11.25 x 12 inches/28.6 x 30.5 cm

Ricardo Mazal, Silence in Prague PH 3, 2019, pigment ink print on paper, 11.25 x 12 inches/28.6 x 30.5 cm

Ricardo Mazal, Silence in Prague PH-T4, 2019, pigment ink print on paper, 11.25 x 12 inches/28.6 x 30.5 cm

Ricardo Mazal, Silence in Prague PH-T4, 2019, pigment ink print on paper, 11.25 x 12 inches/28.6 x 30.5 cm

Steve McCurry, A red car driving through the streets of Havana, Cuba, 2010, ultrachrome print, 30 x 40 inches/76.2 x 101.6 cm

Steve McCurry, A red car driving through the streets of Havana, Cuba, 2010, ultrachrome print, 30 x 40 inches/76.2 x 101.6 cm

Steve McCurry, Sikh devotee prays at the Golden Temple, Amritsar, Punjab, India, 1996, ultrachrome print, 30 x 40 inches/76.2 x 101.6 cm

Steve McCurry, Sikh devotee prays at the Golden Temple, Amritsar, Punjab, India, 1996, ultrachrome print, 30 x 40 inches/76.2 x 101.6 cm

Steve McCurry, Intha Fisherman on Inle Lake, Burma, 2011, ultrachrome print, 20 x 24 inches/50.8 x 61 cm

Steve McCurry, Intha Fisherman on Inle Lake, Burma, 2011, ultrachrome print, 20 x 24 inches/50.8 x 61 cm

Steve McCurry, Young monk practicing Shaolin, one of the oldest styles of Kung Fu, Shaolin Monastery, Henan Province, China, 2004, ultrachrome print, 20 x 24 inches/50.8 x 61 cm

Steve McCurry, Young monk practicing Shaolin, one of the oldest styles of Kung Fu, Shaolin Monastery, Henan Province, China, 2004, ultrachrome print, 20 x 24 inches/50.8 x 61 cm

Miya Ando, Gekkou (Moonlight) November 1, 2018, silver leaf and pigment on Arches paper, 41 x 29 inches/104.1 x 73.7 cm

Miya Ando, Gekkou (Moonlight) November 1, 2018, silver leaf and pigment on Arches paper, 41 x 29 inches/104.1 x 73.7 cm

Miya Ando, Gekkou (Moonlight) November 3, 2018, silver leaf and pigment on Arches paper, 41 x 29 inches/104 x 74 cm

Miya Ando, Gekkou (Moonlight) November 3, 2018, silver leaf and pigment on Arches paper, 41 x 29 inches/104 x 74 cm

Susan Weil and José Betancourt, Penumbrella, 2009, blueprint, 54 x 48.5 inches/137.2 x 123.2 cm

Susan Weil and José Betancourt, Penumbrella, 2009, blueprint, 54 x 48.5 inches/137.2 x 123.2 cm

Susan Weil and José Betancourt, Whoosh, 2009, blueprint, 52.5 x 83.5 inches/133.4 x 212.1 cm

Susan Weil and José Betancourt, Whoosh, 2009, blueprint, 52.5 x 83.5 inches/133.4 x 212.1 cm

Shirin Neshat, Possessed Series, 2001, cibachrome print, 47.5 x 60 inches/120.7 x 152.4 cm

Shirin Neshat, Possessed Series, 2001, cibachrome print, 47.5 x 60 inches/120.7 x 152.4 cm

Sebastião Salgado, Basaltic organ pipes on Mitsio Island, Madagascar, 2010, gelatin silver print, 35 x 24 inches/88.9 x 61 cm

Sebastião Salgado, Basaltic organ pipes on Mitsio Island, Madagascar, 2010, gelatin silver print, 35 x 24 inches/88.9 x 61 cm

Sebastião Salgado, Tsingy of Bemaraha National Park, Madagascar, 2010, gelatin silver print, 50 x 68 inches/127 x 172.7 cm

Sebastião Salgado, Tsingy of Bemaraha National Park, Madagascar, 2010, gelatin silver print, 50 x 68 inches/127 x 172.7 cm

Sebastião Salgado, Rain pouring over the Amazon forest, Acre, Brazil, 2016, gelatin silver print, 24 x 35 inches/61 x 88.9 cm

Sebastião Salgado, Rain pouring over the Amazon forest, Acre, Brazil, 2016, gelatin silver print, 24 x 35 inches/61 x 88.9 cm

About This Exhibition

This exhibition of work by gallery artists explores the relationship between the artist and prints and multiples.

 

Ghiora Aharoni incorporates found objects and cultural artifacts into his sculptures and installations, which makes each edition unique. When All Roads Are One, one of his time-based media sculptural works, is an editioned series of three, one of which was recently acquired by The Metropolitan Museum of Art for the permanent collection.

 

For Karen Knorr and Kim Joon, who both utilize digital technology, the print is the final product of their labor and creativity. Their multiples are perfect in their exact likeness. Karen Knorr seamlessly merges her meticulous photographs, often taken with a large-format analogue camera, with digital technology to create surrealistic images. Kim Joon constructs fantastical compositions with computer software that he brings to life in a digital print. 

 

For Kamolpan ChotvichaiMiya Ando and Ricardo Mazal the print is one part of a process—a catalyst for new bodies of work, or ideas to be re-imagined. Miya Ando meticulously applies silver leaf and pigment onto paper in her work-on-paper series Gekkou (Moonlight), making each clearly part of the series, but wholly unique. Painter and photographer Ricardo Mazal often begins a new body of work by first taking a photograph that inspires the shapes and colors of his distinctive oil paintings. Kamolpan Chotvichai begins with her own image, which is printed on paper.

Work by Susan Weil, known for her blueprint collaborations with Robert Rauschenberg and photographer José Betancourt, and a large-format photograph by Shirin Neshat will also be on view. 

 

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