Elizabeth Dee Gallery is proud to present an exhibition of recent photographs and a new video piece by Miranda Lichtenstein.
Given current conversations around photographic abstraction, Lichtenstein questions what role depiction might still play in the capricious visual field. Using a collapse of literal and digital screens, she interrogates the metaphorical and actual filters that have been assimilated into image production and reception. The work’s subject matter can at times be difficult to locate- representation is present, but it is in flux. Her polyvalent display strategy attempts to avoid the conventions of seriality, and explores differing modes of destabilized representation.
Lichtenstein’s Screen Shadow pictures employ a paper screen to form a silhouette, captured by the camera in a manner that obscures the relationship between foreground and background. With her still lives, objects are shot in conjunction with their mutated reflection, invoking the invisible boundary between the camera and its subject. Her photographs of singers caught mid-performance have been stripped of all color and detail, testing the limits of what constitutes decipherability. In Palucca, an enlarged and polarized historical image of a modern dancer embodies the obsolescence of the negative, for so long considered the “ground” of the photograph. The video in this body of work corresponds with impulses of the photographs by doubling and refracting Loie Fuller’s famous Serpentine Dance film from 1896. Projected on to another type of screen, a folded theatrical curtain, like many of the photographs, its subject is reduced almost entirely to shadow and light, and teeters on dissolution.
Miranda Lichtenstein’s work has been shown in institutions including the Hirshorn Museum and Sculpture Garden, the Hammer Museum, the New Museum, the Whitney Museum of American Art, and most recently the Guggenheim Museum in the Haunted exhibition. Her work has been written about in Art Forum, Flash Art, Art Review, Art in America, Tema Celeste and the New York Times, and is included in the collections of the Henry Art Gallery, the Hirshorn Museum and the Guggenheim, among others. This is her forth exhibition with Elizabeth Dee Gallery.