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Elad Lassry [see all titles]
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Elad Lassry <!---->
Edited by Alessandro Rabottini.
Texts by Jörg Heiser, Elad Lassry, Aram Moshayedi, Alessandro Rabottini.
published in May 2014
English edition (booklet with Italian translations)
23.5 x 34 cm (hardcover)
80 pages (color ill.)
€33.00
ISBN: 978-88-6749-083-7
EAN: 9788867490837
in stock
 
New monograph.
This book – edited by exhibition curator Alessandro Rabottini – documents Elad Lassry's solo exhibition at the PAC – Padiglione d'Arte Contemporanea in Milan, Italy; the first and most comprehensive monographic show held at an Italian institution. With an essay by Aram Moshayedi (Curator at the Hammer Museum in Los Angeles) and a conversation between the artist and Jörg Heiser (co-editor of frieze magazine), the book provides an in-depth critical examination of Lassry's work since the beginning of his career.
Published on the occasion of Elad Lassry's exhibition at PAC, Milan, in 2012.
In his both visually seductive and irritating photographic and filmic works, Elad Lassry (born 1977 in Tel Aviv, lives and works in Los Angeles) explores canonical ideas about the use of images as influenced by various technologies and the history of the media. Elad Lassry's photographs—everyday and design objects, fruit and vegetable still lifes, human and animal portraits, landscapes and cityscapes—allude to visual features and image constructions that have been used in photography, advertising, magazines and illustrated books, and in films. What interests him in this context is analogue source material and duplication methods, and the development of different types of images in the history of the image before they were incorporated into the digital flood of the now omnipresent archive of available images. His photographic works, which do not usually exceed the format of a magazine or printed material, comprise either collages of acquired printed matter or newly-composed photographs.
Lassry's photographs make use of the attractiveness of the familiarity of these images. However, they are almost too intensely colored, too abstract, too staged. In addition to this process of visual emphasis, they are presented in matching colored frames, which, on yet another level, critically thematicize the relationship between the image and the "picture" as a utilitarian object, and refer to the history of the presentation of objects as art and the aestheticization of perception. They prompt distortions, and therefore, ruptures in the stereotype and the customary—in both temporal and interpretational terms—process of our perception of images.