Laura Letinsky

Our pick of 10 exhibitions to see this week — in New York, Los Angeles, San Francisco, Chicago, London, Paris, and Cairns

Early work by Letinsky included portraits of people, but later moved into images of the aftermath of their presence: scattered tables, food, moved furniture, and so on. In this series, called “Ill Form and Void Full”—the subject of a 2012 exhibition at Valerie Carberry and a forthcoming monograph by Radius Books—Letinsky has arranged similar such scenes using collage elements like flat, excised images of food, serviceware, emptied bottles, sculpture, and potted plants, among other objects. The tableaux, which sometimes include imagery taken from Letinsky’s earlier work, are photographed and then printed, resulting in pictures that are simultaneously lively, spacious, flat, and languid.

Chicago-based photographer Laura Letinsky has a new monograph, Ill Form & Void Full, published by Radius Books that shifts the way we think of the classical still life. For her new series, Laura creates references to the table from existing photographs, Martha Stewart, Dwell and Good Housekeeping magazines, her old work, the art of friends and actual objects. This process shows how ideas about the private sphere and their manifestation in our lives are always predicated upon what has come before: that is, perception itself is a construction. Included in this monograph are all 50 works from the series, as well as an interview with the artist conducted by the acclaimed novelist and cultural critic, Lynne Tillman.

Inspired by the clean modernity of Scandinavian decor that has infiltrated the interiors world, we're drawn to the serenity and lightness that an all-white palette brings to wedding & event decor.

What doesn’t exist can’t be photographed; the limits of photography are the limits of the visible world.

The Winnipeg Free Press featured an art review of Laura Letinsky: Still Life Photographs 1997-2012

The New York Times Magazine nominated Laura Letinsky's book, in the 8 Best Photo Books of 2015.

When food is fodder for art, it usually leaves our mouths watering for a taste of the bounty. Think of those 17th century Dutch masters with their perspective-perfect celebrations of fish and game. Or van Gogh's shiny oranges or Cezanne's subtle lemons. Or more fun than all of those, Edward Weston's too-sexy photographs of peppers and turnips.

Laura Letinsky’s still life photographs are the antidote to Will Cotton’s sugary Katy Perry confections. In the light of morning, the actors are offstage, the fruit and sweets half-eaten

Snapshots asked Photograph's regular contributors, critics who write regularly about the field, to pick a few of their favorites from the AIPAD show.

LAURA LETINSKY: ILL FORM & VOID FULL by Radius Books Hardcover, 11.5 x 13 inches, 120 pages, 50 color images. Interview by Lynne Tillman. Photography by Laura Letinsky. 978-1-9334435-87-8 Trade Edition: $55   Chicago-based photographer Laura Letinsky (born 1962) is known for her depictions of the remnants of foods and objects common to the dining table, ranging from a lipstick-smeared half-empty wine glass to nibbled-upon cakes over ripe fruits. These works have commonly used an actual tabletop as their point of origin. For her new series Ill Form & Void Full, she creates references to the table from existing photographs, Martha Stewart, Dwell and Good Housekeeping magazines, her old work, the art of friends and actual objects. This process shows how ideas about the private sphere and their manifestation in our lives are always predicated upon what has come before: that is, perception itself is a construction. Included in this monograph are all 50 works from the series, as well as an interview with the artist conducted by the acclaimed novelist and cultural critic, Lynne Tillman.  

Paris London Hong Kong is presenting, Tableware and Some Pictures, an exhibition of recent work by Chicago based artist Laura Letinsky.

When food is fodder for art, it usually leaves our mouths watering for a taste of the bounty. Think of those 17th century Dutch masters with their perspective-perfect celebrations of fish and game. Or van Gogh's shiny oranges or Cezanne's subtle lemons. Or more fun than all of those, Edward Weston's too-sexy photographs of peppers and turnips.

Laura Letinsky’s still life photographs are the antidote to Will Cotton’s sugary Katy Perry confections. In the light of morning, the actors are offstage, the fruit and sweets half-eaten

Snapshots asked Photograph's regular contributors, critics who write regularly about the field, to pick a few of their favorites from the AIPAD show.

In her first series of domestic still-life photographs (“Morning, and Melancholia,” 2002–), Laura Letinsky put the contemporary kitchen countertop and

Art Exhibition list, Jan 17th-24th.

Laura Letinsky's interests are homebound. In 2000 she released Venus Inferred, a book of photographs (with an essay and interview by fellow University

Laura Letinsky’s photography has evolved from studies in melancholy and absence to subtle, yet surprising, explorations of perception