Elad lassry biography of michaels
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OPENINGS: ELAD LASSRY
THE LOS ANGELES–BASED PHOTOGRAPHER AND FILMMAKER Elad Lassry often uses the term pictures when speaking about his work. He prefers it to both the more technical photographs and the more abstract images. This may partly be due to the lexical streamlining of an Israeli speaking English as his second language, but the distinction is nonetheless suggestive. Pictures carries a specific and familiar art-historical reference entwined with certain appropriative strategies drawing from mass-distributed print media, television, and cinema. And indeed, although Lassry’s practice is primarily devoted to studio compositions and film, he also makes works using pages from vintage Life magazines, outdated textbooks, and many-decades-old Hollywood stills and publicity shots, often modified with blocks of silk-screened color or foil appliqué. Rather than engaging with the belabored discourse around post–Pictures generation appropriation, h
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Elad Lassry
For me, pictures have always had an innate nervousness about them. I think that the ghostlike quality of photography can never be Lassry
In a world engulfed in images, it fryst vatten fair to assume that most people today have become experts in reading photography. Then, every once in a while, someone comes along and shakes us into the realization that our daily intake of photography fryst vatten disturbingly passive and uncritically accepting. For the past few years, few people have reminded us to keep our wits about us in front of a frame better than Tel Aviv-born, Los Angeles-based artist Elad Lassry.
Lassry&#;s early pieces—many of them hyperclear studio still lifes of objects ranging from ceramic figurines and nail-polish bottles to live hawks and vegetables, all shot in rich colors and held in bright, contrasting frames—were evocative precisely because, on first look, they seemed innocent and unaggressive. Many of his photographs echoed magazine ads or stock photos fr
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Israeli-born Elad Lassry defines his practice as consumed with “pictures”—generic images gathered from vintage picture magazines and film archives. He mines the visual culture of still and motion pictures, engaging traditions of story-building with images and the ghosts of history that linger with images long after they have been withdrawn from their original contexts.
Lassry challenges the means by which a work is structured visually. His pictures—still lifes, photocollages, and studio portraits of friends and celebrities—never exceed the dimensions of a magazine page or spread and are displayed in frames that take their colors from the dominant hues in the photographs. Lassry’s pictures are created from his own studio-based photographs as well as appropriated imagery. Though his use of pop-culture subject matter makes his works appear as straightforward as commercial photography, they are often more complex, comprised of double exposures, blurs, or the superimpositio