Дэвид Бенжамин Шерри

source: designmagazincz
Američan David Benjamin Sherry vystavuje v Berlíně odvážnou kolekci fotografií, nazvanou Birth in Futurverse. Otevření samostatné exhibice v Schlechtriem Brothers Gallery bylo o to slavnostnější, jelikož galerie se přestěhovala na atraktivnější místo v centru velkoměsta.

David Benjamin Sherry je progresivní, dnes osmadvacetiletý fotograf, pocházející přímo z New Yorku, který se ve své tvorbě nebojí pestrých barev, výrazu ani absurdity, přecházející často až k halucinogenním pocitům. Mladému umělci se dostalo vzdělání v tomto uměleckém oboru na prestižních amerických školách Rhode Island Scool of Design a známém Yale.

Jak už to bývá, největší zkušenosti však Sherry nasbíral praxí, kterou mu poskytla práce v módních časopisech, jako například Dazed and Confused, Purple, i-D nebo V Man, z jejichž titulků běžně vykukují světoznámé tváře, Madonou počínaje.

Z fotografií Davida Benjamina Sherry je zřejmé, že mu svým způsobem imponuje příroda, kterou přetváří do své vlastní podoby. Neuspokojí se s její přirozenou barevností, ale své fotografické obrazy, získané díky dobrodružným cestám po světě, překrývá barevnými atmosférickými filtry, jak ukazují fotky Soaring Yellow Morning Breath, Minted Sensoria či Lament of Atlantis.

Dalším tematickým námětem je portrét a lidský akt, které často nechává obklopit přírodními jevy. Zvláště tyto práce představují díky jedinečnému provedení autora silně surrealistické živé obrazy, které odstraňují hranice mezi přírodou a lidským tělem. Typickým příkladem je Self Portrait as The Born Feeling Begins.

Sherryho použití intenzivních, především primárních barev, jako je sytě modrá, purpurová, žlutá, popřípadě sekundární zelená nebo fialová, se stává pastvou pro oči. U příznivců fotografie může výstava pozitivně zasáhnout nejhlubší emoce a vyvolat kladné pocity, spojené s radostí a nadšením.
.
.
.
.
.
.
.
source: nocoshopru
Фотограф Дэвид Бенжамин Шерри (David Benjamin Sherry) родился в Вудстоке в 1981 году. Поступил в Yale School of Art, которую успешно закончил в 2007 году. В данный момент живет и работает в Нью-Йорке. Cнимает необычные психоделические фотографии. Снимки поражают своей яркостью и оригинальностью!
.
.
.
.
.
.
.
source: pasunautre
In Quantum Light, artist David Benjamin Sherry’s second publication, he continues his exploration of vivid color, ramping up the saturation and expanding his subject matter, in works incorporating landscapes, collage, still life, abstraction, portraiture and sculpture.
.
.
.
.
.
.
.
source: bumbumbumme
28-year-old New York-born and based photographer David Benjamin Sherry creates humorous, eccentric and colorful photos that transform the landscape, his friends, and himself into something psychedelic and peculiar all done with a rich glamorous fantasy.
.
.
.
.
.
.
.
source: sokoisbarefootblogspot
28 year old photographer David Benjamin Sherry creates enthusiastic, eccentric photographs that transform the landscape, his friends, and himself into a sometimes psychedelic, sometimes punk, always rich and rather glamorous fantasy of youth in paradise. His first book, It’s Time (Damiani), collects 48 photographs taken since 2006, when Sherry entered the Yale MFA program, and represents the artist’s body of art photography to date through exotic locales, and posed yet intimate moments. In the book we see Death Valley rendered spearment and mirrored over a horizontal axis, such that the center of the picture appears like a vagina; elsewhere the artist is painted gold like an Oscar Award, set against a wave of cliffs straight with the color palate of a Jodorowsky film. In the book’s title photograph (2007), a dashing skinhead is shot from below, the trees and the sky visible behind him. The color is bleached out, so the photograph looks like a photocopy from a zine (particularly those by Toronto punk-chapbook publishers GB Jones and Bruce Labruce).
Another bifurcation: this one is at two-thirds the height of the portrait, so that the sky both opens and closes, and the point of view becomes entirely disorienting.
The cover of the It’s Time is a photograph of a cotton-candy Mt. Adams, Washington, pasted atop the cloth binding. It’s an immediate tip-off to Sherry’s dual interests in effervescent naturalism, and the material processes of photography. In interviews, Sherry consistently emphasizes that he doesn’t digitally manipulate his work, which seems a moot point in an age where digital is the norm. But Sherry cares about analog photography, and his prints require extensive research, and a whole lot of patience, both on-site and in the dark room, to achieve. Describing an interest in process that defies cold formalism, Sherry says, “If I am romantic of the past for one thing, it would have to be the handwork, feel, emotional content, labor-intensive and traditional printing of photography.” If photoshopping a picture relies on the assumption that a picture is a normalized fiction, Sherry’s method holds out hope for an abnormal reality, even permitting, however melancholically, that the moment didn’t occur quite as dramatically as it was recorded: “It’s all about giving life to a still moment and trying to re-capture that energy through color, trial and error, and surprise.”
But if Photoshop’s effect on the documentary function of photography is a moot point then so, supposedly, is kitsch as a method of altering a viewer’s understanding of an art object. And here’s where Sherry’s art photography as represented in It’s Time (as opposed to his expert but relatively refined editorial photography) takes off by expecting nothing less than our complete acceptance of photography’s enduring magic. Vivid colors and sexual fantasies aside, when Sherry photograph of his friend as a jewel-like nymph legs splayed in the forest looking like a porcelain nymph, he names it no less than “Rainseraphita,” a reference to Balzac’s mythical symbol for sensuality. The background is so impossibly lush and stacked up with waterfalls and foliage as to invite comparisons to Thomas Kinkade. Elsewhere, a black and white portrait of the model Lenz Johnston, captured with the friendly intimacy of a Gap ad, is grandly called “And Then There Was Lenz.” In spite of those comparisons, you never doubt the sincerity of Sherry’s imagery or his exchange with the sitter—and the composition is stronger. It’s Sherry’s willingness to use heterogeneous, boldly referential, and out-of-vogue styles while embarking on an ostensibly romantic and autobiographical project that so experiments with the elements of contemporary photography. It’s Time pictures a world beyond taste; a world that adventurously integrates itself into fashionable corners; and a world worth taking a long look at.

Taking a lead from his peers widespread commercial success, Sherry has shot some memorably fresh fashion editorials for magazines such as Dazed and Confused, Purple, i-D, V Man and Japanese Vogue. Part of the group of young artists (and much-chronicled downtown bad boys) around Ryan McGinley, Dash Snow and Dan Colen, Sherry makes photographs that range from reality to fantasy, from portraits to abstractions, landscapes to fashion. Drawing inspiration from contemporaries such as Wolfgang Tillmans to past generation artists such as Derek Jarman and Kenneth Anger. He has exhibited in Berlin, Vienna, Los Angeles and New York. This well-illustrated volume includes an essay by independent curator and critic Neville Wakefield.