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 47 works from the series, as well as an interview with the artist conducted by the acclaimed novelist and cultural critic, Lynne Tillman, along with a characteristically brilliant essay by Anthony Elms, Associate Curator of at the Institute of Contemporary Art, co-curator of the Whitney Biennial 2014 and independent critic and writer.
Featured image is reproduced from Laura Letinsky: Ill Form & Void Full.
PRAISE AND REVIEWS
Harper's Magazine
Rebecca Evanhoe
'Untitled #4,' a photograph by Laura Letinsky from her III Form and Void Full series. Letinsky's work will be on view in September at Yancey Richardson Gallery, in New York City, and a monograph of the series will be published in October by Radius Books.
TIME Lightbox
Phil Bicker
Letinsky's tabletop still lifes become abstract collaborative collages, built from past images of her own, photo shoots from design and decor magazines and other assorted objects, creating the serene yet disjointed images in her latest book.
Artsy
Stephen Dillon
Letinsky’s work carves out a space of consideration and reflection invested with love of good company and good food. What we commonly see as chores, such as the piles of dishes and leftovers in Untitled #24 (2011), are transformed into cubist mementos of joy and affection.
Lenscratch
Aline Smithson
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.
Float
Martin Jay
The objects in Letinsky's images, in contrast, reveal their fragility and vulnerability, threatening to fade away almost as we look at them.
American Photo
Jack Crager
Here Letinsky’s artful still-life images use a white dining tabletop with backdrop as a starting point, then study the elements that might inhabit such a scene in a sterilized modern world. With a combination of real artifacts (food scraps, beverage spills, lipstick stains) and paper cut-outs (from lifestyle magazines such as Martha Stewart Living, Dwell, and Good Housekeeping), Letinsky mixes social commentary about artificial appearances with an aesthetic appreciation of their charms.
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FORMAT: Hbk, 11.5 x 13 in. / 128 pgs / 50 color. LIST PRICE: U.S. $55.00 LIST PRICE: CANADA $72.5 GBP £50.00 ISBN: 9781934435878 PUBLISHER: Radius Books AVAILABLE: 2/24/2015 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: Out of stock TERRITORY: WORLD
Published by Radius Books. Interview by Lynne Tillman.
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 47 works from the series, as well as an interview with the artist conducted by the acclaimed novelist and cultural critic, Lynne Tillman, along with a characteristically brilliant essay by Anthony Elms, Associate Curator of at the Institute of Contemporary Art, co-curator of the Whitney Biennial 2014 and independent critic and writer.
