Manuel Garcia Fernandez- Colombian Portraits

Manuel Garcia Fernandez, Colombian Portraits, 1950s-1960s

24 vintage gelatin silver, hand colored and annotated, printed 1950s-1960s, 15 1/2 x 19 1/2 in. (39.4 x 49.5 cm)

Mike Disfarmer - Curry, Willard and Theo Verser

Mike Disfarmer
Curry, Willard and Theo Verser, ca. 1940-45
Vintage gelatin silver, printed ca. 1940-45
​4 ½ x 3 inches

Mike Disfarmer

Mike Disfarmer
Zeb Seymore and Grandpa Jenkins, ca. 1940-45
Vintage gelatin silver, printed ca. 1940-45
5 x 3 inches 

Volker Corell- KKK Rally

Volker Corell, KKK Rally, 1964

Vintage gelatin silver, printed 1964, 14 x 11 in. (35.6 x 27.9 cm)

Tetsu Okuhara- Susan

Tetsu Okuhara, Susan, 1971/1996

544 35mm contact prints, printed 1996, edition 7/10, 34 x 24 in. (86.4 x 61 cm)

Tetsu Okuhara- Susan Hair

Tetsu Okuhara, Susan Hair, 1971/2002

180 35mm contact prints, printed 2002, edition 1/10, 14 x 18 in. (35.6 x 45.7 cm)

Tetsu Okuhara- Three Susans

Tetsu Okuhara, Three Susans, 1972/2001

9 gelatin silver prints, printed 2001, edition 1/5, 9 x 14 in. (22.9 x 35.6 cm)


Curated by Damon Brandt and Steven Kasher

The grid has been used as a graphic, photographic, architectural, sociological, and conceptual means of investigating the connections and frictions between similar -- and seemingly similar -- images. It can be found in the aesthetic rigors of the factory facades photographed by Bernd and Hilla Becher or in the less-self-conscious collection of suspects on the bulletin board of a local police station.

This exhibition looks at various ways the grid as installation can be used to disrupt and illuminate social categories. It features grids of work by Mapplethorpe, Emory Douglas, the Bechers, Walker Evans, Mike Disfarmer, Alwyn Scott Turner, Stephen Shames, Alexandra Penney, Hyers and Mebane, Tetsu Okuhara, the Minneapolis Police Department, the Associated Press, the IRT Corporation, Warhol and others. The exhibition intends to underscore and undermine the implicit power in the language of repetition and association. It exhibits a grid of themes, including: the portrait as incarceration, the bureaucratic gaze returned, the repetitions of repressive choreography. It features solemn studio portraits of male “friends,” the obsessive documentation of a country mourning an assassination, Mapplethorpe’s 1979 portraits of the Soho art dealers.

Between the Bricks and the Blood: Transgressive Typologies will be on view April 15 through May 8, 2010. Steven Kasher Gallery is located at 521 W. 23rd St., New York, NY 10011 Gallery hours are Tuesday through Saturday, 11 to 6 pm. For more information or press requests please contact Kirsten Bengtson at 212 966 3978,