Visit the Baldwin Gallery website here to learn more.
Xippas Gallery in Geneva is pleased to announce a solo exhibition by Vera Lutter. The works presented in this exhibition will include a survey of architectural and industrial images as well as photographs from the artist’s Albescent and Cold Spring series. Though the subjects are immediately recognizable, the inversion of the tones and the passage of time thus captured induce a sensation of mirage which plunges the viewer into deep contemplation.
Visit the Xippas Gallery website here to learn more.
Alfonso Artiaco is pleased to present Between Then and Now, Vera Lutter’s third solo show with the gallery. The exhibition will include recent works from the artist’s project in Rome, Italy; works made during her residency at the Los Angeles County Museum of Art; and a piece created in collaboration with MoMA depicting the museum’s sculpture garden as photographed from inside the institution.
Visit the Alfonso Artiaco website here.
There’s just such overwhelming beauty and majesty and scale in Athens. I was always marveling at what moved the people of that time to build these structures. —Vera Lutter
Gagosian is pleased to announce Fragments of Time Past, an exhibition of new work by Vera Lutter featuring photographs of Attica’s ancient architecture, together with her images of the Greek temples of Paestum, Italy, and of classical statues housed in New York’s Metropolitan Museum of Art. This will be Lutter’s first solo exhibition in Athens in more than fifteen years.
Read more on the Gagosian website here.
Click here to learn about the book published on the occasion of this exhibition.
Presented on the occasion of the exhibition by the same name at Gagosian Athens, the publication includes works from the exhibition as well as additional works from the same projects. Also presented in the book is a text by Jean Dykstra titled “Vera Lutter: Time Travel” as well as a statement from Vera on her recent Athens project.
The German-born artist Vera Lutter is known for her ghostly, immersive camera-obscura photographs made in pinhole cameras that are sometimes the size of small rooms. Rather than printing positive images from a negative, she keeps the tonal values reversed, so that a bright daytime sky is impenetrably black, and solid structures appear to glow. Late last summer, the New York Times asked Lutter to go to Athens to make photographs of the Acropolis and other monuments to accompany an article by Thomas Chatterton Williams. A selection of the majestic images she made there—of the Parthenon, the Acropolis, the Temple of Poseidon, and Plato’s Academy—will be on view at Gagosian Gallery Athens in the exhibition Fragments of Time Past.
Read the full interview on brooklynrail.org
Elles × ParisPhoto: You first trained as a sculptor, how has this practice influenced your visual work?
Lutter: Engagement with any medium informs the mind and trains the eye, but in addition to this, my work requires an ability to create physical structures and turn objects into cameras or modify already existing ones to suite my projects’ needs. The three-dimensional aspect of my practice may not be seen in the final product, but it’s still part of the work.
Read the full interview on ellesxparisphoto.com
Available in both English and French
In early August, when The Times Magazine reached out to the photographer Vera Lutter about documenting ancient Athenian ruins, she was in her native Germany mourning her father, who died this summer. At the time, European news had been dominated by reports of wildfires in Greece — an ill omen for the clear skies and uphill hikes required to shoot atop the Acropolis.
And Shannon Simon, a photo editor producing the project for the magazine, said they needed the pictures by September.
On Monday, during an interview at her studio about her work that appears in the Magazine’s Voyages issue, Ms. Lutter had a question of her own to ask about the newspaper.
“What I would love to hear from you,” she said, “is do you think they knew what they were getting themselves into?”
Lutter’s photographs bring us as close as possible to experiencing art as a gallery would, while also providing galleries with an opportunity to make art: The self-portraits possess the interiority of self-expression. Although the past can never be revisited, Lutter’s photographs have the potential to bring future generations into greater intimacy with these demolished buildings than was experienced by people while the buildings existed.
Read more on forbes.com
From February 2017 to January 2019, New York–based artist Vera Lutter worked in residence at LACMA, creating a new body of work examining the campus architecture, galleries, and collection holdings. Lutter uses one of the oldest optical technologies still in use, that of the camera obscura. By building room-sized cameras and placing unexposed photo paper across from a pinhole opening, Lutter has adopted the camera obscura as her singular working method, resulting in photographs with an ethereal, otherworldly beauty.
Read more on unframed.lacma.org
In the second installment of MFA Photography, Video and Related Media’s Spring Scheimpflug lecture series, alumna Vera Lutter speaks to the SVA department in person and via Zoom.
Join LACMA CEO and Wallis Annenberg Director Michael Govan and Associate Curator of Contemporary Art Jennifer King for an insightful conversation and tour of the exhibition “Vera Lutter: Museum in the Camera.” From February 2017 to January 2019, New York-based artist Vera Lutter was invited by LACMA to work in residence at the museum, creating a new body of work examining the campus architecture, galleries, and collection holdings. Vera Lutter: Museum in the Camera features the compelling photographs made during her two-year residency.
Drawing inspiration from the urban landscape, Lutter’s work utilizes the tool of the camera obscura to render the world around her unfamiliar and new.
Read more on mocp.org
New York-based artist Vera Lutter uses the camera obscura to create photographs with an ethereal, otherworldly beauty.
From February 2017 to January 2019, Lutter was invited by LACMA to work in residence at the museum, creating a new body of work examining the campus architecture, galleries, and collection holdings. This short film shares rare behind-the-scenes footage of the artist, her assistants, and the museum staff that was filmed during Lutter’s residency in Los Angeles, as well as insights from Vera Lutter and curator Jennifer King into the artistic process and the meanings they find in these dreamlike prints.
On the occasion of being featured in Phillips’ exhibition NOMEN: American Women Artists from 1945 to Today, Vera Lutter sat down with us discuss the evolution of her practice and the evolving landscapes that have characterized her career to date
Watch the full video here.
Produced by Phillips (2019)
In 2015, the Museum of London began Beyond Documentary, a three-year project supported by the Heritage Lottery Fund. This project has allowed them to expand the museum’s photography collection by collecting images which push the boundaries of traditional photography. The Museum of London has been collecting and displaying photographs since its creation. The collection’s roots lie in the photographs acquired from 1912 onward by its precursor, the London Museum, and images acquired in the early 1970’s for the museum’s new home at London Wall.