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?”

Read more here.

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