Salon 94


David Benjamin Sherry featured in Aperture

"Looking closely at the wall labels in “What is a Photograph?,” a visitor would discover that the works in this show were nearly all unique objects — a remarkable thing to consider for an exhibition that takes up photography, a medium once defined as the very essence of mechanical reproducibility. Further, most of these “photographs” thoroughly efface any reference to what may have once stood before a lens: the intensely saturated David Benjamin Sherry photographs, for instance, resemble fields of paint strokes more than landscapes; Travess Smalley’s scanned collages, unique prints on heavy wove paper, look more like psychedelic Matisse cut-outs than records of something that existed before a camera; same with the works of Alison Rossiter, who processes and exposes old 35mm film stock, with the resulting images resembling blurred, hazy ink-drawings (with no visible subject matter.)"

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David Benjamin Sherry featured in The New Yorker

Geologists are intensely focussed on determining whether it will be possible to pinpoint the start of the Anthropocene—the informally recognized epoch, first conceived of by chemist Paul Crutzen, in which humans have altered the earth’s ecosystems. Writing for this magazine, Elizabeth Kolbert described the challenges of trying to grasp our full impact, including “the fact that the geology of the epoch is, at this point, almost entirely prospective.” We don’t yet have any evidence of what our most significant effect on the planet will be. â€śClimate Vortex Sutra,” by the photographer David Benjamin Sherry, presents pristine landscapes in unnatural hues to suggest humans’ distortive impact. Sherry pairs this geographic exploration with an anthropological one: photographs that treat human subjects as topographies undergoing their own metamorphoses. One image, titled “The Sixth Extinction” after Kolbert’s most recent book, is dedicated to the writer. Like Kolbert’s book, Sherry’s photographs pose a startling question: How are we adapting to what Crutzen called “the geology of mankind”? David Benjamin Sherry’s “Climate Vortex Sutra” is on view at Salon 94 Bowery through October 25th.

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Satan Ceramics featured in Blouin Artinfo

​Hungry for fired clay, perhaps with a cheeky reference to the Lord of Darkness? Thankfully, this quartet of collaborative makers — JJ PEET, Mary Frey, Pat McCarthy, and Tom Sachs — are more than willing to satisfy your unique dual craving. Objects promised to be on view include urinals, skateboards, pentagram-ornamented cups, Simpsons plates, and a range of work “bound to the framework of [McCarthy’s] pigeoning practice.” 

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Satan Ceramics featured in T Magazine

See the work of some New York art stars’ weekly ceramics club Its name notwithstanding, “Satan Ceramics,” a group show at Salon 94 Freemans, is more concerned with topical satire than pure evil. In it, the artists Mary Frey, Pat McCarthy, JJ PEET and Tom Sachs display works they dreamed up during their weekly ceramics get-togethers, including Frey’s unrideable porcelain skateboard and Sachs’s urinal made with porcelain, rope and kevlar.

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