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Sunjung Kim’s Real DMZ Project Interrogates the North and South Korea Divide Ocula Conversation Sunjung Kim’s Real DMZ Project Interrogates the North and South Korea Divide

Ongoing since 2012, the Real DMZ Project interrogates the demilitarised zone (DMZ) between North and South Korea through annual, research-based exhibitions that bring together the works of Korean and international artists. Sunjung Kim, the independent curator behind the project, conceived the idea of exploring the DMZ while curating Japanese artist...

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Sydney Lowdown: Exhibitions to See Ocula Report Sydney Lowdown: Exhibitions to See 6 Sep 2019 : Elyse Goldfinch for Ocula

The fifth edition of Sydney Contemporary will take place once again at Carriageworks between 12 and 15 September 2019, with Spring 1883 bringing together a cohort of 27 galleries from across Australia and the region to inhabit rooms at the Establishment Hotel from 11 to 14 September 2019, uniquely presenting contemporary works propped up on...

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Mark Bradford’s Call for Unity at Shanghai’s Long Museum Ocula Insight | Video Mark Bradford’s Call for Unity at Shanghai’s Long Museum 16 August 2019

Mark Bradford walks through Mark Bradford: Los Angeles Mark Bradford: Los Angeles at the Long Museum West Bund in Shanghai (27 July–13 October 2019) is the artist's largest solo exhibition to date in China. In this video for Ocula, Bradford and Diana Nawi, curator of the show, walk through selected works that convey the artist's concerns with...

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Elad Lassry

b. 1977, Israel

Elad Lassry creates or rediscovers images from a vast array of sources, redeploying them in a variety of media, including photography, film, drawing and sculpture. Despite the diversity of his approach, Lassry has developed one of the most distinctive visual idioms in contemporary art and a rigorously focussed practice that investigates the nature of our perception and the meaning of the contemporary image.

Lassry describes his pictures, which are all exactly the same scale, as ‘something that’s suspended between a sculpture and an image’. The artist achieves this through a play of virtual and actual space. The image in each picture proposes a virtual space, while the frame, which is not a supplement to the image but an extension of it, carves out an actual space for the object to occupy. The images might be found – anything from a magazine snapshot to a Hollywood headshot – or photographed in studio conditions that reflect many of the concerns of traditional still life. Lassry then deploys the image as an ambiguous, free-floating signifier, which combines with the frame to create a new set of conditions. This hybrid entity becomes a kind of epistemological puzzle, engaging the viewer’s perceptual faculties. How does its objecthood affect our reading of the image? How does the subject matter of the image affect our perception of the object?

This disruptive play between image and object extends into his film and sculpture. In the 16mm film Zebra and Woman, the camera begins at the animal’s tail before panning across its striped hide, examining the nuances of colour and form as if it were a mid-century abstraction. Passing the animal’s head, the viewer is plunged, briefly, into blackness before the incongruous appearance of an attractive woman again dislocates the pictorial space. This set of conditions is typical of the artist’s concerns: close-looking, the indistinct space between abstraction and figuration, the combination of flatness and depth, all combining to examine how the mind reacts to different visual stimuli. Lassry brings this set of concerns to bear on a body of sculptural work based on cabinets that further explore a range of perceptual paradoxes. Produced on a scale that reflects the unchanging dimensions of his pictures, the cabinets look both utilitarian and ornamental, both a functional object and its representation.

Elad Lassry was born in Tel Aviv and he lives and works in Los Angeles. His work has appeared in many international exhibitions, including solo shows at the Contemporary Art Museum, St. Louis, MO (2010), Kunsthalle Zurich, Switzerland (2010) and Whitney Museum of American Art, New York (2009). Group exhibitions include the 54th Venice Biennale, International Pavilion, Deutsche Börse Photography Prize, The Photographers' Gallery, London, The Anxiety of Photography, Aspen Art Museum, Aspen, CO (all 2011), Sculpture Center, New York, ‘New Photography 2010’, Museum of Modern Art, New York, NY (2010) and ‘Younger Than Jesus’, New Museum, New York, NY (2009).

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Featured Artworks

View All (24)
Collie (Beagle) by Elad Lassry contemporary artwork
Elad LassryCollie (Beagle), 2013 Four foil on offset prints on paper in painted frames, painted metal poles, ceramic beads, ribbons
20 3/4 x 52 1/2 x 14 inches
303 Gallery
Untitled (Station 1) by Elad Lassry contemporary artwork
Elad LassryUntitled (Station 1), 2018 Carpet
55.9 x 83.8 x 41.9 cm
303 Gallery
Untitled (Pod, Brown Floral, 3) by Elad Lassry contemporary artwork
Elad LassryUntitled (Pod, Brown Floral, 3), 2018 Steel, cotton, polyester fibre
85.1 x 50.8 x 50.8 cm
303 Gallery
Untitled (Assignment 96-6) by Elad Lassry contemporary artwork
Elad LassryUntitled (Assignment 96-6), 2018 Archival pigment print, brass frame
51.8 x 41.4 cm (incl frame)
303 Gallery
Untitled (Assignment 96-9) by Elad Lassry contemporary artwork
Elad LassryUntitled (Assignment 96-9), 2018 Archival pigment print, brass frame
51.8 x 41.4 cm (incl frame)
303 Gallery
Untitled (Assignment 96-17) by Elad Lassry contemporary artwork
Elad LassryUntitled (Assignment 96-17), 2018 Archival pigment print, brass frame
51.8 x 41.4 cm (incl frame)
303 Gallery
Untitled (Corals Grid) by Elad Lassry contemporary artwork
Elad LassryUntitled (Corals Grid), 2018 Archival pigment print, aluminium frame
51.6 x 41.4 cm (incl frame)
303 Gallery
Untitled (Facility A) by Elad Lassry contemporary artwork
Elad LassryUntitled (Facility A), 2018 Archival pigment print, aluminium frame
51.6 x 41.4 cm (incl frame)
303 Gallery

Recent Exhibitions

Contemporary art exhibition, Group Exhibition, 303 Gallery: 35 Years at 303 Gallery, New York
Closed
18 July–16 August 2019 Group Exhibition 303 Gallery: 35 Years 303 Gallery, New York
Contemporary art exhibition, Elad Lassry, Elad Lassry at 303 Gallery, New York
Closed
1 March–6 April 2019 Elad Lassry Elad Lassry 303 Gallery, New York

Represented By

In Ocula Magazine

Dynamic Busan: More to see than just the sea Ocula Report Dynamic Busan: More to see than just the sea 31 May 2016 : Angela Suh for Ocula

The second largest city in South Korea, with a population of 3.6 million, Busan is a thriving metropolis situated at the south eastern end of the Korean peninsula. As a port city, Busan has a rich history of cultural exchange and is nationally acknowledged for its regional cuisine and diverse scenery. Reflecting its motto, 'Dynamic...

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In Related Press

Roots of Conceptual Art, Caught by a Camera’s Eye Related Press Roots of Conceptual Art, Caught by a Camera’s Eye The New York Times : 3 December 2015

Learning, like looking, takes time. It took until well into the 20th century for photography to be fully accepted as art, longer for color work to make the cut. (People thought color belonged in advertising.) And it's only fairly recently, in the digital present, that hard lines separating photography from painting, sculpture and performance have...

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Elad Lassry turns to sculpture, but still asks the same question Related Press Elad Lassry turns to sculpture, but still asks the same question Los Angeles Times : 14 October 2015

Sculpture is relatively new to Elad Lassry’s work, which to date has focused primarily on performance, film and photography. But six recent - and decidedly strange - examples are of a piece with his provocatively developing art.At David Kordansky Gallery, where the sculptures are shown with a dozen wall-works incorporating photographs,...

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Making photos, not taking them; the distinction in 'Perfect Likeness' Related Press Making photos, not taking them; the distinction in 'Perfect Likeness' LA Times : 8 July 2015

Last year a Silicon Valley researcher estimated that more than 1.5 billion new photographs are posted every day on just the larger social media platforms, such as Facebook, Reddit and Snapchat.A new exhibition at the UCLA Hammer Museum proposes that, in response to this visually numbing fact, a distinctive strain of photography has slowly...

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