Laura Letinsky & Osman Khan
September 11 – October 13, 2004
Opening Reception: Saturday September 11, 7 – 9 pm

CONTACT: Lorraine Molina, Director
400 S. Main St., Los Angeles, CA 90013
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Gallery Hours: Tuesday – Saturday 11am-5pm

Laura Letinsky and Osman Khan have revived the tradition of still life in photography and digital media. With the genre deeply rooted in painting and 20th century photography, rarely has it been investigated in interactive media or lately in contemporary color photography.

“…greasy finger prints on a glass, wasps scavenging for something sweet, discarded worm-laden apples and fat streaked knives…” is Laura Letinsky’s description of the domestic remnants used in her table top constructions of forgotten meals. Her color photographs address a sense of emptiness and decay balanced with pleasure and plentitude. Seduced with the evidence of what’s revealed after a shared meal, Letinsky finds importance in the discarded and ignorded such as cigarette ashes, wine stained table cloths, or sponges from the kitchen sink. Although Letinsky’s fascination stems from 17th century Dutch-Flemish and Italian painting, her photographs twist common traditions in still life bringing a contemporary relevance to the much abandoned genre.

Letinsky has seen her work exhibited at MOMA, the Museum of Contemporary Photography (Chicago), the San Francisco Museum of Modern Art, and the Canadian Museum of Contemporary Photography, among others. She published her first monograph, Venus Inferred in 2000, the year she received a Guggenheim Fellowship Award. Her photographs are in the collections of Yale University Art Gallery, the Art Institute of Chicago, the Museum of Contemporary Photography (Chicago), the Museum of Fine Art (Houston), the San Francisco Museum of Art, and others.

(l.) Laura Letinsky, “Untitled #53, 2002 (I Did Not Remember I Had Forgotten)”, C-Print, 28 x 35”
(r.) Laura Letinsky, “Untitled #73 (I Did Not Remember I Had Forgotten)”, C-Print, 20 1/2 x 35”

Where Letinsky’s images pay homage to the aftermath of eating, Osman Khan relishes the experience in real time. In Sur La Table, a digital media installation, Khan revisits the activities centered around the table. The gestures of dinning are amplified through projection and become the basis for interactivity, ultimately changing the visitors or objects relationship to the table. Using a camera as input, events occurring on or over the table are projected back onto the table’s surface so that a historic timeline of events or movements is visualized as a continuous flow of horizontal colored lines.

Osmond Khan has recently received his MFA from the Design Media Arts program at UCLA, where he has authored and collaborated on works that invent new forms in art and technology.

(l.) Osman Khan, “Sur La Table”, 2003, digital media installation
(r.) Osman Khan, “Sur La Table”, 2003, digital media installation

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