Sarah Jones

Sarah Jones

cabinet (ii) (after man ray) (i) by sarah jones

Sarah Jones

Cabinet (II) (After Man Ray) (I), 2013

Price on Request

Thursday, March 27, 2014Saturday, April 26, 2014

532 West 20th Street
New York, NY USA

Anton Kern Gallery is pleased to prese nt Sarah Jones’ fourth solo exhibition at the gallery. Followin g on from the recent publication of her monograph by Violette Editi ons, Jones’ new photographs continue to explore how subjects are m easured and transcribed through the large format view camera a nd flattened in pictorial space. Predicated on the disarming and the vernacular she uses a vocabulary that simultaneously describes as well as documents. In her expanded Cabinet series, (2013-14) arrangements of found objects are contained, mirrored a nd presented as if held in a vitrine.

Over the years themes such as the analyst’s couch, the munici pal rose garden as still life in-situ, the drawing studio a nd the singular female subject have been central to her concerns. Her phot ographs are often made on location and illuminated with caref ully controlled lighting that allows the subject to bot h emerge from and recede into a darkened space. Through the use o f analogue techniques Jones studies the correspondence between the skein of the film, the surface of the photo graphic print and the surface of her subjects. For Jone s this attention to materiality brings to mind the act of ma rk making in drawing.

She has previously used the diptych as a formal device and direct reference to early stereographic photographs i n order to present two perspectives of a single form. More recent diptychs consider the act of doubling and the alchemic nature of the photographic process by literally flipping an image. One becomes an imprint or reflecti on of the other recalling the Rorschach inkblot. In such an act of m irroring, Cabinet (II) (After Man Ray) (I) and (II) picture a curved glass object that recalls Man Ray's Le Violon d’Ingres , (1924). Other works in the exhibition reflect on th e photographic language of Florence Henri, Karl Blossfel dt and Eugene Atget.

Born in London, in 1959, Sarah Jones lives and works in London. Previous solo exhibitions include New Pictures 8 , Minneapolis Institute of Arts, USA, 2013; Sarah Jones: Photographs , National Media Museum, Bradford, 2007; Huis Marseille Foundation for Photography, Amsterdam, 2000 ; Museum Folkwang Essen, Essen, 1999; Centre for Photography, Universidad de Salamanca, Spain, 1999; M useum Reina Sofia, Madrid, 1999; Le Consortium, Dijo n, France, 1997. Recent group exhibitions include Seduced by Art: Photography Past and Present , National Gallery, London, UK and CaixaForum Barcelona, and CaixaForum Madrid, 2013; Der Mensch und seine Objekte , Museum Folkwang, Essen, 2012; Observers: Photographers of the British scene from 1930s to now , Galeria de Arte do Sesi, Avenida Paulista, Sao Paulo, 2012; Nothing In the World But Youth , Turner Contemporary, Margate, UK, 2011; Signs of a struggle: Photography in the Wake of Postmodernism , Victoria and Albert Museum, London, UK, 2011; A Sense of Perspective , Tate Liverpool, Liverpool, UK, 2011; Portraits , Bloomberg Space, London, UK, 2008; Street & Studio : An Urban History of Photography, Tate Modern, London and Museum Folkwang, Essen, Germany, 2008. Jones’ most recent monograph is published by Violette E ditions with essays by Brian Dillon, David Campany and a conversation with A.M. Homes. Sarah Jones is currently a Rea der in Photography at the Royal College of Art.

The exhibition opens on Thursday, March 27 and will run through Saturday, April 26, 2014. The gallery is open Tuesday through Saturday, 10 am - 6 pm. For further information and images, please contact the gallery at (t) 212.367. 9663, or email: nahna@antonkerngallery.com.