New York’s illustrious photography gallery, Danziger, has inaugurated its new space at 521 West 23rd Street with the first NYC showing of David Benjamin Sherry’s mono-color landscapes. Featuring a series of photographs that Sherry shot over the course of 2013 and 2014, it’s a heartfelt look at the world in a post modern sense. Having turned classic American landscapes into panoramas of vast and vivid color, Sherry’s renditions reminds us the importance of color in design and how much it can influence the perception of your work. The body of work is stunning and its presentation falls inline with the recent release of Sherry’s book.
David Benjamin Sherry was born in 1981 in Woodstock, NY and currently lives and works out of Los Angeles. Having received his BFA from Rhode Island School of Design and his MFA from Yale University, he has seen much success and presented forth an impressive body of medium challenging work. I’ve heard him referred to as the modern day Ansel Adams. If that’s not saying a lot, then I don’t know what is.
You can view his art as a part of the permanent collections at the Wexner Center of the Arts, Columbus, Ohio, Los Angeles County Museum of Art (LACMA), and the Saatchi Collection, London. Sherry’s most recent success occurred just last month, where he published Earth Changes in collaboration with Mörel Books, London. The book challenges categorical photography ideologies and questions photography’s truth.
In his latest, Sherry used a traditional handmade wooden camera and shot with the beloved f/64 aperture (admired by classics like Edward Weston and the aforementioned Adams). Sherry adds his signature chromogenic hues by then altering the film in the darkroom. These exaggerated hues are simultaneously surreal, monochrome, and painterly.
Often acidic and futuristic, they implore the viewer to question the classic landscapes and the role of nature in the world, or rather, what role we have towards nature. This work demonstrates that Sherry is not only a master of bold, sensual color, but also exploration, as seen by the West and SouthWestern American landscapes he reimagines. He portrays geological phenomena such as rock formations and sand dunes with those vivid and unexpected colors, which are a departure from their natural presentation.
Strolling through the gallery you begin to feel a rhythm to the show, as directed by Sherry’s syncopated palettes of color. It’s a direct engagement with the viewer and an invitation to turn the mind’s eye inward. Sherry’s landscapes remind us, without preaching, of the inherent value that exists in nature—what it offers, what it represents, and ultimately, its ability to connect us to a broader experience. You can even goes as far as concluding that the tones, in combination with the landscapes, are critical of mankind’s relationship to recent climate change.
“Everybody needs beauty as well as bread, places to play in and pray in, where Nature may heal and cheer and give strength to body and soul alike… This natural beauty – hunger is made manifest … in our magnificent National Parks … Nature’s sublime wonderlands, the admiration and joy of the world.”
– John Muir
I could probably take a page from Sherry’s book and not be so preachy about our relationship with Earth, but seeing works such as the photographs on show at Danziger fill me with passion and insight that I can’t resist. It’s so refreshing to see artists such as Sherry take another look at such a classic and beloved medium, and stock it loaded with contemporary commentary. A must see.