黑料不打烊


Rob Amberg: Staring

May 05, 2017 - Jul 02, 2017

Tracey Morgan Gallery is pleased to present Staring, a series of black and white portraits of bohemian youths by photographer Rob Amberg. This is Amberg鈥檚 first one-person exhibition with the gallery. 

For several years, Amberg has been photographing friends and acquaintances whom his daughter met while working on farms from Maine to California.  These nomadic young people spend a great deal of time each year on the road, staying with friends, working to save money for their next trip. Their seeming impermanence appears in direct contrast to the fixed nature of the images themselves.

Eschewing his usual 35mm camera, Amberg chose the 鈥渄eliberateness鈥 of medium format for this series. 鈥淭he need to move slowly in its use, was somewhat foreign to me, a photographer traditionally more interested in blinking as opposed to staring,鈥 he said. Amberg also found the challenge of fitting an image into a square was something that intrigued him. Formally composed, full, three quarter length and group portraits are juxtaposed with fragments of a sitter such as a tattooed leg, foot or clavicle. 



Tracey Morgan Gallery is pleased to present Staring, a series of black and white portraits of bohemian youths by photographer Rob Amberg. This is Amberg鈥檚 first one-person exhibition with the gallery. 

For several years, Amberg has been photographing friends and acquaintances whom his daughter met while working on farms from Maine to California.  These nomadic young people spend a great deal of time each year on the road, staying with friends, working to save money for their next trip. Their seeming impermanence appears in direct contrast to the fixed nature of the images themselves.

Eschewing his usual 35mm camera, Amberg chose the 鈥渄eliberateness鈥 of medium format for this series. 鈥淭he need to move slowly in its use, was somewhat foreign to me, a photographer traditionally more interested in blinking as opposed to staring,鈥 he said. Amberg also found the challenge of fitting an image into a square was something that intrigued him. Formally composed, full, three quarter length and group portraits are juxtaposed with fragments of a sitter such as a tattooed leg, foot or clavicle. 



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22 London Rd. Asheville, NC, USA 28803

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